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Faye Wong

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This article is about Hong Kong singer. For other Wang Fei, see Wang Fei.
File:Faye in Concert.jpg
Faye Wong

Faye Wong, or Wang Fei (Chinese: 王菲; pinyin: Wang Fēi) (born August 8, 1969 in Beijing, now a Hong Kong citizen) is an extremely popular singer in Asia, especially mainland China, Taiwan, Hong Kong, Singapore, Malaysia, and more recently in Japan and to some extent in the West.

She is believed by critics and fans alike to be the most commercially and artistically distinguished female vocalist in Chinese music history, with a following so large and devoted that media in Hong Kong, Taiwan and mainland China often place the title tiānhou, (天後; diva or goddess) before her name while Japanese fans call her "Diva of Asia". Shy and intensely private, she is one of the very few people widely popular on both sides of the Taiwan straits despite her aggressive avoidance of the media. According to The Guinness Book of Records, she has sold 9.7 millons copies of all her albums as of March 2000. Not only openly admired by well-known celebrities around the world, she was also labeled as the gay icon among the gay community. She has acted in several TV shows and films, most memorably in Wong Kar-wai's Chungking Express, a role that garnered her international acclaim, as well as the award for "Best Actress" at the 1994 Stockholm Film Festival; and his most recent 2046, starring as an android and one of Tony Leung's love interests. She is known not only to many Final Fantasy fans for her Final Fantasy VIII theme "Eyes On Me", but also as the spokeswoman of such brands as Head & Shoulders shampoo and Pepsi-Cola. She was chosen by director Zhang Yimou to record the theme song for the critically acclaimed film Hero.

Early years

Born in Beijing, People's Republic of China, she was originally named 夏琳 (Xia Lin), adopting her mother's maiden name because the Wong family was persecuted during the Cultural Revolution (her grandfather was once a congressman in the Republic of China). At the age of 15, several years after the turmoil ended, her name was changed to Wong Fei (王菲). She inherited a talent for music from her mother, who was a soprano, and recorded several low-cost albums in high school covering the songs of Teresa Teng, her personal idol.

In 1987, she moved with her family to Hong Kong and began her musical career. She signed a contract with Cinepoly and released three albums under the stage name Shirley Wong (王靖雯, pinyin Wang Jingwen). Containing a large number of covers of songs by artists from the US and Japan, these albums attracted little attention and a lukewarm response from critics. Frustrated with her career direction, she decided to take some time off in 1991 and travel to New York for vocal studies and cultural exchange. This brief hiatus would prove to be important for her artistic development.

During her absence, Cinepoly released a few compilations repackaging songs from her three albums, thereby keeping her somewhat visible at the record stores.

Rise to fame

Back to Hong Kong

A year after returning to Hong Kong, she burst into the spotlight with her new album Coming Home, which incorporated R&B influences like her previous two and was a drastic change in musical direction from the more traditional Cantopop fare of her earlier albums. On this album, she covered the song "Fragile Woman," originally sung by the Japanese music diva Miyuki Nakajima. While this song had been covered by other Chinese singers, her angelic version nonetheless swept over Hong Kong and singlehandedly lifted her to superstardom. Also, she sang her first English-language song, "Kisses in the Wind," and starred in TVB shows such as Files of Justice II (壹號皇庭II) and Legendary Ranger (原振俠).

Changing her style

Not satisfied to rest on her laurels, she also wrote her own Mandarin ballad "No Regrets" (執迷不悔) in 1993, which led many people to praise her not just as a talented singer but as a gifted songwriter as well; in February, the similarly titled album was released and became an instant best-seller. Although the songs were mostly more soft contemporary arrangments, like most of what was being traditionally released in Hong Kong, it also had a few dance songs and two versions of the title track: one in Mandarin and the other in Cantonese, with new lyrics by Chen Shao Qi (the Mandarin version is by far the more popular one).

Since then, she has completely shed any R&B influence and has moved on to produce works of considerable originality and a more alternative flavor, epitomized in her next album 100,000 Whys (released in September 1993). Before this album was released, a few of its tracks were mainstream enough to air in radio transmissions among listeners. Therefore, it became another instant best-seller in the same year with No Regrets and people's recognition of her first introduction to the alternative rock from the West.

In 1994, she changed her stage name back to her original name "Wong Fei" (王菲) for all subsequent releases in Cantonese Hong Kong, one year later in the Mandarin market.

It was around this time that she began experimenting with alternative music styles from the West. The ethereal Scottish post-punk group Cocteau Twins' influence on her was clearly shown in her next Cantonese album, Random Thoughts. She learned the unique vocal stylings of Dolores O'Riordan of the Irish band The Cranberries, which culminated in her covering their song "Dreams" in Chungking Express and other songs by such other artists as The Sundays and Tori Amos. Besides covering songs and learning distinct vocal techniques, Wong recorded her own compositions like "Pledge" (誓言), co-written by and featuring Dou Wei on Di Zi, and her first and only rap song "Exit" (出路). She also sang songs written by others, such as "Pure Love" (純情) and "Sleepwalk" (夢遊).

Because of the diversity of musical and aesthetic styles contained in these releases, they became quite influential among singers (old and new) as well as consumers in the Asian markets. To Wong's credit, each album still carried a balance between her preferred artistic taste and Cinepoly's commercial preference.

Mandarin market

Besides two Cantonese albums in 1994, Wong released another two in Mandarin in Taiwan, Mystery (迷) and Sky (天空). The runaway hit I'm Willing (我願意) became her trademark song throughout the Chinese-speaking world for years to come. Deemed as one of the greatest Chinese songs of the late 20th century, it has been covered by many other Chinese singers.

While her music in Hong Kong had gone remarkably away from the mainstream, these two Mandarin albums, as her first attempt to enter the Taiwan (and later the mainland) market, were nonetheless the warmest and most traditional during her entire career and are especially cherished by her old fans. Critics generally agree that Yang Minghuang, the producer of these albums, made them achievingly successful; although Faye Wong would still have climbed to the top, her music style would have been completely different than it turned out to be, that is to say: exquisite and romantic as opposed to exotic, sharply distinctive and peculiarly artistic.

Four best-selling albums both in the Cantonese and Mandarin-speaking regions, a record-breaking series of 18 consecutive concerts in Hong Kong and a widely acclaimed film (Chungking Express) all in 1994: these achievements together made her the single most eminent female Hong Kong singer at that time. However, as a northern girl with an upbringing at odds with the way of life in Hong Kong, her distaste for the profit-oriented entertainment industry became more and more apparent. Meanwhile, she was frequently in touch with the rock circle back in Beijing. Due to her somewhat reticent and nonchalant attitude, some began to consider her a defiant and arrogant superstar. For example, Wong would often give terse, direct, and somewhat unexpected answers when asked personal questions.

Alternative experiments

A Tribute to Teresa Teng

In 1995, she released Faye's Decadent Sound, a cover album containing unique renditions of songs originally done by her idol Teresa Teng, one of the most revered Chinese singers of the 20th century. Because of the unfortunate death of Teng before the release of the album, Wong considered scrapping the project due to her respect. Teng's music remains extremely popular in Japan, Taiwan, Hong Kong, Southeast Asia and later mainland China. The title of this album is a pun: during the Cultural Revolution, Teng's songs were condemned as "decadent sounds" (靡靡之音) by the communists. The album title is literally translated as Faye's Decadent Sound (菲靡靡之音) where the character "菲" (Faye) has the same pronunciation as "非" (no/not). Decadent Sounds sold quite well despite initial negative criticism. It has come to be recognised as a classic by her fans and is held as an example of imaginative covering by recent critics.

Further releases

In December, she released her last-to-date Cantonese album Di-Dar which mixes various feelings of hollowness, languor, apathy and desperation with a touch of Indian and Middle Eastern flavor. Having composed several songs in previous albums expressing a desire to release herself, she was now finally fed up with the hypocritical industry. Music videos show her doing all kinds of meaningless things, playing and dancing by herself, apparently bored to death. Nevertheless, this album was a success, partly because it was so different from the mainstream Cantopop music and, ironically, a couple of very traditional romantic songs topped the charts.

1996 saw the release of what many would consider her boldest and most artistically coherent effort to date, Restless (浮躁). Faye was not at all satisfied with producing albums that the company demanded of her, so this Mandarin album was the result of her own will. This was risky for the relatively conservative Chinese pop music market, Cantonese and Mandarin alike, where the majority of audience are interested only in sugary love songs. This being her last album with Cinepoly, Wong felt she could take on more artistic risks. The album contains mainly her own compositions, with an aesthetic inspired by Cocteau Twins, who also contributed two original songs to the album. Since Faye had previously covered their work in 1994, they had established a remote working relationship, laying down vocals for a track on the Asian version of the group's 1995 album, Milk And Kisses. Simon Raymonde & Robin Guthrie further contributed two other compositions, but only one of them showed up on her 1997 self-titled follow-up.

Critics loved and still love this impatience-themed album that presents a bright picture of joy, carefreeness, anxiety, fear and decadence under a sunny autumn sky. A Buddhist herself, Faye weaves in teachings of transience and disengagement that can also be found in her previous and later albums. Although this is Faye's personal favorite, the response from Hong Kong and Taiwan was less than desirable. Many fans who loved her previous three Mandarin albums turned their back on Restless, which they considered to be weird, self-absorbed, and too brief. However, hardcore fans, or Fayenatics, worship it and use this album to distinguish who is a "real" Fayenatic. Wong has not released another fully artistic album ever since. After the release, Faye became the second Chinese artist (after Gong Li) and the first Chinese singer to be featured on the cover of TIME magazine.

Cinepoly EPs

In 1993-95, each EP was released annually: Like Wind (如風), Faye Disc (菲碟), and One Person, Two Roles (一人分飾兩角). Then in 1996-97, Faye took a break of her songwriting talents for a while and sang ten original songs in Cantonese all written by lyricist Lin Xi and various composers, such as Wong Ka Keung, Adrian Chan, and Chan Xiao Xia, before her departure from Cinepoly. Afterwards, she decided not to release anymore Cantonese albums in the future. Under these circumstances, the company published eight of them in the next two EPs entitled Toy (玩具) and Help Yourself (自便) (five in Toy), leaving other two inserted in a few compilations (one of them became available first).

Although the EPs contained new songs and were welcomed by fans, they received cool critical responses. Unlike the other EPs, Toy contained neither remixes nor songs from other personal albums. The package was itself heavily criticised, e.g. as 20 minutes of dull, inept artwork, or as cardboard with nothing to commend it; but it was nonetheless successful among the sales and acclamations alike way better than her previous album did in the past season.

First marriage

Ever since her rise to fame, Wong had been frequently cooperating with musicians back in Beijing's rock circle. She consequently fell in love with fellow Beijinger Dou Wei, her musical partner and a prominent musician/rock star in his own right. One morning, Hong Kong paparazzi captured a picture of her dumping a chamber pot with disarrayed hair and sleepy eyes in a slummy neighbourhood. This photo caused a stir in the HK entertainment industry in whose eyes the contrast between her diva status in Hong Kong and a life in a small, shabby, less than sanitary house in Beijing was quite astonishing. Many from then on saw Wong as a woman who would sacrifice anything for love. In June 1996, after being pregnant for several months, she finally married Dou.

Their daughter, Dou Jingtong (竇靖童, lit. meaning "child of Dou and Jing [from Wong's first stage name Jingwen]") was born on January 3, 1997. The baby's voice appears in the song "Child" (童, py Tong) on the 1998 album Song Journey (唱遊, py Changyou), as well as the title track of the album Only Love Strangers released in 1999.

However, the paparazzi, particularly those from Hong Kong, were the first to detect alienation between the two, especially during Wong's concert tour of Japan in March 1999. Several days later, they caught Dou with another woman inside a restaurant in Beijing. Asked who she was, Dou immediately answered, "She is Gao Yuan (高原). My lover". Wong was already famous in the mainland by 1999, so this news caused a shock in the entertainment industry across the Chinese-speaking world. Due to the relatively conservative social values in Chinese society, overwhelming media coverage appeared, ferociously condemning Dou's infidelity. Reports and rumours were flying around, including one that said Gao admitted she and Dou had been lovers for years and had never really separated even after the wedding. Wong's enormous group of multinational fans maintained relentless attacks on Dou for a long time. However, he declared that all had been set up by Wong's agent and company from the very beginning. Their friends in the Beijing music circle also declined to comment. On the other hand, Wong remained silent and secluded during the whole time and never talked about it in public later on, with a few exceptions when she mentioned the future life of her daughter, whom she won custody of after the following divorce.

EMI period (1997-2001)

Wong signed with the recording industry magnate EMI in 1997 after her daughter was born, at a price of (according to the media) 60 million Hong Kong dollars (appox. 7.7 million US dollars) for 55 songs to be released in 5 albums. While most of her earlier albums prior to 1996 were sung in Cantonese, Wong has almost consistently sung in Mandarin, her mother tongue, ever since. Although the Mandarin market, which includes mainland China, Taiwan and Singapore, is a much larger market than the Cantonese one, Faye also recorded a couple of Cantonese songs in each of the last four albums with EMI in order to retain her Hong Kong audience. Having gone through a stage of experimentation, Wong stated that she wished to produce "music that I like. I do not care if others don't, though I would be delighted if they do".

1997 Faye Wong

Her first album with EMI is Faye Wong (Happy?) (王菲: 快樂不快樂), released in autumn 1997. Critics had been expecting that she could offer another ground-breaking artistic piece of work after her critically acclaimed yet commercially frustrating Restless in 1996, but much to their dismay, Faye Wong was almost completely pleasant and commercial in music. The only thing unordinary about it is her panda-eye makeup and strange clothes in the booklet and the music videos. Wong put away all her distinctive vocal techniques, thus forming a brand new "natural" style.

This album is filled with feelings of lethargy, languor, drowsiness and disengagement, yet most of the songs sound warm and sweet, as opposed to those sharp self-centered ones before her motherhood. Reporters also noticed that she began to smile more in public and was not so icy or aloof as before. However, this album came out during the Asian financial crisis that swept East and Southeast Asia, among which Hong Kong was heavily hit. Wong's old boss Cinepoly has all the copyrights of her previous songs, and released a Mandarin compilation at the same time in 1997 to counteract (and indeed outperformed) her new album with EMI. Later on, Cinepoly would release a couple of compilations every year to fight Wong's new albums, which has come under strong criticism from her multi-national fans. Faye Wong didn't sell well in Hong Kong and other damaged areas in Asia, but it did quite well in other Mandarin markets such as Taiwan and mainland China. Although Wong gained some popularity with her previous 4 Mandarin CDs, it was this sweet yet slightly alternative album that really got the Chinese listeners' attention. From here on, her stature began to rise sharply in Asia.

1998 Song Journey

At the beginning of 1998, Wong was invited to sing "Let's Meet in '98" with her personal friend Na Ying, a prominent mainland pop singer, at the 1998 Spring Festival Gala hosted by China Central Television, an annual show that enjoys a stunning average rating over two decades since its first broadcast on the eve of 1983's Chinese Lunar New Year. This national recognition immediately boosted her career in the mainland, her name spreading from the young generation keen on pop music from Hong Kong and Taiwan to a far wider range of audience.

1999 Only Love Strangers

2000 Fable

The new millennium saw a ground-breaking shift in Wong's musical career with the album Fable (寓言). The prominent feature of this album is its segregated and distinguishable 『halves』 – songs in the first half of the album running in an almost continuous manner and in a format that is akin to a song-cycle, and the second half of discrete, chart-friendly numbers. The album itself derives its artistic merits from the first half, notable for its unique thematic and continuous sequencing of songs unprecedented in the Chinese music industry. The theme itself is ambiguous and the lyrics subject to multiple interpretations, though it is quite certain that the theme of Fable forms the main thematic reference, derived from the motivic elements of the prince and princess in fables and fairytales of European origins. Elements of spirituality, metaphysics and Buddhism hold an important place in the lyrics as well, penned by Lin Xi who has by then, been unanimously identified as Faye’s lyricist par excellence. Musically the arrangements display influences of drum and bass, electronica, east-west collage and lush string orchestral infusions.

Fable represents a milestone in Faye's artistic development and constitutes an important album of Faye’s entire opus. It remains indisputably a ground-breaking contribution to the Chinese indie soundscape as well as retaining a special place with Faye fans around the world.

2001 Faye Wong

Nicholas Tse

In her first public romantic relationship after her failed marriage, Wong took up with Hong Kong singer and actor, Nicholas Tse, whose reputation at the time was the town's leading "bad boy" celebrity. While this May-December romance (Wong is 11 years his senior) delighted local tabloids and gossip magazines, which first reported the affair in June 2000, Wong's protective fan base were decidedly confused and upset over this new relationship. Many felt that Tse was not good enough for her, and voiced concerns he would betray her in the end.

Her fans' suspicions were confirmed in March 2002 when local news media reported that Tse had been secretly romancing Hong Kong actress and singer, Cecilia Cheung, who is also 11 years younger than Wong. Not long after this affair become public did Tse sever his ties with Wong. However, after Tse's romance with Cheung ended only months later in July 2002, Wong and Tse resumed their on-again, off-again relationship to the great dismay of her fans, until she met her current husband, actor Li Ya Peng, in 2003.

Sony period (2002-)

While she was under contract with EMI and Sony, she acted in the ensemble movie 2046, which has been in production since 1999 and finally wrapped in the mid-2000s. She performed at fundraising concerts to benefit various charities, including ones that helped those who suffered from AIDS and SARS. She sung on tracks with other celebrities such as Tony Leung Chiu Wai, Anita Mui, and Aaron Kwok. She starred in other movies and TV serials such as Usokoi and Leaving Me Loving You. Meanwhile, her former record companies released several more compilations and box sets of her records (EMI only released a few).

She recorded several solo, non-album tracks, such as the eponymous hit theme song to Hero and a Buddhist song containing similar sounds to some of her work on her album Impatience. In addition, she recorded a recitation of the Heart Sutra.

Meanwhile, she recorded 13 tracks for her album To Love (將愛), released in November 2003. 10 tracks were sung in Mandarin and 3 in Cantonese. She wrote the music and lyrics for three songs, and the music for 2 others. Before the album's release, her Cantonese song In the Name of Love (假愛之名), with lyrics by Lin Xi, was banned in some areas such as mainland China because the lyrics mentioned opium. At any rate, according to interviews, she said that she preferred the Mandarin version of the song (the title track), which used drug-free lyrics that she penned herself. The album became more successful than her previous self-titled album both financially and critically. Afterwards, she held numerous successful concerts for over a year.

Relying on photos and other sources, the press reported that she began dating and subsequently engaged to actor Li Ya Peng. It remained a mere rumor to some until their wedding in 2005. It was her second marriage, after Dou Wei. Around the time of the wedding, Faye's manager confirmed that she will retire from singing and acting, staying around only to fulfill her remaining contracts [1] Later that year, her Hong Kong agent confirmed that Faye is pregnant with the couple's child, her second after daughter Dou Jingtong, whom she had with her previous husband. [2]

Wong is expecting her second child in May 2006.

Selected discography

The Chinese titles are official; there are no official English titles (other translations are possible). However, some albums like Di-Dar and Coming Home have only English titles.

Albums/EPs

  • 2003 - 將愛.....................................To Love
  • 2001 - 王菲(光之翼)..........................Faye Wong (Wings of Light) (+ bonus Canto-EP)
  • 2001 - Separate Ways (EP)
  • 2000 - 寓言.....................................Fable
  • 1999 - 只愛陌生人............................Only Love Strangers
  • 1998 - 唱遊.....................................Sing and Travel (+ bonus Canto-EP)
  • 1997 - 王菲(快樂不快樂一直王菲).......Faye Wong (Happy or Not)
  • 1997 - 自便 ....................................Help Yourself (EP)
  • 1997 - 玩具.....................................Toy (EP)
  • 1996 - 浮躁.....................................Restless
  • 1995 - Di-Dar
  • 1995 - 菲靡靡之音............................Faye's Decadent Sound
  • 1995 - 一人分飾兩角.........................One Person, Two Roles (EP)
  • 1994 - 討好自己...............................Ingratiate Myself
  • 1994 - 天空.....................................Sky
  • 1994 - 胡思亂想...............................Random Thoughts
  • 1994 - 菲碟.....................................Faye Disc (EP)
  • 1994 - 迷........................................Mystery
  • 1993 - 如風.....................................As Wind (EP)
  • 1993 - 十萬個為什麼........................100,000 Whys
  • 1993 - 執迷不悔..............................No Regrets
  • 1992 - Coming Home
  • 1990 - You're the Only One
  • 1990 - Everything
  • 1989 - 王靖雯.................................Shirley Wong

Compilations

Titles in italics are songs and/or albums within a box set

Cinepoly/Universal

  • 2005 - 1st Complete Collection From Faye Wong 情·菲·得意 [+Very Summer (非常夏日) with Jacky Cheung] (2-1/3 CDs + 2/3-DVD)
  • 2005 - Faye Wong's Story 王菲的故事 [+ bonus track Don't Be Shy (請勿客氣) with Softhard (1993)] (2CDs + book)
  • 2005 - Faye Wong's Mandarin Classical Songs 國語真經典-王菲
  • 2005 - Revelations of Faye Wong 環球影音啟示錄-王菲 (2CDs + DVD)
  • 2004 - Faye Wong from Beginning 從頭認識 王菲 9CDs 套裝 (9 albums in 1 boxset):
Shirley Wong
Everything
You're the Only One
Coming Home
No Regrets
100,000 Whys
Random Thinking
Ingratiate Oneself
Di-Dar
  • 2003 - 王菲最新精選專輯 (Best of Faye Wong) (2CDs + DVD)
  • 2002 - Lost & Found (2 CDs)
  • 2002 - Faye Best [+bonus track Scary (心驚膽戰, 1997)] (2 CDs)
  • 2001 - 我的王菲時代 (My Faye Wong)
  • 2001 - Great Collection+Music Box 王菲好精選+Music Box
  • 2001 - 王菲音樂盒 (Faye Instrumental)
  • 1999 - Life 菲感情生活 (2 CDs)
  • 1999 - 但願人長久 (Wishing We Last Forever)
  • 1998 - Party Mix
  • 1998 - 菲舊夢 (Faye's Old Dream) (2 albums + VCD)
Faye's Decadent Sound
Toy
  • 1998 - Faye's '89-'97 Collection 王菲'89-'97 32精選
  • 1997 - 菲主打 (Faye's Super Hits)
  • 1997 - Faye Selection 菲賣品 [+bonus track Unbelievable (不得了)]
  • 1996 - 樂樂精選 (Happy Collection)
  • 1994 - 最菲 (Faye Best) [+ 2 bonus tracks: Mandarin ver. of Fragile Woman and Forgetting You Like Forgetting Me]]
  • 1992 - Complete Shirley (2 CDs)
Shirley Once More
More Shirley
  • 1991 - More Shirley
  • 1991 - Shirley Once More (+ bonus track Can't Have More 不可多得)

EMI

  • 1st Complete Collection From Faye Wong 情 菲 得意 [+Fashion Show (花生騷) with Anita Mui (2002)] (2/3-CD + 1/3-DVD, 2005)
  • Faye Wong's Song Journey 王菲唱遊5-in-1 (5 albums in 1 boxset, 2004):
Faye Wong '97
Song Journey (+EP)
Only Love A Stranger (+VCD)
Fable
Faye Wong '01 (+EP)
  • The Most Fayevourite Faye 你王菲所以我王菲 (2CDs, 2002)

Other songs not in Faye's albums

  • Songs w/ Tony Leung from Chinese Odyssey 2002
  • Hero (英雄) (2002) is a hit theme song of the eponymous film. It is unavailable in the American versions of the eponymous film and soundtrack album.
  • Mand. & Cant. vers. of Galaxy Unlimited (aka Ask for More) (星空無限) with Aaron Kwok (2000)
  • Let's Meet in '98 (相約1998) w/ Na Ying (1998)
  • Serpenskirt and Touch Upon Touch with Cocteau Twins (1996)
  • Love Once Doesn't Give (愛, 一次給不完) with Jacky Cheung (1994)

Filmography

Recently, she put in an acclaimed turn as a robot experiencing its first emotions in Wong Kar-wai's art-house success, 2046.

See also

Template:Link FA

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