‘Mystery’ Producer Yang Minghuang’s Interview - PART 3 (1994)
PART 3
HOST: We’d like to welcome everyone to our show. Our special guest today is a renowned record producer—Mr. Yang Minghuang—and also a celebrated lyricist… Anyway, we’re here to talk about Faye Wong’s latest album—the one he produced this time around. And while we’re at it… are you already planning the next one? Hold on, let's not get ahead of ourselves just yet! This current album is still flying off the shelves!
YMH: That’s certainly how I feel. It’s because you find yourself wanting to keep listening to it endlessly. However—and I have to be honest here—working on her records is quite mentally demanding, so I really have to start preparing for them well in advance.
HOST: That said, wouldn't you say you actually love doing the "homework" involved in producing Faye Wong’s albums?
YMH: To be precise, I wouldn't exactly call it "loving" the work—it’s more that, frankly speaking, it’s something that needs to be done. Why? Because it actually benefits me as well. Working on this album felt a bit like a process where, while doing the job, I was simultaneously learning about new musical styles—styles that I likely wouldn't have the opportunity to explore when working with other artists.
What I mean is that other artists simply aren't capable of executing music to this level of sophistication. This is because her musical tastes tend to be rather niche and unconventional. Consequently, we sometimes find ourselves experimenting with bold musical ideas—techniques that you would almost never have the chance to use during the production of a typical album. Take that song we just heard, for instance: the melody itself is quite familiar to us. But then, when you combine it with Chinese lyrics, she employs that specific technique you mentioned earlier—what was it called?
HOST: "Breath-swallowing"?
YMH: Yes, "breath-swallowing," right? She utilizes that technique to some extent. It allows her to sustain certain vocal phrases for an incredibly long duration. She sings without taking a visible breath. You simply cannot hear the sound of her inhaling; it’s truly baffling. I’ve listened to it countless times, and I still can't figure out how she does it—it’s as if she’s mastered Qigong breathing exercises! That’s a crucial point—isn't that what they call "singing from the Dantian" (the lower abdomen)? Am I right? She truly has the potential to become a national treasure in the music world. She really is quite extraordinary.
Oh, and speaking of her—she has some rather peculiar habits in the recording studio. Her strangest habit of all is simply the act of recording itself, regardless of whether it’s day or night, she likes wearing sunglasses that reveal her eyes—that’s the strangest part.
HOST: Is it because her eyes are too big?
YMH: I really don't know. Because when we first teamed up—right when we started—the vibe didn't feel quite right; it felt like it needed something more. She said, "Wait a second," and I asked, "What's up?" She replied, "Let me put on my sunglasses." And sure enough, once she put the sunglasses on, it made a world of difference.
HOST: While you were producing this album, did you ever have her sing other songs—perhaps just to sample her other vocal styles or range? Did you do that? We know that many producers often have artists sing through a variety of tracks during the process, right?
YMH: Well, there’s actually quite a variety of styles already included in this album. That’s often the case with a debut album—you really can't help it. To be honest, we hadn't spent much time together prior to this. When you’re collaborating for the very first time, you naturally want to experiment to discover what the artist is truly capable of and just how far they can push their expressive boundaries. So, in reality, this album features a rather diverse mix of songs. Just look at what we’ve listened to so far: "No Regrets" has a bit of a rock edge; "I'm Willing" feels more like a cinematic film score; and this track we’re listening to right now is a piano-driven piece with a distinct, unique character.
For the next track, I’d probably recommend "Wild at Heart." That one is pure R&B—it actually reminds me a lot of Mariah Carey. So, as you can see, there really is a wide array of styles packed into this record. I actually incorporated a great many different elements into this album. It’s not that I didn’t want to create an album with a cohesive, unified sound; rather, because I didn't fully understand the artist yet, I felt that taking this approach was the safer option for me at the time. I anticipate that the next album will be much more stylistically unified.
HOST: I understand completely. You’re saying that since you didn't know the artist very well at the start, you decided to include a wider variety of styles and genres. That makes sense—especially since, when I listened to her Cantonese-language albums, I noticed they also featured a very eclectic mix of musical elements.
YMH: They are all quite different. However, I’ve noticed—and I’m not trying to be critical here—that we often come across domestic albums where, in fact, the female vocalists possess excellent singing technique. Yet, when they compile ten different types of songs onto a single album, their unique vocal identity seems to vanish. You might not know who the artist is at first glance, but the moment you hear her sing, you instantly recognize: "Oh, that’s her." Exactly—perhaps it’s because her voice and her vocal approach are already so distinctive and memorable. That artist is Faye Wong.
This is especially common among newcomers who grew up imitating others. For instance, throughout the decade or so leading up to their debut, they might have spent their time imitating Fong Fei-fei. Then, when Julie Su was popular, they imitated Julie Su. Later, whoever else rose to fame—say, Sandy Lam—they would imitate Sandy Lam. That is how they developed as artists. Consequently, when they eventually release an album featuring ten songs with distinct styles—for example, if one track happens to resemble a Sandy Lam song—they will deliberately sing it to sound exactly like Sandy Lam. If another track bears a strong resemblance to a Fong Fei-fei song, they will sing that one to sound just like Fong Fei-fei. The result is that, after listening to all ten songs, you feel as though you’ve just heard ten different people singing.
This particular artist [Faye], however, doesn't seem to have that problem. She consistently applies her own signature vocal technique—the "Faye Wong technique"—regardless of the type of song she encounters. Yet, she somehow manages to make every track sound beautiful and distinctly "Faye Wong." That is precisely where she surpasses her peers. In fact, you keep praising the singing itself—saying, "She sings so well! She sings so well!"—but really, it implies that we, as the production team, didn't actually have to work that hard, doesn't it? Regarding this album, I honestly don't feel I can take much credit; I feel the lion's share of the achievement belongs to her. You could even say that she was the one absorbing and incorporating various different styles. And, in reality, that is exactly what happened.
HOST: Alright, I’ve decided: I’m not releasing any more albums! As long as Faye Wong is around, I’m bowing out. Okay, let’s move on to another song. What kind of track is this one? Well, just by looking at the title, I can get a sense of it: "Wild at Heart" It is indeed a very wild song.
YMH: This track features a more rhythmically complex vocal style—something with a distinct R&B vibe. Interestingly, she doesn't really care to sing this kind of material anymore.
It was only during our recent conversations that I realized her mindset has shifted. She’s no longer particularly keen on singing songs with that typical "pop" sensibility—specifically, that R&B-influenced style. She feels that sort of thing is too "slick"—too heavy on technical acrobatics. And she has a point. After all, if you’ve released a substantial body of work, you’re bound to aspire to reach a higher artistic plane—whether we’re talking about music or any other creative endeavor.
Ultimately, the goal becomes a pursuit of simplicity—a simplicity that conveys a profound artistic mood. She’s no longer interested in chasing after things that are overly complex or cluttered with unnecessary frills. So, her choice of this particular song really opened my eyes to that shift. That said, she still sings the material she does choose with absolute brilliance. It’s just that R&B—at least in her mind—probably isn't the artistic path she intends to pursue for the rest of her life.
HOST: You’ve mentioned several times that you get the distinct impression she plays an active role in the album-making process—specifically, that she offers her own input when it comes to selecting songs.
YMH: Yes, and I actually have a great deal of respect for her in that regard. Take this current album, for instance… I actually had a meeting with her just a few days ago, and we had a long, in-depth conversation. I wanted to get a better understanding of her as an individual. With an artist like her, I don't have to rack my brains trying to figure out a musical style for her. Some artists arrive in your studio like a blank canvas; you have to be the one to apply the colors and give them form. That can be a fun process in its own right—it’s a different way of playing the game, where I essentially project all my own ideas onto the artist and let them be the vehicle for expression. But with an artist like her, it’s the exact opposite. In this scenario, our role as producers is really just to serve as a support system.
She is, in herself, a canvas already bursting with color—she arrives that way. You don't need to go around slapping on more colors, because that would only create confusion and make things messy. Instead, your job is simply to bring out the contours of those existing colors—to make them truly shine. To make the reds redder, the purples purpler, and the greens greener. That, in my view, is precisely the work a music producer is meant to do. And that’s no easy task, is it? What if you accidentally turn a vibrant red into a dull black? That would mean the producer is colorblind!
HOST: Alright, let’s move on to our next track—a song by Faye Wong. Is this a brand-new release?
YMH: This is a song—specifically, one originally sung by a British artist. I suspect very few people are familiar with this artist, as she only ever released a single; a full-length album never followed. I really have no idea how the team in Hong Kong managed to track down this particular artist to sing this track—or rather, to cover it. I just don't know.
HOST: Were the lyrics rewritten?
YMH: Yes, the lyrics were penned by Li Yao.
HOST: Alright, let's take a listen to the performance by Faye Wong, Wild at Heart.
HOST: This is such a peculiar song! It feels—almost unfinished. That ending, in particular, seems quite deliberate. Ah, I get it now! Our producer mentioned earlier that with this album, they really wanted to let loose and have some fun.
YMH: This kind of music—it has to end exactly like that. It’s quite a bold approach, and I simply followed her lead in being bold.
HOST: So, for your next album—are you worried you might take things too far?
YMH: I hope not; I imagine there will still be some level of restraint.
HOST: Right—I think there will definitely be some restraint. By the way, I was just thinking: you’ve been praising this young woman for having such an extensive musical background—having listened to so much music. That got me wondering about your producer: if the producer himself isn't diligent enough—if he hasn't done his homework—would he struggle to keep up with her?
YMH: That could turn out pretty disastrous.
HOST: Disastrous in what way?
YMH: Well, you wouldn't even be able to have a meaningful conversation about musical concepts, would you? Because when she talks music with a producer, she’s inevitably going to focus on the specific niche she loves. She’d constantly be telling you exactly what she likes… and the music she enjoys isn't actually very easy to find or buy here in Taiwan; a lot of it is quite obscure—very niche. Having chatted with her so many times, I’d say that among all the music she loves, the most "mainstream" or accessible artist is probably Seal—the bald guy. Out of her entire musical palette, he’s arguably the most commercial act—the only commercial one, really. So, I feel that if you want to have a conversation about music with her—unless you’ve been listening extensively for a long time, or have done your homework beforehand—the conversation would likely be…
HOST: Did you ever mention that to her?
YMH: She actually listens to Taiwanese music quite often on her own. For instance, during her most recent visit, she bought an album by the band "Ling Qiang." She recognized it as something worth exploring—something she needed to dig into and study. I’m not sure who provides her with this information, but whenever I chat with her, it’s clear she takes a genuine interest in Taiwanese music. She feels it’s worth listening to, so whenever she visits, she makes a point of scooping up a bunch of albums to take back and enjoy.
HOST: She’s very diligent about it—very dedicated.
YMH: Yes, extremely dedicated.
HOST: For a singer like her, does your pre-production work—the preparation phase—typically take a longer time?
YMH: It absolutely requires a longer time frame. That’s because, at the very least, her approach isn't just about tossing ten catchy songs into a pile and calling it an album. What I mean is, you have to assist her in terms of musical style, align with her personal preferences, and—crucially—help her fulfill her own aspirations regarding her musical career. You have to meet those expectations.
So, our role as producers is essentially to support her in capturing and expressing the full spectrum of emotions that define her life’s journey. As we just heard—specifically with the five tracks played today—we deliberately selected songs that each highlight a distinct characteristic: whether it’s the tension of "Cold War" or the specific "mindset" conveyed. The fact that she was able to execute those vocal techniques so flawlessly really speaks to her professionalism. She certainly didn't let her producer down.
HOST: I’ve actually been really eager to hear what the vibe will be like on your next album together.
YMH: You mean the direction we’re heading in now? Unfortunately, I didn't bring any CDs with me today. Otherwise, I could have played a few samples for you.
HOST: Oh, so you already have a specific direction in mind?
YMH: I do have some reference tracks—specifically ones that she enjoys listening to. I really should have brought along some of her personal favorites so that you listeners could get a better sense of her musical sensibilities. There’s a specific reason why she likes those particular tracks—they resonate with her on a deep level. And she’s able to master that style of delivery exceptionally well.
HOST: Yes, actually, I often feel there’s a sense of liberation in her singing.
YMH: That’s because her vocal performance truly feels unconstrained—she often lets her voice wander and explore wherever the music takes her.
She might make slight alterations, but those changes are actually wonderful. There’s a sense of spontaneity to them—a sort of laid-back, languid vibe. When a performer like that takes the stage for a live show, it’s absolutely incredible! She completely reinvents every single song, doesn't she? It’s such a thrill to experience! You get the feeling that the first show is completely different from the second! She truly embraces that artistic freedom.
HOST: Given the current domestic music market, what kind of impact or stimulus do you think a singer like this—and her unique vocal style—will bring about? YMH: I feel that she… Because the novelty she introduces is bound to spark a reaction… I often say that, generally speaking, female singers in Taiwan… it’s not that they sing poorly, nor is it a matter of their character being flawed. Rather, it stems from the fact that our female artists—perhaps reflecting the generally more conservative nature of Taiwanese women—tend to stick to a safer, more conventional musical path. Again, I’m absolutely not criticizing them; I’m simply observing that, in terms of musical style, they tend to be somewhat hesitant to attempt major breakthroughs. It seems to be tied to traditional Chinese cultural norms, which often dictate that a young woman should be… well, "good." She’s expected to be obedient, compliant, and generally well-behaved.
But—to be honest—when pop music becomes too rigid and formulaic, it can start to feel a bit dull. The real fun lies in that diversity—where ten different artists each offer something completely unique. You simply choose whichever style appeals to you most; it’s incredibly satisfying. Generally speaking, female singers in Taiwan tend to face this particular challenge. While there are certainly many Taiwanese female vocalists who sing beautifully, their musical styles often lack variety. I believe that her arrival on the scene will encourage everyone to push for greater stylistic innovation—to step out of their comfort zones and stop playing it so safe.
HOST: Are you suggesting that the reluctance to change stems from a fear that, once they do change, they might lose their way?
YMH: Yes, on one hand, it’s partly due to habit—people tend to feel that female artists are "safer" or more conventional. But honestly, sometimes you really do need to make some bold attempts. As long as you aren't just being gimmicky—and by that, I mean as long as you aren't deliberately trying to be weird or eccentric—but simply expressing your own thoughts and ideas… well, considering it’s the 90s now, and gender equality has advanced so much, you can voice your own perspectives. I feel this is one of the key contributions Faye Wong has brought to the scene.
HOST: That’s a very insightful observation.
YMH: Another point is that she treats her voice—as I mentioned earlier—as a musical instrument. This is an area where Taiwanese female singers tend to fall short. Most people don't dare to use their voice as an instrument; they simply focus on singing the melody perfectly, but few go beyond that. They just aim to make their vocals sound "pretty." Well, to be honest, Faye Wong has actually been incredibly bold—remarkably bold, especially among female musicians in Hong Kong. Just look at her records—the front and back covers can be quite startling! She certainly possesses the artistic caliber to pull it off. She possesses the inherent artistic qualities to transcend conventional boundaries.
HOST: Alright, a huge thank you to our record producer, Mr. Yang Ming-huang. Today, we’ve been introducing the album you produced in collaboration with Faye Wong. I actually first saw this record when I visited Hong Kong; I hadn't even managed to get my hands on a copy back home yet! They were absolutely everywhere in Hong Kong—on every street corner. YMH: In fact, by the time I finished producing the short version of the track "I Am Willing", it had already started climbing the charts in Hong Kong. We hadn't even finished recording the entire album back in Taiwan yet, but the single had already hit the charts in Hong Kong. Looking back on it now, I find it a bit amusing. Yeah, it really is quite strange. Actually, I feel that the Hong Kong industry is… well, how should I put this? I shouldn't be critical, but the reality is simply this: once you make it—once you become famous—they go all out to capitalize on it.
HOST: Your posters are everywhere, and your records are everywhere. Hong Kong is definitely a more commercially driven market.
YMH: Exactly. That’s why the commercial reaction tends to be quite pronounced. Consequently, the singer themselves needs to possess a certain caliber—otherwise, they’ll quickly get swallowed up, completely drowned out.
HOST: Alright, we need to thank Yang Minghuang today. He has one more song to recommend—a track by Faye Wong. It features lyrics and music by Mr. Huang Sujun. What kind of song is it? It’s a piece that Huang Sujun specifically tailor-made for her. Does it have that signature "Huang Sujun flavor"?
YMH: Yes, it definitely retains that Huang Sujun flavor. Can you hear it? It actually sounds quite different from the style Huang Sujun is known for these days—he really switched things up; he wrote it specifically for her, didn't he? It’s truly a joy—a real pleasure—to be able to write songs for a singer of this caliber. And she sang it so beautifully, too.
HOST: Alright—"Only Willing to Keep the Promise for You." Yang Minghuang, I’d like to invite you back again next week. We spent so much of our time today focusing on Faye Wong that we didn't get a chance to discuss many of the other artists you’ve worked with—like Vivian Chow or Na Ying. So, how about it? Is that okay?
YMH: No problem at all.
HOST: Great. Goodbye!
——————————————————————
TRANSLATED BY: SING AND PLAY