Xin Yao

 

Xin Yao (新谣) played a significant role in the history of Singapore pop music. The era of Xin Yao is long gone, but it still brings back many memories.

 

In 2004, one of the important pioneers in Xin Yao, Liang Wen Fu (梁文福), published a book titled “Xin Yao: Here are Our Songs” (新谣：我们的歌在这里). The book provides a detailed account of Xin Yao’s history, from its origins to its development and growth, including important figures, songwriters, and their influences on the movement. It was through this book that I realised I was only familiar with a small part of Xin Yao history, which essentially revolved around Liang Wen Fu and Ocean Butterfly series (海蝶) of Xin Yao music.

 

In 2009, I attended a Chinese New Year performance near Marina Square, where local artists performed. Among them was a group called “Wild Pigeon” (野鸽子小组), whose performance evoked many memories from the Xin Yao era. This group was formed during the Xin Yao days, and it’s heartwarming that they’re still around and occasionally perform.

 

The prime period of Xin Yao was around 1985 to 1990. From the release of their first recording, “Tomorrow 21” (明天21), local Xin Yao began to develop its unique style, moving away from the early influence of Taiwan. The music content encompassed love, friendship, kinship, society, and culture, all with a strong emphasis on Singaporean local themes.

 

 

To discuss Xin Yao, we must also talk about Liang Wen Fu. He is arguably the only surviving Xin Yao artist and composer who is still very active in the pop music industry today, while also being a university professor. However, there was another musician, Samuel Tan, who had been working hard in the background, though perhaps not widely known or remembered. I knew him since Chinese High school in secondary school. He was already very active musically, playing both the violin and piano exceptionally well. At that time, he was already arranging music for small pop string groups to perform. During the heyday of Xin Yao, many of their songs were arranged by him for recording. As a classical music lover, I was drawn to his unique arrangement style, which often incorporated real instruments like the violin, piano, cello, Chinese flute, erhu, and pipa. Being a pianist himself, using the piano as part of the arrangement was natural and easy for him. However, he did mention that using various instruments would increase production costs, requiring the hiring of soloists and additional time at the recording studio. So, for Xin Yao production at that time, with limited resources, it was undoubtedly a challenging task.

 

    

As for Wen Fu’s songs, I often found myself questioning whether I preferred his lyrics or his music. However, when I considered everything from different perspectives, I realised that his works are truly exceptional. It’s hard to deny the appeal of his lyrics to people of his age and generation. His music, in harmony with the lyrics, always seems cheerful, lighthearted, and humble, yet imbued with a forceful and profound depth.

Wen Fu’s works encompass a wide range of themes, including touching love songs often performed by other singers, heartwarming songs about friendship and kinship, and a series of songs that delve into social behaviours and society. His works are infused with a strong Singaporean flavour, using local dialects and languages from other races like Malay. Perhaps this local cultural and content-rich nature makes it challenging for his music to gain international recognition.

Wen Fu always makes me think about the Taiwanese pop singer and composer Luo Da You (罗大佑). Both of them are blunt and direct in some of their works, which attracted me a lot when I was younger. Sometimes I wonder if Wen Fu’s style was influenced by Da You. Looking at Da You’s albums “Future Master” (未来的主人翁), “之乎者也”, “Home” (家), “Lovers and Friends” (爱人同志), and “Love Songs 2000” (恋曲2000), which were released between 1986 and 1994, parallel to the release dates of Wen Fu’s albums. So, was Wen Fu influenced by Da You, or were the writers of the same era at two very different locations and cultures creating songs of the same style?

 

   

 

 

   

 

 

While Xin Yao is no longer with us, it still has a strong influence on the development of Singapore pop music from the days of Xin Yao to the present international artist like Stephanie Sng (孙燕姿). Thinking back to Wen Fu’s various songs, there are so many more! There’s the simple “A Song for You” (写一首歌给你), the heartfelt “friendship As Stream Flows” (细水长流), and the poignant “Friendship Over Ages” (岁月列车). There are also the sad songs like “Old Clothing and New” (新衣那有旧衣好), the sensitive “阿Ben阿Ben”, which was once banned in Singapore, the very Singaporean “Sparrow with Twigs” (麻雀衔竹枝) and “Singapore Style” (新加坡派), and the historical “Before History Exam” (历史考试前夕).

Sweet memories…

Wen Fu won the Singapore 2010 Arts Awards. Congratulations, Wen Fu! (updated October 2010)