From the beginning, Chou's albums, for which he writes all the music and part of the lyrics, besides singing and often producing, have had a distinctive sound. He does not have a beautiful voice or a wide vocal range, but his musicianship overcomes all these deficiencies. Though classically trained and with an affection for Chopin, Chou has built an impressive arsenal of musical styles, which he uses and fuses with creative bravado.
Of these, R&B and hip-hop are his staples. These quintessentially African-American genres were adopted by other Chinese musicians before him, but it was Chou who brought them into the Mandopop mainstream.
There is a playfulness in Chou's rapping, which is akin to the visual style of anime, exaggerated yet adorable. There is never anything threatening in his music. The only subversive twist is: Instead of touting "bad" behavior often associated with youthful rebelliousness, he encourages his fans to be good. In one of his songs, he admonishes Generation-Y, the bedrock of his fanbase, to "listen to your mother" because "you'll know what I mean when you grow up and I learned it when I grew up and that's why I run faster and fly higher than others". He relishes the fact that "people all study what I paint and sing what I write".
Chou is proud of being a "mama's boy". He even named his fourth album after his mom, Ye Hui-mei. That attachment began with his parents' divorce and his father leaving them while he was 14. In an early song, Dad, I'm back, he might be channeling his traumatic experience into a tearful plea (though he denies it's autobiographical): "Don't hit mom! Didn't your hand hurt as well? I wanted to stop the violence when I get home."
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