What makes Lily Allen’s second album, It’s Not Me, It’s You, so damn compelling is not her small, sweet voice or the poppy, bouncy productions but her swag and her storytelling skills. Seriously, who could make a chorus out of “Fuck you, fuck you very very much” as a snub to Bush and still sounds so adorable?

With producer Greg Kurstin lays down the catchy beats, Allen focuses on getting her words out on subjects including sex (or lack of), God, drugs and getting old (say, 30). On “The Fear,” Allen is cleverly wrapped her words underneath the club production, but her message still shines through: “Life’s about film stars and less about mothers / It’s all about fast cars and passing each other / But it doesn’t matter cause I’m packing plastic / And that’s what makes my life so fucking fantastic.”

“Not Fair” is ridiculous addictive. The beat is perfect soundtrack for a Quentin Tarantino’s film and the story about a good guy who sucks in bed is simply hilarious. “Oh, I lie here in the wet patch / In the middle of the bed / I’m feeling pretty damn hard done by / I spent ages giving head,” complains Allen. And that is her “weapon of mass consumption.” She makes you feel sorry for her even though it’s not the bloke’s fault that he can’t make her scream.

Amazon is selling U2’s newest album, No Line on the Horizon, in MP3 format for $3.99.

20 years later, Vanilla Ice still apologizes for his phoniness. “Ice Ice Baby” is still catchy as hell though.

Hong Nhung and Quang Dung know a thing or two about marketing themselves and they don’t do it the traditional way. Instead of dropping album then following up with a concert, they do it in reverse. So if you can’t be at concert, especially with the ticket price of 3 million VND or approximately $170 US dollars, you can just pick up the album. Not a bad concept at all.

On their second collaborative release, Co Dau Bao Gio, Hong Nhung and Quang Dung reconnect once again to offer their simple, elegant interpretations of Trinh Cong Son’s timeless works. The feel of the album is easygoing and rejoicing and who else could provide those vibes better than Hoai Sa?

With six duets including “Tu Tinh Khuc,” “Tinh Nho” and “Ngau Nhien,” the BFF pair sounds relaxing and comforting even when their voices don’t go well together. On “Cat Bui” for instance, they sound awkwardly off on the chorus. As for their solo pieces, Hong Nhung has done it again with “Ru Doi Di Nhe.” Her voice is sultry and effortlessly in control. Hoai Sa also gives a delicious jazz lick on the keyboard. Her haunting voice floats like ghost passing through glass on “Ru Em Tung Ngon Xuan Nong.” Quang Dung’s version of “Gop Lai Mua Xuan” and “Xin Cho Toi” are just pleasant.

Co Dau Bao Gio is not a groundbreaking, but a classy album to enjoy in an intimate setting. It’s a perfect joint to kick back to with a glass of wine or martini in your hand. Cheers!

I haven’t heard Phi Thanh Van’s debut yet, but the photos on the album alone are probably worth checking out. Move over Ngo Thanh Van.

More than a decade ago, Ai Van was one of the shining stars on Paris By Night. Although her popularity quickly diminished, she made the wise choice to strike out on her own. She was getting nowhere with Thuy Nga. The production could not get her further than what she had accomplished.

She tried to move beyond her signature style, but her venture into pop territory was a disaster. She butchered one of Trinh Cong Son’s tunes. Her water-clear voice isn’t suitable for pop music; therefore, she returns to what she does best with her newest release, Dem A Dao. Although the album title is hinting at northern folks, Ai Van tackles all three regions. Her flow and enunciation on the title track, written and arranged by Phu Quang, are simply gorgeous. From the traditional instruments to the northern melody, the song fits her style like hand in glove. Likewise, she delivers the southern piece (Cao Van Lau’s “Da Co Hoai Lang”) with no less luminescent. Both Duy Cuong’s arrangement and her ageless vocals are breathtaking on Pham Duy’s “Nu Tam Xuan.”

Even with a few disappointing tracks, such as her duet with Ai Xuan on Duy Khanh’s “Ai Ra Xu Hue” and the mechanical production from Chi Tai on “Beo Dat May Troi,” Dem A Dao is definitely a remarkable comeback for Ai Van.

It’s snowing outside and I am praying that GW will be closed tomorrow so I can get some more painting done. I did two coats of purple for the basement this weekend. It’s dark and mad wicked. My sister-in-law and her husband helped us out once again.

It’s a good thing that we our house a mile away from them. Not only they come and fix the place, but they also provide us food and hospitality. I wake up and seven, work to twelve and then drive back to their house for lunch. Came back and work until seven and go back for dinner. I used up his gin and vodka. I need to go to the liquor store and restock them.

The only things left to paint are ceiling in the basement, my office in the basement and stairway to the basement. After that we should be set to go. One more weekend, baby!

Quach Thanh Danh’s fourth album, Nhu Da Dau Yeu, is snore-worthy not because of his vocals but his karaoke-standard productions. Even though his relaxed baritone is charming, the lifeless accompaniments make him sound so sleepy. It would have been a great album of cover if QTD were to hire either Hoai Sa or Duc Tri to provide him some simple but classy arrangements.

Yen Lam is unknown to me and I am not impressed with his work on this album. The use of zither on the intro of Anh Bang’s “Khuc Thuy Du” gives an impression that we’re about to hear a Chinese tune until the lyrics come in. The cheesy guitar riff on Truong Sa’s “Xin Con Goi Ten Nhau” is just unbearable. Yet, the most distracting sound is the programmed drums on most of these tracks. Phu Quang’s “Em Oi, Ha Noi Pho” is one of the best two songs on the album because the drums were illuminated. The strumming guitars offer a sense of intimacy to QTD’s warm voice. The other standout track is also from Phu Quang and without the rhythm section. The blending of tinkling piano and sorrowful violin brings a lonesome and chilling vibe to his soulful delivery on “Noi Nho Mua Dong.”

If Nhu Da Yeu Yeu were stripped down to just his voice accompanied by either a piano or a guitar, it would have been a worthwhile album. I have never heard of a Vietnamese singer who sings with just the double bass. Both Cassandra Wilson (on “The Very Thought of You” from her recent album, Lovely) and Kevin Mahogany (who did it live on stage) hypnotized me with just their vocals backed up by the plucking bass.

“I rather be judged by 12 than carried by 6 / 12 to 12, well, they carry my bricks.” From Killa Cam’s “I Used To Get It In Ohio”

Dave Brubeck’s classic “Take Five” gets a Chinese flavor from the 12 Girls Band. Melody wise, it’s a novelty. Improvising wise, I still prefer the classic quartet.