Is it true that "Miyuki Nakajima feeds half of the Chinese music scene"? Why are previous Hong Kong and Taiwan pop singers so keen to cover Songs by Miyuki Nakajima? Was the original ability of the Hong Kong and Taiwan music scenes really so indisputable at that time?
First, let's introduce what kind of existence Miyuki Nakajima has in Japan. She is the only female artist in Japan who is still on the front line of the music scene after the age of sixty, and has created more than 500 original songs so far, of which more than 70 have been covered by Hong Kong and Taiwan singers for at least 100 versions.
Miyuki Nakajima
Teresa Teng should be one of the earliest cover songs, and her "Long Road to Life" is adapted from Miyuki Nakajima's "Habit of Solitude". In 1992, Faye Wong, who was still working under the name of "Wang Jingwen", covered Miyuki Nakajima's famous song "Lipstick" in the 70s, and became a popular fried chicken.
Faye Wong,"The Woman Who Is Vulnerable to Injury"
1998's "Sad Pacific" and 2000's "Tianya" made the unassuming Ren Xianqi out of the circle in an all-round way, and these two songs are all cover works by Miyuki Nakajima.
Ren Xianqi "Sad Pacific"
A little closer, Fan Weiqi's "First Dream" in 2004, a cover of the theme song of the Japanese drama "Goto Doctor Clinic", "Riding on the Back of the Silver Dragon", the original song of this song is Miyuki Nakajima.
Fan Weiqi "The First Dream"
Not only that, in the same year, Rene Liu's "Originally You Were Here Too", guess who the author of the original song is?
Rene Liu, "It Turns Out You're Here Too"
Miyuki Nakajima was 51 years old that year.
From the 1970s to 2000s, Miyuki Nakajima spanned nearly half a century of creation, arguably without a trough, and whenever people thought that the veteran was about to be drowned by the back wave, she always unexpectedly hit another peak. As an evergreen song spanning four generations, Miyuki Nakajima occupies a national treasure status in the Japanese music industry.
Indeed, since the 1970s, Miyuki Nakajima's original songs have been covered by singers in Hong Kong and Taiwan, and the density has reached the point of being every year, and the most prosperous period should be in the 90s, when many Hong Kong and Taiwan singers bid farewell to obscurity by singing Miyuki Nakajima.
Shinji Tanimura, Miyuki Nakama, Koji Tamaki
In fact, the Japanese singers who were covered by the Hong Kong and Taiwan music scenes at that time were far more than Miyuki Nakajima, but also Yoshiyuki Kuwata, Koji Tamaki, Akira Nakamori, Momoe Yamaguchi, Hideaki Tokunaga...
Kasuke Kuwata Hideaki Tokunaga
Akina Nakamori
Even Mei Yanfang's favorite "Sunset Song" is the copyright obtained when she fell in love with the scumbag Kondo Masahiko.
In addition to the fact that these Japanese singers, represented by Miyuki Nakajima, do have great strength themselves, this situation is also the result of changes in the pop music market economy.
Japanese pop music started more than a decade earlier than China, and when Yukimi Nakajima debuted in 1975, the Hong Kong Cantonese music scene was promoted by Hui Guanjie's "Tower Over the Clouds" to open the pop prelude. Before that, due to special historical reasons, the Taiwanese music scene was seriously lagging behind, and it was not until the folk song movement in the 1970s that it was developed.
Xu Guanjie
At this time, it is not difficult to understand that the Hong Kong and Taiwan music scenes look at the more developed Japanese music scene. From the 1970s to the 1980s, original Japanese music was introduced to Hong Kong and Taiwan, for example, Chen Shufen went to Japan many times to talk to Koji Yoshikawa about the copyright of "MONICA" in order to win the popular zhang Guorong.
If at that time, the cover song was still a single combat, and the state of each breaking was broken, in the early 90s, the Japanese Poly Jiayin Company, which was responsible for publishing Miyuki Nakajima's works, began to open branches in Hong Kong, Taiwan, Singapore and other places, and Miyuki Nakajima's songs began to be systematically covered on a large scale.
In addition to Polly Jiayin, in fact, other record companies in Hong Kong, such as PolyGram, Universal, EMI, Sony, etc., are also global chain operation models, large groups in order to save money and trouble, will also take songs from the Japanese branch to adapt, after all, economical, and fast results.
In contrast, there are many fewer cover songs in Taiwan than in Hong Kong. In fact, at that time, a number of excellent creators had emerged in Hong Kong and Taiwan, but Hong Kong still lacked local independent record brands, and the local record brands in Taiwan with Rolling Stones, Fenghua, Huayan Qianhua and the incubation from these systems began to emerge, and local creators had more stages to play.
Luo Dayou, who has launched the popular "Childhood" in 1981
In addition to being covered, Miyuki Nakajima has also created her own works for Faye Wong, who sang her own songs. 1997's "Human World" was composed by Miyuki Nakajima, lin Xi filled in the lyrics, and later Nakajima Miyuki took the song back, and re-filled the lyrics to make a song "Clear Stream".
In addition, there are actually some original songs by Miyuki Nakajima that did not attract much attention when they were released in Japan, nor were they her best works. The reason why it can be sung in the Chinese circle is that local musicians in Hong Kong and Taiwan have also made a lot of efforts. At that time, those songs had to be rearranged and lyrics after being taken over, which was actually equivalent to a second creation.
Speaking of the Hong Kong and Taiwan creators of that period, the names listed are already god-level figures in today's Chinese music scene.
In April 1995, Miyuki Nakajima's only overseas concert so far was held three consecutive times at the Hong Kong Cultural Centre. In addition to singing the works of that year, he also sang a number of cover original songs, including the original song "Lipstick" of "Vulnerable Woman" sung by Faye Wong.
Huang Xia
At that time, the concert invited Mr. Huang Xia to use Chinese to guide the lyrics of Miyuki Nakajima. When it comes to Huang Xia, it is inseparable from Gu Jiahui. These are two names that are often mentioned side by side, they are called "brilliant combinations", one is good at composing, the other is good at writing lyrics, and can be called the Nantai Beidou of the Hong Kong music scene.
The "brilliant" combination of the Hong Kong music scene
Gu Jiahui is a hall of fame standing at the top of the Hong Kong music scene and being looked up to by people in front of and behind all the curtains.
Gu Jiahui
He is proficient in Both Western music and deeply influenced by Cantonese Cantonese music, so he combines Chinese and Western characteristics in the way of Chinese five-tone songs, creating music that naturally makes Chinese sound particularly intimate and comfortable. Huang Xia once said that "A Laugh in the Sea" was influenced by Gu Jiahui's five-tone creation.
Gu Jiahui also has more well-known famous songs, such as "Iron Blood Dan Heart" sung by Luo Wen and Zhen Ni, Ye Liyi's "Shanghai Beach", the theme songs of "The True Colors of Heroes" 1 and 2 that swept Japan and South Korea, "The Year of Love", "Running to the Future Days", and Xu Ke's theme song of "Qiannu Ghost", all of which are his works.
Ghost of a Woman
And Zhang Guorong, who sang "The Year of Love", later did not only become a popular singer by cover singing, but also his own composition of "Silence is Gold" and "I" also shined. Earlier, there were many Hong Kong singers who also made unremitting efforts in originality, from Hui Guanjie and Lin Zixiang to Chen Baiqiang, Zhang Guorong, Tam Wing Lin, all of whom had their own representative works, and the degree of classicism was not lost to cover songs.
In fact, the prosperity of Hong Kong music is inseparable from the strong growth of Hong Kong films and Hong Kong dramas. Although the singers at that time covered many Japanese songs, when it came to the hong Kong local film and television music that was once sensational, it was basically the credit of local creators.
In 1974, Gu Jiahui created "Laughter Karma" for TVB's TV series of the same name, and Xu Guanjie created "Ghost Horse Double Star" for the Xu brothers' film of the same name.
All-rounder Chen Xunqi
Chen Xunqi, an actor who studied under the famous composer Mr. Wang Fuling at the age of fifteen, has also begun to work on film scores in the 1970s, and has arranged all the soundtracks for Wong Kar-wai's 1994 "East Evil and West Poison".
If you haven't seen "East Evil and West Poison", you can also hear his works in Xingye's "Journey to the West".
The most famous song of "Journey to the West", "Love of a Lifetime", was composed by Lu Guanting, who began to be an actor in the 80s and also started his own music career.
While Zheng Xiuwen covered Japanese and Korean dance songs, Lei Songde, who combined music, lyrics, arrangement and supervision, helped many singers such as Aaron Kwok, Li Ming, Chen Huilin and many other singers to create the peak of the music scene, which has an indelible position in the history of Hong Kong pop music.
World famous song "Better to Dance"
Chen Huilin Lei Songde
At the same time, he also produced soundtracks for classic Hong Kong films such as "Leung Chu" and "Green Snake".
The Green Snake
If the saying that "Miyuki Nakajima nurtured half of the Chinese music scene" was true, there were still other half of the country that belonged to Hong Kong's local music creators. It is undeniable that the wind of cover singing at that time was indeed prevalent, and some people were dissatisfied with this phenomenon of hegemony, one of them, named Huang Jiaju.
Huang Jiaju
As we all know, Huang Jiaju devoted his life to original music. In an interview, the reporter asked Huang Jiaju what he thought of the Hong Kong music scene, and he said it bluntly: "There is no music scene in Hong Kong, only the entertainment industry." ”
In Huang Jiaju's view, it is an undesirable phenomenon to rely too much on foreign music adaptations because of time-saving and labor-saving efforts, and because of the development of the entertainment industry, many artists have diverted to film and television and variety shows. His bold exposition has detonated the Hong Kong entertainment industry and touched many vested interests behind the scenes.
From the fact that Huang Jiaju took BEYOND to Japan soon after, it can be seen that he rejected Japanese singers such as Miyuki Nakajima, but lamented that local originality was not taken seriously enough. Unfortunately, it didn't take long for him to break away from home.
What is even more regrettable is that the once brilliant Hong Kong Music now seems to be really falling into mortal dust step by step... What other representative singers do you think are now with advanced original strength? Welcome to leave a message to discuss, unlock more behind-the-scenes information of the entertainment industry, and remember to pay attention to the behind-the-scenes jun of A cat!