Compared with Cantonese-speaking regions such as Hong Kong, Singapore and Malaysia and Liangguang, Hui Guanjie's influence on the mainland is much smaller. I personally believe that there are three main reasons, one is the language problem, unlike other A-list stars in Hong Kong, Hui Guanjie is the only one who has never published Chinese album, which has reduced his influence in the mainland and Taiwan to a certain extent. Secondly, the lyrics factor, as sam use a lot of slang-style Cantonese lyrics in many classic pop songs, which is a generation gap in understanding for mainland and Taiwanese fans, which affects the spread of songs. In addition, compared with Tan Zhangmei, he became famous earlier, when he became famous, Cantonese songs had not yet begun to be popular in the mainland, and at most it would affect Cantonese-speaking areas such as Liangguang, and by the mid-80s, when Hong Kong singers began to attack the mainland, idol singers seemed to be more acceptable to mainland fans, and he naturally suffered a lot in terms of image, not to mention the mainland, even in Hong Kong, his influence was gradually surpassed by a new generation of emperor superstars such as Tan Yonglin, Zhang Guorong, and Mui Yanfang. It's a pity that the hero was born at the wrong time, but for friends who like Hong Kong pop songs, Hui Guanjie, it is absolutely impossible to miss.
Hong Kong version of the vinyl cover
Hong Kong version of the vinyl back cover
Hong Kong version of the daily pressure vinyl label
Hong Kong version of the Hong Kong press vinyl label
This is The third Cantonese album released by Xu Guanjie in 1976, the top songs are almost all created by Ah Sam, such as "The Voice of the Prodigal Son", "Pear Vortex Shallow Laughter", "Night Half Whisper" Needless to say, the other two "Half Pound Eight Two" and "The Legend of the Hero of the Bird" are representatives of Cantonese slang songs, friends who can speak Cantonese should be able to better understand the lyrics, especially "The Legend of the Hero of the Bird", just listening to the sound effects of the mahjong hall in the prelude, it has made people marvel at the recording level of hong Kong in the 70s. Who said Hong Kong lacked recording of feverish HIFI pop songs. In addition to the above songs, I personally also like "Flowing Water Hate" filled in by Xu Guanying and Peter Lai, which is more brilliant than the melody.
Hong Kong edition tape cover
Hong Kong version tape A side
Hong Kong version of the tape B side
Replica SACD cover
Replica SACD disc surface