Zhou Qisheng has a song called "Angel and Devil Mixture", it is said that the song was originally written for Zhang Guorong, someone advised, or left it for himself, the result was sung by him, the sexy taste was completely gone, resulting in silence. So Zhou Qisheng is very remorseful, if he first let his brother sing, and then record a version of a different style, this song will definitely let more people know and like.
When I say this, I am not talking about the relationship between Zhou Qisheng and Zhang Guorong, although he has known each other for a long time - Zhang Guorong and Zhou Qisheng's brother and sister are very good, but I want to tell everyone that Zhou Qisheng is like a song name, half of him is a musical genius who is young and successful, half is a mouth cannon master who relies on the old man and sells the old, and sometimes he does more things. Musically, he is also a hybrid, sometimes passionate as fire, sometimes cold as ice, sometimes fresh and simple, sometimes magical. Contradictory? There is no contradiction, you know, Satan is also from the fall of the six-winged angel, the two are actually the same thing.
Zhou Qisheng's father, Zhou Ji, was an older generation of filmmakers in the last century, mainly active in the 1960s and 1970s. Although the old man has played a supporting role all his life, he is an artist after all, so the children have also taken this road.
Zhou Qisheng's sister Zhou Xiaojun, who had recorded the record "Subtle Triangle", but unfortunately could not be published due to the collapse of the record company (He Jiali liked this song very much and made a cover), and then focused on harmony, Lin Yilian invited him to help in his first solo concert in 1991, "Confused", in addition to singing the interlude "Broken Strings" of Xu Ke's "Oriental Undefeated". The relationship between the Zhou siblings and Lin Yilian is definitely not bad, otherwise Miss Lin and Gong Shuoliang broke up recently, Zhou Qisheng would not have had a headache and scolded Gong someone for "eating inside and crawling outside, playing with feelings, and will be punished by heaven", making it seem as if he and Lin and Gong have some "delicate triangle".
Zhou Qisheng as a boy, Zhou Ji is more by his preferences, he grew up did not do anything else, he was a mind to engage in music - 4 years old to learn guitar, 6 years old to learn piano, 13 years old to write the first song of his life and form the first band, 16 years old to learn from Gu Jiahui in TVB to write songs, as a minor to take over 90% of TVB's music work, 17 years old as Lin Zixiang's first Cantonese record assistant producer, 20 years old to become the first music director of Asia Television, 23 years old to release, 25 years old for Xu Guanjie "acquaintance twenty-year-old" As a music conductor at the commemorative concert, from the age of 30, he did not have to work anymore just to collect music copyright fees.
As the first generation of hong Kong's all-round musicians who composed, wrote, arranged, sang and supervised, Zhou Qisheng was nicknamed "Zhou Body Knife", and he handled no less than a thousand songs (some people counted as 2,000 songs), as many as 100 songs by Tam Wing Lin, and the rest such as Hui Guanjie, Chen Baiqiang, Li Keqin, etc. Casually say two songs for everyone to experience, Xu Guanjie and Zhang Guorong's "Silence is Gold", Chen Baiqiang's "Partial Like You", Tan Yonglin's "Tonight's Love as Evidence" are all from his arrangement. In addition, Zhou Qisheng has always emphasized that Aaron's super golden song "The Root of Love" is also his work: at that time, Zhou Qisheng listened to an English song "T ouch M e In T he M orning", greatly inspired, inspiration gushed out, could not be blocked, and then a little itchy, played to a friend on the phone, did not expect to be plagiarized by a friend, became the root of love. Later, the friend went to Vancouver and never dared to return to Hong Kong.
The composition column of "The Root of Love" is signed by Chen Feili, which is probably the "friend" in Zhou Qisheng's mouth. Chen Feili has no information at all, the well-known song is only a "Root of Love", it seems that the qualifications are mediocre, it is difficult to match the achievements of the song, but it is not possible that people are small universe outbreaks, and the lonely piece suppresses the whole Tang, this kind of public case is difficult to clarify, unless Zhou Qisheng comes up with strong evidence.
Zhou Qisheng's words are often exaggerated, in addition to the title of "Hong Kong electronic music master", he is also known as the "king of Asian harpsichord", he commented that he spends almost 10 hours a day to play the piano, and the technology has reached the stage of doing whatever he wants. In order to prove that it is not bragging, he also gave an example, there was a music conservatory student to test him, this person played the piano very well, also very confident, even can be said to be conceited, but after seeing his piano skills, the whole person is stupid, the eyes become very confused, almost fell to his knees, said "please take my knees".
Of course, praise and self-praise have always been the fine traditions of our nation, and some things are just a matter of laughter, and Chow Kai Sang claims to be one of the only two jazz-playing musicians in Hong Kong. But it is undeniable that Zhou Qisheng's musical attainment is indeed very high, otherwise he does not dare to be arrogant and arrogant, empty-eyed, and pointing at his descendants. For example, he said: Yang Qianwei can't sing; Liang Yongqi can't sing; Joey Yung has few songs for people to remember; although Gu Tianle sings in general, he always has a look to see; Yu Wenle should sing lip-sync. Until he targeted Eason Chan, the "five deadly sins", the voice line was average, the best-selling songs were ugly, the record sales were poor, the tuition fees were not paid and there was no feedback to the society, causing an uproar.
Can Eason Chan scold? Of course, you can, but you must seek truth from facts, and there is something to say, or it is easy for people to feel disrespectful and indiscriminate. However, Zhou Qisheng is qualified and has the courage to point out the country, moreover, he was originally a "rebellious" figure, in addition to Xu Guanjie, he basically did not listen to other Chinese songs when he was a teenager, because he thought that "there was nothing to listen to", so Xu Guanjie laughed and called him a brother of Qi "Zhou Sheng Sam", he was flattered. It is strange that such a person who is not interested in Chinese music has worshipped the traditional composer Gu Jiahui as a teacher, and what is even more strange is that after leaving the master, he did not inherit the master's simple and elegant style (except for the traditional folk song minor key such as "Love If There Is No Flower and No Fruit" written for Zhang Delan in the early days), but played psychedelic and avant-garde electronic music. In Guo Degang's eyes, this absolutely belongs to "deceiving the heavens and destroying the ancestors and rebelling against human morality", but Gu Jiahui did not do so, which fully shows that the real master must be a person with a broad mind and extraordinary temperament.
At the beginning, he said something about Zhou Qisheng and Zhang Guorong, and at the end, there was another period of his interaction with Chen Baiqiang.
Zhou Qisheng and Chen Baiqiang have a deep relationship, they went to EMI EMI Records on the same day to audition and sign a contract, it was 1977, Zhou Qisheng was 16 years old, Chen Baiqiang was 19 years old. It was a rainy day, and both were wearing high heels (it was also fashionable for men to wear high heels at that time), running in the rain with umbrellas, looking at each other and smiling, and have been friends ever since. Then they went to performs everywhere together, clubbing and hanging horses together, and when they were doing publicity in Tokyo, they drank drunkenly and shook.
But Zhou Qisheng had a sense of guilt for Chen Baiqiang, because when Chen Baiqiang was alive, he did not write more songs for this "most humane" good brother, and could only hope to make up for this regret in the next life.
"Composing and dancing, handsome and handsome, not very fond of talking, depressed, why lonely like him?" Many years later, Zhou Qisheng used these lyrics in "Our Eighties" to dedicate these lyrics to the deceased.
30 years ago, Zhou Qisheng's music was ahead of the times, and 30 years later, the times still did not catch up with Zhou Qisheng. With this alone, Zhou Qisheng is unique.