流浪者之歌：06年最後一首好歌
06年的歌壇事很寂默的一年，特別是香港樂壇。這一年裏面，我听的新中文CD不超過10 張，更別說粵語專輯了。到了下半年，已經基本沒有讓我想去听的粵語CD。幾乎，我放權了這個樂壇的存在。
但是失望幷不代表絕望。因爲，畢竟，還要一絲值得期待的光綫，比如王苑之，比如黃燿明。
就在，06最後僅存的那個月，這兩個人雙雙推出她們的新專輯；於是，吾仿佛對上述的情形有所改觀。而明哥的一首《流浪者之歌》恰如其時地襲來，以至於吾一時之類茫然了。
撥動輕輕的琵琶幾下，那種遙遠的感覺仿佛當年的《十面埋伏》，讓我在一瞬間看到了虞姬。很快，直接明瞭地切入層層電子樂，正是明哥的明智。周迅歌聲的突現是一發不可收拾的高潮，确在吾最沒有準備時刻來的致命一擊。一式驚艷天倫。
周迅低沉而帶有稍許嘶啞的聲音也許和她的容顔不襯，但是在吾之眼裏式另外一種味道。但是這種聲綫配合起電子，却是一種天衣無縫的合作。而這首歌中高昂的忽現，是她的驚艷，也是黃燿明的實力。
多情之歌聲，無心之弦樂，讓在异地的吾突然想到一絲刺心之寂寞。同時也讓吾想到古龍前輩。如有一天，在下想用這首歌向他致敬。
歌手：黄耀明/周迅
歌碟：若水
Na na na na na na…
不爱便自由想高飞远走
Na na na na na na…
没人值得回首 在心中一早拥有
再出山行走 会有新的他可扶手
未来无尽镜头 寻觅是活着理由
私奔般游走 爱上他都不管从此之后
没人值得回首 在心中一早拥有再出山行走 会有新的他可扶手未来无尽镜头 寻觅是活着理由私奔般游走 至少一分钟可忘忧
夕阳留在背后 名字活在心里头
观光般游走 直到失踪自动分手
当地 当时 未减温柔
Na na na na na na…
我不難過
我不難過
Artist: 孫燕姿
Album： 《未完成》（2003）
孫燕姿，唉
我不知道爲什麽會在現在這個時候爲了這個女生而嘆氣，只是有一直莫明其妙的難受在我心中一直不能釋懷
直到最近去唱K的時候才想起這首久違的歌。收錄在《未完成》專輯中，《我不難過》這首歌帶給我的回憶也是那久違的2003。那時的我，應該還在那現在只能在夢中出現的校園裏面吧。
燕姿是不是不適合做一個商業歌手？愈來愈多關于她的消息讓我開始懷疑這個問題。或者説，她的紅完全是因爲公司，華納的商業行爲。她有天后的唱功實力，而沒有那種明星的商業感。或者那是屬于她的是對音樂的感知，而這種感知在愈來愈多的新人紅歌手裏面越是看不見。可是沒有華納的捧紅，燕姿的歌又怎麽能讓亞洲地區都听到她的聲音？還是這就是商業音樂的悖論？在藝術已死的年代還有這樣悲劇，真讓人哭笑不得。
這首歌應該是燕姿的經典情歌中的代表之作吧。儘管在一段很長的時間內我都把這首歌放在一旁，但是在往後的專輯中同類的歌曲都會使我想起這首歌。《未完成》應該是標志燕姿的歌路開始成熟的一張專輯。我記得當時那首《神奇》紅得不知所措。不過，三年之後最爲人所記得的應該是這首《我不難過》。三年前的作曲和編曲与如今的《隱形人》沒有什麽本質性的區別，只不過歌曲後面的precusion沒有那麽成熟而已。而這簡簡單單的一首歌足以讓燕姿的年輕無極限名字一幷成爲經典。
Lyric：
我不難過
作詞：楊明學 作曲：李偲菘 編曲：Kenn C.
又站在你家的門口 我們重複沉默
這樣子單方面的守候 還能多久
終於你開口向我訴說她有多溫柔
雖然你還握著我的手 但我已不在 你心中
我真的懂 你不是喜新厭舊
是我沒有 陪在你身邊當你寂寞時候
別再看著我說著你愛過 別太傷痛
我不難過 這不算什麼 只是為什麼眼淚會流我也不懂
就讓我走 讓我開始享受自由
回憶很多 你的影子也會充滿我生活
我並不懦弱 你比誰都懂
雖然寂寞 這會是我 最後的寬容
抱緊我 再抱緊我
這一份感動 請你讓我留在胸口
別再說 是你的錯
愛到了盡頭 是非對錯就讓它隨風
忘了所有 過得比你快活
我真的懂 你不是喜新厭舊
是我沒有 陪在你身邊當你寂寞時候
別再看著我說著你愛過 別太傷痛
我不難過 這不算什麼 只是為什麼眼淚會流我也不懂
不要再說 或許這是最好的結果
現在分手 總好過你不愛我一拖再拖
鬆開你的手 離開你左右
我向前走 這會是我 真正的解脫
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....
