the late Chang Yu-Sheng in Kaohsiung and so when Chen arrived a second time to offer Yang a record deal, Yang rebuffed it again as the stress of the concert was affecting him. Finally, on the Chen's third and final visit to Kaohsiung to offer Yang the record deal, Chen convinced Yang that despite the latter's age, the record label didn't care about his appearance or age, they had been searching for a refreshing sound and they had found it in Yang's voice, and they were willing to gamble on signing Yang if he was willing. Moved by his friend's perseverance and figuring he had nothing to lose, Yang signed the deal on the spot without even reading the conditions.> Yang moved from Kaohsiung and began crashing at 迪克牛仔's home as he recorded music in Taipei, working with Chen to complete his album. In 2006, Yang's voice shocked the music industry, when the Taiwanese beer company, Taiwan Beer began airing its commercials with a song Yang had recorded called "I Believe" (我相信) on all major Taiwanese TV broadcasting channels and Yang's powerful vocals belted out the song's inspirational and uplifting message, which was a refreshing change in the Taiwanese entertainment industry. "我相信" instantly became a hit, but the singer remained a mystery, triggering heated discussions amongst message-boards demanding for the singer's identity while debating whether the song was an unreleased song recorded by the late Chang Yu-Sheng prior to his death, because there had not been a voice in the music industry that could compare to Chang's high notes. Yang was then revealed to the public as the singer behind not only "我相信," but other hit songs that year such as "愛上你是一個錯 – Loving you is a mistake" which was the theme song for the Taiwanese broadcast of The Return of the Condor Heroes Chinese drama; "這該死的愛," which Yang had written, and "男人心," both of which were also the theme song and in the OST of the Taiwanese broadcast of Rain's A Love To Kill Korean drama. The years of singing in pubs had refined Yang's voice to progress from a thin, raw sound to a more robust sound, but it was his ability to control his voice effortlessly even while singing high notes, without using falsetto, that prompted Taiwanese media members to marvel at his voice and for music critics, Bao Xiaosong (包小松) and Bao Xiaobo (包小柏), to dub