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TAI PHONG

Symphonic Prog • France


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Tai Phong biography
Taï Phong is a bit of an oddity, as it is a French band founded by Vietnamese brothers Kahn and Taï Ho Tong. The sound is comparable to Camel, and Novalis, but the most telling description is 'France's answer to Barclay James Havest.'

The first incarnation came together in 1972, and included an American and a German (keep telling yourself this is a French band). They were in the process of recording, when contract disputes broke out. Because the brothers refused the terms (thus leaving them without a deal), the other two members left. Soon after, they would be replaced by keyboardist Jean Alain Gardet, and the now famous (or infamous) Jean-Jacques Goldman. Yes, he is the man responsible for several of Céline Dion's hits (does this mean that Céline is prog related? Say it ain't so).

In 1973, they again entered the studio. However, more artistic disputes, and contract haggling, with recording executives would keep them from releasing anything for the next couple of years. By 1974, they had a contract they could live with, but still needed a drummer. They chose 17 year-old Stéphan Caussarieu. The classic lineup of Taï Phong was now complete, and would remain intact for the first two albums. This was also a potent combination of talent and ego.

After the release of 1976's "Windows," some of the members branched out. Jean-Jacques dabbled in some solo work, and Gardet recorded an album with Alpha Ralpha. It is during this period that trouble started brewing. "Windows" did not sell very well, and the band spent all the money from the first album on a new sound system. Goldman did not wish to perform live, which was a serious problem considering his contribution to the band's sound. This disheartened Jean Alain, causing him to exit. The band went on tour in 1977 with bassist Michael Jones also taking over lead vocal, but it just wasn't working. They decided to cancel any remaining shows, and just concentrate on studio work. This is the moment when brother Taï left.

After much turmoil, they released 1979's "Last Flight," but the magic was gone. By 1980 interest in the band was waning, and they were in yet another contract dispute. Rather than push ahead with a fourth album, the band broke up.

Over the years the interest in Taï Phong's music went up and down. This is largely due to the song "Sister Jane" resurfacing in one form or another. In 1993, reissues of the albums breathed new life into the story. Some of the guys got t...
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WindowsWindows
Import
Warner Music France 1994
Audio CD$4.86
$14.99 (used)
Return Of The SamuraiReturn Of The Samurai
Taï Phong Chromatics
Audio CD$23.53
TAI PHONG 45 RPM SISTER JANE / SISTER JANETAI PHONG 45 RPM SISTER JANE / SISTER JANE
BIG TREE RECORDS
Vinyl$5.00 (used)
Last Flight by TAI PHONG (2015-11-18)Last Flight by TAI PHONG (2015-11-18)
Imports
Audio CD$65.10
Windows by TAI PHONG (2007-12-21)Windows by TAI PHONG (2007-12-21)
Warner Music France
Audio CD$40.72
Phong, Tai by Tai PhongPhong, Tai by Tai Phong
Wea Japan
Audio CD$209.00
Right Now on Ebay (logo)
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TAI PHONG discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TAI PHONG top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.67 | 74 ratings
Taï Phong
1975
3.39 | 65 ratings
Windows
1976
2.38 | 30 ratings
Last Flight
1979
2.79 | 19 ratings
Sun
2000
2.75 | 8 ratings
Return of the Samurai
2013

TAI PHONG Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TAI PHONG Videos (DVD, Blu-ray, VHS etc)

TAI PHONG Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TAI PHONG Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TAI PHONG Reviews


Showing last 10 reviews only
 Last Flight by TAI PHONG album cover Studio Album, 1979
2.38 | 30 ratings

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Last Flight
Tai Phong Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars The Vietnamese-French combination known as TAI PHONG was cursed by their early success due largely to the single "Sister Jane" from their first album. While it was an effective pop ballad with progressive arrangements and sold very well, it insisted upon itself for the next few years, with several mediocre clones appearing on 45 and the "Windows" album, resulting in a musical schism between these and their symphonic progressive epics. By the time of the aptly titled "Last Flight", the band had lost their ability to write and perform effectively in both realms. Instead we are subject to undistinguished late 1970s rock reminiscent of SUPERTRAMP, CITY BOY or KAYAK. Through the course of this thankfully brief exercise, a few passages stand out here and there, particularly on the two longest tracks, courtesy of Michel Gaucher's tenor saxophone and Pascal Wuthrich's jazzy piano, but the overall effort is rather unrewarding. As for the shorter tracks, well, they aren't "Sister Jane" wannabes but are otherwise just as banal, with the best probably being the Asian sounding "Thirteen Space" or the sappy closer describing the birth of the singer's daughter in somewhat cloying and egotistical terms that are thankfully eclipsed by the overall novelty of the perspective. Like many swan songs from the time period. "Last Flight" was ultimately not the last word by the band, but it signaled their crash landing as a commercially viable band, while prog fans won't salvage much from the wreckage.
 Windows by TAI PHONG album cover Studio Album, 1976
3.39 | 65 ratings

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Windows
Tai Phong Symphonic Prog

Review by VOTOMS

5 stars Review nº 229

Taï Phong - Windows

Look at all those rainbows in the cover art, trespassing even the shameless samurai. That's a reflection of the multiple keys work on this dreamy little album. The guitar helps to create a rainbow of soundscapes. This second album from the french symphonic katana managers stabilished a lot of melodic lines that would became the definitive 80s symphonic rock style. Funny, they are from the 70s, so there are trippy psychedelic dreamclouds surrounding Windows (the fantasy electronic work is the highlight of the album), lenghty suite format tracks and stuff, but even so, the painful pre-80s melodic lyrical type made them underrated. In fact, I can disarm a few of the 80s bands that clearly stolen Taï Phong's Windows melodies in a way or another. So, give them a try. It's just like Supertramp keyboardists lovesick crying after a mushroom tea party eating seagull's meat as vegetarians who don't want to follow rules anymore. Specially for Pink Floyd/Yes fans suffering from a psychological trauma because can't stand living with the parent's at 42.

 Taï Phong by TAI PHONG album cover Studio Album, 1975
3.67 | 74 ratings

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Taï Phong
Tai Phong Symphonic Prog

Review by VOTOMS

5 stars Review nº 228

Taï Phong - self titled

What would you expect of a heavy/symphonic french prog band from the 70s starring Jean- Jacques Goldmnan, nothing less than the songwriter for Céline Dion's greatest hits, a visionary dreamy keyboardist called Jean too, and a cool Samurai concept for band promotional imagery? Isn't obvious? Täi Phong is an underrated prog rock piece of the golden age, mixing furious passages, space floating atmosphere, chocolate hot dog, melancholic vocals, romance and shurikens! Why I consider their first couple of full lenght albums masterpieces? Because the passional sadness beauty captured from pop and some proto- prog and relateds, dissected and threw up on prog suites, would later return as the center stomp of the crossover/neo-prog and 80s symphonic hard rock. But nobody talks about Taï Phong. The samurai age was forgotten. It just isn't fair. By the way, this album is a little heavier than it's sequel Windows, focused on surreal dreamscape tunes.

 Windows by TAI PHONG album cover Studio Album, 1976
3.39 | 65 ratings

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Windows
Tai Phong Symphonic Prog

Review by Progfan97402

4 stars I've been aware of Tai Phong for a number of years, since 1996, in fact. I remembered a mail order catalog describing them as something like CSNY gone totally progressive. Most others never made that comparison, but I can understand where that catalog was coming from. For one thing, the vocalist (I presume Jean Jacques Goldman) often sounded a bit like Graham Nash. Yes, there are vocal harmonies from time to time, but prog opinion tends to compare it to Yes, even that, it don't remind me that much of Yes. Just recently I ran across an original LP on their second LP, Windows at a Eugene, Oregon record store and decided to get a copy. I was really shocked with the amazing sound quality, given so many LPs I own on the Warner Bros. label have such crummy sound quality, even non-US pressings, like Greenslade's Bedside Manners are Extra and Curved Air's Airconditioning (although the latter can be easily forgiven since my copy is a picture disc). This album gives me that same reaction I get with Barclay James Harvest, perfectly pleasant listen, but nothing that really blew me away, but still worth having in my collection. There are times I almost get reminded of Pavlov's Dog, particularly when the vocals go into almost David Surkamp territory (but not as so ridiculous, as the vocals don't have that same absurd vibrato). Not every day you come across a prog rock band that has two Vietnamese (believe it or not, Khanh Mai and Tai Sinh weren't the only Vietnamese involved in prog, Jean My Truong, drummer for Heldon, was also Vietnamese). Jean Jacques Goldman was Jewish, so what you got is a multi-cultural band (the other two I'm sure were your typical Frenchmen of Catholic upbringing, apparently some early incarnation included Americans). Tai Phong might not have the highest opinion of the prog community, probably because they're not the most intense or mindblowing out there, and with Windows, it sounds more like they were emphasizing ballads, but I found a lot of them rather nice, particularly "Games". I like some of the synth work from Jean-Alain Gardet, especially when he gives it a nice spacy feel (Hammond organ, Moog, and Elka Rhapsody are what he uses here, as well as piano). I like how "The Gulf of Knowledge" gives a more Asian feel. For the most part, this isn't the usual French prog where vocals are sung in French (like Ange or Atoll) or made-up language like Magma, this was sung in English, in hopes of international recognition ("Sister Jane" from their debut album appeared to be a hit in France). This isn't something heavy or intense but I didn't need to have all my prog to be like that. Sure there are a few cheesy moments, like the acoustic ""Last Chance", not to mention some of the vocals, but for the most part, it's a pleasant listen. Deserves a three and a half, but I'm not given that option, so four stars it is. One of those album you shouldn't overspend on.
 Taï Phong by TAI PHONG album cover Studio Album, 1975
3.67 | 74 ratings

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Taï Phong
Tai Phong Symphonic Prog

Review by Taurus123

4 stars This is the first album realeased by the french band Tai Phong and it is their best one.

The song "Sister Jane" was issued as a single and sold 200 000 copies. This "slow" was a favourite in the french teenage parties and was considered as good as "Angie" by the Rolling Stones or "I'm not in love" by Ten CC. Dim the lights, put the sound loud, this "slow" is a killer !

The band was founded by two brothers (Khanh and Tai) who were born in Saigon (South Vietnam). They were less than 10 years old when they arrived in France. Tai Phong means "strong wind " in vietnamese. They recruited Jean-Jacques Goldman for vocals and guitar playing. Some years later, Goldman will choose to have a solo career and will have a phenomenal success in France. But it is an other story... The sleeve design is very good and original and pictures an electronic samouraï. This cover art was made by Lang, the third brother of Khanh and Tai.

The other gem of this album is the last song "Out of the night " , very melodic and atmospheric. The songs "For years and years" and "Fields of gold" are very good and very melodic too.

I think this album brings the same type of pleasure like the prog albums of Pink Floyd or Barclay James Harvest. And i think it would deserve to rank among the 50 best prog albums. So I give 4 stars and half.

 Last Flight by TAI PHONG album cover Studio Album, 1979
2.38 | 30 ratings

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Last Flight
Tai Phong Symphonic Prog

Review by Music By Mail

2 stars This is not the best album of the band and the transition towards the pop-rock world is perceptible at several levels; the line-up is different than on the two previous albums, the first sign of the fracture being guitarist, singer and keyboardist Tai Sihn leaving the band (and with him a part of the group's name, Taï, maybe even a part of the musical vision?); the egos are exacerbed, both Khanh Mai and Jean-Jacques Goldman seeming to fight for becoming the lead(er) singer of the band; then, each in turn was not present at the recording sessions, therefore absent on some tracks; all this contributing to a real lack of musical unity! Goldman finally made it later as a pop star! Last sign of the commercial thoughts: an ugly and uninspiring cover! But what about the music? Well, it finds itself trapped between the dreams of the past and the seek for fame of the future; there are still at times longer instrumental passages where the musicians stretch it out but the song structures and clichés weigh more and actually wear out the prog aspects, bringing the album closer to some kind of americanized pop music with nice vocal harmonies; in fact if you have the Japanese papersleeve release of this album, you'll find three bonus tracks taken from singles, two of them from 78 leaving no more doubt about the musical direction wished by the band! Last Flight is an unequal album showing a band on the way to desagregation; unfortunately for them, the audience didn't react to their change of style and they called it a day in 1980! Followed a long crossing of the desert that lasted until 2000, where a new album (Sun) was released, with only Khanh Mai and drummer Stéphan Caussarieu remaining from the original line-up.
 Sun by TAI PHONG album cover Studio Album, 2000
2.79 | 19 ratings

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Sun
Tai Phong Symphonic Prog

Review by Marty McFly
Special Collaborator Errors and Omissions Team

2 stars So they're back. I quite liked their "Last Flight" album, but this time ? Well, it's no disaster, after all, we're not talking about life of 70s Symphonic Prog band in desperation of 80s, are we ? But it's not a big win either. But this was to be expected. Album released after so much time would either be killer, or big nothing. There is nothing Prog, it actually remind me more calm (without "power" element") version of Asia. Backed with Symphonic sound (strings), but songs are extremely simple. So even it can be nice, easy listening music, it's not strong stuff (on the contrary), so

2(+), for pleasant music, but not much more.

 Windows by TAI PHONG album cover Studio Album, 1976
3.39 | 65 ratings

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Windows
Tai Phong Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars TAI PHONG's sophomore release shares surface commonality with their stunning debut but fails to connect as much on an emotional level. Perhaps the band members themselves were not quite as enthusiastic as they had been, or perhaps the album was just rushed out too quickly in an attempt to capitalize on their surprise success.

The opening cut "When it's the Season" is marked by nimbly inventive lead guitar work as well as some colourful acoustic splashes, and, while recognizable as Tai Phong, does cover new ground in a quasi-improvisational fashion. "St John's Avenue" is far closer to their standard "formula", with mellotron washes and high pitched vocal exercises, and, while it's quite lovely, it doesn't soar like, say, "Fields of Gold". The other long tracks are similarly impressive sounding, but ultimately, like bonus tracks from the earlier album, missing the compositional intellect to match their loveliness. However, those who prefer a little less structure might be more drawn to "Windows", as long as they are not expecting MAGMA! As far as the two short pieces that appear one per side, let's just say there was a long line of "Sister Jane" wannabes from Tai Phong.

Thru "Windows" we catch glimpses of earlier achievements, but, as with real windows, it's about the treatments and the clarity of the view. Still good for 3 stars, with variability depending on your own perspective.

 Taï Phong by TAI PHONG album cover Studio Album, 1975
3.67 | 74 ratings

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Taï Phong
Tai Phong Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

2 stars There are a few moments of brilliance on Tai Phong's debut, but they are greatly overshadowed by saccharine songs and so many unexceptional passages that listening to this album in full isn't exactly a wonderful experience. Honestly, I think the vocals are generally pretty terrible- they are imitative of early Geddy Lee, but in an inferior and annoying David Surkamp manner. The singing hurts my ears. The lead guitar playing is not the best I've ever heard, but it's definitely the best aspect of this album. The keyboard work and drumming have some highlights as well. Other than that, I am just not into this French debut.

"Going Away" The first track is an upbeat rocker with a bit of a Supertramp or Pavlov's Dog flair, with screeching vocals over gritty guitar and electric piano. The lead guitar soloing isn't too shabby, and I think the rhythm section works well underneath it, but it's certainly nothing spectacular.

"Sister Jane" The second song is a sappy, piano-based tune with whiny vocals. While it isn't terrible, it's not particularly good either, and definitely not remarkable in any fashion.

"Crest" Light organ and low, thudding bass opens this shortest track. It picks up some really good drumming and a pleasing electric guitar melody before an excellent synthesizer cuts through. This demonstrates what this album could have been, but sadly is not.

"For years and Years" Pleasant, jazzy guitar lightens up the mood over a nice bed of keyboard. The vocals are mercifully subdued and more harmonic; in fact, this piece almost sounds like oldies. The distant organ runs are a sweet touch. The second half is light piano with a syrupy sweet slide guitar. The final minute is a discordant jumble of instruments and notes- totally out of place and pretty poor on its own.

"Field of Gold" Falsetto vocals and piano give way to decent electric guitar and equally good singing. The music builds into a terrific wah guitar solo. Other than the first half of "Crest," this is the best the album has to offer.

"Out of the Night" The sound of thunder begins the final and longest song. An uninspired vocal melody over organ joins light percussion and guitar. The guitar solo is very good, and I like the way it fades quickly into beautiful piano. "Out of the Night" is overall a decent song, although like the rest of the album, doesn't amaze in the least, and is really more like wasted potential.

 Last Flight by TAI PHONG album cover Studio Album, 1979
2.38 | 30 ratings

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Last Flight
Tai Phong Symphonic Prog

Review by progbaby

3 stars Tai Phong's last album before a long haitus (which they then did the excellent Sun album). This album is not as strong as it's predecessors (both masterpieces to my ears) but it still contains some excellent moments. The title track "Last Flight" is just as good/solid as anything they did on their previous albums and it makes this whole album worth having and is the reason for the 3 star rating. The song has Eela Craig "One Niter" like moments with melodies/harmonies that made 70's prog the classic era to my ears. That song alone is a "classic" to my ears and fortunately, it comprises 25% of the album which is a good thing :- ) The rest of the album is more in lines of what was on the AOR radio airwaves in 1979. What I mean to say is that the rest of the album is not horrible and the pop is "just mediocre and ok but nothing incredible". I get the feeling they had to do this album as a contractual obligation so they came into this album with one GREAT idea/song (The title track) just like the best of their previous 2 classics and had to somehow fill the rest of the album and may have written the remaining songs quickly with a shift towards radio airplay (think Giant for a Day maybe?).

As far as the one great title track, I wished it would not have ended as quickly as it did (with the quick fadeout just as things were really getting interesting). But it's still a great 10 minutes worth of listening.

Breaking the album apart:

The title track = ***** and great prog and takes up 25% of the album. The rest of the songs = **1/2

total = ***

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