香港向來是傳統的粵劇重鎮，1949年之後，因為政治動盪，紅伶戲班更多以港為基地，粵劇粵曲人材，新老結合，陣容鼎盛。很快，香港轉型，粵曲粵樂跟著轉型，它走的路，跟新興的電聲媒體，息息相關。

首先，部份粵劇團隊藝人因為市場相對興旺，加上拍電影容易帶來收益，而表現因循，演藝停滯不前。

同樣條件，卻促使另一部份團隊藝人，借助電台和電影的技術和平台，鑽研粵劇演藝。他們刻意發掘新興電聲媒體的潛力，積極灌錄唱片和製作電影，並因應這些媒體的特性，創造新的表演美藝，延續自三十年代已經開始的粵劇現代化改革。

黃湛森自幼多聽粵曲、常看粵劇，在舞台、銀幕和大氣電波，透過紅線女、馬師曾、任白和唐滌生等人的傾情演出，親身體會粵劇現代化的細藝和感動。

My Rifle, My Pony and Me (1959)

Composer: Dimitri Tiomkin
Lyricist: Paul Francis Webster
Vocalists: Dean Martin, Ricky Nelson

The sun is sinking in the west
The cattle go down to the stream
The redwing settles in the nest
It's time for a cowboy to dream

Purple light in the canyons
That's where I long to be
With my three good companions
Just my rifle, pony and me

Gonna hang (gonna hang)
My sombrero (my sombrero)
On the limb (on the limb)
Of a tree (of a tree)
Coming home (coming home)
Sweetheart darling
(sweetheart darling)
Just my rifle, pony and me
Just my rifle, my pony and me

(Whippoorwill in the willow
Sings a sweet melody
Riding to Amarillo)
Just my rifle, pony and me
No more cows (no more cows)
To be roping (to be roping)
No more strays will I see
Round the bend (round the bend)
She'll be waiting (she'll be waiting)
For my rifle, pony and me
For my rifle, my pony and me