Waiting for Your Return: A Shidaiqu Anthology 1927-1952, Pt. III
Death is Not The End's third compilation of shidaiqu music is a porthole into another world, offering an anthropological overview of the hybrid genre that blended Chinese folk with Western pop, jazz and blues.
If you grabbed either of the compilation's predecessors then you won't be too surprised by what's included here, but it's not about deviation from the theme, it's about completing a rigorous overview of the shidaiqu genre. The sound developed in the 1930s and '40s, after composer Li Jinhui achieved success with 1927's 'Drizzle', a track that featured his own daughter Li Minghui on vocals. And when China's pop industry and movie industry hit its golden age, the most prominent shidaiqu performers were known as the Seven Great Singing Stars: Bai Hong, Bai Guang, Gong Qiuxia, Li Xianglan, Wu Yingyin, Yao Lee and Zhou Xuan, all of whom show up on this anthology.
By the 1950s, the music had been outlawed by the Chinese Communist Party who went so far as to destroy "Western-style" instruments. Anyone interested in the evolution of pop in China, or anyone curious about how Chinese folk crossed over with US forms should take a peep.
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Death is Not The End's third compilation of shidaiqu music is a porthole into another world, offering an anthropological overview of the hybrid genre that blended Chinese folk with Western pop, jazz and blues.
If you grabbed either of the compilation's predecessors then you won't be too surprised by what's included here, but it's not about deviation from the theme, it's about completing a rigorous overview of the shidaiqu genre. The sound developed in the 1930s and '40s, after composer Li Jinhui achieved success with 1927's 'Drizzle', a track that featured his own daughter Li Minghui on vocals. And when China's pop industry and movie industry hit its golden age, the most prominent shidaiqu performers were known as the Seven Great Singing Stars: Bai Hong, Bai Guang, Gong Qiuxia, Li Xianglan, Wu Yingyin, Yao Lee and Zhou Xuan, all of whom show up on this anthology.
By the 1950s, the music had been outlawed by the Chinese Communist Party who went so far as to destroy "Western-style" instruments. Anyone interested in the evolution of pop in China, or anyone curious about how Chinese folk crossed over with US forms should take a peep.
Death is Not The End's third compilation of shidaiqu music is a porthole into another world, offering an anthropological overview of the hybrid genre that blended Chinese folk with Western pop, jazz and blues.
If you grabbed either of the compilation's predecessors then you won't be too surprised by what's included here, but it's not about deviation from the theme, it's about completing a rigorous overview of the shidaiqu genre. The sound developed in the 1930s and '40s, after composer Li Jinhui achieved success with 1927's 'Drizzle', a track that featured his own daughter Li Minghui on vocals. And when China's pop industry and movie industry hit its golden age, the most prominent shidaiqu performers were known as the Seven Great Singing Stars: Bai Hong, Bai Guang, Gong Qiuxia, Li Xianglan, Wu Yingyin, Yao Lee and Zhou Xuan, all of whom show up on this anthology.
By the 1950s, the music had been outlawed by the Chinese Communist Party who went so far as to destroy "Western-style" instruments. Anyone interested in the evolution of pop in China, or anyone curious about how Chinese folk crossed over with US forms should take a peep.
Death is Not The End's third compilation of shidaiqu music is a porthole into another world, offering an anthropological overview of the hybrid genre that blended Chinese folk with Western pop, jazz and blues.
If you grabbed either of the compilation's predecessors then you won't be too surprised by what's included here, but it's not about deviation from the theme, it's about completing a rigorous overview of the shidaiqu genre. The sound developed in the 1930s and '40s, after composer Li Jinhui achieved success with 1927's 'Drizzle', a track that featured his own daughter Li Minghui on vocals. And when China's pop industry and movie industry hit its golden age, the most prominent shidaiqu performers were known as the Seven Great Singing Stars: Bai Hong, Bai Guang, Gong Qiuxia, Li Xianglan, Wu Yingyin, Yao Lee and Zhou Xuan, all of whom show up on this anthology.
By the 1950s, the music had been outlawed by the Chinese Communist Party who went so far as to destroy "Western-style" instruments. Anyone interested in the evolution of pop in China, or anyone curious about how Chinese folk crossed over with US forms should take a peep.
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Death is Not The End's third compilation of shidaiqu music is a porthole into another world, offering an anthropological overview of the hybrid genre that blended Chinese folk with Western pop, jazz and blues.
If you grabbed either of the compilation's predecessors then you won't be too surprised by what's included here, but it's not about deviation from the theme, it's about completing a rigorous overview of the shidaiqu genre. The sound developed in the 1930s and '40s, after composer Li Jinhui achieved success with 1927's 'Drizzle', a track that featured his own daughter Li Minghui on vocals. And when China's pop industry and movie industry hit its golden age, the most prominent shidaiqu performers were known as the Seven Great Singing Stars: Bai Hong, Bai Guang, Gong Qiuxia, Li Xianglan, Wu Yingyin, Yao Lee and Zhou Xuan, all of whom show up on this anthology.
By the 1950s, the music had been outlawed by the Chinese Communist Party who went so far as to destroy "Western-style" instruments. Anyone interested in the evolution of pop in China, or anyone curious about how Chinese folk crossed over with US forms should take a peep.