A large chunk of this work is devoted to the glory of Chinese civilization. They are collectively known as "zhongguo feng", or traditional Chinese style. They include Shanghai in 1943, Nunchucks, East Wind Breaks, Herbalist's Manual, Blue and White Porcelain and perhaps the most popular of all Chrysanthemum Terrace from Zhang Yimou's blockbuster Curse of the Golden Flower, which tailor-made a role for the singer.
Using a wide spectrum of musical styles, from rock to folk, from bossa nova to country, these tracks, however, do not attempt to reproduce the original sounds of the songs associated with them, but rather strategically deploy a chord here or a few bars there as icing on the cake. As such, they cannot be compared with, say, an authentic country and western ditty or a Ming Dynasty (1368-1644) court aria. They are, in essence, the 2.0 version with Chou's uncanny ability to fuse different musical genres and make them his own.
Chou is often criticized for his blurry diction. It is fair to say one cannot make out the lyrics no matter how many times one listens to these songs. Part of the reason is density of words in a single minute. Vincent Fang has a penchant for quick successions of imagery and verbal excess. His purple patches are sometimes so busy and Baroque and burdened with so many rhyming words they essentially become tongue twisters. Even Pavarotti could not have rendered them intelligible.
But I suspect it is not Chou's deficiency in diction - at least not totally - that causes this problem. There are a couple of numbers where he sounds so weird that one has the feeling Chinese is not his first language. But in his love ballads the pronunciation problem evaporates. It is quite possible he magnifies his diction's imprecision as a form of vocal acting.
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