Lai Weifeng's "Seven Losses in One Day": Back to the Golden Age

(Lai Weifeng's album cover of "Seven Losses in One Day")

In the city where the sun sets and the moon rises, what are we busy with every day? Brush past thousands of people, develop a plot with several of them, and watch your palms slowly become less smooth. There is a group of people who compose these small things that are not worth mentioning into music and let these songs flutter over the city. Since the end of the 1980s, throughout the 1990s, songs such as "Waking Up from Dreams", "Scars" and "Guessing the Heart", together with Singers such as Lin Yilian, Wan Fang, Chen Shuhua and other singers who have been crowned as contemporary urban figures, have taken over the music scene from the idyllic folk song era, and together with Behind-the-scenes craftsmen such as Li Zongsheng, Xiao Worm, and Li Zhuoxiong, they have used music to construct the bustling day and night in the process of urbanization.

Whether it is to leave and stay, cold outside and hot inside, or to love and rest, love and hate entanglement, these love songs that show the inner world of urban people have become the deep imprint of that era. Although the people who listen to the song are ruthless, there is always a constant connection to this kind of work with a "sense of youthful nostalgia", and it just so happens that most of the people who listen to the song are from that era. Because of this, when we hear Lai Weifeng's "Seven Losses in One Day", there will be an inexplicable sense of intimacy in our hearts. Born in 1985, he grew up listening to the same songs as us, which made the music he composed in his first year carry a lingering urban old shadow. Of course, the musical expression methods in "Seven Losses in One Day", the way of writing songs, and the singing skills of Lai Weifeng are all new, and you can carefully dive into his swaying sound and shadow, and you can find the shadow of the 80s synthesizer tone in "Heartless Fast Talk", such as the footsteps of urban midnight sleepwalkers. Well, this is a cover and adaptation of the band Mighty, but what about listening to the title of the same name, "Seven Losses in a Day", and the Cantonese version of the song " Seven Lost Sins"? Both versions of The Cantonese language are written by Zhou Yaohui, a lyricist who wrote a thousand sails, Zhou Yaochuan originally came from that era, and after entering the new millennium, his brushstrokes became lifelike and detailed, cooperating with Fang Datong, Tian Fuzhen, Xue Kaiqi and other new generation singers to observe the new changes in the city through their eyes, but the songs are full of philosophical and speculative sentences, such as "As usual, it is my sin, never win is my fear, whether a slack will lose all time, lose all ambition, the road will be right or wrong, But the big times will urge", bringing people back to the golden age of Chinese music in an instant.

Yes, the album "Seven Losses in One Day" is a record that shines with the light of the most glorious moments of the Chinese music scene twenty years ago. It is hard to imagine that behind Lai Weifeng's sparse and ordinary name and face, there are the creators and interpreters of these songs with feelings and temperament. "The Same Month of the Same Year" steps on the steps of folk rock, telling the lovers to step out of the haze after separation; "Turning the Chapter" with a little R&B glitter, expressing the contradictory heart of constant cutting and chaos; "Good Man Card" is more in the form of the new new human of the next era, attacking your ears with cute beats and timbres, and the rap music of the breeze; "What I Have Done to You" is rotated in circles on the dance floor of memory with gorgeous three beats, "Endure a Future" Born out of Lai Weifeng's hottest single, the Cantonese version of "Enough is Enough" that has been listened to by the whole network in two years, Huang Jingpei's re-filled Cantonese words are similar to her previous "Rare and Not Strange" written for Eason Chan.

"Seven Losses in One Day" is such a work, Lai Weifeng uses his slightly astringent touch like coffee to sing the emotional world of a new generation of urbanites, and this narrative tone inherits the spirit of the golden age led by the Rolling Stones of the last century. If Lai Weifeng won any heavyweight music award with this album, I will not be surprised, isn't this the treatment that good works and good music should have? (Wen Sakura)