Kun Faya Kun Vocals Only Mp3 [HOT] Download
Simone Alwang
Hugely popular in Hong Kong, Taiwan, China and Singapore, she has also gained a large following in Japan. In the West she is perhaps best known for starring in Wong Kar-wai's films Chungking Express (1994) and 2046 (2004).[1][5] While she has collaborated with international artists such as Cocteau Twins, Wong has recorded only a few songs in English, including "Eyes on Me" (1999), the theme song of the video game Final Fantasy VIII (1999). Wong is known to be a "diva with few words" in public, and has gained a reputation for her "cool" personality.[6][7] In Encyclopedia of Contemporary Chinese Culture, Jeroen de Kloet characterised her as "singer, actress, mother, celebrity, royalty, sex symbol and diva all at the same time".[8] Wong is considered by some as one of East Asia's biggest popstars with a career of over 30 years.[9]
On 19 May 2013, Faye sang four songs in a memorial concert celebrating Teresa Teng's 60th birthday, with a portion of the concert proceeds going to the charity. The concert is notable in that Wong's first song in the concert, Li Bai's "清平調", is a duet with Teng planned 18 years prior, using vocals from Teng released posthumously for the first time.
it just happened that I took a business trip to Hong Kong and on the flight back, I saw that tabloid magazine with photos from Beijing, of her coming out in the morning carrying the chamber pot to dump in the public toilet ... That piece from the tabloid moved me ... Such a famous female celebrity, willing to do that, and she only had a 2-day break (from work), most of that time must have been spent traveling. Just to be with (him). So the first line (I wrote down) was, "I'm willing to forget even my name". Also "running towards you", they all describe how I felt when I saw those pictures. That's how I wrote "I'm Willing" (for Faye Wong).[94]
In 2004 and 2005, Faye Wong was ranked in the top five on the Forbes China Celebrity 100, as well as in 2011 and 2012 after her hiatus. In a 2011 "most popular celebrity in China" marketing study, she was also ranked in the top 5.[95] In 2008, Wong was voted Asia's sexiest vegetarian woman in a poll run by animal rights group PETA.[96] In 2009, to celebrate the 60th anniversary of the People's Republic of China, a government web portal conducted an online poll on The Most Influential Chinese Cultural Celebrity in the Past 60 Years; out of 192 candidates, Wong received over 7 million votes, second only to the deceased Teresa Teng from Taiwan, Wong's own personal idol.[97] In 2014, she was named one of the 10 most admired female singers in Asia by RHA media.[98] Chen Tao, a China Radio International DJ, compares Wong's influence in the Sinophone world to Madonna's in America: "She represents a certain era of pop music, a certain trend, and a vision of being unique."[26]
I don't think it's a coincidence that two of my favorite albums this year (M For Empathy and this) are not only about long distance relationships, but the fear of new love. Lead single "Kingston" is largely about the latter, and the way Faye writes about this fear is just.... god! I can't even find the words but if you know, you feel it in your heart. "It's the thought of you that slightly scares me / But it takes my breath away, forget what I was gonna say." New love is terrifying, but it can be the greatest feeling to open up to someone and feel like you're a true equal with them. The way you feel about them is the same way they feel about you. The line "He said baby, that's what he called me, I love you" just like.... ahh!!!! The fast insert of "that's what he called me" just fucking grabs me. It's one thing for someone to tell you that they love you, but the way someone can call you "babe" or "baby" sometimes is just euphoric, no drug on Earth can recreate that feeling. Well maybe quaaludes according to this guy, but we're not gonna get those back anytime soon so I reiterate my original point.
But for real though, while the writing and Faye's vocals would have already secured this album as her most confident output yet, the instrumentation is really what kicks things up a notch and it's put together with such specificity and care that it's clearly the work of an artist at the top of her game, as it's clear that Faye's palette has grown more colorful since her self-titled album back in 2017. This palette is most evident right off the bat in the album's intro, "Room Temperature." For a song largely about the crushing but unstoppable feeling of self-isolation, it's music is so bright with the lovely and free flowing pedal steel, lounge-style percussion, and swaying guitar groove. Depending on how you view this song, it's either the prologue or epilogue of when new love either begins or ends.
The deep meaning of "Jonny" doesn't really hit until the album's end though with its reprise which just... God. You didn't hear it but I just gave a deep sigh before typing this as the first time I heard this song, I didn't know how to react. Faye's singing on this album has a slight air of deadpan that just falls away on this track as it's a spoken word piece, as really I don't think you'd be able to reflect on "Jonny" in a specific melody other than conversation. I'll probably just post the whole thing in my favorite lyrics section, as I can't even find the words to look deeper into this. I'm legit tearing up trying to write this. It's a risky fucking move to end your album on a spoken word reprise, but it's absolutely the correct move that ties up this album's arc quite nicely, as you can only patch up the wounds of lost love by understanding what caused them. "Goodbye, Jonny." indeed.
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