TAÏ PHONG

1. Dragon ... the killer symphonic intro, taking time in this crazy world does a little good; Ketty ORZOLA from the ECHOES AND MORE tribute with the voice which reminds me a bit of Maiko from ARRAKEEN for the melody; Celtic flute break before Bastien's keyboard solo which ensures, still very melodic; the second guitar bordering on heavy, well all that; Kitty on tambourines here it is now on a Loreena McKENNITT; choirs for a colorful finale 2. Close My Eyes as a bonus on a ballad eyeing MOSTLY AUTUMN yes I like to come across different sounds but which have a similar musical range; a solo, a stunning solo, the most of the group so far 3. Rise Above the Wind good vibrant bass, well it's not Klod who wants; guitar that is looking for itself and then bam piano à la BERGER all of a sudden; Alain STEVEZ yes, that of the Goldmen comes here to put a touch of blues on this oh so sensitive title, with an angry and haunting guitar which launches its notes in waves; piece that seems to vibrate over the sounds on a monolithic mid-tempo amplified by a solo that is also devastating, great art 4. Flow for the suave nursery rhyme-ballad base which is especially true for the guitar solo, between emotion and delicacy; 5. The Boy in the Storm starts again with a long title with a languorous melody here; you have to wait halfway through to have a rock-jazzy musical development on the synth and guitar; return verse before the majestic symphonic finale

6. Segolene with Shay ZOHAR on vocals, for a melodic track that draws on the 70's for a vintage memory; Kitty takes the opportunity to raise her tone at the end before the duet vocals 7. Sabishii for the quick cinematic intro of a distant party before launching this romantic title, on a spleen cotton base; I like this reverberation which reminds me of the muffled sounds of APSARAS for indication; a magnificent redundant and metronomic instrumental to let your memory relax; which of Davy or Khanh scratches, both I don't know but it's beautiful and it's priceless 8. Summer Nights with here Angélique PACQUET as guest on a semi-acoustic track; a romantic ballad that flows on its own 9. Expelled from Paradise monolithic bell on a tribal pad, a mysterious keyboard; the riff which comes as heavy metal as desired, must have pleased the bassist who worked on ADX for a while; in short, a prog metal title which juggles on this modern territory and gives pep to this end of the album - Bonus tracks: 10. Melody ...with Jean-Jacques GOLDMAN yes definitely; the wink of the one who was present at the start; what can I say the melody yes, the choirs yes but above all and above all this unforgettable voice of an artist that we would like to see/hear, thank you 11. Will never forget you for the kitsch melody yes I call it that; memory of the concert seen last year at the beginning of the year, it was cold; heard this suave tune that sends shivers down your spine and this guitar solo, again, that stirred your neurons; 'Dans tes nuits' and 'J'aime la nuit' as bo-bonus for ballad titles, between romance and slow from the time when you could still touch someone without having the pangs of aggression, in short another debate .

With the previous "Sun" breaking a 21 year drought, TAI PHONG's faithful only needed to wait 14 years for "Return of the Samurai". At this point it's more or less a solo effort of original member Khanh Mai, with a variety of invited guests a few of whom appeared as band members on "Sun". Added to the band proper is lead vocalist Sylvie Tabary, and, given the high pitched vocals that have always been synonymous with TAI PHONG, it's nigh impossible to determine who is singing each track, not that it matters, as both can hit any scripted note and then some.

If this version of the group had a different name, it's doubtful they would even crack the prog related frontier let alone symphonic prog, as this collection comprises mostly short tracks of a poppy nature, simple and melodic, at times syrupy ballads with fine harmonies, a bit to the good side of the "Sister Jane" clones we get on every release. If "Samurai" proves one theorem, it's that TAI PHONG is as accomplished with the short form as on the feathery tip of the prog spectrum.

I want to signal a few of the standouts here, notably "Meggie" which appears to be a tribute to the MAGGIE REILLY era of MIKE OLDFIELD at least musically and vocally, so yum. "One Day" and "Long Ago" won't win points for original titling but they are definitely entitled to be heard. "Come to me" and "Talk to Me" are similarly more worthwhile than you might think with surprisingly blistering lead guitar incursions which help make this better than dispensable whatever your tastes.

The Samurai is more lover than fighter here, and the near total lack of adventurousness dings her further. 2.5 stars rounded down.

3.5 stars. This is actually a pretty good record that maybe drifts into AOR a little too far at times but a quality album. Founded by two Vietnamese brothers in France we get a five piece here with two guitarists, drums, keyboards and bass but there's a couple of multi-instrumentalists on here. Lots of vocals and man the one guy can sing as in the example we have on that opening track.

I was surprised at the love/ hate that is directed at this album here, it certainly has brought out some emotions. I guess I'm in the middle feeling that this was a talented outfit who maybe went into the commercial direction more than I'd like but a solid album. Now that ballad that made them some money "Sister Jane" causes a divide for sure and while I almost to a fault complain about ballads this is one I liked instantly but I can also say I would get sick of it fairly quickly like the poppy hits of yesterday.

The vocals on the opener "Going Away" are so impressive, I mean he just lets go with no reserve. This is fast paced including the vocals with the line "Anywhere's better than here" standing out. Then It's "Sister Jane" followed by "Crest" with the fast paced drumming and floating organ. So three short songs to start and they end it with three long one from over 7 1/2minutes to 11 1/2 minutes. The standout of the three is the closer "Out Of The Night" opening with wind and thunder. Reminds me that TAI PHONG means Strong Wind in Vietnamese. Anyways some guitar solos, vocals, piano and floating organ over the 11 1/2 minutes. I just like the sound of this one.

I enjoyed parts of this a lot but in the end 3 stars seems right but if your into the more melodic side of Prog you should check this out.

I discovered TAÏ PHONG in 2020 with their self-titled album. As a french I was really pleased to see a band from our country able to compete with the international prog scene. This is the last album with Jean-Jacques Goldman before he began his successful career in the 80s. I love most of the songs on the album. 'End Of An End' has a beautiful acoustic introduction with tight vocal harmonies and also great instrumental parts. 'Farewell Gig In Amsterdam' contains a killer and jazzy sax solo in the end as well as a nice acoustic part in the middle of the song. 'Last Flight' and 'How Do You Do' are also favorites of mine. The keyboard sounds used remind of CAMEL, which might be a huge influence for them. However some tracks fall flat. The bonus tracks have a more commercial approach, as if they tried to renew with the success gained with their hit 'Sister Jane' on the first album. 'Shanghai Casino' sounds annoying and repetitive to me, 'Follow Me' is kind of catchy but lacks of something. This is a very solid record overall, even though the bonus tracks add nothing special. Most of the songs are really worth it.

A long 21 years after "Last Flight" failed lift-off, TAI PHONG reformed, admittedly with only 2 long time members. While "Sun" is not really a prog album, it retains enough of their trademark sound - high pitched male vocals, appealing harmonies, occasionally soaring lead guitars and varied keyboards - to be worth a listen or two.

The 2 lengthier tracks would be of most interest; even if not exactly epic, they each have two parts in deference to a time when suites were de rigeur, and they appear to have been well thought out. Vocals are predominant and the instrumental breaks don't flex as they did during the band's heyday, instead expounding upon the vocal themes effectively. "Rainy Night in Saigon" is well arranged and incorporates a children's choir without sounding sappy. "Now I know" is more upbeat and dramatic but in a similar vein.

A couple of ballads are also noteworthy, these being "Everything's Wrong" and the lovely and languid "Fly Away" that closes the disk. These manage to encapsulate some of the qualities that made TAI PHONG darlings of the slow dance in their day. Unfortunately, they criminally re-recorded the one legit hit, "Sister Jane", in a ghastly apparition which sullies its legacy a bit. I mean, have another go at it by all means. But don't call it a "definitive edition", no matter how good you think it is. And it isn't. Apart from the so-so "Last Friend", the rest is perhaps slightly below the level of "Last Flight", which is to say entirely dispensable.

While "Sun" doesn't come close to eclipsing the mid 1970s offerings by TAI PHONG, it does thoroughly avoid casting a shadow on the band's history in the eyes of those who care. 2.5 stars it is, rounded up.

The Vietnamese-French combination known as TAI PHONG was cursed by their early success due largely to the single "Sister Jane" from their first album. While it was an effective pop ballad with progressive arrangements and sold very well, it insisted upon itself for the next few years, with several mediocre clones appearing on 45 and the "Windows" album, resulting in a musical schism between these and their symphonic progressive epics. By the time of the aptly titled "Last Flight", the band had lost their ability to write and perform effectively in both realms. Instead we are subject to undistinguished late 1970s rock reminiscent of SUPERTRAMP, CITY BOY or KAYAK. Through the course of this thankfully brief exercise, a few passages stand out here and there, particularly on the two longest tracks, courtesy of Michel Gaucher's tenor saxophone and Pascal Wuthrich's jazzy piano, but the overall effort is rather unrewarding. As for the shorter tracks, well, they aren't "Sister Jane" wannabes but are otherwise just as banal, with the best probably being the Asian sounding "Thirteen Space" or the sappy closer describing the birth of the singer's daughter in somewhat cloying and egotistical terms that are thankfully eclipsed by the overall novelty of the perspective. Like many swan songs from the time period. "Last Flight" was ultimately not the last word by the band, but it signaled their crash landing as a commercially viable band, while prog fans won't salvage much from the wreckage.

Review nº 229

Taï Phong - Windows

Look at all those rainbows in the cover art, trespassing even the shameless samurai. That's a reflection of the multiple keys work on this dreamy little album. The guitar helps to create a rainbow of soundscapes. This second album from the french symphonic katana managers stabilished a lot of melodic lines that would became the definitive 80s symphonic rock style. Funny, they are from the 70s, so there are trippy psychedelic dreamclouds surrounding Windows (the fantasy electronic work is the highlight of the album), lenghty suite format tracks and stuff, but even so, the painful pre-80s melodic lyrical type made them underrated. In fact, I can disarm a few of the 80s bands that clearly stolen Taï Phong's Windows melodies in a way or another. So, give them a try. It's just like Supertramp keyboardists lovesick crying after a mushroom tea party eating seagull's meat as vegetarians who don't want to follow rules anymore. Specially for Pink Floyd/Yes fans suffering from a psychological trauma because can't stand living with the parent's at 42.

Review nº 228

Taï Phong - self titled

What would you expect of a heavy/symphonic french prog band from the 70s starring Jean- Jacques Goldmnan, nothing less than the songwriter for Céline Dion's greatest hits, a visionary dreamy keyboardist called Jean too, and a cool Samurai concept for band promotional imagery? Isn't obvious? Täi Phong is an underrated prog rock piece of the golden age, mixing furious passages, space floating atmosphere, chocolate hot dog, melancholic vocals, romance and shurikens! Why I consider their first couple of full lenght albums masterpieces? Because the passional sadness beauty captured from pop and some proto- prog and relateds, dissected and threw up on prog suites, would later return as the center stomp of the crossover/neo-prog and 80s symphonic hard rock. But nobody talks about Taï Phong. The samurai age was forgotten. It just isn't fair. By the way, this album is a little heavier than it's sequel Windows, focused on surreal dreamscape tunes.

I've been aware of Tai Phong for a number of years, since 1996, in fact. I remembered a mail order catalog describing them as something like CSNY gone totally progressive. Most others never made that comparison, but I can understand where that catalog was coming from. For one thing, the vocalist (I presume Jean Jacques Goldman) often sounded a bit like Graham Nash. Yes, there are vocal harmonies from time to time, but prog opinion tends to compare it to Yes, even that, it don't remind me that much of Yes. Just recently I ran across an original LP on their second LP, Windows at a Eugene, Oregon record store and decided to get a copy. I was really shocked with the amazing sound quality, given so many LPs I own on the Warner Bros. label have such crummy sound quality, even non-US pressings, like Greenslade's Bedside Manners are Extra and Curved Air's Airconditioning (although the latter can be easily forgiven since my copy is a picture disc). This album gives me that same reaction I get with Barclay James Harvest, perfectly pleasant listen, but nothing that really blew me away, but still worth having in my collection. There are times I almost get reminded of Pavlov's Dog, particularly when the vocals go into almost David Surkamp territory (but not as so ridiculous, as the vocals don't have that same absurd vibrato). Not every day you come across a prog rock band that has two Vietnamese (believe it or not, Khanh Mai and Tai Sinh weren't the only Vietnamese involved in prog, Jean My Truong, drummer for Heldon, was also Vietnamese). Jean Jacques Goldman was Jewish, so what you got is a multi-cultural band (the other two I'm sure were your typical Frenchmen of Catholic upbringing, apparently some early incarnation included Americans). Tai Phong might not have the highest opinion of the prog community, probably because they're not the most intense or mindblowing out there, and with Windows, it sounds more like they were emphasizing ballads, but I found a lot of them rather nice, particularly "Games". I like some of the synth work from Jean-Alain Gardet, especially when he gives it a nice spacy feel (Hammond organ, Moog, and Elka Rhapsody are what he uses here, as well as piano). I like how "The Gulf of Knowledge" gives a more Asian feel. For the most part, this isn't the usual French prog where vocals are sung in French (like Ange or Atoll) or made-up language like Magma, this was sung in English, in hopes of international recognition ("Sister Jane" from their debut album appeared to be a hit in France). This isn't something heavy or intense but I didn't need to have all my prog to be like that. Sure there are a few cheesy moments, like the acoustic ""Last Chance", not to mention some of the vocals, but for the most part, it's a pleasant listen. Deserves a three and a half, but I'm not given that option, so four stars it is. One of those album you shouldn't overspend on.

This is the first album realeased by the french band Tai Phong and it is their best one.

The song "Sister Jane" was issued as a single and sold 200 000 copies. This "slow" was a favourite in the french teenage parties and was considered as good as "Angie" by the Rolling Stones or "I'm not in love" by Ten CC. Dim the lights, put the sound loud, this "slow" is a killer !

The band was founded by two brothers (Khanh and Tai) who were born in Saigon (South Vietnam). They were less than 10 years old when they arrived in France. Tai Phong means "strong wind " in vietnamese. They recruited Jean-Jacques Goldman for vocals and guitar playing. Some years later, Goldman will choose to have a solo career and will have a phenomenal success in France. But it is an other story... The sleeve design is very good and original and pictures an electronic samouraï. This cover art was made by Lang, the third brother of Khanh and Tai.

The other gem of this album is the last song "Out of the night " , very melodic and atmospheric. The songs "For years and years" and "Fields of gold" are very good and very melodic too.

I think this album brings the same type of pleasure like the prog albums of Pink Floyd or Barclay James Harvest. And i think it would deserve to rank among the 50 best prog albums. So I give 4 stars and half.