The former is excruciatingly boring, while the latter sounds like a budget-version of Stevie Wonder with neither the hook or the personality. Meanwhile, Linh has released two more albums since Để Tình Yêu Hát - one acoustic and one sequel to her 2005 R&B/Classical fusion called Chat With Mozart 2. Through word of mouth, 'Với Anh' has gone on to become a classic among fans who consider it the singer's creative peak. The reference to a childhood dream of becoming Cinderella and waiting for Prince Charming runs the risk of turning the song into some unbearable Celine Dion-level schmaltz, but through a boisterous and sensual vocal performance, Mỹ Linh makes the character believable, her longing felt and her fairy tale sexy. But in the context of Vietnamese R&B/Soul, 'Với Anh' was the first calling of the genre. The choices of instrumentation are quite common: disc-scratching samples, an acoustic guitar loop, multiple vocal layers and a hip-hop-indebted drum machine. In the context of contemporary R&B, 'Với Anh' is not necessarily innovative. The result is a rich and rewarding listen, highlighting the incredible musicianship on display, one of the most effortless and mystifying slow jams out there.Ĭomposed by Hồ Hoài Anh | Arranged by Cao Nhật Trung | Performed by Mỹ Linh For the arrangement, Phương Nam allows jazz to take the spotlight, while JDL adds a few strokes of old-school R&B, blurring the line between the two genres and encouraging them to become one.
Towards the end, she throws in a little bit of scat singing and tasteful vocal runs which are reminiscent of the genre’s pioneer, Erykah Badu. Gliding through the cryptic lyrics by Nguyễn Tấn Đạt, Jazzy Dạ Lam (JDL) sings the first known Vietnamese neo-soul tune with ease and elegance. Jazzy Dạ Lam – 'Trăng Và Em' (The Moon & You), 2005Ĭomposed by Nguyễn Tấn Đạt | Arranged by Phương Nam | Performed by Jazzy Dạ Lam Nevertheless, there are enough deep cuts to argue a case for this movement, and each of the ten songs below serves as a fine representative in one way or another.ġ.
We have seen a string of several remarkable releases in recent years, but their irregularity negates the possibility of a niche market for the genre. However, with the rise of K-pop, as well as the availability of portable music software, Vietnamese R&B/Soul has gradually become more modern, polished and, in some cases, daring.
While veteran artists like Mỹ Linh and Hà Anh Tuấn have occasionally professed their love for the genre, their work tends to reflect an outdated perspective, suggesting they have not listened to any R&B songs made after 1995. In an industry where singers don’t stick to only one genre, Vietnamese R&B/Soul is often overlooked and sadly underdeveloped.
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