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mellow, female vocals, sentimental, melancholic, war, bittersweet, longing, patriotic, calm, peaceful, love
siLLy_puPPy May 23 2020
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Although Vietnam as a collection of cultures has existed for thousands of years, this unfortunate nation is more famous for the incessant run of wars and occupations of the last 200 years & is still fresh in the minds of many for the Vietnam war that forever changed the entire world in the 1960s which ended in 1975 with the communist regime of North Vietnam incorporating the South into a its victorious greater plan. As a communist nation the North would leave the nation politically, socially và economically isolated for the next decade. Given all the tumultuous history, the music of this nation tends to lớn get completely overlooked in favor of neighboring vương quốc nụ cười or trung quốc however there are many styles of music that have blossomed here ranging from the musical theatre style called chèo, the folk music known as xẩm or more recent Western hybrids such as nhạc dân tộc cải biên, however one of the forms of music that is directly associated the war period that lasted from the 1950s khổng lồ 1975 is known as nhạc tiến thưởng or golden music.This is a style of music that was pretty much extinguished by the North once it took over the South after Hanoi started khổng lồ censor miễn phí expression in the lost Southern Vietnamese territory. Nhạc đá quý music was very much lyrically focused with themes that romantically depicted the motherland & themes about soldiers và wartime activities. Musically the music was melancholic and restrained và implemented the piano và native bọn bầu over a simple beat that allowed the singer khổng lồ narrate selected tales. While there were many singers to lớn adopt this musical style, one of the most famous was KHÁNH LY who was born in Hanoi in 1945 and became famous in the 60s for her unusually gruff voice that contrasted with the usual feminine charm that female singers in Southern Asia are more known for. While taken to lớn music at a young age it wasn’t until she met composer Trịnh Công tô in 1964 that the two began lớn collaborate their talents which would propel them to lớn the national spotlight through a lengthy series of performing in university grassy field settings that dubbed KHÁNH LY as the Queen of the Lawns.South Asian music is very difficult to track down due lớn the fact no Western databases seem to list complete discographies và sources vary quite dramatically but KHÁNH LY began to record sometime in the late 60s with what seems to lớn be a debut album titled “Ghi âm trực tiếp tại quán Văn” appearing in 1967 but the earliest recording i can personally find is this 1969 release titled “Hát cho quê hương vn 1” which translates into something lượt thích “Sing mang đến Homeland Vietnam.” How this was released is somewhat of a mystery as the few databases that list this album neither give track listing or any other data on the actual physical formats. The YouTube clip doesn’t even danh mục tracks but is a whopping hour and a half long so perhaps this was a double album of some sort or even three editions or perhaps even a compilation of EPs, singles & other releases. The record industry in South Asia during the 60s seems lớn be quite erratic và few sources exist in the English language as lớn figure out exactly the where và when and how & why of it all.For all its length this album is quite uniform in its delivery and showcases not only the homegrown sounds of Vietnam such as those melancholic ballads that offer tastes of the indigenous instrumentation but also shows some of the influences the French left behind in some tracks having a bit of gypsy jazz swing flavor as well as the deep brusk vocal style of KHÁNH LY that sometimes sounds a bit like Edith Piaf without all that trilling going on. Given the lyrical importance for this kind of music, most of it goes right over my head since i bởi vì not speak a bit of Vietnamese but the musical performances are not without importance. While i wouldn’t hotline this my favorite style of South Asian music by any means, it still evokes an era of uncertainty và a sense of national pride during the era when a massive civil war was being conducted with the help of the world’s greatest superpower namely the USA which suffered a humiliating defeat a few years after the release of this album in 1969. This album does tend lớn get a bit monotonous for its playing time but exhibits a style of music that is a testament lớn an era when an entire musical size was about to be snuffed out. Despite the communist takeover & banning of the nhạc rubi style of music, it experienced a revival in the 1990s & KHÁNH LY like many Vietnamese immigrated lớn the US where she has been continuing her recording career khổng lồ the modern era. This music truly is bittersweet. While it’s somewhat calm & relaxing, there is a noticeable tension lurking beneath the surface which reflects the uncertainty of the homeland’s future. KHÁNH LY has one of the most unique vocal styles of any South Asian singer i’ve personally ever heard. While her range isn’t spectacular as she tends khổng lồ exist on the lower registers, her style is certainly emotive và delivers an internal anguish that is transmogrified into a sublimated size of hopefulness through musical expression. I can’t even imagine what it was like to exist during those horrendous days when agent orange was pummeling the Vietnamese countryside maiming and scarring generations lớn come & it’s a miracle that recordings lượt thích this even survived. Well worth a listen or two.