Because there was already an imported version of "Zhongsheng Shanghai" and a replica of "Lost and Recovered" that I bought later, I did not expect to buy this "Numbness" of the "Japan Records" series at first. However, later on the list of works, I found that there were two more Bones Tracks, so for The sake of Bones, I still went into the pit.
Hong Kong's "Universal Music" has vigorously reproduced the "Japanese Record Chronicle" during this time, and also issued a variety of one-line and set versions, in the final analysis, it is to introduce the Hong Kong records that were once introduced by Japan back to Hong Kong after the reproduction. It sounds like a lot of twists, but no one will find it troublesome to make money.
Japanese edition records have always been a good collection, in addition to solid materials (including record boxes), detailed interpretation, the most important thing is to have a tradition of adding songs. In the past, when I bought European and American records, sometimes when I saw the Japanese version, I always had to collect a duplicate one, because the Japanese version had a Bonus Track that the European and American versions did not have.
It is said that this source is because the pricing of Japanese records in the early years has always been more expensive than the original records in North America and Europe, so in order to protect the Japanese imported version industry, a different approach was taken.
This collection of Liu Yida's works, "Numb", is more than the Local Version of Hong Kong (including the imported version of the Mainland), the version of Hu Beiwei's "Remix", and Liu Yida's "Starfish". The latter is actually the English version of "A Sweat".
This time, the Hong Kong version of "Numbness" of "Japanese Records" also reproduced the traditional Japanese translation lyrics of the Japanese version, as well as the Japanese album and artist introduction. The introduction to the entire album was completed by Masakazu Kitakuni, and the Japanese lyrics were translated by Masako Nobuo (second song Hayashi Tsaku).
From the Chinese mixed in Japanese, it is probably possible to understand the introduction, or very meticulous, meticulous to make people feel incredible, it turns out that independent musicians like Liu Yida from Hong Kong have such professional experts in Japan at that time, who can make professional recommendations.
Speaking of the album "Numb", this album can be said to be Liu Yida's personal portfolio, except for three songs he himself sang, the rest was completed by Chinese mainland, Hong Kong and a singer from Japan.
However, unlike the general musician's portfolio, which simply writes some songs and lets different singers sing differently, this seemingly compilation album of "Numb" seems to be more like an album, because it actually has a common concept in the two dimensions of musical text and music.
In terms of musical text, the entire album of "Numbness" is actually an album that discusses the relationship between man and the universe, man and nature, and ecology, which has a sense of the end of the world, and is also full of introspection and introspective speculation, and even some philosophical insights.
On the other hand, it is also because of the vast musical theme of this album, this album also integrates a large number of ethnic music elements under the framework of independent rock, as well as musical elements in the Western Regions and other places, in terms of the openness of music, not only in the Hong Kong music scene at that time, there is a surreal vision and pattern, to some extent, it also coincides with the concept of "world music".
For example, "Aijahan Ai Duniya (Alas World Alas Human)" sung by Eiskar (Gray Wolf) is a very typical indie rock + Western elements, while the vast "Gone", in independent rock, incorporates Buddhist elements, which are also two works with strong experimental elements in the album.
Liu Yida's own singing of "A Sweat" is also the best one in Liu Yida's solo songs, which can be called his Vocal masterpiece. Uncle Da in "The Dream of Einstein and Prometheus" looks like a yellow name in the pronunciation mode of the voice line, just like a yellow anonym with a dumb voice. The most brainwashing thing in "Fancy Nightmares of Water Bearer" is the chanting of the opera female voice, and the whole work also has a very strange taste in this kind of opera rock tone.
The female voice in this work is actually a signed female singer of the previous "PolyGram", and also a female singer who drifted from Beijing south to Hong Kong at that time.
Rest assured, her name is not Faye Wong, her name is Zhou Ying.
In addition to being a full-time production and part of the guitar, Liu Yida also completed the performance of kashgar rewafu, sanxin, ruan, erhu and other ethnic instruments in this album, which is really a geek. In particular, the use of erhu is simply amazing in many works on this album.
In addition, the other guitarist of the album was also Luo Yiqing of the "Liu Yida Government Primary School" at that time, who was also the co-producer of the album. The bassist of the album is the famous "Ximen Qing" - Shan Liwen.
Hu Beiwei, who later became Mrs. Shan Liwen, is one of the biggest highlights of this album. "My God" and "Gone" are both Hu Beiwei's vocal works, and at that time, her voice was both good and evil, light and dark, and her plasticity was quite strong. And Hu Beiwei's interpretation of alternative pop music, compared with the earlier Liu Yida's "Style Still" for Wang Hong, obviously has no sense of cultural and regional alienation.
The album also has a song, and there are two versions, the Chinese version is called "Meteor" and the Japanese version is called "Galaxy of Tears".
"Meteor" is a work performed by Faye Wong, and this song was actually included in Faye Wong's "Di-Dar" album as early as a year before the release of the "Numb" album, but that is an electronic version.
The "Meteor" included in "Numbness" uses the original guitar and Nguyen as the main body of the treatment, and the overall brightness is brighter. The most praised thing about the work is the harmony that Faye Wong gave herself. This harmony, which is both a harmony and a heavy singing, is not just a chord-level harmonic counterpoint, but also a collaboration that is completed with two different timbres and two different emotions. It can be said that one person plays two roles, but it is more like the two sides of a person's split contradictions, a reorganization in music.
Nakajima Hanayo's "Milky Way of Tears", although it uses a children's voice, but like some sick images that appear in many works of art, it always feels that this child's voice has a very strange atmosphere.
"Numb" is produced by the "non-pool" label, which is also the president of Hong Kong's "Poly Gold Records" Zheng Donghan, who instructed Chen Xiaobao to open a label specializing in independent music, the head of the label is Chen Xiaobao, and the music director is Liu Yida.
After the establishment of "Non-Chizhong", it has successively signed Hu Beiwei, Ding Feifei (Ding Wei's sister), Mr. Children (Japan), "Xeno" (Malaysia), and Huang Guanzhong, who flew solo from beyond the band Beyond. It was a failure commercially, but it left excellent albums like "Numb" and "The Third Eye" (Zheng Jun), which are also worthy of the label name.
