Album Review


U87, Eason Chan Yik Sun [CD+DVD, Cantonese+Mandarin] 07/06/2005

01. 爛
02. 阿牛
03. 夕陽無限好
04. 16月6日 晴
05. 浮誇
06. 葡萄成熟時
07. 三個人的探戈
08. 不良嗜好
09. 怕死
10. 大個女
11. 新美人主義(國)
12. 遇見了你(國) (G弦上的詠嘆調 主題曲)

This new album, U 87(a type of microphone), is Eason Chan’s comeback to the music industry after ending his contract woes with EEG. Hoping to let this be a stellar restart of Eason’s singing career, Universal roped in Mark Lui, Alvin Leong and CY Kong as producers.

Though there were three producers in this album, the music flow was surprisingly smooth. If you compare U 87 with Eason’s previous album, some of you probably find that you are not so into it. In other words, it doesn’t excite your sensibilities as it used to. And there will also be others who might think it is a breath of fresh air.

A notable change to Eason’s voice is that it is clearer than before. His diction has also improved tremendously. Eason has also shown maturity in injecting emotions to the compositions, no overkill. By the way, I thought Eason was singing with a higher key than he used to.

Despite being categorized as a K song by the HK folks, track02 had little breaks. Hence, it required the singer to hold and not falter. I am impressed when Eason handled it effortlessly. Proving his showmanship and versatility, Eason tackled track05 with ease though it was a very difficult song. However, I didn’t like how he rounds off with the falsetto, lack punch.

Eric Kwok, the composer of track03, did a wonderful job. The opening captured the mood of a beautiful sunset and the tingling sensation of bidding something goodbye. The drumbeat and backing vocals however draws back the positivity into the song.

Following the heels of track03, track04 is a light and breezy song. The song was about recollecting events (like a diary) leading up to the breakup. Doing away with convention, there were no outbursts, no heart wrenching and no overt emotional delivery. Having said that, it was endearing.

Speaking of endearing, track06 is the epitome. It gets better and better like vintage wine. A look at the composers’ name brought some elation to me. Unfamiliar names, it’s like discovering the New World.

Track07 sounds a bit weird at first but it complimented the lyrics. The wizardry of CY Kong’s music arrangement deserved applause. Chet Lam pulled in a surprise this time with track08. The frivolous mood of the music in response to the lyrics brought a smile to my face. I thought the “buzzing” sound effect was a great touch. You could almost visualize the girlfriend nagging at the boyfriend. Hehehe.

Track09 is a composition by Mark Lui. Soul Jazz, a genre rarely explored by HK singers. In comparison, it was more adventurous than track02. The “la-la-la” grows on me, couldn’t help but tap my feet along with the rhythm. When I heard track10, I thought it was very sweet and warm. Never thought CY Kong would compose something as such. Really like the way Eason rendered the song. It struck a chord with me.

I am always cynical about the Mandarin songs that HK singers include in their albums. But, this time, I simply love track12. Simple and direct lyrics backed by a melodious tune performed by a string ensemble, percussion and piano. And of course, the subtlety and a tinge of forlorn in Eason’s voice helped one to immerse into the song easily.

To conclude, I think the art direction of the CD cover didn’t do justice to the contents. It just doesn’t capture your attention. Still, I am a very happy and satisfied buyer.

Ratings: A+
- posted by lepra @ 8:08 pm

 
Album Review


Kay One, Kay Tse On Kei [CD+MV, Cantonese+Mandarin] 06/05/2005
04. Kay One
05. 姿色份子 Beauties
06. 喪婆 Crazy Woman
07. 我歌…故我在 I sing for I exist
08. 開卷快樂 Joyful Read
09. 悟入歧途 Wayward
10. 臭男人 Disgusting men
11. The One And Only
12. 塑膠玫瑰 Plastic Rose
13. 一人之夏 Summer for one

Kay Tse is a newcomer to Cantopop like Janice and Ivana Wong. However, unlike Janice and Ivana, Kay does not have the massive financial backing that her peers have. Having said so, her debut was launched without much fanfare. Nevertheless, this is just a glitch. Kay’s debut album is as refreshing as it gets. Household names like Wyman Wong, Lam Jik, Chan Siu Kei, Keith Chan, Carl Wong, People Mountain People Sea etc are not found in this album. (My bet is the recording company can’t afford the fees of these established names).

There are a variety of genres in this maiden effort, ranging from hip-hop, reggae, rap pop to jazz etc. There is a mix of slow tracks and fast tempos ones too. Effectively, it showcased Kay’s vocal range making her a credible singer. It is a welcome change to the conservative approach (eg. Molding Kay into a sweetie-pie, singing sugary-sweet tunes or lovey-dovey songs) that most industry bigwigs loved.

Kay’s voice sets her apart from her peers. It’s strong and has this “rawness” to it. At times, it did remind me of Stephanie Sun. Technique-wise, she still has room for improvement. I got a scare when I heard track07 (我歌…故我在). Somehow, Kay fared better when she sang it again in English (The One and Only). Another commendable thing about Kay’s renditions is her diction. I did not have to refer to the lyrics to catch what she sang. Nowadays, most of the singers don’t care about it anymore.

Overall, I’m happy about parting with my money to buy Kay Tse’s debut album. It exceeds my expectations and proved that there are competent new lyricists, composers and producers in the Cantopop industry.

Ratings: B+
- posted by lepra @ 6:40 am