談愛愛愛 很久以前了 不似口水樂評 所以po出來記錄一下 原文http://batgwa.com/squat/article.php?articleId=123 This Love What a year it has been for Khalil Fong. Although his debut album Soulboy had little promotion when it was released in 2005, his reputation steadily grew throughout 2006, mostly by word of mouth. Not only could Fong sing, but his composition was on a level that was unexpected in the industry. He even made Fiona Sit sound good, composing the standout track of the Electric Angel album , "Tong Bat Lat" <糖不甩>; considering her limited vocal ability, that alone deserves some sort of award. The self-composed Soulboy was ground-breaking. Many observers struggled to define a style that was unheard of in Chinese music, but those with broader horizons heard an album that was more soul than pop, full of substance, style and character. It featured songs like "Sister" <妹妹> (sporting a neo-soul beat worthy of Musiq Soulchild), "Day by Day" <每天每天> (a slow jam that would make Babyface proud) and the my personal favourite "Spring Breeze" <春風吹> (a catchy number with an a-capella backing straight out of the 50s). With the release of This Love, the question on everyone's lips was whether or not Fong would succumb to the second-album syndrome and fail to build on his remarkable talent. Thankfully, he has not. If Soulboy was ground-breaking, This Love is a bonafide classic. The album opens with the hit single "Love Love Love" <愛愛愛>, a smooth soulful ballad that instantly warms the heart, before moulding smoothly into "Su Li Zhen" <蘇麗珍>, a lovely song that mixes classical strings with the erhu. "Singers and Models" <歌手與模特兒> has a catchy guitar riff reminiscent of Jack Johnson, with harmonicas thrown in for extra effect. "Yo" <唉!> is possibly the weakest song on the album, a funky piano beat that sounds a little disjointed. Fong draws another good performance from Fiona Sit on "Four People Wandering" <四人遊>, but the standout song of the album is "Holding Hands" <手拖手>, a masterful track, mixing rock and roll, blues and jazz to great effect. "Stolen Smile" <偷笑> is special—a slow jam straight out of the soul kitchen (think D'Angelo and you're not far off)—a sultry beat and smooth vocals that charm. "Goodbye Melody Rose" is a brooding lament, with dark piano tinged with strings and erhu; "A Poet's Love" <詩人的情人>, retreads the neo-soul route; "Drag The Guy, Bring The girl" <拖男帶女> finishes the album off on an upbeat theme, faintly reminiscent of R. Kelly's "Step To The Name Of Love". Bonus tracks are a cover of Chicago's "If You Leave Me Now" and a fantastic remix of "Spring Breeze" <春風吹> that completely changes the complexion of the original. Fong is far more talented than most of his counterparts, such as HK's golden boy Justin Lo, who has failed to develop or refine after an excellent debut, or even gifted but inconsistant Leehom Wang. Fong's original sound pushes the boundaries, while his vocals display a versatility and range that has the sternest of critics purring. Fong is helping the Chinese music industry slowly turn towards creative music after years of recycled and unimaginative pop. Fong ranks alongside Jay Chou and David Tao as one of the top artists in Chinese music. With his obvious passion, his music can only get better.[S] Review by Weng Yu. --

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