HÁT CHO QUÊ HƯƠNG VIỆT NAM

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mellow, female vocals, sentimental, melancholic, war, bittersweet, longing, patriotic, calm, peaceful, love

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siLLy_puPPy May 23 2020
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 and 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 khổng lồ get completely overlooked in favor of neighboring thailand 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 rubi 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 to lớn censor không lấy phí expression in the lost Southern Vietnamese territory. Nhạc xoàn music was very much lyrically focused with themes that romantically depicted the motherland & themes about soldiers & wartime activities. Musically the music was melancholic và restrained và implemented the piano and native bầy bầu over a simple beat that allowed the singer to lớn narrate selected tales. While there were many singers 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 sơn in 1964 that the two began khổng lồ collaborate their talents which would propel them khổng lồ 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 to the fact no Western databases seem to các mục complete discographies and sources vary quite dramatically but KHÁNH LY began lớn record sometime in the late 60s with what seems lớn be a debut album titled “Ghi âm trực tiếp tại cửa hàng Văn” appearing in 1967 but the earliest recording i can personally find is this 1969 release titled “Hát mang đến quê hương việt nam 1” which translates into something like “Sing mang đến Homeland Vietnam.” How this was released is somewhat of a mystery as the few databases that danh mục this album neither give track listing or any other data on the actual physical formats. The YouTube video clip doesn’t even menu tracks but is a whopping hour và 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 và other releases. The record industry in South Asia during the 60s seems lớn be quite erratic and few sources exist in the English language as to lớn figure out exactly the where and when và how & why of it all.For all its length this album is quite uniform in its delivery và 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 lượt thích 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 not speak a bit of Vietnamese but the musical performances are not without importance. While i wouldn’t gọi 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 to lớn get a bit monotonous for its playing time but exhibits a style of music that is a testament to lớn an era when an entire musical khung was about to be snuffed out. Despite the communist takeover and banning of the nhạc tiến thưởng style of music, it experienced a revival in the 1990s and KHÁNH LY like many Vietnamese immigrated to 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 and 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 chất lượng 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 and delivers an internal anguish that is transmogrified into a sublimated form of hopefulness through musical expression. I can’t even imagine what it was lượt thích to exist during those horrendous days when agent orange was pummeling the Vietnamese countryside maiming & scarring generations lớn come and it’s a miracle that recordings lượt thích this even survived. Well worth a listen or two.