VA-Saigon Super Sound (1962-1974 LP Rip) 🇻🇳 [w. Liquid Motion Screen]

wherethebuffal...
psych effects by this channel, thanks to our vietnamese audience!!!
Tracklist:
01. Carol Kim - Sài Gòn
02. Sơn Ca - Khi Tình Yêu Đến
03. Vân Sơn - Cô Tây Đen
04. Elvis Phuong - Loan Mắt Nhung
05. Thanh Tuyền - Con Gái Của Mẹ
06. Thanh Thúy - Trăng Mờ Bên Suối
07. Phương Dung - Khúc Hát Ân Tình
08. Thanh Lan - Sáng Rừng
09. Sơn Ca - Thôn Trăng Mở Hội Trăng Tròn
10. Túy Phượng - Xin Lễ Cưới Em
11. Champagne - Funky Do
12. Hùng Cường & Mai Lệ Huyền - Tại Anh Hay Tại Em
13. Connie Kim - Túp Lều Lý Tưởng
14. Trường Hải - Đường Lên Non
15. Mai Lệ Huyền - Nhớ Mình Anh Thôi
16. Lệ Thu - Mừng Nắng Xuân Về
17. Phương Dung - Những Đồi Hoa Sim
18. Kích Động Nhạc AVT - Lơ Thơ Tơ Liễu
FAIR USE
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
I am not own the rights to this album, I use it only for promitional-cultural use , if the video was a copyright problem I will immediately detelete it .

[@phanism]

From the production team of this LP here, I thought my research on the liner note will provide you with some interesting informations :) "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. "

[@frankmeyer9984]

Thank you very much for the information :-)

Cảm ơn bạn, thông tin hay và quý lắm!

[@vietdang9907]

Thanks for public the music and sharing of histories behide. Looking forward to hear more from your chanal. ...:)

[@cgrant-Z28]

Wonderful collections.

[@PhatTran-lm9bv]

Thật bất hủ.

[@mistery-ed7900]

Swingin' on the first track!

[@lunguyen6525]

❤❤❤

[@thangmai6413]

hay ah

[@phatnguyen0506]

amazing

[@DanielDöring1]

❤😊

[@vanhoatrinhthai1897]

Most of us very appreciated both the song writers and singers 🥂 . I wondered what ever happened to all the brilliant musicians. How did they learned how to play so enthusiastic 👏. Unlike the Americans or western/europe countries have musicians unionized which provides some benefit. I don't think Vietnamese musicians belonged to any uonion. Their contracts may be per session 😢.

[@v.m.p.1498]

I wonder what happened to these singers after the coming of the communist regime?

[@grass_lily]

Most of them came to the US

[@nghiatruong3457]

Not all of the Vietnamese nationalists flee to the free countries, most of them are suffered in oppression regime.

[@laitran6856]

👍👍👍 !

[@fcbayernmunichfan131]

remove the red flag pls,bc this music pre 75 belong to republic vietnam song

[@VeteransOfThePsychWars]

yes but there isn't an emoji of south vietnam flag so i decided to put it as simbolizing that it was vietnam and its vietnamese music

[@fcbayernmunichfan131]

@@VeteransOfThePsychWars yea bc rvn already dead but no need red flag tho that's disrespect south vietnamese people bc they dont really like communist i am south vietnamese sir

[@tintuc3456]

Please remove that bloody Vietnamese communist flag. This is South Vietnamese songs, nothing to do with this bloody Vietnamese communist flag.

[@jrod5069]

yeah the flag is offensive!

[@titoli5253]

Yeah. Music number one. Communist's Red flag: number ten.

[@thaddeusslawinskiiii8259]

Nice tunes. An improved description would have the "3-Stripe Flag." Cộng-Hoa Việt-Nam.

[@ivicafandic1131]

Jao vama NATO... ✍️💼.

[@paulgardner5168]

This is volume 2 released in Germany on the Saigon Supersound label. Be interested to see original release. Most popular streaming track is Funky Do by Champagne.

[@lethinguyet7590]

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[@frankmeyer9984]

Awesome, thanks a lot! 👍👍👍💗💗💗

[@le2967]

wow that's amazing, this sound is so good!! respect

[@arbezoe]

yess

[@tintrung6006]

còn nữa ko bạn, nhạc hay quá

[@tuyentuenguyen9909]

Lơ thơ tơ liễu - AVT hết xảy!