香港向来是传统的粤剧重镇，1949年之后，因为政治动荡，红伶戏班更多以港为基地，粤剧粤曲人材，新老结合，阵容鼎盛。很快，香港转型，粤曲粤乐跟着转型，它走的路，跟新兴的电声媒体，息息相关。

首先，部份粤剧团队艺人因为市场相对兴旺，加上拍电影容易带来收益，而表现因循，演艺停滞不前。

同样条件，却促使另一部份团队艺人，借助电台和电影的技术和平台，钻研粤剧演艺。他们刻意发掘新兴电声媒体的潜力，积极灌录唱片和制作电影，并因应这些媒体的特性，创造新的表演美艺，延续自三十年代已经开始的粤剧现代化改革。

黄湛森自幼多听粤曲、常看粤剧，在舞台、银幕和大气电波，透过红线女、马师曾、任白和唐涤生等人的倾情演出，亲身体会粤剧现代化的细艺和感动。

Teddy (1960)

Composer: Paul Anka
Lyricist: Paul Anka
Vocalist: Connie Francis

There's the guy
I want you to know
He's the guy
I love so
He's my Teddy
Oh Teddy
I, I love him so

Oh, I remember
The day that we met
I'd be so silly
To ever forget
Woo Teddy
Oh Teddy
I, I love him so

Oh, he is so shy
It doesn't matter
You're my guy
Can't you see
That I want you
I need you
I love you, I do
And you belong to me

I'll always love you
The rest of my life
We could get married
I'd be your wife
Woo Teddy
Oh Teddy
I, I love you so

I'll always love you
The rest of my life
We could get married
I'd be your wife
Woo Teddy
Oh Teddy
I, I love you so