Before buying a bunch of new Universal Fu Black King Hundred Generations, I also joked about Ye Liyi by the way, saying that she probably invested money in this series, so she reproduced so many of her albums.
This is of course a joke, and I hope no one takes it seriously. In fact, the current "Universal Music", to fish out the "EMI Records" singer album that did not have a CD before, Ye Liyi is not a name that cannot be avoided. Even Lin Zixiang had to respectfully call Ye Liyi a sister.
Ye Liyi had already signed with "EMI Records" as early as 1974, but she was different from the "EMI Records" artists such as Luo Wen, Lin Zixiang, Ye Zhentang, Chen Baiqiang, and Li Longji, who signed a contract with the British headquarters that year, not a contract artist of "EMI Records" in Hong Kong.
Therefore, Ye Liyi's positioning from the beginning is that of an international singer, and her records are mainly sold to Southeast Asia, Japan and Europe in addition to being sold in Hong Kong. Especially in Southeast Asia, it is ye Liyi's home. Here we should also draw a key point, in fact, Ye Liyi is not a Hong Kong singer, but a Malaysian singer.
To say a cold knowledge, do you know who is the originator of the dance music queen in the Hong Kong music scene? The answer is that Chen Huixian and Lu Yunna are too young, and the answer is actually Ye Liyi.
From 1976 to 1979, Ye Liyi released three consecutive episodes of the "Taxi Enough" series of albums. The series took the form of a large orchestra to accompany, singing classic works in a synchronous recording, and most importantly, the style of the music chose the most fashionable Disco at the time, which also became a symbol of Ye Liyi's early style.
However, because she signed the headquarters of international records in her early years, Yip Lai-yee, with a mission, was more involved in international tours, so she missed the golden age of the first wave of Hong Kong drama songs from the mid-seventies to the end of the seventies.
Of course, everyone knows what happened later. In 1980, the Hong Kong TVB blockbuster drama named Ye Liyi to sing the theme song, "Waves, Waves" not only became popular all over the Xiangjiang River, but also went north along the Pearl River, through the Huangpu River, to the Songhua River, becoming one of the earliest Guangdong songs that swept the land of Shenzhou.
In fact, from the perspective of the control of music history such as Teacher Ai, Ye Liyi is also a very important specimen for the study of Hong Kong pop music.
For example, the band leader of the series "Taxi Enough" is Vic Cristobal (Ge Shi pei), who is also called Ge Shibao. This musician, who was also a Filipino musician, was also Yao Min, who was from Shanghai at that time, and was used by the royal musician in Hong Kong. Gusper was also the foreman of the royal band of Diamond Records, and in today's parlance, he is actually the music director. And "Diamond Records" is the predecessor of Hong Kong's "Poly Gold Records".
As an important behind-the-scenes of the Hong Kong chapter of the Chinese era song, Ye Liyi cooperated with such a big guy when she first debuted, in fact, she also entered the era of Chinese era song and became a participant before the end of this era.
The album I listened to today, named according to the album cover and lateral ridge, the full name should be "Happy Time / No Look back / Start today", which is also related to the fact that the name of the record was far less formal and rigorous than later. And this album is generally called "Happy Time".
I roughly checked, this album is strictly speaking, also released in the name of Ye Liyi personally, the last complete album. Since then, it has basically been a new song plus selection model. Of course, Ye Liyi also released the album "Crane Needle" in 1992. But that one, I prefer to call OST.
"Happy Time" was released in 1987, this year for Ye Liyi, a very important event happened, that is, she appeared in the CCTV Spring Festival Gala at the beginning of the year, and sang "Send You the Sun of Tomorrow" and "We Meet and Break Up" two songs.
However, the 1987 CCTV Spring Festival Gala Hong Kong and Taiwan singers were destined to belong to Fei Xiang, and although Ye Liyi also had a relatively good record of imported tape sales in the mainland because she stepped on the CCTV stage that year, compared with Fei Xiang, it really did not affect the trend.
In fact, for some time afterwards, I was always curious about the provenance of these two songs, because Ye Liyi's albums are too many, and the release of regional versions is also very complicated, so it is difficult to sort out her serious albums. It wasn't until I was on the Happy Times album that I finally discovered the song "The Sun For You Tomorrow".
This song is composed by Li Feng, who is actually Feng Tianzhi. But the lyrics of this song, in the Hong Kong music albums before the 1990s, I am afraid that the only author, this filler is called Zou Youkai.
Zou Youkai was the director of the CCTV Literature and Art Department at that time, and from this point of view, "Send You the Sun of Tomorrow" was like a song tailored for Ye Liyi's Spring Festival Gala, and such cooperation was even rarer at that time.
The other song, "We Meet and Break Up", actually flipped a 1969 Japanese classic song by Hiroshi Yamada, "Nagasaki はも雨だった". The most famous Chinese cover of this song is Teresa Teng's "Little Rain of Tears". Further ahead, during the "Cosmic Records" period, Teresa Teng also sang another version called "Taipei Is RainIng Again Today". In addition, Zhu Mingying's "Promise" is also a cover of this song.
At the same time, the song also has several Cantonese cover versions, including Rowan's "Little Rain of Tears", Tam Bingwen's "Memories of a Rainy Night" and Kaoru's "Fate".
The version of "We Meet and Break Up" is also a word that Zou You opened, and it sounds like it is really a tailor-made lyric recorded for Ye Liyi to participate in the party. But this song, I really don't know which album I received later, and I don't know if it has been included in Ye Liyi's official album.
However, the subtitles of the CCTV Spring Festival Gala did not type the name of the original composer Caimu Yafu, but only replaced it with a name. It is no wonder that in those days, many young people in the mainland felt that Anon.
Another interesting thing about this album is that as an album released by the Hong Kong Record Company in 1987, its ten works are actually Chinese songs and Cantonese songs in half, which is really a very strange configuration. It seems that at least half of the sales of this album still have to go to the Southeast Asian market.
Of the ten songs, "When to See You" and "Start Today" are actually the same song. The former is Chinese, the latter is Cantonese, and the lyrics and composition are xiang Xuehuai and Zhou Qisheng. Xiang Xuehuai filled in Chinese words so early, but it was really rare.
Zhou Qisheng's composition and arrangement, although it was young at that time, but that kind of small seasoning really inherited the mantle of gu Jiahui, just the use of synthesizers on the arrangement, obviously much more fashionable. But for the two songs, I prefer the Cantonese version of "Start Today" because it has more charm.
Although the album is based on Yuan Zhuofan's "Happy Time", I personally prefer "Cold Wind Can Have Feelings" composed by Wang Xingtao. Wang Xingtao is also an important partner of Chen Baiqiang in the DMI period. Of course, Zhong Zhaofeng, the composer and arranger of "Dream", cooperated with Chen Baiqiang earlier, and Danny's famous song "Tears Flow for You" was arranged by him.
In this album, Zhong Zhaofeng also made up a song "Middle East Night", where is the Middle East Night, this is the Latin Night! The composition of "Middle East Night" and the lyrics of "Erase Your Kiss" are both works by Gu Qianmin. Gu Qianmin once used gu Qianwen's name to participate in the second "Urban Folk Song Open Composition Competition" and won the championship of "New Song new song group" with a song "My Hometown and My Land".
As for Ye Liyi's singing, it may sound a bit old-fashioned so far, but the kind of style of words with a round cavity, coupled with the sonorous resonance sound, sounds like a word to describe it now, that is, - sa!
