2LP / 독일 INFRACom! 기획 및 제작

영문 라이너 노트 / 영문 번역 가사 수록

*모서리에 미세한 눌림자국이 있을 수 있습니다.

*마스터가 없거나 오래된 릴테잎에 보관되어 있던 음원이 많아 최상의 사운드는 아니지만

현존하는 최선의 음원 소스를 찾아 마스터링을 진행했다고 합니다. 

수록곡들은 bandcamp에서 들어보실 수 있습니다.

https://infracom.bandcamp.com/album/saigon-supersound-vol-2

1. Carol Kim - Sài Gòn 03:08

2. Sơn Ca - Khi Tình Yêu Đến 04:12

3. Vân Sơn - Cô Tây Đen 04:10

4. Elvis Phương - Loan Mắt Nhung 05:13

5. Thanh Tuyền - Con Gái Của Mẹ 03:38

6. Thanh Thúy - Trăng Mờ Bên Suối 04:22

7. Phương Dung - Khúc Hát Ân Tình 04:46

8. Thanh Lan - Sáng Rừng 04:46

9. Sơn Ca - Thôn Trăng Mở Hội Trăng Tròn 02:55

10. Túy Phượng - Xin Lễ Cưới Em 03:45

11. Champagne - Funky Do 03:02

12. Hùng Cường & Mai Lệ Huyền - Tại Anh Hay Tại Em 03:26

13. Connie Kim - Túp Lều Lý Tưởng 04:56

14. Trường Hải - Đường Lên Non 04:21

15. Mai Lệ Huyền - Nhớ Mình Anh Thôi 03:33

16. Lệ Thu - Mừng Nắng Xuân Về 03:07

17. Phương Dung - Những Đồi Hoa Sim 04:40

18. Kích Động Nhạc AVT - Lơ Thơ Tơ Liễu 05:22

Saigon Supersound Continues

… to present more interesting tunes of a musical era that has long been obscured. With the well received Volume 1, we are very delighted to dig deeper and share with you the beautiful music of a short but significant period in Vietnam‘s history.

Much like the country itself, the music of Vietnam has endured many twists and turns through the fate of history. As the result of the Geneva Accords in 1954, Vietnam was divided into two. From the North, the Nationalist forces fought to reunite Vietnam as a Communist State, while the American troops backed the government of the South.

This caused a mass migration of around 600.000 to 1.000.000 Northerners to the South, which includes many Tân Nhạc (Modern Music) singers and songwriters. Often characterised by its emotive, poetic and prolific personality, Tân Nhạc continued to freely develop in the South and progressively vacating from the influences of its main inspiration, French music. In the North, the Resistance music, or the so-called Nhạc Đỏ (Red Music), which promoted socialism, patriotism and anti-capitalism was the only genre allowed to be played on national radio. Tân Nhạc was something new to the South Vietnamese repertoire, which consisted mainly of Cải Lương (Renovated Theatre Music) – a form of Vietnamese folk opera.

Between 1954–1960, the theme of hometown (quê hương) was a main inspiration for many songwriters such as Hoàng Thi Thơ, Lam Phương and Nguyễn Hữu Thiết. The 9th title of the compilation, “Thôn Trăng Mở Hội Trăng Tròn” showcases a variety of images that were often described in this genre: the harvest moon, playful children, old mother… This romanticisation of the countryside directly reflects the land reformation in Vietnam (cải cách ruộng đất), a policy of confiscating the land of landlords and rich peasants through force and redistributing it to poor and landless peasants. During this time, songs such as “Khúc Hát Ân Tình” were sang by many in the South. With simple, uncomplicated lyrics and beautifully written melodies, this music did not only take to people‘s heart but also provided the Southerners with a new medium to convey their feelings with ease.

Saigon, the bustling capital city at the time was often depicted as The Pearl of Southeast Asia. The lively atmosphere of Saigon was described by writer Hồ Biểu Chánh: “At the big gates, people tightly filled the space, the lads with the shiny combed hair, the ladies with the gaudy red lips, the old people with the tobacco pipe in their mouth jubilantly churning out smokes, the mum walking with her kids, some arrogantly running in front, some firmly walking at the back, loudly calling for each other, people bumping into each-other at the shoe shop, crowds roaring to enter places, people wearing fancy clothes, blended on the street with the working class folks without judgement, but happiness seem to shine on their faces”.

This cosmopolitan, charming and prosperous perspective of Saigon is most evidently seen in the first title “Sài Gòn”, written by Y Vân, where the rhythms of Saigonese lifestyle could be instantly felt through the upbeat cha-cha-cha. The song is arguably the anthem of the city to this day. However, in the shadows of this glossy, gold-coated city, lies many people on the verge of poverty, of prostitution, of crimes.

The 4th title, “Loan Mắt Nhung”, soundtrack to the same titled movie, describes the story of a young man whose fate has forced him to become a famous gangster in Saigon. It is also one of the rare blues that became a hit in South Vietnam. Such topics were never explored in Tân Nhạc up until the rise of the Vietnamese bolero music in 1960. Almost simultaneously, when the queen of Bolero Olga Guillot left Cuba to tour around Europe for the first time in 1958, another queen of Bolero was also born for the Vietnamese people; Thanh Thuý. Many argued that the bolero rhythm was imported to Vietnam to fulfil the need of western dancing for the elites, but we quickly saw that it instead evolved into the music for the masses. Often with down-to-earth lyrics that is distinctively Southern, Thuý’s voice quickly became a staple of the genre, and inspired generations of singers to follow. The two titles in this compilation, “Trăng Mờ Bên Suối” and “Những Đồi Hoa Sim” are essential examples of this movement for Vietnamese music.

There is a Vietnamese saying about the relationship between a songwriter and a singer in this musical era: “đo ni đóng giày” which means “to be tailor-made”. In fact, the songwriters usually tailor-made the songs for a specific singer that they have in mind. Then, they’d spend countless hours to train the singer the way the song should be performed. In this way, a recording made by Phương Dung for instance, will always sound unique and deeply meaningful as she would be the only person to fully understand the intent of the songwriter. Not only that, the way music was recorded with the band was much different to the way it is recorded now. The band would typically follow a “leader”, who will decide the tempo, solo and improvisations of a recording. The fate of a recording lies in the mood of that leader, maybe he would play the music fast because he’s angry on that day, maybe he will play the music slow because he’s sad. Every recording made in this era is then an organic combination of human experiences, communications and uniqueness.

In 1965, the first American troop landed in Vietnam, bringing with them the musical influences of the Beatles, Bob Dylan, Jimi Hendrix, Elvis Presley… The Vietnamese people quickly integrated it into the repertoire with hope to further diversify the music of Vietnam. As an attempt at rock music, Kích Động Nhạc (Action music) was born, starring the biggest duo at this time: Hùng Cường and Mai Lệ Huyền. The pair specialises in the commercial rock scene with very energised live shows and recordings, mostly portraying a wilder way to love and relationships between a soldier and their lover. It is here that the funk, soul and rock ´n´ roll influences are evidently found in Vietnamese music. 

The last colour that is offered in this compilation “Lơ Thơ Tơ Liễu” shows a variety of styles combined into one song; influences of Chèo (Vietnamese satirical musical theatre), Cuban stylised piano solo, Ca Dao (Vietnamese folk song), wrapped in a distinctive humour exclusive to the band AVT. Perhaps what could be seen through these shifts and changes of Vietnamese music is a relentless quest to find its identity. Constantly changing and learning from different cultures, the modern music of Vietnam cuts a window into the soul of a Vietnamese person and the country’s history as a whole. With that, we hope that Saigon Supersound Volume 2 would take you on a trip back to the unique atmosphere of Saigon through the many different palettes of music that this beautiful place offers.

Liner Notes: An Pham 

credits

released October 5, 2018

Concept, Compiling, Executive Producer: Jan Hagenkötter

Research: Jan Hagenkötter, Antoine “Datodeo“ Toussaint, An Phan

Liner Notes & Lyrics Translation: An Phan

Art Direction & Design: Rafael Jiménez Heckman

Backside Map Image: “Saigon 1968” the Virtual Cities Project

Audio Restauration & Mastering: Gyso Hilger at Nektarium Tonstudio

Produced: 2018 INFRACom! / Jan Hagenkötter

www.saigonsupersound.com / www.infracom.de

Thanks to the following wonderful people & friends who supported this project & helped to make it happen:

Phượng Đoan, An Phan, Antoine “Datodeo“ Toussaint, Mai Diệu Linh, Edge Pamute, Rebecca Morris, Linda Mai Phung, Gyso Hilger, Rafael Jiménez Heckmann, Dũng Nguyễn, Nghĩa Minh, Hùng Chánh Phương, Đỗ Huê & Giang Nhạc Xưa, Jean Trouillet, Saigon Soul Revival

Liner-notes:

상품결제정보

고액결제의 경우 안전을 위해 카드사에서 확인전화를 드릴 수도 있습니다. 확인과정에서 도난 카드의 사용이나 타인 명의의 주문등 정상적인 주문이 아니라고 판단될 경우 임의로 주문을 보류 또는 취소할 수 있습니다.  

무통장 입금은 상품 구매 대금은 PC뱅킹, 인터넷뱅킹, 텔레뱅킹 혹은 가까운 은행에서 직접 입금하시면 됩니다.  
주문시 입력한 입금자명과 실제입금자의 성명이 반드시 일치하여야 하며, 7일 이내로 입금을 하셔야 하며 입금되지 않은 주문은 자동취소 됩니다.

배송정보

• 배송 방법 : 택배
• 배송 지역 : 전국지역
• 배송 비용 : 2,750원
• 배송 기간 : 3일 ~ 7일
• 배송 안내 : - 산간벽지나 도서지방은 별도의 추가금액을 지불하셔야 하는 경우가 있습니다.
  고객님께서 주문하신 상품은 입금 확인후 배송해 드립니다. 다만, 상품종류에 따라서 상품의 배송이 다소 지연될 수 있습니다.
  

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