“Hey Dear” by Rebs ft. BAO


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“Hey Dear” by Rebs ft. BAO

Listen to “Hey Dear,” a new single by Rebs, produced by BAO. “Hey Dear” is an 80s-inspired tune written by 20-year-old indie artist Rebs. It tells the story of a mother missing a child who moved away. The song was inspired by Rebs’ own journey of leaving for college. Hope you like the new work and support Rebs in their musical adventures!

A couple months ago, I heard “Hey Dear” from a demo version that Rebs recorded and posted on Soundcloud. I liked the song so much that I asked if I could produce a version.

Rebecca Chan, also known as Rebs, is a 20-year old indie artist from Michigan who perpetually strives for intersectionality. As a queer, biracial artist, they seek to represent the nuance and complexity of a layered identity and existence. That nuance extends to their music, combining and blurring genres to create new sounds.

Play “Hey Dear” by Rebs on Youtube or stream it from your favorite streaming platform here. Also, follow rebs.chan on Instagram.

“The Brass Parade” by Sunrise Transparence ft. BAO

Hi, hello! It’s me again, like TLC again. My friend and collaborator Sunrise Transparence, who played horns on Perpetual Heartbreak and co-wrote my song “Burn It Down,” created this one-person brass band cover version “Welcome to the Black Parade” by My Chemical Romance and I provided the vocals on it. That’s 54 layers of horns all played by Sunrise Transparence and 46 layers of voice by yours truly. Hope you like and share and buy this song!

Watch the video on Youtube.

We worked really hard on this and a way to support indie artists like us is to help us fund these crazy ambitious endeavors, so if you feel like downloading this cover song, here’s a glorious button:

Buy on Bandcamp

UPDATED: Perpetual Heartbreak Out Now

You know that totally private rush when you’re like, “Fuck it, I don’t care what anyone else thinks. This is what I want”? 😂 My debut full-length Perpetual Heartbreak is one of the most personal, vulnerable, and experimental recordings I’ve made. It’s a balance of my obsession with tightly edited pop music and my love for things that are subtly unsettling.

Perpetual Heartbreak is officially out now as a Youtube video series, streaming, or download:

Perpetual Heartbreak Credits

Written, arranged, performed, and produced by BAO except as noted below. Mastered by Thomas Dimuzio. Artwork by BAO.

Beautiful Things
Kyle Dombroski – Drums and Percussion
Timm Shingler – Bass Guitar
Evaldo Garcia – Keyboards
Jesse McInturff – Guitars

No Filter
Engineered and co-produced by Davy Pelletier
Davy Pelletier – Synthesizers

Perpetual Heartbreak
Sunrise Transparence – Horns

Union Station
Additional production by Taylor Shechet
Jake Lightning – Guitar Solo

Burn It Down
Written and produced by BAO, Taylor Shechet, and Sunrise Transparence
Sunrise Transparence – Horns

Deep Beneath the Sea
Written and arranged by BAO and Evaldo Garcia
Evaldo Garcia – Piano and Keyboards

Perpetual Thanks To

BAO’s beautiful boy band (Timm Shingler, Chef Evaldo Garcia, Jesse McInturff, Kyle Dombroski, and Rogie Lucero).
The Ming & Ping Dynasty (Ming, Ping, Jamie Locks, Donna Pungprechawat, Helen B. Thompson, Ryan Vasquez).
Taylor Shechet for helping with production, sound design, and strategy.
Elissa R. Sloan for helping with art direction.
Dan, Jenny, and Shayna at Modern Works Music Publishing.
Andrea Vancura, Justin Tsugranes, Khoa Vu, Simon Tam, and Alex Steininger.
My mom, my family, friends, and supporters.
Everyone I’ve seen naked.

New Release: A Little Bottle of Tears (Original Soundtrack)

Several years ago, I scored a soundtrack for Jess Iglehart’s short animated film “A Little Bottle of Tears.” I decided to release it as a soundtrack album so that the music can live on its own. So here we are.

A Little Bottle of Tears | CalArts Showcase 2012 from Jess Idlehart on Vimeo.

The soundtrack is broken up into three parts and, to mirror the aesthetic of the film, it combines old sampled sounds with new digital sounds. Watch it for yourself on Vimeo and check out Jess Iglehart’s latest work on Instagram. 🙂

If you’d like to support my work, here are a few other ways:

Thank you!

New Release: Christmas in LA

The holidays can be challenging for a lot of people, especially those who are away from where they grew up or those without family close by. Christmas in LA attempts to reflect that vibe while reminding the listener to embrace the friends and acquaintances around them because we all need each other.

I wrote this song together with Timm Shingler, who is the bassist in the BAO live band. We were hanging out in his garage with an electric guitar and after some banter, we decided that a Christmas song might be interesting to try. I have a long list of song ideas on my iPhone and we pulled one of the phrases, “this must be the place.” Timm wrote most of the chord progression while I put some lyrics together. We tried the song a few times, tweaked a few chords and words, then recorded a quick demo with only guitar and voice.

The lyrics focus on the experience of people who are away from home during the holidays. It starts in a sad way, reflecting on being homesick and lonely, but it ends in a more uplifting way with the recognition that friends are family. It’s a theme that I return to a lot in my songs that can be summed up with a Ming & Ping lyric, “It’s not what happens and not what you do. It’s only the eyes you choose to look through.”

Months later, I picked up that demo and decided to produce a more refined version featuring a minimal drum machine pattern and a synthesizer. The song’s production focuses on the voice, starting low and slow then bursting into a more melodic chorus.

The cover photo was shot by Timm and it features a public art piece by WRDSMTH. I actually wasn’t familiar with his work when we decided to put it on the cover art, so I felt pretty bad when he called me out on it on Instagram. Since then I’ve been checking out the rest of his work online and recognizing it around the city. Hope I can make it up by sharing his link here.

I’ll be taking a short break in 2020 to travel, plan, and create lots of new music and content, so please stay tuned to my social media. If you’d like to support my work, here are a few other ways:

Thank you!

“Quan 13” Vietnamese Food Documentary

What does it mean to be Vietnamese? Former CNN Producer and first-time filmmaker Hieu Gray seeks to answer that question through the lens of food in her debut documentary “Quận 13”. The short film features original music composed by BAO to compliment tantalizing cinematography by David Woo.

Join us Friday, November 1st at Nguoi Viet in Little Saigon, California for a screening of the documentary “Quận 13”. Stay for a discussion with director Hieu Gray (Anthony Bourdain’s Parts Unknown, Larry King Live), composer BAO, and more, to be moderated by LA Times writer Anh Do.

Friday November 1, 2019 6:30 PM – 9:00 PM PDT

Nguoi Viet Online
14771 Moran Street
Westminster, CA 92683

RSVP to The Premiere
Learn More About Quan 13

New Release: Disappearing

I’m usually the person reminding my creative friends that “Not everything needs to be a masterpiece,” but sometimes I forget that myself. Sometimes a song just wants to stay modest and doesn’t need to be your own Bohemian Rhapsody. That’s the story of this latest single called Disappearing.

I had Disappearing finished for a while, but since it was so short (1:20 min) I never considered it done. However, every time I listened to it, I didn’t feel like it needed anything else. My final adjustment to the song was to add a meaningful field recording at the end during the mastering phase. This brought the song to an epic 1 minute and 35 seconds! But maybe a song called “Disappearing” doesn’t need to drag on and on…

The song was written fairly quickly earlier this year while I was in a reclusive aka “hermit” period. I spend hours sometimes going through the thousands of different keyboard sounds in my music production software, adding the sounds I like to various “favorites” lists. During this time-consuming process, I get to freely improvise on the keyboard and make up random micro-songs based on how the various sounds make me feel. That’s when I found the main “pad” sound that makes up the majority of Disappearing. It’s a setting on a software version of the Yamaha DX7 synth, from the late 1980s.

While I played the chord pattern, the lyrics came out pretty naturally without much belaboring. I like that the flow is a little bit reminiscent of the sing-rap style of Drake or Khalid–it’s a bit different for me. BTW, I cut a sped up 1-minute version that I used for an Instagram post.

The song’s subject matter is halfway between self-deprecating and actually concerned. LOL. I sometimes get into periods where I have conflicting feelings of being too isolated, but also feel antisocial at the same time. So I was hibernating and reflecting on topics including legacy, mortality, and what people choose to do with their limited existence. It culminated into the concept of “disappearing” if you’re not present in anyone else’s life.

The final addition to Disappearing was a meaningful sample that I got from my friend Mike Harrison, who passed away last year. He made a bunch of field recordings during a trip to Japan in 2016, most of which were of busy streets, arcades, and mass transit. But there was one of crows in a field. If there are any old-school Ming & Ping fans reading, you might know that I’ve often used a crow as a stand-in for myself in Ming & Ping’s music and even some photos, like this one by Julie Klima. It’s also in the lyrics of Ming & Ping’s most popular song, Beautiful Things:

“All the people scream for their dead dreams
And tell you not to try ‘cause you won’t fly
And you just watch the show like a black crow
You just watch the show like a black crow.”

– Ming & Ping, “Beautiful Things”



The crow is basically a symbol of actual BAO creeping in the background while my eccentric art takes the spotlight. The crows also reminded me of my late friend Mike, whose legacy will always be a strong and beautiful one with the people who knew him. I just wanted to pay tribute to something we had in common: being innately antisocial while making weird eccentric art.

Thanks for reading. If you’d like to support my work, here are a few other ways:

Thank you!

*UPDATED* Musashi (Original Game Soundtrack)

UPDATE: A mobile game that I created the musical score for is now available in the US. People have been playing “Musashi World Warriors” in Asia for a while. If you feel like winning actual cryptocurrency while playing “Rock–paper–scissors” using ancient warriors, you should get this game on your smartphone and put on some headphones to enjoy the music and sound effects by yours truly.

Download on Apple’s App Store
Download on Google Play

Late last year, some friends invited me to compose the music for a game called Musashi, which is scheduled to be released in early 2018. It was the first time I had ever created original music for a game, so the experience really made me want to do more projects like this. This soundtrack album consists of full length versions of the musical clips used in the game. Enjoy streaming the music on this page or on any major digital streaming platforms and learn more about the game and my creative process below.

About Musashi the Game

Musashi is a simple role playing game for mobile devices. Your character travels through ancient lands to battle opponents and win virtual gold. Players trade in that gold for armor and other powers for their characters. The thing that makes Musashi stand apart from other RPGs is that the fighting is ultra-simplified and is based on rock–paper–scissors. You can just play it casually while waiting for your coffee to get made. I really enjoy the game’s retro artwork, reminiscent of the Street Fighter II character art from the 1990s. And hopefully, players will also like the game’s music.

General Approach to the Music

Overall, the Musashi soundtrack is mainly electronic music with many sampled and digitally distorted acoustic instruments. I used classic synthesizer sounds and effects as the basis of the music, while adding traditional world instruments to create certain vibes that match the scenes in the game. But even the real instruments were heavily altered using digital effects because I wanted everything to have a decayed, unnatural feeling. For example, most of the orchestra strings were played on a software version of a Mellotron so that there’s something unnatural about them, but you can’t quite place what it is. While the game required short, monophonic loops (one speaker only), the full versions on this album were mixed in stereo with a few additional effects that help create the illusion of large antique spaces.

Vietnamese-inspired Musashi Theme

Musashi’s music all started with the main melody that you hear in the Musashi Theme, played by a sampled and digitally distorted Erhu, an old Chinese two-stringed instrument similar to a fiddle. I came up with this melody while in the shower after having played around with the game for a couple days. I wanted a melody that felt like a conflict between seeking adventure and longing for home. Once I had this melody recorded onto my iPhone’s voice notes, the backing music came out pretty naturally. The last part I did on this song was to add an electric guitar with lots of delay and reverb. There was a Vietnamese guitarist that was hugely popular in the 80s and 90s named Vô Thường, whose style inspired my guitar part. You’ve probably heard his music playing in the background at the Pho restaurant. LOL. Here’s four hours of his insane music.

Musical Themes for Each Ancient Civilization

We decided early in the process that we should have a few musical themes that correspond to the various ancient lands that your Musashi character travels through in the game. My approach was to use the main melody from Musashi Theme and use variations of that throughout all the other themes, even though the rest of the music could be significantly different.

The Arabic and Siberian themes are probably my favorites. For the Arabic theme, I found a loop of some tablas that had a cool rhythmic pattern and tuned them to my liking. I then added some synthesized and sampled vocals and detuned them, causing a melted feeling. The rhythm of the vocals on some parts sounds a little like chanting, but it’s actually accomplished by taking a long and steady “ahhhh” sound and using something called sidechain compression to make the voices pulsate to the rhythm of the tablas. For the Siberian theme, I listened to a bunch of traditional music from Siberia and Mongolia, which helped me pick some instruments that had a similar vibe: a primitive flute, a clanky guitar, and some deep voices that sound almost like throat singing. Put all that on top of a pulsing electronic beat and you have Musashi’s Siberian Theme.

How to Support BAO’s Music

How did you like the music? Let me know in the comments. When Musashi becomes available to the public, you’ll be able to download the game on the Apple and Google stores. You can also support me in a few different ways:

Text me maybe: (629) 888-1938
❤️ BAO

New Release: This Whole Love Thing

Whoo! Here’s another silly love song! Like a lot of my other work, This Whole Love Thing has a bunch of musical and cultural references snuck into it. That kind of stuff is fun for me. Sometimes it’s more obvious than others, but on this one, it’s very obvious. Keep reading to learn about some of the fun references that are included in my latest release.

This song had been around as a demo for over 4 years before I finished and released it. The hook “This Whole Love Thing” was inspired by a conversation with one of my friends who said the phrase while describing how he didn’t expect to have such strong feelings for a woman he was dating. Of course, I wrote it down in my phone as a song idea and eventually developed it.

The opening drum machine pattern is a reference to a 1990 Roxette single called It Must Have Been Love, which was in the movie Pretty Woman, starring Julia Roberts and Richard Gere. I started out wanting to write a power ballad, and that Roxette track is one of my favorites. My song didn’t turn out to have that much “power” but it’s still got some ballady vibes. The drum machine samples I used are from the Akai MPC60, which came out in 1988.

The other instruments that make up the song are pretty classic: a Rhodes electric piano, bass guitar layered with a Moog bass synthesizer, a few electric guitars, and for the country music vibe I put in Hammond Organ.

In the lyrics, I also snuck in a reference from Pee Wee’s Big Adventure, the film from 1985 starring one of my biggest influences in entertainment, Pee Wee Herman. The reference is in the first verse. Can you find it? (Leave me a comment on this blog entry)

The vocal treatment for the verses was inspired by John Lennon’s song Watching the Wheels. After I had finished recording the vocals, I was at a lost as to how to affect the dry vocal recordings, so I asked a couple of friends. Patrick Kornegay, a movie producer and music nerd, responded by suggesting I try something like Watching the Wheels. I was dubious at first, but after I figured out which effects to put on the voice, it was exactly what the song needed.

I love the cover photo for This Whole Love Thing, taken by my friend and BAO bassist Timm Shingler, because it makes me look like Steve Carell from the movie The 40-Year-Old Virgin. LOL! I look like I’m staring off into space daydreaming about my crush or something. It’s just so innocent and dorky and funny. The photo was taken on 120 film, using a Voigtländer Perkeo I camera from the 1950s. I also took a similar image of Timm too, check it out.

Real question, tho: Are you interested in Youtube videos where I dissect each song and talk about the technical construction and inspiration for each song? Lemme know, yo! If you’d like to support my work, here are a few other ways:

Thank you!

New Release: Diggin’ Your Love

February 19 is my birthday! I am celebrating life, art, compassion, and learning. As a gift to you, you can download “Diggin’ Your Love” for free right here on this page. As a birthday gift to me, could you donate to a cause that’s super close to my heart – The Slants Foundation?

The Slants Foundation is a nonprofit that helps Asian-Americans who strive to incorporate activism into their art. I’ve served as a Board Member since its founding last summer and we’re just about ready to launch to the public. Go to theslants.org and hit the donate button – no contribution is too small. If you’re not able to donate right now, that’s okay. Enjoy the song, and you can still donate in my name until the end of February. Check out the new tunes and keep reading if you’re interested in a 2,000-word essay on what’s meaningful to me on this birthday.

First, a little about the new song. Diggin’ Your Love is an upbeat, irreverent reflection on modern dating and “catching feels.” The song draws stylistic influence from 80’s Minneapolis funk, pop, and rock and channels artists like Michael Jackson, Prince, and The Time. Oh, and some modern influences like Pharrell Williams and Bruno Mars too. Killer guitar solo and rockin’ guitar parts by the super cool and talented Jesse McInturff. Thanks a lot to Taylor Shechet and Davy Drones for arrangement and mixing help.

So, I’ve been reflecting a bit lately on the extraordinary life I’ve enjoyed and the invaluable people who’ve made it happen. The last couple of years for me have been about understanding what I have to contribute to the world and then giving it – through my art, my presence, and through passing on my knowledge. There’s a quote that’s been floating around the internet, being attributed to Pablo Picasso, William Shakespeare, and a million other people. I don’t know whose quote it is, but I’m feelin’ it:

“The meaning of life is to find your gift. The purpose of life is to give it away.”

In 2017, I had an idea for a nonprofit called Other.Us that would exist to help Asian-American songwriters with the resources, knowledge, and network needed to get their unique stories out to more people. I had a lot going on at the time and really struggled to get it off the ground.

A few months later, I got an email from the highly accomplished artist and activist Simon Tam describing a nonprofit that he wanted to start. Its purpose would be to provide resources, scholarships, and mentorship to Asian Americans looking to incorporate activism into their art. He wanted to know if I’d be interested in serving on the foundation’s board. Um, yeah!

Anyway, I’ve been releasing music since 2004, starting with Ming & Ping. Whether you knew it or not, those songs were written from an Asian-American perspective with strong references to the Asian-American immigrant experience. There’s no way to not hear that in my new music and the awesome stuff I have in the pipeline. If you like my work and want to help empower the next generation of Mings and Pings and BAOs, please head over to The Slants Foundation’s website and pitch in a few bucks.

There’s nothing more exhilarating to me than knowing that the stupid song ideas I hum into my phone could one day become meaningful songs in someone else’s life. Seriously, not many get this opportunity and I’m not going to waste it. Let’s do this!

If you’d like to support my work, here are a few other ways:

Thank you!

New Release: Far Away

Happy Lunar New Year. Let’s celebrate with my first song of 2019 called Far Away. It’s a tribute to the immigrant and refugee parents out there.

Far Away is a song for immigrants and refugees, especially those who are what I would consider 1.5 generation: immigrants who came to another country as young children and don’t have much or any memory of their birth countries. Those who struggle to belong in both the home they left and the home they’ve been brought to.

While the lyrics speak to the many images of my parents’ history in Vietnam, Far Away is about knowing your “homeland” only through the stories and photographs that your parents share. For some of us, that’s not a lot and they’re always tinted with personal trauma and biases.

The music and vocal melody for Far Away had been around for three years, but the song was so special that I couldn’t find a topic or lyrics that did the song justice. Then in late 2018, I had a conversation with my friend Hieu Gray, who is working on a beautiful documentary about Vietnamese food spreading to other parts of the world through displaced people.

We spoke deeply about how, as immigrant babies, our knowledge of Vietnam is mostly constructed from stories and photos. We thirst to learn more about our culture, but will always feel like tourists in our birthplaces. When I wrote the lyrics based off of our conversation, it was a super emotional experience filled with gratitude and respect for everyone who made the journey to find a better life. It’s especially relevant in today’s political climate in the United States.

I hope you enjoy the song. Leave me a comment.

If you’d like to support my work, here are a few other ways:

Thank you!

New Release: No Filter

Hey it’s Bao. I’m super happy to share with you my latest single No Filter. I’m currently in the Sacred Valley of Peru expanding my brain and recharging my life energy, so I’ll have to write more about it later. I hope you like my new song and would appreciate if you share it.

Written, performed, produced by BAO. Additional production and engineering by Davy Drones. Photography by Black Fade Media. Special thanks to Taylor Shechet for help with the mix.

If you’d like to support my work, here are a few other ways:

Thank you!

Spotify Playlist: BAO’s Inspiration

Let’s play a game! I’ve put together a Spotify playlist of tons of songs that have inspired me and my music. It’s really a nonsensical assortment of music that ranges from 60’s French pop star Christophe to Nine Inch Nails to Bieber. Post a comment to ask me about any of the songs. I’ll respond with why it’s significant and maybe some history too. Anyway, I really love all these songs and I’ll continue adding to it as I find new inspiring music.
Play on Spotify

New Release: She Looks Like You

Happy Lunar New Year and Happy Valentine’s Day to everyone. Today is Presidents’ Day and it’s also my birthday, so here’s a treat from me to you: a new single for the month called She Looks Like You. It’s basically about TFW your lover has a doppelgänger the doppelgänger turns out to be a vampire. Read along to learn more about the song, its origins, and why I had to have a flugelhorn in the song.

She Looks Like You is a pretty old song. It was probably started in mid-2014 as a GarageBand idea on my iPhone. The main synth that starts off the song was the first part I wrote, then I added the low key house(ish) beat and a few other basic instruments. Then I laid down some scratch vocals with no actual lyrics, except for the main line in the chorus.

I had had the concept for the lyrics stored in my phone for a long time, “She looks like you, but she’s not you because you’d never do this sort of thing.” The rest of the lyrics came about pretty quickly. They deal with vulnerability and betrayal – telling a story of a lover’s doppelgänger who gradually sucks the life out of you. I guess it’s a roundabout way of describing the slow and painful denial that people have when they realize someone they love doesn’t give the same love back.

For about a year, the song had a fake horn section in between verses, and I knew that I wanted to replace that with real flugelhorn eventually. Flugelhorn is kind of like a trumpet, but it’s bigger with a lower, more mellow, and more dorky sound. I had been listening to old songs by Burt Bacharach and I just loved that relaxed vibe that the flugelhorn gives off – and nobody uses it anymore! So I found a musician in Belgium called Groundfish and sent him some files showing him the basic horns I wanted in the song. I was keen to point out that the horns kind of bend downward at the end of the long notes, in a sad way, and Groundfish nailed it. He also played horns on Let’s Make Jam from the BAO EP.

The song remained in an unfinished state for about three years until the end of 2017 and beginning of 2018 when I touched up the mix, added some drum fills and accent sounds, and re-recorded some of the vocals. It was time to let this one go out into the world.

If you like my song She Looks Like You, here are some other artists that I love who have a similar vibe: Poolside, Rhye, and Classixx. You can also support me in a few other ways:

Thank you!

New Release: Heavensent

With Heavensent, I wanted to ask more questions than answer. The biggest question I wanted to leave open was who the “I” and the “you” are in the lyrics. Heavensent contains ideas about acceptance, forgiveness, patience, and being okay as a work in progress. I guess the point is that nobody is too old, too experienced, too successful, or too confident to continue to become better. I hope you like my new song Heavensent.

I started writing Heavensent in a pretty traditional way – with a traditional structure: verses, chorus, bridge, etc. But the song wanted to be short and simple and unadorned. There are only five instruments in the entire production of the song. The song structure is a little bit untraditional in that there’s only one verse and one chorus (There’s even less on the stripped version). Near the end, you’ll hear some semi-chaotic guitar parts that mimic wind chimes – just random strikes of various notes. I borrowed this technique from a band I really loved in the early 2000s called Dilute, led by a brilliant artist named Marty Anderson. You can listen to one of their incredible albums here on Youtube.

The Ming & Ping remix of Heavensent is one of my favorite Ming & Ping remixes. Definitely up there with their remix of Thought Balloon by Freezepop. It’s weird that it seems faster than the original, but it’s in fact the same tempo. You can hear more Ming & Ping music on this “Everything BAO” playlist on Spotify (Pro Tip: follow the playlist to get updated as we add more songs to it).

If you enjoy the music, you can support me in a few different ways:

Thank you!
❤️ BAO

Radio interview with CJLO’s Beats from the East

I recorded this radio interview back in September with DJ Mister Vee from “Beats from the East.” The show focuses on musical artists of Asian descent and lots of Asian-American music. The episode aired on Montreal-based Concordia University’s CJLO Radio 1690 AM and we’ve got a transcript and audio for you below. In the 20-minute interview, we talk about my previous work with Ming & Ping, my inspiration, musical influences, and goals for the future. We also talk about a few songs from my debut record, the BAO EP.

Listen to the Interview

Listen to the audio on this page or download an MP3 of the interview here. We’ve also got a transcript of the entire interview to read below. If you’re interested hearing more episodes, visit the Beats from the East Archives. Leave a comment to let us know what you think!

Interview Transcript

* The transcript has been slightly edited for clarity.

DJ Mister Vee: As I mentioned at the top of the show, we have a special guest in the house tonight repping LA. It is my man, my namesake, Mr. Bao Vo. How are you doing out there, Bao?

Bao Vo: Fantastic, Mike. Thank you for having me on.

DJ Mister Vee: Yeah, my brother from another mother even though we have the same last name, right?

Bao Vo: Yeah. I was thinking we could start a boy band.

DJ Mister Vee: I think so. You know what?

Bao Vo: “The Brothers Vo.”

DJ Mister Vee: Yeah, Vo.

Bao Vo: I like that.

DJ Mister Vee: Yeah. If Hanson can do it, why not us, right?

Bao Vo: No, it’s true! In English, it could be the “Vo Bros.”

DJ Mister Vee: Yeah, the Vo Bros. I’m down, man. I’m down. You’re going to do most of the work though because I don’t sing, right?

Bao Vo: Cool.

DJ Mister Vee: I will be the DJ.

Bao Vo: As long as you know how to gyrate and pelvic thrust.

DJ Mister Vee: Yes, sir.

Bao Vo: You’re the hype man.

DJ Mister Vee: There you go, the hype man. Yeah. I dig that. Awesome, man. So once again, thanks for joining us. I’ve been wanting you here for a while. But we’re going to get into why there has been a delay on that. But to begin with, I want people to know a bit more about you because there’s not – unfortunately, there’s not too much written about you on the internet yet. But we’re going to spill some of that tonight.

So I did find a bit of you on the internet and here’s what I found, that you were born in Da Lat, Vietnam in 1985, and you moved to the United States when you were only five and that was the same year that We Are the World was released and therefore – yeah. As you were growing up, the kind of music that you like – that you make, whether it’s the New Wave, the Minneapolis funk pop sound, by the time you were growing up, that music was a lot less mainstream.

So my question to you is, “What attracted you to it so much and how did you get so heavily involved in it?”

Bao Vo: Awesome. Great question, Mike. I’m actually a little older than 1985. In ’85 was when we immigrated to the US.

DJ Mister Vee: Oh, man. I read that wrong. OK.

Bao Vo: So my family actually… Single mom, five kids. She brought us over here. She really, really worked hard to get everything stable, not knowing the language or how society worked here and I’m very grateful for her. Thanks Mom, if you’re listening!

DJ Mister Vee: Thanks Mom!

Bao Vo: So yeah, I grew up listening to R&B and some rock stuff and my older siblings – I’m the youngest of five – my older siblings were really into ‘90s R&B and ‘80s rap music.

DJ Mister Vee: Nice.

Bao Vo: So a lot of that kind of infiltrated my music taste. But I’ve always, always, always been a huge Prince fan.

DJ Mister Vee: Yes!

Bao Vo: You can be a Prince fan from as early as you want to be, so I’ve always been a huge Prince fan. And I really – even [in] a lot of the work that I did with Ming & Ping, you can hear a lot of the syncopation and some of the melodies are heavily inflected with some of the things that Prince explored, and being extremely diverse and not really locked into a certain style or genre.

But as I got a little older, some of that funk and some of the R&B and the black music influence really became a lot more evident in my music. I think that’s what you’re seeing now.

DJ Mister Vee: That’s a good point because yes, I did notice and I mentioned this at the top of the show that – actually before you got on. Yes, it’s – what we’re going to talk about is yeah, definitely different from what you’ve done in the past with Ming & Ping. But yeah, we’re going to talk about that in just a little bit. But just a little bit more about you, if you don’t mind. Now, you mentioned – you said the magic word “Prince” and now I know that – it’s very amazing and clear to see that the legacy of the purple one is still alive and well especially in your music and I know you’re a huge fan. So I have to ask you, how did you take it when you heard that we lost Prince?

Bao Vo: Pretty poorly. I think that there has only been a couple of people where I’ve been extremely really affected, other than family, when they passed away. First was Michael Jackson, obviously being an extreme influence on my music and performance and creativity.

Secondly when Steve Jobs passed away, I was really affected just because of his groundbreaking inventions and design thinking. It was really inspiring to me coming from an altogether creative background, not just music. And Prince was devastating. Prince is my absolute number one musical influence, not just musically but like on stage. The guy was just a genius in every sense.

And so it really inspired me to stop messing around and get out there, get my work out there because some of these songs you’re hearing like have been around for like four years or something. They’re pretty old.

And especially the first single on this EP called Fish Sauce. I had been sitting on it for about four years at least. I’m going to open up a little bit: I was actually a little bit insecure about putting it out. Not only is it a little bit irreverent. But there’s a little Vietnamese rap part in there where it’s kind of like a parody of how I thought the Vietnamese community would react to me, kind of reclaiming this idea of this funky, nasty fish sauce as kind of like my blood. You know, this is my blood. It stinks. But you know what? That’s what we are. We love it.

DJ Mister Vee: It’s great.

Bao Vo: I did feel pretty… I was a little scared to put it out to be honest.

DJ Mister Vee: You know what? I’m glad that you did. We played that last weekend. I thoroughly enjoyed it and it’s definitely a fun track. Now, Los Angeles where you’re from, great music scene when it comes to producing the legends over the years. A lot of legendary and groundbreaking artists come from there and one of the biggest exports of LA is of course gangster rap and this genre I would say was one of the prevalent ones that – during your upbringing. So were you a fan of that?

Bao Vo: You know, to be honest, I wasn’t at the time. So I was in like middle school when all of that was like the hottest stuff. And I liked it sort of. But I wasn’t REALLY into it. And at a similar time period, it was like Ace of Base and Boyz II Men was really massive.

DJ Mister Vee: Oh, yeah. Absolutely.

Bao Vo: And I was actually a little bit more into Boyz II Men. But during that era, I had just discovered like alternative rock and grunge and guitar music. So I was actually really into that at the time that gangster rap and Dr. Dre and all of those guys were, you know, at the top of their game.

DJ Mister Vee: At the top of their game, yeah. All right. Fair enough. I just have to give the play a little ID drop from the station. But you know what? I might as well get yours right now. Let me just lower the volume down and I was wondering if you can give us a radio drop. Just introduce yourself and you’re listening to the Beats from the East on CJLO.

Bao Vo: You got it.

DJ Mister Vee: All right, go ahead. When you’re ready.

Bao Vo: Hey, it’s BAO and you’re listening to Beats from the East from CJLO.

DJ Mister Vee: Thank you so much for that guys. All right. So let me just play you one.

[Audio clip plays]

Tia Carrere [via audio recording]: Aloha! This is Tia Carrere and you’re listening to Beats from the East on CJLO Radio with DJ Mister Vee.

DJ Mister Vee: Yes, sir. All right. So, do you know who that was by the way?

Bao Vo: Tia Carrere!

DJ Mister Vee: Yes, sir. She was here last summer at the Comic Con. OK.

Bao Vo: That’s rad!

DJ Mister Vee: Yeah, that’s pretty rad. Yeah. OK. So now, just one more question about yourself prior to the EP. So a few years back, you might remember very well I interviewed actually two of your protégés, Ming & Ping. But recently you’ve revealed that you were indeed the man behind it all. Not just producing but also performing. So the brothers have a huge following. So do you think that the people who are following them are now disappointed?

Bao Vo: Wow. You know, you just blew my cover. I hadn’t announced it.

DJ Mister Vee: Oh, shoot!

Bao Vo: No, I’m just kidding. You know, that story will be coming out in the next few weeks and months. I’m very, very excited to kind of detail that process and tell everybody why and how all of that came together – the act of why I invented Ming & Ping, sort of as a reaction to all of the Britney Spears kind of manufactured celebrity and also kind of a parody of a lot of the Asian stereotypes that were floating around in the media.

So I think that fans, regardless of how they feel about it now, will really appreciate the reasoning and the process behind my creation of Ming & Ping and my carrying that project out for a decade or more.

DJ Mister Vee: All right. Thank you so much for giving us the exclusive.

Bao Vo: You got it.

DJ Mister Vee: But just out of curiosity, because they were pretty fun guys. So did the brothers also have a music talent as well or was this really a Milli Vanilli thing?

Bao Vo: You know what? I created Ming & Ping and I wrote those characters to really fit into some of these hyper Asian stereotypes. So whatever musical talent that they had was what I had and what I had tried to develop in order to make that act “real.”

DJ Mister Vee: They were fun like I said, but yeah, the music was pretty awesome and I still play it to this day and I will. I will continue. It’s amazing music. We’re going to talk about your new project now, the self-titled debut EP. Five tracks deep. And you know what? I’m going to have to ask you. Why did we have to wait so long for this to happen? I know you’ve covered a bit of it. But I’m going to have to – I want to play this like from the beginning.

Bao Vo: Thank you. That’s a great question. At the tail-end of the last few records that Ming & Ping put out, I was already creating a lot of this new BAO music. And I think at the time, I was going through a career change. I had been working at some various marketing, digital marketing agencies and doing marketing and design and creative stuff. I actually dropped out of that career and started my own business called JuicyKits, which I sold earlier this year. And when you start a business, you’re really all in. You’ve got to be. So that was the sacrifice that I made and it really took a toll on my ability to not only create in full quality, but also to publish and release music.

And I think there was a lot of other life changes going on at the time and I felt like “This is the first time I was putting stuff out under my personal name BAO” and I really wanted to deliver something that was 110% me and 110% the quality that I expect from my debut under my own name.

DJ Mister Vee: Cool. And of course the unfortunate passing of Prince, right?

Bao Vo: Yeah. You know, that was a big impetus. That made me feel like “Holy smokes! Tomorrow is not guaranteed, my friend.”

DJ Mister Vee: Yeah. I hear you, I hear you. When you’re on stage, do you also wear flashy costumes and mascara like your predecessors did?

Bao Vo: Ming & Ping, quite the showmen, weren’t they?

DJ Mister Vee: Right.

Bao Vo: So we did our first show last week: BAO and my backing band. Very awesome dudes. We need some females in the band, by the way, if anyone is listening.

DJ Mister Vee: I hope they are.

Bao Vo: And we just – at that time, it was appropriate just to wear some black suits, some formal attire. The aesthetic, I was really influenced by some older Southeast Asian pop and rock music from like the ‘60s, ‘70s. So we kind of just copied that style. You can see that in the packaging as well, the album art.

DJ Mister Vee: Yeah, that’s right.

Bao Vo: So I used solid colors, black and white image and I really dug deep into those old record covers of Malaysia, Cambodian, Vietnamese, Thai music.

DJ Mister Vee: Yeah. It looks familiar, yes, yes.

Bao Vo: Yeah. [On] my YouTube channel and my website, I will be outlining a lot of this design process as well. So you will see sort of the mood board of the inspiration for not only the music, but the aesthetic as well.

DJ Mister Vee: Nice. As we mentioned earlier, musically, you set out to do something that you haven’t done before. The sound is a little different than what it actually looks like, a lot different from what you’ve released previously with Ming & Ping. But it’s amazing. I like it very much. It’s pop. It’s rock. It’s funk.

Now do you ever fear that your sound might sound too “dated” and might not appeal to the new generation of music fans who are more in touch with K-Pop, Justin Bieber and Rihanna?

Bao Vo: You know, that was heavy on my mind. Absolutely it was. I really did think about that a lot and in the end, I came to the conclusion that I’m going to make music that I want to hear, number one. Then number two, I want to make music that’s honest, from my past, my experiences. I think by doing that, the product will be unique to me and I think fans and listeners will appreciate that more than me trying to fit my songs into a certain aesthetic that’s popular at the moment.

So even though it’s referencing a lot of older stuff, I feel like it’s drawing from quite a few things in my past that I really adored.

DJ Mister Vee: Amazing. I’m glad you’re doing it. Have the younger fans been receiving this warmly?

Bao Vo: Yeah, yeah, surprisingly.

DJ Mister Vee: Yeah, that’s amazing.

Bao Vo: Surprisingly, people kind of enjoy the vibe. It’s different and one modern comparison I can think of right now is some of the Minneapolis influence that – some of the new Bruno Mars tracks have been referencing. So I feel like I’m not that far off as far as whatever is mainstream right now.

DJ Mister Vee: Good point.

Bao Vo: But I am definitely exploring kind of everything and making something new out of it. So whatever comes out is what it is.

DJ Mister Vee: It is what it is and it’s great. So now, I’m going to name a few people and if you just give me the first word that comes to mind that best describes them in your opinion, that would be great. OK. So you ready?

Bao Vo: Yeah.

DJ Mister Vee: All right. Let’s start with MC Jin the rapper.

Bao Vo: Oh, I’m not a very big rap and hip-hop person at the moment. I don’t know… “Icon!”

DJ Mister Vee: Yeah, he is. OK. You know these guys The Juan Maclean.

Bao Vo: Yeah, “New York.”

DJ Mister Vee: Yeah. Little Dragon.

Bao Vo: Yeah, the Swedish band. I actually love them. I think “Delicate” is the way I would describe her voice.

DJ Mister Vee: Yes. George Michael.

Bao Vo: Wow, “Deep.”

DJ Mister Vee: Yes. Rest in peace.

Bao Vo: I mean some of George Michael’s songs were written when he was like 17 or something. That is deep!

DJ Mister Vee: Yeah, good word actually. Rick Astley.

Bao Vo: “Meme.”

DJ Mister Vee: Meme, yeah. And one very last one, Madonna.

Bao Vo: Oh, Madonna, “Idol.”

DJ Mister Vee: Yeah. If there could only be one for you, what’s the definitive…

Bao Vo: Oh, you set this trap up real good!

DJ Mister Vee: Yes, I did.

Bao Vo: That’s great, man. The one word for me, I would say – gosh, if there was one word for like “bustin’ out.” That’s two words but it’s just like bursting at the seams. I just want to be honest and I want to express myself and my people and my experiences. If that is just overflowing out of me, that’s what I want people to see out of my work.

DJ Mister Vee: All right. And last question is that you’re no stranger to alter egos. But if there was one superhero from either Marvel, DC or any other company that you could be, who would that be?

Bao Vo: I think it’s kind of a trite answer, Mike, but I would say Batman. You know, you put on the mask and you can be whatever you want.

DJ Mister Vee: And you have all these cool vehicles, right?

Bao Vo: Yeah. Well, he just happens to have a lot of money and a lot of toys. But just the idea that – to relate it back to Ming & Ping – that you can literally be what you want to be and if you need to put on a mask to do that, like Deadmau5 style, just do it! As long as you get to express yourself and as long as that makes you feel comfortable, go out and do it.

DJ Mister Vee: Wow. Well-answered. I like that one very much. So thank you so much for being here. You know what? Just to prove that we have the real guy on the line with us and this isn’t just another Ming & Ping type setup, I was wondering if you could bless us with like one of your – like a little bit of – one of your new songs.

Bao Vo: Let’s see. So there’s a song on the EP. I think it’s number three. It’s called 4th on the Floor and I think vocally that’s probably my most – on that album at least, vocally the most vocally challenging, vocally diverse song.

DJ Mister Vee: Yeah.

Bao Vo: But it’s kind of sexual, Mike.

DJ Mister Vee: Oh, let’s do it!

Bao Vo: It’s kind of sexy. It starts with a little falsetto. [Sings 4th on the Floor] How about that?

DJ Mister Vee: Wow. You know what? I would have bought the track just like that without the instrumentation or the background music. That was awesome, man. Oh, wow. And, you know, we’re going to play that song right now on the way out. So I was wondering if you can set us up. How did you come up with this?

Bao Vo: Oh. It’s a little bit embarrassing. It’s actually – like most of my songs, they are kind of semi-autobiographical. So [it’s] actually influenced by a lot of past relationships and actually one particular intimate experience on the 4th of July… on the floor. So just spilling the beans there.

DJ Mister Vee: Just spilling the beans. Well, man, thank you so much for being on the show. You’ve been a great guest. We hope to have you back and you’re working on – are you still working on – even though this just dropped now, you’re still working on new music as well while waiting?

Bao Vo: Yeah, absolutely brother. These five songs, like I said, some of them are pretty old and I probably have enough for three full length albums. But I will be trickling them out as singles because that seems to be the way I want to consume music these days. Not in huge drops, but kind of like a steady trickle.

DJ Mister Vee: Sounds good to me. And yes, once again, we hope to have you back in the near future and this – everybody, 4th on the Floor from the debut self-titled EP. Bao Vo, and this is 4th on the Floor, track number three. Thanks a lot, brother.

Bao Vo: Thank you, Mike. I appreciate it.

DJ Mister Vee: Yes, sir.

Bao Vo: Have a great night and thanks for having me on. I appreciate it.

DJ Mister Vee: Thank you. Here we go, y’all.


New Release: Do the Move!

Hey! Turn off the news and check out my new song Do The Move! You can watch the lyric video on YouTube and buy the song here, if you want to support. Otherwise, listen to all three songs from the single on this page, including a sweet synthwave remix by a new artist called Outer Night. It’ll be a few days before they start appearing on iTunes, Spotify, TIDAL, etc.

I had a lot of fun writing Do The Move and recording it with my live band. Ripping guitar solo by Jesse McInturff of the band VVIVES. Bass solo by Timm Shingler of the band Open Grave Surfers. Second mini guitar solo by BAO. Hype AF drum solo by Rogie Lucero from the band Purple Fuzz Machine. And a really cool synthwave remix by a new artist called Outer Night.

I’ll update shortly with some behind the scenes stuff. Oh hey – share this with your peeps!


How Saigon Rock and Soul Inspired BAO

Every artist needs a little nudge sometimes. We tend to create, revise, and fine tune until we’ve outgrown our original idea. To be honest, I was a little scared to put out some of my recent music. I didn’t know if my message was acceptable or interesting. When I heard a radio story about Vietnam’s lost wartime rock and soul music, my mind changed. The music was so adventurous, raw, and reflective of the Vietnam war’s trauma – something I felt like had been repressed by a lot of the older Vietnamese generation. I decided to stop worrying about how my art would be received, or whether anyone would even care about it.

As a kid I always thought that Vietnamese music was either old school Cải Lương (Vietnamese opera/folk music) or corny 1990s ballads. A couple of years ago I heard this radio story called “Saigon’s Wartime Beat” from the Australian Broadcasting Corporation (ABC). I KNEW Vietnam had to have rocked at some point, with all the trauma its people experienced, but I had never heard the resulting music before. You should understand that for Vietnamese parents and grandparents, that period in time was pretty intense and not everyone had the luxury of music or the desire now to relive those memories. The radio story highlighted a compilation called Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974, released on a label called Sublime Frequencies. You can listen to the album on YouTube here.

I bought the records immediately and knew I had to finish and release the music I had been making after taking a break from Ming & Ping. I wrote Fish Sauce about growing up an immigrant in the US. I wrote a bunch of other songs about the pressure and confusion of being raised Asian in a predominantly white, Christian society. I was inspired to leave my songs a little bit dirty and unpolished and express my raw emotions as honestly as possible. I hope that my debut EP is received as honest and raw and I really hope it inspires others to delve into their cultural history too, before it’s too late.

Since then I have become online friends with the story’s producer Sheila Pham. Working from Australia, she’s continued to produce other thoughtful content that dives into cultural issues that immigrants and refugees also face here in the US, including this great piece about returning to Vietnam at 30 years old and learning much more about her family.

There are a couple of publications I follow that give Vietnamese immigrants a platform to tell similar stories. Project Yellow Dress is a beautiful collection of very interesting perspectives from people who are in various levels of assimilation into the culture of their new countries – and various stages of discovering their history.

Anyway, a lot of this is explored in my music, whether it’s obvious or not on the surface level. I’m really thankful to have an outlet for these ideas and also very grateful to have access to these other stories from around the web.

Have a story you want to tell? Leave a comment!

The BAO EP and Where It Takes My Music

Hey it’s Bao! Thought I’d use my very first blog post to tell you a little bit about some of the thinking behind my debut solo EP–and where we go from here. The music of my previous band Ming & Ping was and is very focused, stylistically and topically. We deliberately created these self-imposed limitations to keep the brand simple and recognizable. While there’s still a lot of Ming & Ping spice in my new work, there’s also a lot of the other influences that I’ve absorbed in my lifetime and the topics that are important to me that didn’t really fit into M&P songs. It really feels good to share my new work with everyone, in my own voice. Here’s a little bit about my 5-song debut called the BAO EP and the other music I have in the pipeline.

What Inspires The Sound?

You’ll probably hear some Ming & Ping elements in the new music, like the upbeat tempo, the rapid sequencing and arpeggiating of short musical notes, and the call-and-response style vocals on some parts. The call-and-response thing is a little different now. In the Ming & Ping songs they acted as a way to have Ming sing a part, balanced by a part sung by Ping. In the new music, it’s more influenced by James Brown’s funky soul music, which he clearly got from church. 🙏 You also hear a lot that I took from my biggest musical influence, The Purple One himself: Prince and specifically early 1980’s Prince and the Minneapolis sound he helped create. The “BAO EP” relies heavily on vintage drum machines like the Linn Drum, big juicy analog synthesizers like the Oberheim and Jupiter 8, and both funky Nile Rodgers-inspired guitar and distorted rock guitar. I also took huge musical cues from Terry Lewis and Jimmy Jam regarding big drums, funky bass, and pretty melodies. Yes, that’s a lot of black music. Thank god for the music that African-Americans have contributed to our culture!

You’ll probably also hear some of the rock, grunge, R&B, and pop influences that I’ve absorbed. Nirvana, Nine Inch Nails, and Smashing Pumpkins were my favorite bands in the 1990’s before I discovered electronic music like Autechre, Squarepusher and Aphex Twin. I’ve also always casually liked R&B and Hip Hop. Neo-Soul in the late 1990s was an influential moment for me–basically all the work that Questlove was involved in. I hated pop music as a kid, but I love it now that I’ve had a career in design and marketing. A pop song is like a perfect little treat: it’s quick, it hooks you, and if it’s good it’ll stick you with clear and simple message. These types of pop songs are what I aim to make.

What Are The Songs on The BAO EP About?

The songs on my EP reflect a few things I care deeply about, including personal identity, mental health and life as a minority in America. I wanted the opening track to represent my experience as an immigrant because I felt that a lot of people could relate to a story that’s not often given an outlet. Fish Sauce essentially has the same story of negotiating and accepting being an outsider, which you can find in many of the Ming & Ping songs. A lot of it is a lighthearted look back on my own experiences, but also those of the Asian-American people as a whole. The song is not too serious because sharing my story is a way to grow and not a way to complain. The rap in Fish Sauce, for those of you who don’t speak Vietnamese, is satirizing the embarrassed reactions of the Vietnamese community when the (hypothetically) see me reclaiming the notoriously funky fish sauce as a symbol of pride.

“Many people feel shame or trauma about their family’s immigrant experience. But it helps everybody when those stories are told, especially in these times.”

Both Dani and Learn From It deal with identity and mental health. Dani is more about the support system you need around you, while the more somber Learn From It incorporates references to internalized racism and the Asian-American community’s reluctance to address mental health issues. If any of my songs helps even one person, I’ll consider myself a successful musician.

4th on the Floor and Let’s Make Jam deal with S-E-X because S-E-X is G-O-O-D. LOL WTF OMG. 4th is more about the nostalgia of past relationships, while Jam is just stupid and fun. What else do you want to know? Let me know in the comments.

What’s In Store In The Near Future?

I’ve got some Youtube videos upcoming that go a little deeper into some of these songs. Please subscribe to my channel so don’t miss when they come out. I have a lot of unreleased music that all center around some similar themes and styles. My goal is to release one new single each month along with some videos. I also look forward to collaborating with more talented people to create new songs, videos, and images. You wanna work together? Send me a message, or text me at 629-888-1938.

In the comments below, tell me what you think of this post and what else you wanna see. Thanks!