Deprecated: Using null as the key parameter for array_key_exists() is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-theme-json.php on line 2370 Deprecated: Using null as the key parameter for array_key_exists() is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-theme-json.php on line 2370 Deprecated: Using null as the key parameter for array_key_exists() is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-theme-json.php on line 2370

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deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in 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/customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in 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/customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in 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/customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in 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/customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in /customers/7/8/2/c3kb8z3t9/webroots/www/home/wp-includes/class-wp-block-type-registry.php on line 168 Deprecated: Using null as an array offset is deprecated, use an empty string instead in 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「獨裁政權不只害怕行動上的反抗，更害怕的是敢於行使表達自由的人民。在獨裁極權眼中，凡是不配合政權宏大敘事grand narrative的，通通都是敵人。然而，我們和一眾香港人均不會畏懼；面對要醜化民主運動的主旋律，我們會繼續用文化思想唱反調，說出香港人的真實故事，繼續捍衛著我們奇妙的香港。」

——《F For：香港抗爭音樂誌》第一冊序

《F For：香港抗爭音樂誌》是一個奇妙的過程。

實不相瞞，其實F For團隊其中數個核心成員都是海外港人。透過螢幕看香港新聞看得滿面眼淚，相信不少海外香港人都經歷過。我們不介意被稱為離地或離棄香港，但是我們一樣可以用自己的方式去貢獻香港及這場運動。

住在海外，就知道外國人普遍對香港的態度都是「中立」的：即是他們可能會同情，但他們心底清楚，他們不可能為我們做得更多。他們看到電視上的片段，也不盡了解點解香港人會咁搏、諗乜嘢。電視的documentary再好，如Channel 4製作的《The Battle For Hong Kong》也不過一小時，也是從一個外國的角度出發。

我們很想，做以香港角度出發的記錄。所以我們想做這本音樂誌，用香港音樂，說出這場運動的真實精神。作為文藝撚，當然仲好想見到一本有關香港抗爭的書出現在大小獨立或art book store，等那班外國hipsters文藝青中老年都可以成日被提醒香港的事。

2019年10月我們想到可以做一本抗爭音樂誌來為這場運動出一分力。Post一出，竟然收到四方八面朋友說有興趣。一下子由幾丁友變過十人，一句到尾，都只是想為香港出一分力。然而，音樂誌消息一出，還是有不少質疑與問題，所以希望借這個post解釋一切。

「要捐都捐畀手足先啦！」

昨天立場新聞的報道一出，有幾個人即時說「要捐都捐畀手足先啦！搞咩音樂誌」原則上我們是同意的。如果我們只得五蚊可以捐，這五蚊當然就捐給手足讓他們解困先。

可是現實情況上，有經濟能力的人通常不只有五蚊，捐款的選擇不只有一個。捐給手足，再捐給這計劃，是沒抵觸的。

當然，不是說我們的犧牲及貢獻，及得上街頭上的手足。相反，正正就是因為我們這班文藝蛋散於心有愧，未能在街頭一樣拼搏，我們才希望可以用「文藝／文化」的手段作出貢獻。

長篇大論，說回眾籌，好坦白講，其實最初的想法是我們核心成員打算自己拎幾萬蚊出來印的。我們也從未想過透過這計劃來賺錢，做過出版的都知靠賣書搵錢難過登天，掹車邊都稱不上是「人血饅頭」。最尾冇咁做的原因，係因為其中一成員話，「唔駛咁呀，我哋拖馬叫手足一人一蚊損出來畀你哋印都得。」

這番話令我哋領悟到，呢件件事其實真係唔只關我哋事，而係關香港大家事；呢個唔只係我哋的project，亦係屬於大家的project。或者我哋係有少少幼稚，認為每一個支持抗爭的朋友都會十卜我哋，但我哋同時有信心大家會看到，記錄香港抗爭運動的意義，願意花五蚊來支持呢個project。

多得Glass Onion音樂筆記、Music And Story、音樂．人生、Small Press Tune的拔刀相助。不介意在繁忙生活中抽空做呢件事、出錢出力。感謝一班音樂人在唔知頭唔知路的時候，相信我們，十分nice地同我哋做訪問。在街頭上，大家互稱手足；對我哋一些上唔到街頭的人來講，這個團隊感覺上一樣係手足。希望，大家就算唔當我哋係手足，至少可以當我哋係同路人。

如果你有五蚊可以捐，可以考慮捐畀我哋。(五蚊是Kickstarter最低可捐的款項)

多謝你。

Kickstarter 眾籌Link

F For: Hong Kong Protest Music Zine Teaser from newbee on Vimeo.

Posted on

2 Be Free：讓香港樂壇與 Twins 分手

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2 Be Free

Twins

廠牌：英皇 | 評分：5.3(你的評分)

同學愛新鮮，我們亦然。想當年憑著一本紀念冊，Twins尚有一班小學雞與朋友仔擁載；長大了，認清天空並非只得風箏與風，音樂不只是飲歌，小學雞自覺很傻很天真，一個一個地離隊。睽違四年的廣東專輯【2 Be Free】，Twins 嘗試用集體回憶召集所有愛過她們的面孔，單是主打歌《大過天》找來《戀愛大過天》做 Gimmick，或是很多新歌帶有舊歌的影子已見其野心所在。其實孖妹打滾樂壇超過十年，一定自知歌技舞姿都不如他人，如今在音樂事業的瓶頸位嗟嗟怨怨都是無謂，請數算一下自己過去十數年擁有過幾多金獎金曲忠心小學雞Fans和金唱片，發夢也應偷笑。沉寂四年之後復出，連樂壇環境都改變了，在著重創作和回歸基本唱功的氣氛下，實在再沒有孕育孖妹的天時地利：Twins 無謂再與香港樂壇糾纏。

想當年多唱幾首《雙失情人節》《多謝失戀》就可輕易俘虜大眾，伍樂城就此成為 Twins 十年間最多的養份。事過境遷，今天再用著同一招再不湊效，【2 Be Free】中《Let Me Fly Away》和《綁架》難以帶 Twins 回到萬人空巷大合唱的光景。當你以為兩個各自走出情傷，對愛情有更深的體會時，歷練沒有回饋音樂。那些年的《丟架》的「Let It Flow」和今天生硬吐出「Let Me Fly Away」還是一樣稚嫩，唱功躊躕不前成為了 Twins 音樂的絆腳石。Concert YY 中觀眾的詫異使 Twins 難堪，但 Twins 當日的表現一樣使觀眾難堪。甚至我會想：為何過去十年香港樂壇包容不了盧巧音、傅珮嘉、Shine 這些歌手，偏偏一隊 Twins 可以獨大多年？

Twins 說【2 Be Free】中掌握了更多的音樂自主權，但空洞得與以往的專輯湊夠十首歌上菜的味道豈不一樣？實在想不起 Twins 推出過甚麼有很有新意的概念專輯，你說【Samba!】很熱血，然而扣題的只有《森巴皇后》；【一時無兩】馬戲開頭無以為繼；【Twins Party】拆夥又找不到各自有甚麼特質。【2 Be Free】以 Funk Jazz 的《花生騷》和《本小姐》作起首結尾，似有睇頭，怎料內籠都是與包裝預設不副的涵料。其實【2 Be Free】找來的班底很穩陣，看到周博賢、Eric Kwok、藝琛、王雙駿這些名字我才有勇氣播放全碟，而大碟大部份歌曲都較以往 Twins 的作品紮實。但面對到 Eric Kwok 《金不換》般很戲劇性的作品，Twins 就完全被歌曲的性格壓倒了。有時候不得不用上「浪費」去形容，周博賢明顯賦予《素顏》很多層次，Twins竟然可以用同一種語氣處理一首首尾落差非常大的作品，我還以為聽到的是 MMO 中的和音。為何《旅遊書》是全碟中 Twins 凌駕得最好的作品？因為 Twins 的世界本來就是很簡單。

或許這根本不是一篇關於【2 Be Free】碟評，只是想趁 Twins 在這麼尷尬的時期來一個總結。如果要為千禧樂壇寫史，Twins 這隊樂壇奇葩絕對不可不記。公允一點，Twins 確實在樂壇生病時支撐起唱片市場，假製熱鬧，但同時在一層一層剝削香港樂壇的「核心價值」。罪名一是帶動了千禧年偶像派潮流，帶動華而不實不重視唱功的風氣，Cookies, Boy’z, E-Kids, Sky 等一堆以為青春萬歲的組合出世，甚至我會覺得「靚模」也蘊藏著 Twins 的基因；罪名二是轉移唱片重心，歌迷關注唱片內有甚麼精品、明星相、優惠券多於音樂，所以幾多張白金唱片都不值得我們驕傲。放大 Twins 這一塊根本就是千禧後十後香港樂壇最脆弱的地方，當然要承擔的絕對不只是兩個年屆30的小女孩，這樣重的罪名是要與唱片公司的貪婪和歌迷的不智共同背負。

其實我們唱Ｋ還是會點你們的歌已經足夠：我希望這會是 Twins 的最後一篇碟評。

首選：《旅遊書》

原文連結 | 全碟歌詞
延伸閱讀：用Twins歷年作品砌一張7分以上的專輯

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C AllStar《我們的胡士托》真心唱好歌

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胡士托是一個1969年於美國紐約州鄉下小鎮舉辦的音樂節，32名當時最著名的音樂人現身為期3天的音樂節，在近50萬觀眾前表演。這個音樂節被滾石雜誌譽為流行音樂史上「改變搖滾音樂的50個歷史時刻」之一。（資料引自「維基百科」）

本年度新組合C AllStar努力不懈，剛剛今天派出第五支派台歌。〈我們的胡士托〉借流傳萬世的胡士托音樂節的名字，帶出七位對我們意義重大的樂壇巨星。從Imagine烏托邦的John Lennon到以月球舞步Heal The World的Michael Jackson，從因樂與怒而海闊天空的黃家駒到以音樂摘星的王子陳百強，少不得繼續不羈的張國榮、芳華絕代的梅艷芳，還有永遠活在激光中的羅文。

細心看詞人梁柏堅用的文字，當然還有好幾處可以斟酌和挑剔用字的地方。不過流行歌詞可欣賞的又豈只是出色的文字描寫和舖排？字裡行間那份心意更值得珍而重之。C AllStar四位的唱，以至賴映彤的旋律和編曲，雖也如歌詞一樣有著青澀和未臻成熟的地方，但歌曲處處都可聽見心思，本身已值得拍爛手掌。

要說這首歌有gimmick嗎？肯定是的。不過，我們更感覺到唱者和創作者的心意。真心創作，真心唱歌，所以動人。「歌手縱會退下離場，絕唱仍留世間獻唱」這句非常真確。成長在八九十年代的我們，我們有幸遇上過這些響噹噹的名字，見證過迴響不絕的好歌。我們的胡士托，有如將時空交錯聯合起來，讓偉大的前人身影一同再現，讓我們一再重溫和念記，這個快樂時代裡最影響我們的幾位音樂人。

我們的胡士托
主唱：C AllStar
作曲：賴映彤@groovision
填詞：梁栢堅
編曲：賴映彤@groovision
監製：簡@groovision

誰人在聽　誰人在唱
每首歌各有各下場
能有緣　令到知音拍掌
如能榮獲全人頌唱成就獎
歌手縱會退下離場　絕唱仍留世間獻唱

人人在聽　連儂在唱
每首歌看似最平常
如戰場　聽到不許放槍
誰人在舞　誰人在唱
Heal the World
歌中看透　世事無常
用舞樂連結起信仰

遺憾我　缺席家駒演唱
絕響樂與怒裡　開了一扇窗

等到夜深　去摘星　當我想起你
生命流水　用漣漪　泛回生氣
港鐵裡　仍能在數分鐘約會到你

風繼續吹繼續吹繼續吹醒我
誰能忘記不羈風吹過
哪會停　誰人說剎那光輝過

誰人在聽　誰人在唱
每首歌各有各下場
能有緣　令到知音拍掌
如能榮獲全人頌唱成就獎
歌手縱會退下離場　絕唱仍留世間獻唱

看妖女　看妖女　讚賞
蔓珠莎　蔓珠莎　換上
這芳華絕相　劈開冰山掌
還你梅艷俠女這景仰

世間上　你始終最好
在珠片　在激光下　你是瑰寶
誰在唱　唱遍流行樂國土

全場在唱　全程在唱
米高峰見證了現場
如我們唱出　歌手理想
全場在唱　啦啦啦啦
啦啦啦啦啦啦啦啦
啦啦啦啦啦　啦啦啦啦
啦啦啦啦　全場在唱　時代曲
不分遠近　世代流行
And the world will live as one

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農夫【奇蹟】是怎樣煉成的

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農夫

奇蹟
廠牌：CMD | 評分：8.5分 | 你的評分

Rap可以興幾耐，點樣同流行曲比賽？回眸農夫十數載，新意依然陸續來。但乜嘢題材都試過，似乎好難再有新突破。仲要繼續 Rap歌？長遠睇真係無好結果？果然【奇蹟】有奇蹟，Rap到招招積積，歌詞尖銳出色，落點夠晒刺激。幽默有，感動有，叫人反省都有，內容比【O’FAMA】充實豐厚，製作比【富甲天下】用心優秀。【奇蹟】分東西，各自各生輝，各有各路軌，夥拍新創作單位，用上正宗本土米，新思源拓新邊際。既然農夫【奇蹟】分開兩個監製，我哋都要有計仔，就由 MC Chikin 同 MC 百合斬件睇睇。

MC Chikin：
先講陸永果半邊，貫徹幽默深層次。歌曲風格靈活多變，總算係個人新嘗試。作品表面好和善，內裡揭示陰暗面。好似《我要打多支》，輕輕鬆鬆用結他一支，掃走皺紋肌膚緊緻，諷刺當下反智，打Botox打到本末倒置。人一大就習慣晒呢個世界，但係兒童眼中就係變態，《問題兒童》巧用純真兒童聲，反襯炎涼世態有幾古怪。幾年黎農夫作品最大嘅變化，就係音樂性一路地強化，《問題兒童》、《我要打多支》中陸永放輕Rap詞部份嘅轟炸，反而對音樂起伏敏感地變革，Rap唱兼稱自然通殺。

中韓混生，創意盤根，惡搞過高登。《韓國勁舞權》電音勁CHOK勁造作，笑到我哋無晒知覺。歌詞似有又若無，一矢串盡韓國風，實質「肥婆學跳舞」，硬塞歌詞扮風騷，總好笑過林敏聰，Balabala發嗡風。《寂寞是最無敵》，一樣無厘頭到極。揉合《八無禁忌》嘅武功，HipHop融合中國風，中樂電音混西東，京腔切入不鑑粗。無論勁舞定勁武，幽默依然可搵到，白欖並唔係齋數，農夫搞笑都要夠食腦。

《光行紀》同《愛不愛我》火氣足，營造陰暗令人感局促，歌詞淋淋有血肉。外星人睇住地球腐化嘅《光行紀》，嶄新角度諷刺社會病態夠銳利。《愛 不愛我》表面講愛情嘅可悲，其實瓣開一層可理解做毒品損人害己，相同Gimmick 早於《不不不》萌起，毒品戀愛原來係咁可悲。但對比起嬉笑連連，怒罵相對缺乏亮點。剖析農夫成功大多寄托於輕鬆一邊，無謂搶走Indie Rappers 偏向 Death Rap嘅發展，既要流行普及功能自然有異，以一笑道盡病惡凶險，似乎更合乎大眾心意。

我歌又聽到，碟又評到，要Rap都完全冇難度。陸永呢半邊質素咁高，請問MC百合C君果面又有幾好？

陸永部份首選：《問題兒童》

MC 百合：
咪好在呢Part C君Rap詞更入肉，滄桑一點而不落俗，即使曲風方面較大路，但誠意搭救不能叫你唔服。

揭幕布，率先有，自省開航《偉大航道》，過來人之身份數，回望以往人生路。或許路縱難行但有安排，你比想像更偉大，鼓勵勸勉或告誡，莫讓青春頹得快。繼續《阿遲》的醒覺，長氣密密說拍拖，談談幾年嘅感覺，一氣呵成唔囉唆，編曲捨繁以取簡，旋律易記亦好喃，如沐春風嘅清新，主旨突出唔零散。

又合唱，唱情歌，修為幾生長途共諧甜言暖心窩，但講到這HipHop混進R&B，點解同 M-Flo《Come Again》咁類似，再聽副歌嗰個Beat，十足《蓋世英雄》嘅某一節，模仿咁足真係唔留面，你話係咪想要致敬先？

《吹摯友》吹下水中搞下笑，大同創作原來重複嗰十幾秒，C君好嘢適時轉腔換下調，聊聊家常再附著拍子抒發大聲叫。熱身一陣轉入正題想買樓，正是考驗你我情誼嘅時候，劃清界線打出你我不熟為由，今天看清你真的不是夠朋友。循序漸進內容連環互相扣，「不熟」重複催化作用唔覺漏，插科打諢間中針砭貴價樓，嬉笑怒駡現實係咁鬼難忍受。

要搵對應呢處有首《Good People》，DownBeat落下續著《勁舞》熱度，天真口吻明嘲人心叵測，反襯手法又似《問題兒童》。一暗之後歌唱《英雄》讚頌，Edward加入譜下柔情Good Soul，因為有你令我撥開迷霧，因為有你令我企喺呢度。珍惜現狀縱然《Rap Along Song》，Band仔出身熱血始終不忘，真誠地唱哪管能否起浪，笑中有淚知音伴我再航。

C君部份首選：《吹摯友》、《Rap Along Song》

各自揚帆，今朝更放燦爛，陸永C君恰如相分兩花，同氣連枝，作品得以誠意、創意灌灑。翻開農夫新一頁，其實【奇跡】内裏無乜大變，集合過往大成嘅奉獻，精彩之處更體現。

無言感激太多 喺心我哋將佢變做歌
無錯知音變多咗 但我哋仍然係我
當初押韻為過癮點會諗會影響人
呢生人有知音人做到今日咁我哋已經無憾

農夫繼續Rap到。

原文連結 (Chikin for 6wing部份) | 原文連結 (田中小百合 for C君部份)

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你能記得住周柏豪的【Remembrance】嗎?

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周柏豪
Remembrance
廠牌︰華納唱片| 評分︰4.5︱你的評分

尤記得周柏豪出道的形象非常鮮明,一個有理想有抱負的小伙子希望在樂壇中打出一片天，然而之後的專輯給人的感覺是愈來愈模糊，記憶點也愈來愈少，同年出道的新人亦分別遇上相似的樽頸位，也不禁令筆者擔心他之後音樂路的發展如何。近日看到周氏的唱片，似乎公司也意識到他需要一些突破，除了唱片封面的性感博盡，歌曲上也找到了新的製作人周博賢。

唱片開首的《傑出青年》及狂電台熱播的《乞丐王子》就是出自周博賢的手筆，兩首主題也是周博賢一向的擅長，社會議題，前者《傑出青年》描寫的是八十後青年，COUSIN FUNG 的旋律來得直接有爽勁，編曲亦未見累贅，能夠配合歌詞批判及主動爭取的態度，作為專輯的開首相當得宜，題材放在周柏豪身上也稱身，相比之下，《乞丐王子》雖旋律動聽，然而火花卻未有前者大，歌者感染力亦不足，不過唱腔及歌唱技巧的改進卻成為了今次的亮點，總括來說，兩曲歌詞一貫周博賢水準，不高不低，歌者表現也尚算不錯，音域亦適合歌者演繹，算是不錯的新嘗試。

餘下的三首歌曲風格則未有太大的突破，而且跟以上提及的兩首顯得格格不入，《最好不過》旋律編曲來自陳光榮手筆，很平淡，歌詞題材亦是老新常談，周陳配今次似乎少了應有的默契及度身訂造，《我不要被你記住》為舞台劇主題曲，由周柏豪創作，未有《想太多》或《最後的三分十六》的出色，後段的和音及變奏更是畫蛇添足，暴露歌曲聲線的缺點，POP ROCK 想做得不平凡卻弄巧反拙，拖垮質素，《走狗》則是周柏豪唱片近乎必有的曲種，旋律不時發現其他歌曲的鬼影，歌詞「誰想到聽講聽教令我個性也生銹」似乎點出了曲詞的面目模糊，順應市場。真的，一張EP也未免放了太多安全牌吧。

要在樂迷的心中留一席位，不單是靠單純的視覺效果，還需要不斷的音樂進步，唱慘情歌的男歌手大有人在，緊守崗位只會不進則退，今次踏出的一小步，未知能否帶來下次的一大步，唯望當日的小伙子能夠做到堅守便有夢，向大家呈現一個有血有肉的周柏豪，而不是跟潮流牽著走的走狗。

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歌者的自白與顛覆 – 陳奕迅《一支得啩》

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緣起小克在《東TOUCH》創作了《一絲不掛》的惡搞版—《一支得啩》，原唱者陳奕迅看到漫畫後，竟然嚷著要唱。小克改編歌詞不是新事，陳奕迅也是好玩之人，此舉特別是在於為何陳先生會選擇這首歌。不是《2001太空落油》（原曲《2001太空漫遊》），也不是《沙蟲》（原曲《沙龍》），更不是其他小克改 編過的佳作，而偏偏是此時此刻的《一支得》。以他這樣身價地位的歌手，翻唱一首山寨歌曲，在電台 節目「雲妮鍾情」只唱一次，不為名也不為利，為的可能是替自己的純愛歌路形象加一點社會注腳。

受室內禁煙的影響 （還有電影《志明與春嬌》的效應），吸煙與不吸煙不算全城話題，也算社會共鳴。《一支得啩》是關於一個煙民的故事，以吸煙者寂寞痛苦及被追打的過程，間接 勸人戒煙。雲妮在電台節目說小克想過以此曲為癌病基金籌款，可知歌曲雖過癮好笑，但背後意圖是有多善意。而這正是陳奕迅親身演唱的意義——他不是挑從前小 克填過的什麼改編歌，而在陳也未必自知的情況下，選擇以惡搞去關懷社會，這也正是他對自己形象的顛覆。

自白非「自白」

那 陳奕迅的形象是什麼 ？大概可以說成是歌唱事業的「自白」。或許「自白」這個形容太自我，陳奕迅在樂迷認知裏的「自白」，也就是市場策略的定位。陳奕迅當然是情歌王子，歌聲好 聽，唱出戀人心聲，卻不致於首首K歌。愛迷樂迷有口難唱，惟有靠Eason代言那最窩心的滄桑及深情。不過儘管他是如此走紅，陳奕迅卻是志不止如此。在現 今樂壇，他的聲線無可替代地成為情歌的最佳代表，但也因為近二十年香港樂壇以情歌主導，「好聲」反而規範了他的歌路——除了情歌，他無路可逃。不過，他選 擇顛覆，正是在樂壇以外、一切市場定位的遊戲規則以外。聽他的訪問便知道，他自己的性格與情深似海或傷春悲秋相反，其中他很喜歡的一首歌《最後今晚》，關 於新郎婚前的最後一晚，他說最愛一句「最後今晚 明晚只得冷飯」正正顯示了他是「深情」的相反，而且還帶點刻薄，他認為這才算「一矢中的」。這就是真的陳奕迅——至少是陳奕迅其中一面，其中一個很少在他 的歌路中出現的一面。

這就是歌者自白的矛盾之處了。自己想唱什麼主題、傾向什麼價值觀，在香港樂壇往往是市場決定，而非自己。從前，Beyond還可以唱種族歧視，黃耀明還可以唱同性或禁戀，但現在社會性或小眾話題少了，謝安琪和RubberBand還是被人當小品。

正經╱惡搞 誰夠資格？

除 了社會意識較強的主題，歌者的自白經歷從前也廣為樂迷認同——樂壇在主題上是更開放和多元，當然也必是來自殿堂級人馬。張國榮勇敢地唱《我》：「多麼高興 在琉璃屋中快樂生活╱對世界說 什麼是光明磊落」，但現在泳兒唱《無緣罪》：「回家歸隱更好嗎？離開風吹雨打」，總是覺得不夠份量，更遑論資格；關楚耀唱《一年》也不會像羅文的《幾許風 雨》，不是一年和十年的問題，只是關真的沒有「一個我默然承擔起一切怕什麼」，而羅的「看透世態每種風雨」至少是不容置疑。如今歌手少了獨特氣質，同時也 只像挪用一部分的明星經歷作為「另類」主題，實際是其實他們都扛不起這樣的「我口唱我心」的題材。

陳奕迅其實也明白這個道理，在如今什 麼都講求輕巧的年代，即使他步向殿堂或宗師地位，他也從不拉嗓子唱滄桑：在非情歌還未能成大勢時，他更沒有選擇刻意背棄深情路線，真正想唱出自己的態度或 赤裸地表達一下社會意識。他倒不如走「法律罅」，假手於人，再拿來翻唱。於是他是非正式地唱《一支得》（絕對只限電台節目播出，甚至連籌款歌曲也不做， 雲妮一再強調只是作最簡單的一次式播出──當然，YouTube上的點播率其實也早比得上一隻單曲發表）。他笑言若自己不唱，就會被王祖藍拿去了。這也證 明Eason即使不是有意識地，也算是刻意地以惡搞精神，顛覆了自己本身的固有形象。而這第一次與深情形象正面衝擊的，就是對禁煙戒煙的社會性關心。在當代樂壇，他可是第一人。

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原文連結

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C AllStar【Make It Happen】真的．假不了

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2010001029

Make It Happen
廠牌︰Kingdom C Music | 評分︰6.9︱你的評分

「四人男子組合」是很糟的六個字，它標誌著賣樣不賣聲，單靠倒模的外表迷倒少女，陰聲陰氣哼兩嘴則可走滾樂壇。陪你去看流星雨的 F4 經已殞落，換來飛輪海接班，當歌迷把他們的樣子都看厭了，今天已風光不再。香港這邊更可用「騎呢」二字形容，兩年間先後跑出兩隊全新 MK 男子組合，一隊叫 S4uare，一隊叫 4anda，老土懶型附帶弱到不行的聲線，見面以粗口相贈以算禮貌。可笑在「四人男子組合」也是樂壇最短壽的動物之一二，來也匆匆，去也匆匆，遺害樂壇有限。

也許香港的唱片公司，先後看到台灣和韓國的男子組合的人氣席捲東南亞，都希望用飛輪海, Super Junior 的公式，曬曬胸肌賣賣肉，出出寫真集，然而香以吸到最多的財。港人也傻不了多少，近期年的樂壇情況說明，香港人對這類偶像派都看得麻木了，而大家都反璞歸真地追求紮實而有質素的聲線，「超級巨聲」與「亞州星光大道」也不過是在這大氣候之下促成。

假的真不了，現實的社會都是看沙紙的，而歌唱比賽則是加入樂壇最有信心的憑證。一零年全新「四人男子組合」C AllStar 四子是歌唱比賽「星投大戰」的最後四強，比賽完畢後組成組合，不消一年即加入樂壇。原來我也曾經留意過「星投大戰」，記得一天路過某大商場，看到四個大男孩在鬥高音，一級再一級地升上去，上了好10個key。我也算得上是一個見證人，看著 C AllStar 的誕生，由參加比賽，到加入樂壇，到推出第一張唱片，都不過是一級再一級地升上去。名副其實，聲而優則唱。

就算你從不認識 C AllStar，從其首張專輯【Make It Happen】中可聽到四位的唱功之紮實，足以自然凌駕的 Ab-Lip 部份，且互不搶走戲份，合作性高。【Make It Happen】的最大亮點是一首首清新而有活力的作品，音樂青瀝，呈現一份十八廿二暮醒矇矓。總是覺得今天的流行曲太沉重了，缺少了一些流露出青春味道的作品承托，乃至一些聲線甜美清脆的歌手都沒有發揮自己的天賦，裝成熟去。C AllStar 捉得緊自己這個角色，用八十後的身份說故事，因為他們的本錢就是青春。

不少人都是從《80後時代曲》去接觸到 C AllStar 的，乘著時弊潮流抽抽水而為人所認識，也是下得不錯的一著。利東街之後又一菜園村保育風波，小克親切地用八十後溫室中企高的身份，去看這經濟急促發展的年代遺下的一些保育價值。作曲人又用上最親切的八十年代音符，《430穿梭機》、《今天應該很高興》、《夏日寒風》乃至最後一段迴腸盪氣的《輪流轉》，將整個八十後的所見與所聞立體，《80後時代曲》確實心思處處。

時間作串連有《80後時代曲》，而空間串連有《我們的電車上》。《我們的電車上》是西至東平移的畫面流，由筲箕灣寫到西環，將電車所經之處盡量記低。詞情感尚可，惜廣而不深，情景大多走馬看花，也有堆砌用詞的情況，正如紅棉道有何風格，而干諾道又有何優雅之言？幸歌曲被聰明地運用編曲搭救，將零碎的鬧市聲切入，無疑是有助加深歌曲的深度，編曲人的處理手法是值得欣賞的。Vocal單由 On仔 演繹，比起合唱作品顯然變得薄弱，感情未能凌駕全曲，尾段節奏加速未能承載，在溫柔與激昂之間顯然變得尷尬。

主打歌《I Sing》最講求四子的合作性， 當 Verse 與 Chorus 各人先後 Solo 時，其餘三人又善用空間發揮，全曲更加靈活多變。歌曲中能夠聽得出四子具有掌握 Bossa Nova 的能力，面對轉音位置皆可圓滑處理。反而 Bridge 合唱的位置有點吃力，當四人分別飾演幾個音部，會出現甩半拍，換氣聲不一的情況。Acappella Version 除 Beatbox 部份稍有驚喜外，Vocal 都不過是從原版抽出，沒有重新灌錄的。《I Sing》能在全碟跑出，賴以編曲紮實，Cousin Fung 將《十七度》的清新引入到《I Sing》，全曲具有生命力，相當活潑。恰巧地《I Sing》與同期推出的《陀飛輪》一樣，唱片版本用上騷靈的琴聲或色士風，使之變得更加 Jazzy。筆者倒覺得兩首作品如此的安排都是多此一舉的，不是抱著慣性心態，只覺這份加工不夠人性化，色士風的突然插入更是兀突無味。有一點令我奇怪的，在粵語歌之上加國語部份的動機我倒很有興趣知道，此舉更一道使我懷疑 King 只會唱國語的呢。

《白色信件》不夠清澈，混音之亂幾乎足以將 Vocal 蓋過，Chorus 尤其過份。輕敲鐘聲清清脆脆是討好的，起碼編曲有這個意識去做一首寧靜而浪漫的作品。可惜輸入夢幻卻輸出混濁，和音何其動聽都在耳背擦過了。倒不如反樸歸真，交出一脈寧靜。從陳奕迅身上沾沾人氣，重新用爵士樂包裝《裙下之臣》，也是個不俗的意念。然心大而手細，做起來又不夠豁達，編曲不夠靡爛，將《裙下之臣》高潮所在的 Bridge 刪減更大大影響歌曲的流暢度，使尾段變得吶悶。釗峰演繹欠缺層次，且過於保守，貨比貨下前輩與後輩拋離得最遠的，就是那份挑釁與犯賤。話雖如此，每每有人重新包裝舊作，只要賦予新作一定程度的新鮮感，總是讚多於彈的。

《0809》將零碎的聲音片段砌砌疊疊，做法新穎，拼出一道思潮。誠言唱的部份並不好聽，可笑在一個個牽強的音倒令我覺得很親切，有如童謠多變的轉音，句末留有餘韻。未知「夾死你」一詞是否四子的內在摩斯密碼，在《To be continued…》的最後部份也略略提及。尾段聲帶的剪輯相當有趣，將C AllStar 最有活力的一面呈現，造作但也溫馨，印象深刻。

專輯最出色的莫過於片段的引入或剪接，將外在的意境拉入到 C AllStar 音樂中，做法聰明。《80後時代歌》拉入經典熟悉的流行曲旋律，《我們的電車上》和《0809》的社會聲音，豐富飽滿了大碟的內容。歌曲本身又有歷史見證的意味，槍頭一致，直指過去二, 三十年間社會價值觀的隨經濟冒升的急促變化，善用八十後的身份親切敘事。五首新曲已成概念專輯，就此作結已合格有餘。

然而從【Make It Happen】中可以聽見 C Allstar 的音樂野心不止如此，力將大碟提升到更高一級以及更加完整的概念的層次。參考其他大碟的舖排手法，用上三首的純音樂做引子，間場或結尾，務求盡量統一到全碟概念，刻意形造出一張像真度高的 Concept Album。此舉簡直大打折扣，一是純音樂與主菜完全脫勾，如散件呈上，灌錄質素又欠佳，融入不了專輯之中，更遑論將專輯昇華到另一層次。二是尚未認清何謂 Concept Album，僅在膚淺的皮毛上著手，或許製作人也未必知道自己加插純音樂的動機，是為做而做，還是確有落點。多首歌曲的細微位置都顯然是畫蛇添足的，如《八十後時代曲》的Intro部份左右聲道相間處理得不好，《我們的電車上》尾段的中樂更是多此一舉，心機終成瑕疵，何必如此，Less is More。

但畢竟他們是憑著滿腔對音樂的熱誠，而取得樂壇的入場券的。我十分感謝 C AllStar 四子的【Make It Happen】，多謝你們的誠意買一送一。我想和大家講，香港樂壇好好，不要為「四人男子組合」而憂慮。但講到底，大家支持 C AllStar 四子，是對樂壇重回「聲而優質唱」本質的一個重要的肯定。但是，想深一層，有哪一個樂壇，是從來沒有遇上過變化的呢？那怕今天具有真材實料的 C AllStar，他朝地位不保，權力重新轉移到賣肉賣身，而零唱歌材料的男子組合身上？如果你都遇上了一些變化，一些莫名其妙的變化，請你不要驚、不要亂、不要放棄。因為真的假不了，假的真不了。

首選：《I Sing》

全碟歌詞 | 官方網站 | 原文連結

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何韻詩舉五噸之吊臂僅換一克之回報

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20090060231

何韻詩
Heroes
廠牌︰東亞| 評分︰7.6︱你的評分

【Ten Days in the Madhouse】勁歌唱片割價賤賣四十九，「SuperGoo」演唱會銷情大不如「Live in Unity」，何韻詩化身黛瑪踏出社會之後，再無《木紋》般的大路情歌承托，先後再受港台商台連環打擊，光明會前後失據。然而在不討好市場的情況下，【Ten Days in the Madhouse】依然獲得好評，除了音樂上保持一貫的水準，概念亦相當紮實完整。何韻詩在 Madhouse Project 的產物，經已跳出一個歌手的範圍，《十日談》影畫文字並錄，將大碟領域擴而充之。用人家三張專輯的精力去做一張唱片，這份毅力殊不簡單，這獨有的超能力，其實可在【Heroes】為自己立一傳。

【Heroes】在多方面都上承【Ten Days in the Madhouse】，《舊約》取代《青山黛瑪》成引子，《金剛經》則取代《美空雲雀》成總結，二曲同時先後派台。【Heroes】底板不換，不過是換了零件，甚至在歌曲風格也不難見到上張專輯的影子。【Ten Days in the Madhouse】首首有故事，要認真了解則必先資料搜查，聽眾難以消化是可以理解。【Heroes】相對 friendly，聽者可完全貫注於音樂之中，較為踏實。【Ten Days in the Madhouse】非常沉重，揭社會陰暗面，負能量蓋過正能量，聽罷心有戚戚然，【Heroes】方真正無包袱地做到正能量發放。

歌詞方面，黃偉文繼【Our Time Has Come】再一次統一全碟概念，【Heroes】歌詞劃一，黃偉文獨攬全碟，整體性自然很強。雖然林夕曾暗諷，指一個歌手應多與不同的填詞人合作，否則詞人將歌手心中所想的表露無遺，未必是好事。作曲編曲方面，棄青山大樂隊取陳奐仁，有人咎病，新碟洗清何韻詩所建立之風格，亦有人認為擦出火花，注入新力量，連【Heroes】也受到【Raw Jazz】所感染。大家各執一詞，此消彼長，其實並無答案，僅視乎你個人口味。

出道至今，何韻詩的作品一直在同性戀題材上兜兜轉。露骨如《露絲瑪莉》《勞斯萊斯》，有意無意至《願我可以學會放低你》《光明會》《韻律泳》。愛在於黃偉文對同性戀之間的感情拿捏得很好，描繪細膩；恨在題材毫無突破，反反覆覆，叫人厭倦。幾年前《黃色大門》之上有《紅屋頂》，今年《最後的茱麗葉》寫下《舊約》，黃偉文筆下再一次綴合何韻詩與容祖兒二人。「歧視眼光沒有少」，《金剛經》繼續為同性戀者革命，高呼「我們仍然未得勝」，黃偉文總刻意伏筆幾句。Gimmick 玩得太多，效果已大不如前，如非有新角度看同性變話題，為何要再為做而做呢？

哥德風格的《少年維特》之後，《狂草》一樣怨氣充斥。論搶耳，《狂草》絕不及《少年維特》的電子樂運用來得壓場。黃偉文卻寫得瀟灑，畫面無秩序穿插，盡顯狂草恣意，同時輕滲環保概念，《燕尾蝶》種出大廈之後，《狂草》宣告「浮誇的盛世, 即將結局」，來一場大自然反擊戰。《飛簷》亦有《丹賴斯隊》的影子，全曲快慢有致，中後段 Tempo 較快，可謂畫龍點睛。又先有《堂吉訶德》談 Online Game，後有《面書》論 Facebook。「人面似打開了的書」，黃偉文生動活潑盡繪一個網絡都會，但卻容人質疑何謂英雄？

《可可》似乎來得更加扣題，黃偉文以小見大，從小小角色看處世做人，好比一句「神力天生總有用」，肯定人人存在價值。可可會將世界變朱古力，大派溫暖。陳奐仁, 何秉舜的 Big Band Jazz 及和音殿後一樣大派溫暖，發放正能量。《惹火》相反則由炫耀寫到淡出，又一神奇女俠退休故事，歷越高峰後重歸平淡。黃偉文在【Heroes】中從多角度描寫英雄應如何運用超能力，帶給聽者新方向反思，用字淺白而意念甚有深度。

大路的《冰心》初聽無味，但認真嘴嚼亦有可取之處。論編曲意境《冰心》與《願我可以學會放低你》類近，同樣重用提琴鋼琴，又有獨處淒清之畫面。《冰心》的情緒蘊釀並不簡單，黃偉文由歌名如《青山黛瑪》般食字，再由虛入實，從結冰的超能力聯想到自我封閉，旋律又易入屋，派台看似勢之所成。何韻詩凌駕《妮歌》時特別舒服，也許描寫歌姬正是其師傅梅艷芳，感情投放特別深厚，更比起《美空雲雀》的高音位置處理得更圓滑。步步上揚的編曲，更能帶動歌頌之意，歌詞方面更加細膩，實屬慢板《你是八十年代》。

何韻詩步入小巷之後躊躕不前，但「神力天生總有用」，要立志當妮歌以潔世間萬千，得要走得更遠方見回報。誰擔保當先鋒部隊轉投東亞會大紅大紫？誰擔保做過《梁祝下世傳奇》舞台劇定必叫好叫坐？誰擔保拍《十日談》會引來各方迴響？從沒有，這都是靠她個人一手嘗試，肯拼肯搏而成的。即使此際，還沒有搞懂，何韻詩踏出社會之路尚未開花，一切尚未明朗化。但再前瞻遠方，只要在社會這大題目下找到針對點，總有一天自有青葱一片地，仍願你信。

首推：《可可》

全碟歌詞 | 原文連結

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Killersoap x Tonick x大頭佛x Dear Jane 從搖滾禮堂大步出發 (上)

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Text: 葉德雄

本年度樂隊甚有復興之勢，其至連野仔主音占亦在剛過去的音樂會中，連同Zarahn、Mr.、Dear Jane三支樂隊於1500名觀眾的支持下大呼: 「Band Sound Is Back!」，就知道大家對Band Sound的強烈渴求。Band Sound歸位，全新音樂企劃「Rock Motel純粹組團」亦蠢蠢欲動，乘勢舉辦一連串Band Show，首發是Dear Jane x 大頭佛x Tonick x Killersoap的「搖滾禮堂」，打正旗號將搖滾力量重新燃燒。

充滿新鮮感的「搖滾禮堂」

作為籌備Band Show的組織，Rock Motel顯然希望以更有規模的方法去吸引更多不同層面的觀眾支持樂隊文化，希望給大家新鮮感。有別與其他中小型Band Show的宣傳方式，「搖滾禮堂」準備充足，為各表演樂隊拍攝MV、製作具造型的海報、進行電台宣傳接受商台訪問，都顯出Rock Motel為本地Band Show求新變革的特質。Dear Jane在今年氣勢絕對強勁，一曲更播得街知巷聞；大頭佛接近四年未曾正式演出，復出更帶來新曲及製作新唱片；Killersoap及Tonick雖然未曾推出唱片，但在獨立音樂界早已廣為人知，實力無需置疑。究竟四支風格迴異的樂隊走在同一禮堂中，會有甚麼預計之外的化學反應﹖

Dear Jane: 搞Band Show是一件值得表揚的事情

第一次夾Band的情形是?

Tim: 「與很多聽Rock的朋友一樣，從小便接觸到Beyond的音樂。」

Howie: 「我在小學六年級時已經對Rock甚有印象。當時有位同學穿著一件AC/DC的Tee，這時我覺得為何有會喜歡Band Sound喜歡到要穿上樂隊的Tee表示支持，所以便開始接觸Rock Music。」

Tim: 「有些同學平時可能表現得很靜態，總覺得他們喜歡有玩鋼琴或Jazz，但有些朋友在認識一段時間後，發現都是rock 底，喜歡聽Band Sound的。」

Jackal: 「我在讀中五時開始與同學夾Band，直到現在也有教授別人打鼓!」

你們對現在Band Sound發展有何意見?

Howie : 「近年比較多Band Show搞手都是學生，例如大學的Band Society經常舉辦Annual Performance及其他Band Show，他們舉辦音樂會的模式方面顯示他們很熱心，但同時可能他們的人生經驗尚淺，未必清楚市場環境，導致可能宣傳效益方面都比較一般。但有這樣的發展，已經是一件值得表揚的事情!」

怎樣才是一個好的Band Show?

「搞手與樂隊之間有良好溝通，建立緊密的夥伴關係，加上宣傳方面密切配合，樂隊才可以安心演出，完成優秀的表演!當然觀眾之間的投入亦非常重要。」

你們想吸引哪一班新的歌迷認識你們的音樂呢﹖

「其實Dear Jane的曲風變化甚多，從一開始的Pop Punk到現在大家都認識的接近流行曲抒情風格，都是我們的發展方向。我們覺得很難去界定希望哪一班新的樂迷去喜歡Dear Jane的音樂，只可以說，希望未來更多人喜歡Dear Jane!」

Killersoap: 將Band Show商業化是必須

回想讀書時，第一次接觸Band Sound的情形是?

Man: 「我讀中六時因為轉了校，在新學校遇到幾位第一代Killersoap的成員，我們會在班房一起夾Band，甚至帶了結他、Effect及Headphone回學校，老師已經不阻止我們在課室彈結他。有位老師更為我們在學生搞了一場Show，從此便接觸了Band Sound。」

Rocky: 「起初我是Canto Pop的樂迷，但現在的隊友Kevin介紹外國音樂給我認識。當時我們都沒能力購買電結他，便拿著木結他練習彈Metallica的音樂。」

Kevin: 「在中學時，有位同學介紹我聽X Japan，起初不太接受，但聽下去覺得很不錯，便聽更多另類音樂如Metallica等，再介紹給隊友Rocky聽，算是接觸Band Sound的第一步。」

Issac: 「我在中六時，同學夾Band欠了一個隊友彈Bass，所以順理成章去學彈Bass直到現在。」

Gould: 「當時中四，由社工介紹一班彈結他及打鼓的朋友給我認識，所以開始接觸搖滾樂。」

你們讀中學時有很多人夾Band嘛﹖

「其實很多。中學生由中三開始，很多已在琴行、跟結他老師學樂器。因為演出機會多了，所以更多中學生接觸及學習樂器。以往只有Live House、蒲窩等表演場地，現在則有許多不同的演出機會。」

近年Band Show模式有何意見?

「先說好的方面。我們都覺得Underground這個組織對Band Sound很有推動力，我們每支樂隊之間都是朋友，亦經驗有一同演出的機會。因為他們很主動搞Band Show，尋找演出場地及贊助商，定期能舉辦Band Show。另一點我覺得這些Band Show都有給車馬費，減輕樂隊出Show的負擔。」

「另一個現象是我覺得在香港的Band Show總是一班人，而且我們不能經常有新歌。如果搞手能在不同的地方，例如衝出香港在深圳搞Band Show，讓更多人聽到我們的音樂，已是行出一大步。」

怎樣才是有質素的Band Show?

「我覺得有關Band Show的接觸方法，現在已有了網上電台如Radiodada已能聽到許多樂隊的訪問。」

「表演場地也非常影響觀眾的入場意欲。我曾經邀請未看過Indie Band Sound的同事、朋友欣賞我的演出，但因為表演場地在工業區，令他們對觀賞演出感到猶豫而卻步。如果表演場地能在大眾化一點的地方，或者會為Band Show帶來突破。」

「我覺得將Band Show商業化是必須的。因為要令Band Show搞手及樂隊維持生活，才能令Band Show繼續發展。如果在香港表演音樂都能賺錢維生，我們才能投放更多時間及資源創作新的音樂。」

如果Killersoap想開拓一班新的觀眾，你們會選擇?

「我想給家長聽我們的音樂。因為很多家長只認為欣賞音樂只是古典、鋼琴音樂，而Band Sound則是嘈吵、無內涵。我們這一輩如果有幸成為家長，那麼下一代應該全部都能接受Band Sound音樂了。」

Rock Motel Proudly Presents: 搖滾禮堂

poster

表演樂隊: Killersoap‧Tonick‧大頭佛‧Dear Jane

日期: 2009年9月12日晚上8.00

地點: 蒲吧 – 香港西灣河聖十字徑2號協青社大樓室內場館

票價: $150 全場企位

訂票及查詢熱線: 91231475

Posted on

容祖兒造就A Time For Others

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容祖兒
A Time For Us
廠牌︰英皇| 評分︰4.8︱你的評分
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年頭容祖兒【In Motion】的第三Plug《愛怪物的你》功成身退，人人爭相討論應派上甚麼歌出任第四Plug守尾門之際，英皇計精數，一轉眼就派上【A Time For Us】的第一Plug《可歌可泣》，減省不必要的真空期。野心大得可見，誓要為容祖兒出道的第十個年頭搶回風頭，防止歌手在囍帖街建立盤地，黃袍加身，取而代之成位樂壇一姐。然而，慾速則不達，【A Time For Us】誠意欠奉，商業味濃之餘，容祖兒個人表現更是令人失望，連CD version也出現大量聲線上的瑕疵，就連慢歌也有凌駕不起的情況，大量結構性技巧問題於大碟浮面。

C.Y Kong筆下的《可歌可泣》，一脈相承的旋律確實有一定欣賞價值，然而林夕歌詞欠缺重心，再次在愛情的表層兜兜轉轉，無病呻吟，最終淪為次等K歌。小調作品湧現，容祖兒也來一首Christopher Chak的《搜神記》，可惜容祖兒每遇高音位置都不能圓滑帶過，主旋律不少轉音位置更出現技術性問題，全曲沙沙石石過多，有礙整體流暢性。

《我所知的兩三事》是麥記廣告歌的放大版本，也是容祖兒久違了的活力之作，清新可喜。略嫌陳光榮的編曲處理過於呆板，電子味玩得不夠盡。而容祖兒唱腔更是過於造作, 部份拖長音節兀突，明顯未是狀態，純粹笑容搭救。《開動快樂》的一份爽朗才是為容祖兒度身訂造，正能量十足，而周耀輝副曲中巧用大量「打開」，藉廣告產品的開罐特徵作出更深一層的暗喻，的確可口。

《It Doesn’t Matter》稍有睇頭，編曲沒有多於矯飾，恰到好處。雖然容祖兒未能完全捉摸得到那份撲朔迷離，只是後段聲線相對地恣意揮霍。《心賊難防》中，C.Y Kong大玩gothic，使全曲增添幾分鬼魅，是全碟中出色之作。但容祖兒同樣捉錯用神，未能盡情發揮一份妖艷味道，毫無韻味可言。Kenix Cheang放下一貫的大路食糊歌曲，轉戰舞曲《花城》，表現不過不失。而容祖兒觸到鹿而不懂脫角，副曲高音位置異常差勁，薄弱得搖搖欲墜，比起《搜神記》更為危險，更莫論觸到神髓與否。

Eric Kwok 炮製的《圓謊》旋律其實並無太大賣點，是《華麗邂逅》的姊妹作，只是樂器選用上稍見心思。副曲旋律首句不其然令人聯想到鄭秀文的《愛的挽歌》，無獨有偶，林夕在此填上一句「只要能一世陪住你」，與《愛的挽歌》「呈獻出一切去求你這一晚陪伴我」似有呼應，兩曲也以「謊言」為中心，看來又是一個Gimmick。初聽《時不與我》以為可以不聽也罷，中段的一段弦樂叫人提一提神，雖然明顯與乏味的旋律有所差異，但最低限度也有心思鋪排。慘情歌是容祖兒的老本行，《時不與我》中的發揮自然不容有失，但及後的《兩面》，容祖兒下的感情明顯地較深。《兩面》與《28個我》類同，以談及性格的作品為全碟壓尾。起用goomusic新人謝曉盈，副歌旋律交足功課。陳浩鋒寫出個人舞台劇的心路歷程，刻於《兩面》，繼而放大至社會，叫世人堅持到底，成功咫日可待，當中對未來的憧憬寫得自信十足。全曲氣氛形造甚佳，迷幻的編曲與歌詞對現時面對著的陰霾互配，可算是一個新組合配搭的化學作用。

【A Time For Us】的倉促推出，加上年尾國語碟小波攻勢，雷同自動放棄年尾爭獎。容祖兒高音和轉音的弱點盡暴於大碟中，加上情感未能收放自如，歌曲如《It Doesn’t Matter》、《心賊難防》、《花城》未有摸透神髓，投入感甚低，情感完全抽離歌曲，未有為歌曲注入生命。【A Time For Us】中的分數大多是給予幕後音樂人，容祖兒個人似乎連歌唱的基本功也沒有打穩。在改朝換代的前夕，也許是時候反思一下過往樂迷的盲目與唱片公司的過份喧鬧，一切不過是鏡花水月，不得永久。單憑【A TimeFor Us】，點鬥？

首選：兩面

全碟歌詞

Posted on

楊千嬅《麥芽糖》派台

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楊千嬅於無線節目四川地震紀念活動【TVB 512再展關懷】中現場唱了新歌《麥芽糖》。

歌詞連結

———————————————————–

下星期一楊千嬅2009年第一主打將會派台。

5月5日903【叱吒樂壇】節目上，DJ阿禮透露楊千嬅將會在下星期一派新歌上台，現在是二首作品選一首的狀態。

Posted on

Lona Records　【Red】

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lona_001

[starrater tpl=10]

RED

Various Artists

廠牌：Lona-Records
類型：粵語流行
格式：CD
發行日期：2009-05-16

參與單位
Ibid (A. Duncan + Xper.Xr) (倫敦) / 顏峻 (北京) / Torturing Nurse (上海) / 李劍鴻 (杭洲) / 王長存 (杭洲) / 白天 (成都) / Ronez (桂林) / ZenLu (深圳) / Alok (香港) / Fathmount (香港) / KWC (香港) / No One Pulse (香港) / Sin:Ned (香港) / VSOP (香港) / Wilson Tsang (香港) / 檢德大厦(香港)

簡單︰【Red】是Lona Records的首張合輯，收錄十六位來自不同地區的音樂人，包括香港的Wilson Tsang、儉德大厦、Alok等單位。

歌單

CD1:
01. Li Jianghong – Red (0:39)
02. Yan Jun – Re(a)d Garden, Sound Forks In The Rain (9:53)
03. No One Pulse – Re-edit (6:28)
04. Zenlu – Sunset (4:18)
05. Wilson Tsang – black FLIGHT AT red NIGHT (3:38)
06. Wilson Tsang – red FLIGHT AT black NIGHT (6:07)
07. Kim Tak Building – V05 (6:05)
08. Alok – Plain Red (10:00)
09. VSOP – Noble Savage (04:53)

CD2:
01. Yan Jun – Bastille Red Face (0:59)
02. Sin:Ned – M (15:34)
03. Bai Tian – Red (6:40)
04. KWC – Hometone (19:26)
05. Wang Changcun – Dream Receiver (4:38)
06. Fathmount – Part 1 (21:14)

CD3:
01. Torturing Nurse – Spoken Word (0:36)
02. Ibid (A. Duncan / Xper.Xr.) – Chinese Red Pussy (2:25)
03. Ronez – The Color Of Feedbacks (5:53)
04. VSOP’s – Interlude (00:28)
05. Li Jianghong – World Of Sand (16:05)
06. Torturing Nurse – Red Light Red (28:12)
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