| Adam Talk |
breaks the cultural dimension
"Nowadays folk songs sound very poor."
Nowadays folk songs are always repeated, girl, tobacco, wine, suitcase, location, and these combinations Together, it's like He Yong sings "I only have a bed for twittering", but there is no courage and rock and roll of He Yong.
The current folk singer is weak, easy to say love, easy to say, and easy to sleep, sleep one, eager to sleep next.
But the real Chinese folk songs are not like this.
Hudev said: We have gone through the stripping period, Hong Kong and Taiwan worship, rock and roll, campus folk songs, RB wave, we have vented, blindly, and trended. Now, after so many falling flowers and flowing water, the open mouth wants to leave something for life and the land, but loses its own melody. Reflecting in the impetuous and crowded, what we want to sing is inner peace. The
folk ballads once fluttered, and the ballads continue to set off. What we can do is to record, without entertaining vision or useless hallucinations, to hear the echo truly and like touching a string, record the history truly and heartily, and look forward to the sound with you bloom. The first folk song of
was an era exclusive to Taiwan.
has a long history, and it resembles a legend: in 1975, Yang Xian, Zhao Shuhai, Hu Defu, etc. held the "Night of Chinese Modern Folk Songs" at the Zhongshan Memorial Hall, and the concept of modern folk songs began to appear; in 1976, Li Shuangze threw out a Coke bottle and smashed it. Have a "sing your own song" movement.
Hu Defu (first right in the front row), Li Shuangze (first right in the back row)
Since 1977, radio stations began to play folk songs.
The 80s was the golden age of Taiwanese folk songs. Xinge Records held four consecutive "Golden Rhyme Awards" (at the same time Haishan Music also held similar folk song selection competitions), , like today’s fast men and super girls, brought the Golden Rhyme Awards. The trend made the young people of that time always take the guitar to play and sing. Qi Yu, Ye Jiaxiu, Wang Menglin, Li Jianfu, etc. were popular singers that emerged in the wave of folk songs. The slogan of
at that time was "Our voice, our creation, we sing." As a result, the fresh image of folk singers gradually replaced the heavily makeup TV singers, and at the same time marked the arrival of an era of free singing. The Taiwanese folk songs sung freely in the 1970s quickly travelled across the ocean, meeting everyone who was born in the 1960s, grew up in the 1970s, and grew up in the 1980s. Liu Wenzheng, Cai Qin, Qi Yu, Ye Jiaxiu, Wang Menglin, and Li Jianfu have gradually become new idols. "The Road in the Country", "Ami Ami", "Forget Who I Am", "Grandma's Penghu Bay", and "Olive Tree" have been made by a generation. Crazy.
Golden Rhyme Award commemorative album, 1970-1985 Taiwanese campus folk songs selection, all tracks are classic campus folk songs at the time, this set of selections was re-released in super alloy version by Taiwan Walter International Music Co., Ltd. in 2003.
1981 Cai Qin, Li Jianfu, Li Shouquan and others formed the "Tianshui Music Collection", which is a group that integrates planning, creation and singing, and can be described as the embryonic form of a music studio.
Li Shouquan is the planning and executive producer of the studio's works. Li Shouquan is a gold producer with the same fame as Li Zongsheng in the Chinese music scene. He has discovered singers such as Wang Jie, Wang Leehom, and Zhang Xuan. The "Tianshui Music Collection" founded by is called The most glorious feat at the end of Taiwanese folk songs. Li Jianfu's "The Descendant of the Dragon", Pan Yueyun's "Every Day Blue", Su Rui's "Hitch a Wrong Car", the charity song "Tomorrow Will Be Better" and many other classic producers are all his names.
Li Shouquan and Wang Jie
Su Lai, Xu Naisheng and Jin Tiezhang are responsible for the creation of lyrics and music, while Cai Qin and Li Jianfu use their own voices to fully express the collective works of the studio.
In addition, two arrangers, Chen Yang and Chen Zhiyuan, were also invited to arrange the works of "Tianshui Music Collection". Although in fact "Tianshui Music Collection" only released two works (Li Jianfu's "Chaila Khan"; Li Jianfu and Cai Qin's "A Thousand Springs"), these two works can be regarded as classics in the late folk song era. Made.
Li Jianfu and Cai Qin "A Thousand Springs"
In the post-80s folk song era, even though Luo Dayou, Li Zongsheng, ChenZhiyuan, Liang Hongzhi and others have inherited the spirit of early folk songs in mainstream commercial music. However, it is an indisputable fact that folk songs are going downhill.
The Taiwanese pop songs of the 1990s were filled with the input and output of commercial capital. At this time, the musicians of began to expand downward and inland to discover their own voices: the former such as Hu Defu, Chen Jiannian and Lin Shengxiang, they excavated and sorted out ethnic minority music, and then combined with popular music to create original ecological folk songs; Chen Sheng, Chen Qizhen, and Zhang Xuan are concerned about the personal balance and experience in the glitzy world, and what they seek is "I have my attitude."
as of today, it has been more than forty years.
folk songs are still there, folk songs are still there, people are already old.
-The End-
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