Beautiful Love
Beautiful Love
Artist: 蔡健雅
Album: T-Time (2006)
Eason很聰明，他叫歌臣，而不是歌神，因爲這個年代可以稱神的人已經不复存在。而在臺灣，蔡依林最多是個舞孃而已，連可以稱得上是歌妓的人都不多，而蔡健雅則是其中我認爲臺灣四個最能當之不愧的歌妓之一。
雖然這次蔡健雅帶來的只是一張精選而已，但是已經足以够我好好去欣賞了。不過説實話，有她這樣水平的人出精選是一件很難也很沒有必要的事情。其實她隨便哪一張專輯都可以是一張精選。這次的《T-Time》就有不少《陌生人》和《雙棲動物》裏面的歌。
我對蔡健雅的喜歡除了她的創作，更重要的是她對音樂的感知。正如這首“Beautiful Love”。本來我就對這首歌那種熟悉氣勢有所懷疑，原來是FIR中的阿沁所作。不過Tanya演繹這種大氣的感覺和飛兒不一樣。蔡健雅的大氣是与身俱來的，是她天生的聲音的氣質。和她的歌聲相比，配樂終究是配樂。她是一個在這個年代真正還在唱歌人之一。而這些人越來越少了。這首歌每一段開始，Tanya以她的中音切入音樂，到love is beautiful的高潮，全部的重心都在她的歌聲上。
我不知道葛大為爲什麽人物，不過我真的很喜歡這首歌的詞。不知道爲什麽，這首歌的詞作部分很有一種futuristic 的感覺。這使得整首歌有一種科幻情歌的感覺。而配合這氣勢龐大的配樂，形成一種跨越時間的史詩感。這種史詩感有很好得切合了本張精選的title“T-Time”。或者這就是蔡健雅這十年來創造的史詩吧。
Lyric:
Beautiful Love
作詞：葛大為 作曲：黃漢青 編曲：Adam Lee
看住時間 別讓它再流浪
從前我 太適應悲傷
你的出現在無意中 卻深深撼動我
一起走著 沒說什麼 心是滿足的
這個世界 隨時都要崩塌
我沒有 其他的願望
假如明天將消失了 趁現在我愛著
只想記得 被你抱著 溫熱的感受
Love's beautiful so beautiful
我失去過 更珍惜擁有
多慶幸我是我 被你疼愛的我
緊緊牽住的手 不要放手 永遠守護我
Love's beautiful so beautiful
我很快樂 你會了解我
我不會再哭泣 是因為我相信
我們勇敢的愛著 每秒鐘 都能證明 一生的美麗
Love's beautiful so beautiful~
Sing Alone
Sing Alone
Artist: David John Matthews
Album: The Complex
翻唱：陳奕迅“怕死”
It is another great song created by David John Matthews after “When The World Ends”.
One of the most important reasons that Blue Man Group is so fascinating to me is for its music. Those post-rock like incidental music is just wonderful for both its mood and the irony it accompany the content of the show. Not only the creators of Blue Man provide those extraordinary music, thanks to various musicians contribution to the performance, some of the music is just outstanding.
What is funny is the reason I listen to Sing Along is because I heard Eason Chan has a covered version of this song. But since the first time I play it, I cannot not help keeping listening to it again and again, which I would not normally do to a piece of music. Even when I am not listening to it, I failed to put the music away from my head. The simple beat and sentences just keep wandering and wandering. Hell, that is just perfect.
The structure of the song, somehow, really makes me think about minimalism, both the music part and the lyric. The music part is just simply a repetitive electronic percussion. Although David’s music is always simple, this particular piece just so outstand. The music actually reminds me a little bit about Thom Yorke’s latest album “The Eraser”. The only difference is Thom Yorke edited the music more complicated without altered the rhythm and beat. (Thom’s new music is simple too) However, the pipe whipping sound occurred in the song really inebriates me a lot. It is the delicacy that art needs to impress people. On the other hand, the lyric part of Sing Alone is also simple as hell. But the feeling and mood it created you cannot imagine how simple the writing is. In each phrase Davie just repeats the same sentence again and again. And these phrases are also repetition of each other.
The sad and lazy tone in David Matthews’ voice is also an ecstatic reason for my interest in the song. I don't personally like Eason Chan’s covered version. His voice is too hyper. I rather listen to his insane high pitch.
If I sing a song, will you sing along? Or maybe it is just a sweetest thing to say to someone.
Lyric:
If I sing a song
Will you sing along?
If I sing a song
Will you sing along?
If I sing a song
Will you sing along?
So I just keep singing right here by myself
If I tell you I'm strong
Will you play along?
If I tell you I'm strong
Will you play along?
If I tell you I'm strong
Will you play along?
Well you see I'm as insecure as anybody else
If I follow along
Does it mean I belong?
If I follow along
Does it mean I belong?
If I follow along
Does it mean I belong?
Oh will I keep on feeling different from everybody else
If I sing a song (If I sing a song)
(If I sing a song) Would you sing along?
I will just keep singing right here by myself
Just keep singing it by myself
If I sing a song (If I sing a song)
(If I sing a song) Would you sing along?
I will just keep singing right here by myself
Just keep singing it by myself
If I sing a song (If I sing a song)
(If I sing a song) Could you sing along?
I will just keep singing right here by myself
Just keep singing it by myself
If I sing a song (If I sing a song)
(If I sing a song) Would you sing along?
I will just keep singing right here by myself
Just keep singing it by myself
Mad world
Mad world
Versions: Original - Tears for Fears “The Hurting” (1982)
Remake by Gary Jules and Michael Andrews “Donnie Darko Soundtrack” (2002)
Alternate mix in “Donnie Darko Soundtrack” (2002)
Chinese Version “瘋了”– 阿桑 “寂寞在唱歌”（2005）
It is really funny to watch the trailer Xbox 360 video game Gears of War which used the 2002 remake version of Mad World. However, after the feeling of little amusement, the ruined war scene is just as desperate as the song. Even it is a video game; thanks to the technology, it is not merely entertainment any more.
I cannot describe how much and why I am so love with the movie Donnie Darko; I cannot even tell anyone what it is about. Just at the most unexpected moment, some random scenes popped out in my mind and struck me so hard that I forgot to breathe at the moment. But what I do know is the music used in the movie is as fantastic choices as that of Quentin Tarantino’s movies.
The 1982 original version of Mad World is so different from the remake one. It was probable considered a dance song at that time with those almost stereotyping 80’s characters in music. The beat is so fast that it alters the sad mood. Or maybe the sad mood is brought out by the Jules version with simple piano chords and cello, which matches perfectly with the lyric.
The alternate mix version is not actually bad. The simple beats go alone with the piano quite well. It is a very comfortable piece to listen to. But still I cannot forget the scene Richard Kelly made in the movie, when all the montages about different characters’ life.
不知道爲什麽，一直我都不是對阿桑很有興趣。也許我不喜歡那種阿杜式的沙啞唱腔吧。連那首《葉子》我也更喜歡原作詞曲者自己唱的版本。也許也是因爲先入爲主的關係，而這首《瘋了》也不是那張《寂寞在唱歌》中我喜歡的一首。雖然其他主打歌像《寂寞在唱歌》、《被動》等我都還認爲不錯，我只是覺得她在演繹《瘋了》中哭腔太重。
瘋了也好，Tears for Fears也好，這首Mad World的精髓還在那裏。就像文章那樣，音樂一樣是有靈魂的，不管改編和改變的怎樣，只要靈魂還在，還是會有歸宿的。
Lyric:
All around me are familiar faces
Worn out places - worn out faces
Bright and early for their daily races
Going nowhere - going nowhere
And their tears are filling up their glasses
No expression - no expression
Hide my head I want to drown my sorrow
No tommorow - no tommorow
And I find it kind of funny
I find it kind of sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
'Cos I find it hard to take
When people run in circles
It's a very, very Mad World
Children waiting for the day they feel good
Happy Birthday - Happy Birthday
Made to feel the way that every child should
Sit and listen - sit and listen
Went to school and I was very nervous
No one knew me - no one knew me
Hello teacher tell me what's my lesson
Look right through me - look right through me
Beyond Raging Waves (with Shinichi Kinoshita)
Beyond Raging Waves (with Shinichi Kinoshita)
Artist: DJ Krush
Album: Jaku
I always have an idea: To but the ancient Chinese elements, the most original and essential influence on Orientalism, into post-modern style. For example, how to place the five notes (Do Re Mi So La) in usage of the ancient Chinese music and try to fit them into electronic music like those stuff by DJ Shadow will be one of my task. There are already some stuffs out there that is inspirational, like Archive’s All Time and 78BPM’s In to the Valley, but DJ Krush’s Beyond Raging Waves still suffocated me a lot.
Jaku is the album that is reckoned to be the most heavily inbound in Japanese elements. That’s why it is the one I have chosen to listen to beforehand all others of his. However, I was so impressed at the beginning, not because of the music, but the lack of Japanese elements. I was confused for a while until I got to hear Slit of Cloud, which started with a Kabuki-like solo that sharpened my hearing a bit. And till Beyond Raging Waves I finally in love with what DJ Krush did.
I don't think it is that hard to combine ancient oriental music element in to the most modern style, according to DJ Krush. Imbedded solo shamisen within the electronic drum beat, the song is exactly like what is in my mind. The sharpness of shamisen mixed so well with the softened drum beat (don't know it is taiko or not) like both are melted.
Oh my Holy God, Shinichi Kinoshita is just incredible, and the shamisen in his hands almost suffocates me. That broken-pieces-of-sound created by a shamisen just keeps killing and killing me again and again. Maybe that is the soul in this particular piece of music that attracts me so bad, and my soul as well being hauled away from my body. It not only suffocates me, but it also blinds me. Not being like tradition hip hop that pull the emotion downward, it is like the music from all above, as if the brightest light that leaks out from heaven.
I never think of there is such experience when listening to trip hop. The uprising feeling of mood and the soul dragging oriental element just blow me away. Thanks to this piece of music, I know about DJ Krush and more importantly Shinichi Kinoshita.
Six Days
Six Days
Artist: DJ Shadow
Album: The Private Press (2002)
Alternative version: remix with Mos Def
Original Vocal: Colonel Bagshot “Six Days War”
Thanks to
Wong Kar-Wai again, it is really a lovely MV and a remix. I don't know the original reason why DJ Shadow approached Wong and asked him to make this MV. However, the music is really nice piece of remix and sampling, as well as the music video.
Until recently, I just know that the vocal of Six Days is taken from
Colonel Bagshot “Six Days War”. Because the remix by
DJ Shadow is so perfect, I thought it was a originally made song. Speaking of Hip Hop, really
DJ Shadow is one of the kings. Or it is the only Hip Hop that I love to listen to. As the inspiration of instrumental Hip Hop,
DJ Shadow uses a relatively slow pace of drum beats to create rhythm. And everything just matches with each other so perfectly.
Before I know the real content of the vocal part of the song, I though it is about a love story between a young couple. Well, although mainly because of
Wong’s music video, it makes sense. The music video is so lovely made that it somehow makes the songs better when listening to it. As what
Wong normally does in his movies, the lomo-camera-lile-color in this MV is emphasized, like the passioning of red, the envy of green, and the love in blue water. Camera position is also beautiful done. The scene when the couple lying on the floor and kissing each other is just unforgettable.
Wong also made this MV to be sexy. No matter the kissing scene in water or fighting amid ice cubes, it is as sexy as the slow motion of
Maggie Cheung in
In the Mood of Love. I really like the idea of choosing Chen Chang as the actor. (He is the best actor in Taiwan in my opinion) As a spoke model of Olay,
Danielle Graham somehow makes me think about
萧淑慎. I think it will be a good idea to put
萧淑慎 and
Chen Chang together in one movie. Don't forget the number 0426 in this MV, it is such a nice trivia of 2046.
The remix version of
Six Days with
Mos Def is quite funny. It is mixture of
Six Days and
Walkie Talkie, but it matches perfectly. However, I still don’t know why
Fast and Furious 3: Tokyo Drift used the song. It is just not as sexy as the Wong’s music video.
After all, the grievous emotion it creates works both in love and in war. In some way, they are the same. Or maybe the quoting, “The possession of anything begins in the mind”, from
Burse Lee at the end of
Wong’s MV contributes that connection.
Lyrics:
At the starting of the week
At summit talks you'll hear them speak
It's only Monday
Negotiations breaking down
See those leaders start to frown
It's sword and gun day
Tomorrow never comes until it's too late
You could be sitting taking lunch
The news will hit you like a punch
It's only Tuesday
You never thought we'd go to war
After all the things we saw
It's April Fools' day
Tomorrow never comes until it's too late
Tomorrow never comes until it's too late
You hear a whistling overhead
Are you alive or are you dead?
It's only Thursday
You feel a shaking on the ground
A billion candles burn around
Is it your birthday?
Tomorrow never comes until it's too late
Tomorrow never comes until it's too late
Make tomorrow come I think it's too late
花與蟲
花與蟲
Artist: 楊乃文
Album: ONE
有時候，不到10個音就會讓人喜歡上一首歌。一直以來我都不相信种可能性。直到我聽到楊乃文這首歌的時候，整個情緒都那幾個音牽住。
當我最近開始听楊乃文的《one》，我才後悔當初爲什麽沒有早點听。那種大開大合式的唱法不愧爲國外長大的。而在這首歌中，楊乃文却用另外一種內斂的唱法，不過和這首的編曲和襯得一塌糊塗。
林暐哲，我應該記住這個名字。在這張專輯中，他參與了幾乎9成的詞曲創作。不過一想到他帶出來的蘇打綠，一切似乎都只是所以然。這首歌最讓人陶醉的地方應該是編曲的電音方面。姑且把那10秒的高潮擺在一旁，其緩慢的節拍和乃文假音的演繹使得這首歌很有一種trip hop的感覺。而那2分43秒到2分54秒之間出現的10個左右的電子音效帶來的高潮部分更是讓我對華語音樂的電子音樂完全改觀。
歌詞部分，其實也有一種頗電子的效果。只是重複相同的短句有時候帶來的效果會比不斷變換使用流星和旋轉木馬要好。這首歌也不過只有10個左右的短句組成，但是營造出來的感覺却不是一般的清新和芬芳。
Sometimes it is just the very tiny stuff that you have to appreciate. Sometimes it’s just that an extremely small amount of things that drags the entire world away and behind. If there are just 10 notes of electronic scratching noise that strike me, what and how would the rest be?
Lyric:
4.花與蟲
作詞：林暐哲 / 作曲：林暐哲
我是一朵半開的花 我是一朵半開的花
嬌嫩的花瓣 還來不及綻放
就給蟲吃了 就給蟲吃了 就給蟲吃了
我是一朵半開的花 我是一朵半開的花
美麗的花苞 還來不及盛開
就遇見了你 就遇見了你 就遇見了你
美妙的青春 都因為你
還等不到春天 就已經枯萎 就已經枯萎
我是一朵半開的花 我是一朵 . . .
我還來不及長大 我還來不及長大
就遇見了你 就遇見了你 就遇見了你
PS:
http://www.faithyang.com/jsp/index.jspSHIT, what the fuck is that!
That piece of music just kills me. Oh man, I can't wait....
如果世界只剩一首歌
如果世界只剩一首歌
Artist: 路嘉欣
Album: 你不懂
如果世界只剩一首歌，我希望是你的聲音
沒想到路嘉欣的歌也可以這麽深地感動我。不過也許路嘉欣這樣的女生才是我喜歡的。正是在臺灣茫茫一片漠然的歌壇當中，有路嘉欣只要的聲音出現才是我一直以來追隨這個歌壇的音樂的原因。
因爲蘇打綠，我才知道路嘉欣。因爲路嘉欣説她是蘇打綠的忠實fans，我才開始听蘇打綠幷且深深沉迷上。也正是因爲如此，我才開始産生對路嘉欣的好奇。到底是一個什麽樣的玉女歌手居然會喜歡蘇打綠的音樂？
其實有時候平凡也是一種美好，只是我一直不去在意和理會罷了。《如果世界只剩一首歌》其實只是一個很平凡的女歌手的一張很平凡的專輯中的一首很平凡的歌曲。可是就是在那普普通通的編曲中，在那平平凡凡的歌詞當中，我莫明其妙地想起了很多很多有的沒有的從前和未來。那些我希望而不應該出現的人們，在某個風吹亂頭髮的街角渾然徘徊于我思念的伸出。那種揮之不去的感覺和寂寞又困擾著我渾身上下。只是當這種感情暫時過去，听回這首歌的時候，似乎一切又沒有這麽不知所措了。
這就是在這個世界的一首歌，儘管它永遠不是各大KTV點歌榜中出現，儘管它沒有驚世出名的創作和製作，但是在我茫然中總會無經意地想起這首歌。如果這個世界只剩最後的3分54秒，我希望可以和一個人一起听這世界上最後的一首歌。
如果世界只剩一首歌
作詞：于光中 作曲：于光彥 編曲：陳偉/陳朝裕
我們的年紀 有一點幸運 沒有蠻荒等我們遠行
歡笑和淚滴 不必太在意 因為明天有更多驚奇
是不是我太渴望穿越時空 證明不只我期待感動
如果世界只剩一首歌 能不能讓我們學會珍惜
如果世界只剩下一首歌 我願意是你的聲音
我們的年紀 懂一些憂鬱 沒有星星讓我們命名
故事和電影 都叫人懷疑 過了今天就要被忘記
是不是我太在乎說過的話 不該只有我尋找解答
如果世界只剩一首歌 我相信我一定會更珍惜
如果真的只剩下一首歌 我願意是你的聲音
What the Fuck is That
Artist: 78 bpm
Album: Red Moon （紅月亮）（2002）
一直以來我都小看了臺灣的音樂。或者説，一直以來我都直在注意最主流的流行樂壇。以至于像selfkill和78bpm主要的東西被我聽到后使我完全被嚇了一跳。
I mean what the fuck is that （注意語氣是positive的）
78bpm顧名思義就是將bmp調整到78。我沒有專業的軟件來檢測其音樂是不是真的都是78 bpm，不過感覺上只要小于90 bpm的都算trip hop，那麽就當trip hop來听好了。當今（或者從trip hop誕生到將來的消失）這個時間上的trip hop已經很他媽的的少了，華人作的trip hop…… 上次听的好像是王菲的《不留》，如果勉强要算的話。説實在，把bpm下調到90一下不難，但是就是因爲慢才更能做到impressive
當我筋疲力盡站在公車站等公車的時候，忽然腦海中開始重複播放這首歌。我眨了眨幹澀的眼睛，利用兩站路的時間（其實就是一個半的block的距離）來懷念用<90 bmp詮釋的WTF。儘管我不記得開頭小號的細節，也忘了當年第一次听的時候不知道爲什麽的排斥，只是那種强調的緩慢節拍和重重複複的WTF一直在腦海徘徊。以至于我緊握雙手，緊皺眉頭，開始很嚴肅地考慮這首歌。
Sometimes it is just necessary to shout out what the fuck. I mean … What the Fuck… When it is a crappy day, listened to a crappy song, watched a crappy movie… When things turn shit, became T-rash … look at this world … pathetic …
But still, thanks for that
What the Fuck, it is fucking impresive
PS：http://www.revefrance.com/bbs/archive/index.php/t-66222.html
７８ ｂｐｍ
今年，福隆海洋音樂祭的上百支參賽團體中，一片題名為 " Mr.78 & Black Temple Family " 的 demo 吸引了所有評審的注意，大家都認為這是少見的，成熟細膩的電音創作，在聽了大量青澀稚嫩缺乏創意的樂團 demo 之後，這片 CD 尤其令人驚喜、振奮。
當然，他們也成為海洋音樂祭的入圍參賽樂團，現場精彩的表現，也替他們贏回今年音樂祭的「最佳獨立音樂獎」。
後來， MR.78 & Black Temple Family 改名為簡潔的" 78 bpm "，成員除了創作首腦，前「三腳貓」樂團的主唱黃一晉，以及「瓢蟲」的貝斯手小寶，還有好幾位才華橫溢的朋友共襄盛舉，他們的表演不只是音樂演出，更是一場包括影像創作與火舞表演的行動藝術，每次都帶來不少驚奇。
幾個月之後，黃一晉帶著甫出爐的新專輯《紅月亮》來找我們，這張專輯的內容比起海洋音樂祭的作品又更細膩深沈了。我們很高興能參與、協助這張完全 DIY 的獨立專輯的銷售工作，也希望所有仍然保有一雙好奇耳朵的朋友，能聽聽這張專輯，你不會後悔的。
【誰是７８ｂｐｍ？】
今年，福隆海洋音樂祭的上百支參賽團體中，一片題名為 "Mr.78 &
Black Temple Family" 的 demo 吸引了所有評審的注意，大家都認
為這是少見的，成熟細膩的電音創作，在聽了大量青澀稚嫩缺乏創意
的樂團 demo 之後，這片CD尤其令人驚喜、振奮。
當然，他們也成為海洋音樂祭的入圍參賽樂團，現場精彩的表現，也
替他們贏回今年音樂祭的「最佳獨立音樂獎」。
後來，MR.78 & Black Temple Family改名為簡潔的"78 bpm"，成員
除了創作首腦，前「三腳貓」樂團的主唱黃一晉，以及「瓢蟲」的
貝斯手小寶，還有好幾位才華橫溢的朋友共襄盛舉，他們的表演不只
是音樂演出，更是一場包括影像創作與火舞表演的行動藝術，每次都
帶來不少驚奇。
幾個月之後，黃一晉帶著甫出爐的新專輯《紅月亮》來找我們，這張
專輯的內容比起海洋音樂祭的作品又更細膩深沈了。我們很高興能參
與、協助這張完全DIY的獨立專輯的銷售工作，也希望所有仍然保有
一雙好奇耳朵的朋友，能聽聽這張專輯，你不會後悔的。
【７８ｂｐｍ 簡介】
78bpm，台灣第一支緩拍創作獨立樂團，海洋音樂祭「最佳獨立音樂獎」。
78bpm，78 beats per minute。
78bpm，一分鐘78轉，是唱盤最早的轉速。貓王那個時代。
78bpm，一分鐘78拍，是舒緩、凝重，深沉的音樂速度。
78bpm，一分鐘78脈動，是人體生理頻率的舒緩狀態
嚴格說來，78bpm並不是一支傳統定義下的「樂團」，而比較是一個
開放性的電子音樂平台。以緩拍音樂為基礎，在這個架構上，許多
藝術、音樂形式都是可能而互相影響的。所以很中國的琵琶、笛子
可以和Hip-Hop Beat放在一起；清新舒緩的吉他可以和低到分不出
音、只感覺到音壓的sub bass一齊出現；所以78bpm可以有詩；可以
有火舞；可以有毛筆現代畫；也可以有極簡的風格影像。
78bpm目前成員有：、小蘇（吉他）、Keith（主唱）、Selena（主
唱）、小寶（貝斯）、Flo（VJ影像）、Heike & 阿寶（火舞） 。
【團員介紹】
Mr.78(黃一晉)唱盤、電腦音樂
前「三腳貓」樂團主唱、吉他手，三腳貓解散後發展電腦音樂，專
注在downtempo、abstract hip-hop領域。在78bpm中擔任製作、電
腦音樂編曲、唱盤音效。Selena
小蘇（蘇啟文）吉他、鼓機
年輕後搖滾吉他好手，吉他風格簡約清淡，兼具民謠-和後搖滾美學
。在78bpm中擔任吉他手、MC505鼓機節奏。
小寶（王寶瑛）貝斯
台灣資深indie樂團「瓢蟲」bass手，貝斯風格聰明靈活。在78bpm
中擔任貝斯手。
Keith（Keith Saunders） 吟詩、畫畫
Keith來自美國，在台灣教英文之餘，致力繪畫工作。他以台灣毛筆
融合獨特人物特質，展現結合東西方獨特的趣味。在78bpm中擔任歌
詞、vocal。
Selena（謝佩盈）主唱
Selena目前是藝術學院學生，主修劇場設計。聲音甜美，音質純淨
。在78bpm中擔任vocal。
VJ Flo（林逸心）VJ
獨立影像創作、音樂創作者、電影工作者與策展人。影像風格抽象
且富有意境，處理影像與音樂之間的張力。喜愛以真實影像為創作
主軸，將每次演出都視為藝術創作。
阿寶 & Heike 火舞
兩人的火舞表演是78bpm的live中最有看頭的表演之一。阿寶的火舞
技術高超、陽剛有力，Heike則圓滑優美。兩人一剛一柔，互為襯托。
【78bpm完整的演出經驗】
海洋音樂祭、SUNDEI PARTY、華山音樂館、地下社會...
song of the day: 千里之外
千里之外
Artist：演唱：周杰倫，費玉清
作曲：周杰倫
作詞：方文山
Album：《依然范特西》（2006）
Oh Shit
周杰倫最好的歌居然是《千里之外》！
一直以來，我都覺得周杰倫寫給人家的歌比他自己唱的要好得多。I mean… 不是他唱的不好，只是那些重複又重複又重複的beat真有些讓人受不了。而且，以他的才華，繼續作現時的流行樂實在是一種委屈，甚至是一種悲哀。記得他在一次金曲獎上的即興鋼琴演出，那才是周懂應該走的方嚮。繼續在流行樂只能靠他創造的goodwill來持續銷量了。
最爲一個超級紅的歌手，説實在，我听周杰倫的歌已經算是給面子了。（一般每一張CD都賣的這麽好的人我是很少听的）因爲至少我還承認他的才華，還有他那什麽都不屌的性格我還是蠻欣賞的。（上一張專輯的《四面楚歌》的歌詞很令我impressive）只是流行歌壇這趟渾水是不是實在太委屈他的才華了呢?爲什麽不就嘗試一下將來即興鋼琴帶入臺灣的流行樂壇？
回到這首歌，之所有我喜歡這首歌很大的原因是因爲費玉清。周杰倫的狹窄的音色和費玉清的圓滑和空曠形成很明顯的對比，這正是這首歌的出彩之處。加上那種故意渲染的國樂式的曲風和明顯周氏風格的節奏又不厭其煩的結合在一起。不過，還是因爲費玉清，把這種風格退到了頂峰。我還是不清楚我之所以喜歡這首歌是周杰倫的悲哀還是費玉清的。畢竟，也許費玉清是最後一個又這樣的聲音和這樣在目前的流行歌壇唱歌的人了。現在這個時代已經改變了太多太多，有些東西的流逝雖然沒辦法，但是還是讓其流逝爲好。
歌詞：
3.千里之外
詞／方文山 曲／周杰倫
周杰倫： 屋簷如懸崖 風鈴如滄海 我等燕歸來
時間被安排 演一場意外 妳悄然走開
故事在城外 濃霧散不開 看不清對白
妳聽不出來 風聲不存在 是我在感慨
夢醒來 是誰在窗台 把結局打開
那薄如蟬翼的未來 經不起誰來拆
費玉清： 我送妳離開 千里之外 妳無聲黑白
沉默年代 或許不該 太遙遠的相愛
我送妳離開 天涯之外 妳是否還在
琴聲何來 生死難猜 用一生 去等待
周杰倫(Rap)：聞淚聲入林 尋梨花白 只得一行 青苔
天在山之外 雨落花台 我兩鬢斑白
聞淚聲入林 尋梨花白 只得一行 青苔
天在山之外 雨落花台 我等妳來
費玉清 : 一身琉璃白 透明著塵埃 妳無瑕的愛
妳從雨中來 詩化了悲哀 我淋濕現在
周杰倫： 芙蓉水面采 船行影猶在 妳卻不回來
被歲月覆蓋 妳說的花開 過去成空白
費玉清： 夢醒來 是誰在窗台 把結局打開
周杰倫 : 那薄如蟬翼的未來 經不起誰來拆
費玉清： 我送妳離開 千里之外 妳無聲黑白
沉默年代 或許不該 太遙遠的相愛
周杰倫： 我送妳離開 天涯之外 妳是否還在
琴聲何來 生死難猜 用一生
費玉清： 我送妳離開 千里之外 妳無聲黑白
沉默年代 或許不該 太遙遠的相愛
周杰倫： 我送妳離開 天涯之外 妳是否還在
周杰倫： 琴聲何來 用一生 去等待(1起唱)
費玉清： 生死難猜 用一生 去等待(1起唱)
Glory Box
Glory Box
Artist: Portishead
Album: Dummy (1994)
Version: Original in Dummy
Various versions in Glory Times (1998):
Glory Box (edit)
Glory Box (Mudflap Mix)
Scorn
Sheared Box
Toy box
Liver Version: Roseland NYC Live (1998)
The first time I knew about this song was from a sound track CD of Kar Wai Wong. Although I already know Portishead beforehand, I hadn't purposely listened to their songs. Because of the CD from Wong's movies, I was getting curious about when and in which movie he used that song. Somehow I still cannot recall, and even don't have the answer after asking other people.
Anyway, as a result of curious, I started listening to Portishead, and getting more and more fascinated by those darken pieces of the notion of trip hop.
Portishead is not the first trip hop artist I listen to. By that time, I was already ecstatic at Massive Attack and their notion of trip hop music. Also, I had heard about Portishead who was playing another role in trip hop.
It is really a drag or alteration on the state of mind when listening to trip hop. When bpm is reduced to below 78, the beat could even resonate with emotion and a frame of mind.
I always think trip hop is a kind of music that spins downwards, which, in this case, somehow related to Wong Ka Wei's movies. They both have that emotion-dragging mood. No wonder many people I mentioned about Falling Angel when I asked the question regarding to Glory Box.
It wasn't a wonderful time when I listened to Glory Box like crazy. I was really tired at that time, both physically and more likely mentally, just like the first sentence of the lyric. It took me a long while to get rid of a frame of mind like that. Therefore, now when I listen to Glory Box again, it reminds those difficult days and tells me always to look forward.
I found that the structure of Glory Box is quite essentially contributing the mood it raises. Starting with drums playing that darkened beat, the song drags then emotion when the electric guitar joins. It is very interesting to listen to the mudflapedit version of the song, which reverse the appearance of the two main instruments. The climax of the sound, which appeared about at 4:10, dragged the whole emotion to the very bottom.
Amount quite a few other remix versions of Glory Box, the live version performed at the Roseland NYC. I was just astonished by the collaboration with live orchestra. With those simple touches of drums beginning the song, it actually sublimates the song. Basically the liver version just magnified and blew up then emotion which makes it remarkable. The Scom version tries a more darkened beat. And the Troy Box version is also interesting with the emphasis of the cymbal.
Lyric:
I'm so tired of playing,
Playing with this bow and arrow,
Gonna give my heart away,
Leave it to the other girls to play,
For I've been a temptress too long.
Hmm just,
Give me a reason to love you,
Give me a reason to be,
A woman,
I just wanna be a woman.
From this time, unchained,
We’re all looking at a different picture,
Through this new frame of mind,
A thousand flowers could bloom,
Move over, and give us some room.
Yeah,
Give me a reason to love you,
Give me a reason to be,
A woman,
I just want to be a woman.
So don't you stop, being a man,
Just take a little look from our side when you can,
Sow a little tenderness,
No matter if you cry.
Give me a reason to love you,
Give me a reason to be,
A woman,
It's all I wanna be is all woman.
For this is the beginning of forever and ever,
It's time to move over,
So I want to be.
I'm so tired of playing,
Playing with this bow and arrow,
Gonna give my heart away,
Leave it to the other girls to play.
For I've been a temptress too long.
Hmm just,
Give me a reason to love you.
