This article was first published in Cinematik, co-produced by Baishenchuanmei
Author: Athin, President
The latest issue of "The Singer" on Friday night was in the spotlight because of GAI's withdrawal; another mango variety show, "Hey! "Watch TV" is also popular, they satirized Faye Wong in the show as "no strength" and "dare not go on the show" and is under attack on today's social media.
Alas, times are different, after all. If it was in the heyday of Faye Wong's 90-00, I am afraid that no one would dare to offend the public idol in this way, right? With a single exhale, the fans' saliva can drown the rude.
In the show, these three pig spirits probably don't know a past event, when Faye Wong was interviewed by Taiwan TV, people asked her what her troubles were, "Now my biggest trouble..." She brushed her hair, thought for a moment, and replied: "It's too red."
"It's too red."
Another name was associated with Faye Wong this week, when Dolores O'Riordan, the lead singer of The Cranberries, an Irish national treasure, died suddenly in London on the 15th.
Chinese the media will inevitably mention Faye Wong when doing this news, without it, Cranberries did deeply influence the style of Faye Wong in the 90s, and Faye Wong simply covered their most popular song "Dreams".
This is a good story and a historical witness. Indeed, many Chinese support European and American music, know cranberries, because of Faye Wong, so you say that Faye Wong is an early European and American music compass is also exaggerated.
In the late 1980s and early 1990s, the Hong Kong music scene had just gone from imitating Japan (Cheung Kwok Wing, Tam Wing Lin, and Mui Yanfang's many songs were covered by Japanese songs), resulting in Japanese pop songs that were almost insufficient: Makoto Kondo's "タけの歌" was invariably favored by Hong Kong buyers, and one song was adapted into multiple versions, Mui Yanfang's "Sunset Song" and Chen Huixian's "Thousand And Thousand Que Songs". It can be seen that the Japanese Japanese wind has blown to the end.
On the other hand, if the Hong Kong music scene at the end of the 1980s still has traces of Chinese minor keys (later they called this "Chinese style"), after 10 years of development, the Hong Kong pop songs of the 90s are bound to find different market selling points in the new era. European and American pop songs are naturally the next round of development goals for Hong Kong music traders. So for a time in the early 90s, Hong Kong pop songs spread a strong R&B wind.
In this context, with Faye Wong (then known as Wang Jingwen) immersed in the beijing rock circle, she was not satisfied with "learning" one, she had many teachers, and she almost learned the most avant-garde in the European and American music scene at that time.
Therefore, as the diva of the Hong Kong pop music scene, she has been a leader for a long time. By now, there are descendants who don't know how to diss her? I couldn't imagine it at the time.
<h1>1</h1>
In 1985, Faye Wong, a first-year high school student at Dongzhimen Middle School, was sent to Kunming by a record company.
She was 15 years old at the time. Starting from "Where the Wind Comes From", Yunnan Audio-Visual Publishing House published several cover albums by Teresa Teng while it was hot.
It's like a lifetime away
Teresa Teng is indeed the object of Faye Wong's imitation: her tone is sweet and pure; in a comfortable range, the true and false voices are naturally transformed; the breath is steady: her cover of "Sweet Honey" is faster, but as a 15-year-old girl, she has no feeling of shortness of breath.
In 1987, Faye Wong came to Hong Kong. Her father asked her to learn vocal music from Dai Sicong.
Dai Sicong is a famous teacher with many years of warranty, and has pinched the throat of many Uranus superstars. He cemented Faye Wong's basic skills, trained her to be part of the record industry, and then pushed her into the assembly line.
Dai Sicong is known as the "father of superstars", and the superstars among his apprentices are: Li Ming, Faye Wong, Nicholas Tse, Chen Xiaodong...
In 1989, she signed a contract with Xinyibao, taking the stage name Wang Jingwen, and released her first self-titled album.
In the following albums, she followed the path of all female singers: cover Japanese songs, cover European and American songs. After unlocking these basic achievements, she was sold to the Rolling Stones in Taiwan, which sent her to the United States.
At the end of 1991, Faye Wong flew to the United States.
In fact, she received only short-term dance and singing training in the United States, which was far from the expected music conservatory studies. But in New York in the nineties, there was Greenwich, there was punk, there was a fleeting comradely struggle. In New York, you can be whoever you want to be.
This is exactly what Faye Wong wants.
Now, Faye Wong is a Buddhist girl, and her childhood experience makes her not trust the outside world and wrap her mind tightly.
I don't know which is the cause and which is the effect, she is casual and indifferent in her bones, leisurely and self-satisfied.
In the United States, it has opened its eyes, gradually shed its fragility and greenness, and degenerated into a cloud and a light breeze. Maybe by then she had already thought about it, and it was most comfortable to be free, whether it was music or life.
<h1>2</h1>
In 1992, Faye Wong ended her study tour in the United States and returned to Hong Kong.
The comeback album Coming Home brings R&B and soul singing on the other side of the ocean.
But this stuff is like Apple releasing a new product, which is not new to metropolises that keep up with Western trends. Lin Yilian's "Urban Touch" began to play.
Faye Wong is smart, and although she is talented, she is not a vocal singer. But she cleverly incorporates her technique into her personal style.
Leung Wing Chun's team is also experienced, and the popular R&B with strong Narrative in Japan, the black soul music with a strong southern atmosphere, and the popular reggae can all become the urban flavor that Hong Kong people are accustomed to eating.
In 1993, Faye Wong released "100,000 Whys", in addition to the big hit list of "Obsessed without Regret", Faye Wong simply adapted the hottest style on the foreign list that year.
"Rainy Days Without You" is a cover of the Motown trio Love Unlimited discovered by Soul King Barry White.
Motown Records' star-making prowess is there for all to see, with the girl group's album "From A Point of View We Give You..." selling millions of copies, and the single "Walking in the Rain with the One I Love" reaching Number 14 on the Billboard Singles Chart.
The original song seems to be a looming primitive lust stirring in the rain, grass, and dirt.
Obviously, she could not learn the mellowness of the original song at all, nor did she have the rough mood of a black man. But she learned the black man's magic weapon: using rhythm to control emotional expression. With the help of C.Y.Kong's adaptation, she sang this song with a variety of beats and false sounds to the lightness of oriental women. The monologue is the finishing touch.
"Do Do Do Da" is a cover of the British band The Police. The song was one of The Police's biggest hits at the time.
Sting said his original intention was to disgust those who wrote songs, so he wrote such a song with the title of his son's onomatopoeia.
Indeed, the rhythm of this song in A major has a stronger impact than what the lyrics are meant to say.
Faye Wong's version is even down-keyed, the energy is much weaker, neither reggae nor punk, but the wonderful thing is in the lyrics: why the beast becomes noble, what obscure becomes hope... I find this answer ironic. The lyrics inherit the banter of the original song.
Faye Wong first arranged the songwriting "Moving Heart", the main song part is close to the five-tone scale, the arrangement uses the flute to play the prelude main melody and the door, the synthesizer to play the bottom, this kind of artistic conception of the ancient style, Faye Wong has long wanted to play.
Another long-standing song on the album is a cover of Tori Amos' Cold War.
Toris Amos was born in North Carolina, a jazz town in the United States, and moved to Baltimore at the age of 2. At the age of 2, she hears a piano piece and can play it. She was able to compose music at the age of 3.
As the youngest preparatory student, she did not complete classical piano lessons at the Peabody Conservatory, but the piano was destined to accompany her throughout her life.
In 1992, Tori Amos released his first solo album, Little Earthquake.
The album was full of personal expressions of authorship and achieved a small commercial success, reaching number 15 on the UK Albums Chart. The single "Silent All These Years" climbed to 65 on the US Billboard singles chart five years later.
Tori Amos' Silent All These Years came to be known as Faye Wong's most stunning Cold War of the mid-'90s.
A singer who tells about the shadows of childhood and the frustration of self-identity, and a 23-year-old female singer on the other side of the world who longs to be recognized and self-enclosed, carries the company's performance and longs for freedom, collides with "Cold War".
Lin Xi filled in the words, pasting emotions in real life, like symbols on the road and snack bags, which will be understood at a glance.
For Faye Wong, who is not deeply involved in the world, it is not so much to say that this is a cold war between lovers, but to sing about the cold war between her and the world. Tori Amos's version is mournful but not hurtful, but Faye Wong's last hook is slightly crying.
How can you know in the silence that you are really hugging you like touching a pile of drifting air
Watching countless question marks being kissed by the silent you have to fool yourself
Never dare not bear to know you It is said that you fell in love with the mime artist
I also learned from others to quietly perform my play, and I didn't want to separate
Relatively do not say a word, it seems that you have a tacit understanding with me, and never want childish scolding
But the expressions on each other's faces quietly hinted that it was the Cold War
How many years have been said to each other
Rumors are generally around one by one, never listening to or talking about it
I am afraid that it will be unintentionally revealed
The evidence of the intractable field is not how to face
Silently stomp your heart into the most interesting mime artist
Don't complain, always play your lover quietly and lonely, never mind who you think
How many years until now, I love you and you love me, and I have heard about this in the past
Broken over tired of complaining about hurting over changing you and I am always afraid of breaking
Cold War and Cold War And Cold War One mistake and one mistake again and again, I fell in love with this mistake
Blaming you for revealing that you gave up will make me feel better
But the expression even the expression seems to have no words, and there is no words and no words like the Cold War
How many years are there no words, as if how many years you want to love but forget to speak, you want to love but forget to speak
Let you walk past your eyes
The song has a variety of rhythms, sometimes like it's sung off-beat. The sound range is wide, and the resonance position varies a lot. Although not as generous as European and American singers, Faye Wong is not inferior to Tori Amos in the smoothness of the high and low tone zone transitions.
The Hong Kong music scene has seen Mei Yanfang's magnetic bass and Ye Qianwen who controls various singing voices and styles, but has never seen a European and American singing and not rigid. Opening the car window on the streets of Hong Kong on a summer night, the song of Faye Wong wafting in with the wind is like rain and dew to this dry city.
Other cover tracks:
✎ "From Tomorrow", cover of Everything But the Girl-The Road
✎ "Summer of Love" is a cover of Helen Hoffner's song of the same name
✎ "Pink Fifi" cover Lisa Fischer-So Intense
<h1>3</h1>
The year 1994 was the year when Faye Wong's works broke out.
This year, Zheng Xiuwen sent "The Ten Commandments" and "SAMMI", playing funk;
Lin Yilian released "Night Too Dark" in Taiwan, and the powerful closing technology makes the voice transparent and loud, making the woman's femininity add a stubbornness. With the stable output of the composer and the embellishment of the saxophone, the big drum and other instruments, it is certainly a superior work. But the theme of music has always been lamented in the binary topic of gender and love and unlove, and Sandy is just a decent trafficker.
That year, Kwan Shu-yi's "My Way" also wanted to explore personal style. The most avant-garde House and Techno of the moment show a confused night view under her solid bass. However, the dance music style has long been played by a number of male singers, and the open and bold character design has also been excavated deeper by Mei Yanfang 10 years ago.
At that time, Peng Jiali's "Japanese Woman" was also very different. The album's eponymous song added heavy metal accompaniment and singing, but as soon as the chorus arrived, it was discouraged, the breath problem was exposed, and the rhythm could not escape the dance music of the time. This kind of singing, even few Asian male singers can hold, let alone female singers.
In contrast, Faye Wong, who also stole from Europe and the United States, was much more clever. She found a "teacher" who matched her original vocal style and personal image.
Moreover, this style has never been played.
One is scottish band Cocteau Twins.
This is a leader group owned by an alternative independent manufacturer, 4AD. In the '80s, they relied on the guitarist's noise wall and the lead singer's sick singing style, and rose to prominence with the economic buffer of the Western bloc.
Cocteau Twins, who have long referred to them as "polar geminis" in China
The band later started as punk. The debut album Garlands was a huge success, with distorted and distorted guitar tones shadowing the Birthday Party, and mechanical basslines and drum machines being a replica of the Joy Division. Although there are countless Joy Decisions and Joey Divisions under 4AD, CT is considered to be a company without blunt style and skill.
In addition to the popular style, the victory in the first battle is a credit to lead singer Elizabeth Fraser.
At that time, My Bloody Valentine had not yet made his home, and Mazzy Star was still in its infancy. Moreover, one of them is too youthful and commotion (the so-called unsupportable spike party), and the other is too born.
After three albums, the band lost the bassist. After that their style began to move towards the spatially expansive guitar music, Fraser's vocal position changed, becoming louder and fuller.
In The Spangle Maker, she also consciously tries to swallow.
The Moon and the Melodies, an album with atmospheric musician Harold Budd in 1986, can be said to have officially pioneered the Gemini-style Xianyin school. The chimes are mixed in the orchestration, and the breath is weak into a line, ethereal but without losing brightness.
《The Moon and the Melodies》，1986
By the 1990s, Heaven or Las Vegas quickly reached no. 7 on the UK Albums Chart (weekly results: Mariah Carey's self-titled album #9, Roxette-Look Sharp #10) with a lot of decent 4/4 beats and 4/8 drum beats, more popular guitar riffs, and stealing R&B singing.
Faye Wong must have heard this voice at this time, and it was also the time.
Beijing girls have seen alternative culture in the United States, trained in popular singing, experienced life between hutongs and underground Live houses, and have a restrained personality, at this time obsessed with Cocteau Twins, is true love.
The mix of "Please Yourself" is very similar to Fraser. The tone is slightly darker, but it is transparent enough but shows more of the true sound, the breath is more sufficient and stable, and there is a sense of grandeur in the landscape, and the head sound makes the sound have a sense of dream. Faye Wong's words are green but unsmiling, and are her own stream-of-consciousness style.
Finally, it's Time to Talk About The Cranberries. Another of the biggest influences on Faye Wong in the mid-'90s was The Cranberries lead singer Dolores O'Riordan.
Faye Wong's cover of Dreams was included on Cranberry's debut album Everybody Is Doing It, So Why Can't We?.
《Everybody Is Doing It, So Why Can’t We?》
The album was just released and did not have much repercussions, but when Suede was a warm-up band, he received MTV attention, and made a MV for them, and several singles such as "Linger" and "Dreams" began to hit the charts.
The lead singer's head and throat are dreamlike, and the last male voice (out of the ex-boyfriend) hums with a primitive rough feeling.
The arrangement of "The Dreamer" is basically copied from the original song, but the mix seems to give a smaller sense of space.
Dolores brings pharyngeal technology into popular singing, the midrange area is full and clear, and the treble area introduces pharyngeal technology, which is the finishing touch to the song.
Faye Wong learned. In later works, she took it out from time to time to play a trick. Some are simply used functionally to embellish songs, creating a harmonious or ambiguous environment.
The careful thinking in "Ambiguous" and the wandering in "I Think" are all the same. "Sky" also resonates with the air and nasal cavity, making the sound ethereal (of course, it does not rule out the possibility of post-tuning).
The chorus of "Halfway Abandoned" in the later period also has the shadow of cranberries, but the vocal cord closure is not so good, nor is it completely the resonance of the head cavity, and there is a sense of lightness in the nasal cavity.
"For Wrong" is a cover of the single "Here's Where the Story Ends" by another British alternative band, The Sundays.
For this kind of British sketch, Faye Wong seems to be familiar with it and is at ease.
Chinese albums that have opened up the Taiwanese market, with conservative styles, but also brilliant masterpieces.
Maybe Faye Wong can just go on like this and become a strong stroke in the Chinese Band Sound female voice.
<h1>4</h1>
1996's "Impetuous" is like the crystallization of Dou Wang's love that preceded Dou Jingtong.
This crystallization begins with two wandering hearts thrown into the hot rock music, and into two indifferent souls wandering in the traditional Chinese mood.
"Impetuous" and "Wild Thoughts" are Faye Wong's earliest conceptual works
Starting with the flute of "The Oath" in "Wild Thoughts", the Beijing boy is violently involved in the world of Faye Wong/Jingwen Wang, the No. 1 female technician in the Hong Kong pop music scene.
If "Black Dream" in 1994 is still looking for a suitable space for expression and philosophy of life and temporarily relegated to the cynicism of a precocious teenager, then in "Sunny Days" in 1995, Dou Wei found a space for himself to enjoy himself in traditional Chinese music.
The precocious Dou Wei now began to move towards the little old man.
In "Departure", he also drives the confusing effect of the MIDI keyboard, and when he arrives at "Outside the Window", he wants to think of himself as "fine pottery" - spiritual Tao Yuanming, "infinite green wilderness in the mind".
Talented as Xiao Dou, there are also secondary two times. By the time of the song of the same name, "Sunny Days", he had already swung up to ninety thousand miles on the low bed of the courtyard.
Dou Wei played the Chinese-style Ambient Music (ambient music), and every point and painting is a thousand mountains and mountains. The genius Dou Wei entered this realm ahead of schedule. Faye Wong, a playful but suppressed girl, also wanted to walk in.
No one knows whether she flew from Hong Kong to Beijing, woke up from the noise of the courtyard, and covered her nose in the public toilet early in the morning, is it really hidden in the city, or the self-cultivation of brain-dead fans?
But one thing is certain, Afei, a native of Beijing, has a lot of fireworks on her body, she has never been a restrained person, just performance pressure, she is not willing to sing "I Do", but also have to sing.
But now it's different, the continuous high sales and the popularity of the list make her a traffic superstar, with wayward capital, coupled with meeting a sympathetic person, at this time can give it a fight.
From the humming of the song of the same name to the chanting of "Imagine", you can hear her slowly scraping off the label of The Cranberries and writing herself.
Under the arrangement of Zhang Yadong, the split sound in "Impetuous" is like the ink dots of Chinese ink paintings, clear and flexible, and little by little it hits to form an arc.
Imagine announces that she has fallen into Wonderland completely. Sure enough, the short breath and weak resonance in "Split" have completely surpassed the "bottom line" of mainstream female singers: how can it be so floating?
At this time, Faye Wong seems to have entered the realm of seeing the mountain is not a mountain, the vocal technology has arrived, but it only needs to use 30%, and the secret of her sister's success is a "transformation realm".
This wayward album undoubtedly took a lot of effort in musicality. Even though most of the songs still haven't gotten rid of vocal remixes, Split and Doom have indeed taken a step toward imitating the Cocteau Twins in terms of fuzzy vocals and instrumentation.
Faye Wong + Dou Wei + Cocteau Twins, Immortal Fight.
In 1999, Faye Wong divorced and "The Favorite Stranger" was released.
"Open to the Dragon" is broken, and the immortals are down.
"Hypnosis" bites the word vaguely, this time it is not a rare confusion, it is to stop talking.
Now Zhang Yadong has reached the full level. In the future, Faye Wong soared in the Shuluo field jointly created by Zhang Yadong and Lin Xi, and gradually became bored to retirement.
In fact, there was no music and subculture suitable for her to imitate in the domestic and foreign music scenes, and her personal style tended to be fixed.
Sometimes there is no real fantasy —
If the Cocteau Twins hadn't disbanded, could they have met and worked together once?
If the end of this marriage had not been so ugly, would she have sparked more sparks with Chinese rock music?
If Dolores does not pass away, is there a chance for the two to work together at the planned Chinese concert?
Drinking tea is far away, and all become the deceased.