Last week, in the third season of "Our Song", Qi Qin and Zhang Bichen sang Xiao Brother's own classic work "Wolf", and I also rationally and objectively evaluated the views on this cover song adaptation at the first time.
Some people say that each version will have a different taste, which is almost a kind of nonsense that is said and not said, but as long as the pure fascination with the singer's own body or soul is put aside and looks at the problem from a higher perspective, then there will definitely be higher requirements for a certain cover version.
Don't say that some of these are not, let's say this "Wolf". "Wolf" is the opening song in Qi Qin's "Wolf Album" and is also a song that establishes Qi Qin's status in the song world. Moreover, for Qi Qin, this song is even different from his works such as "About Winter" and "The Outer World" that are more out of the circle at the same time, in addition to a song, this work is also a concept, a kind of creativity and a symbol, at least before the "Rainbow" orchestra, Qi Qin's image and temperament are defined by this song.
He is the "wolf."
It can even be said that before "Shanghua International", Qi Qin could use "wolf" and "rainbow" to summarize his two musical careers. The post-60s, post-70s and some post-80s, all because of these two musical careers, began to know Qi Qin, the singer, and felt the charm of "wolf" and "rainbow". And images of long hair, rock and roll, loneliness, rebellion, and labels.
Qi Qin, who came from the Taiwan region, was of course also very popular in Taiwan, but in the early days, he was obviously more popular on the mainland. In Taiwan, he may be one of several singers of the same period, but in the mainland, Qi Qin was almost an idol with some kind of pop culture label at a certain time.
His self-singing, his long hair shawl, his melancholy voice and eyes, the loneliness and confusion of the theme of his previous works, were all unique presences in the mainland pop music market at that time. Therefore, many young people have begun to imitate Qi Qin's shape, and they have also touched the guitar because of Qi Qin...
Qi Qin's earliest popularity in the mainland is inseparable from the two tapes of "Wolf I" and "Wolf II" introduced by "International Cultural Exchange Audio-Visual" and "Zhuhai Huasheng Tape". Because the domestic audio-visual companies at that time could not directly import works from Taiwan, the two albums were also tortuously transferred from Singapore's "style records". And "Style Records" is also Qi Qin's company "Zongyi Records", which was an agent and partner in Southeast Asia at that time.
All the songs in the two imported versions of "Wolf I" and "Wolf II" are actually selected from Qi Qin's early four albums, namely "Wolf's Album", "Haunting", "Winter Rain" and "Wolf II".
Just as Cui Jian did not take the album before "Rock on the New Long March Road" as an album, at least many fans of Qi Qin were not willing to take the album "See Her Slippery Again" as an album, but preferred To take Qi Qin's second album, "Wolf's Album", as his first album.
The most successful point of "Wolf's Album" is undoubtedly the concept of "wolf", in the song and swallow voice of the Taiwanese music scene at that time, suddenly there was a lonely wolf out of it, and it was cool and exciting to think about.
The song "Wolf" was inspired by the 1964 work "The Lone Step of the Wolf" by the modern Taiwanese poet Ji Xian, the original work was "I am a lone wolf in the wilderness." Not a prophet, no half-word sigh. And Heng shook the empty heaven and earth with a few mournful cries, making the heavens and the earth tremble like malaria; and blew a cool breeze, and a fluttering: this is a kind of addiction. ”
It can be seen that Qi Qin's later creations did borrow the imagery of Ji Xian's poetry, but from "from the north" to the pursuit of "beautiful grasslands", it gave the work an infinite dynamic, and the overall pattern seemed to be higher.
It is worth mentioning that Qi Qin's "Wolf", from the perspective of creation, is also completely retaining the genre of short poems, so it also breaks the traditional structure of the main chorus. Especially the chorus part, it is definitely an anti-traditional melody composition, so the whole work is also in one go. Not like pop songs, more like poetry.
However, the work of this album, only the song "Wolf", was selected for the mainland version of "Wolf I" and "Wolf II" two albums. Good songs such as "The Original Me", "Sun And Rain" and "Don't Have to Force" can only be heard through other means, or they are not heard by mainland fans until many years later.
Not to mention the "Winter Rain" album arranged and produced by Chen Zhiyuan, even compared with the "Haunting" album co-produced by Qi Qin, Zhou Zhiping and Huang Dajun later, "Wolf's Album" is indeed a relatively immature album.
This childishness is also manifested in the selection of songs for the album, that is, the style span is somewhat large, unlike the later "Wolf II" album, the musical style of the whole album is extremely uniform.
The album's "The Original Me" and "Don't Have to Force It" are both adapted from Japanese works. The original work of the former is "この恋おいらのかわまわり" by Chuck and Asuka, and the original work of the latter is "オフコース時に愛は". But I don't know why, in "Wolf's Album", the songwriter of "Original Me" was not signed, and the songwriter of "Don't Have to Force" was signed li bai.
In addition to two Japanese adaptations, "Once Upon a Time" is a composition composed by Jiang Sansheng, who is also the younger brother of the famous Taiwanese female singer Jiang Ling, who later devoted herself to music education and the creation of children's music.
In this album, Qi Qin's "Wanderer in a Foreign Land" and "The Rest of the Years" are still relatively immature works, and what I prefer is "Sun And Rain" and "Yakou". I don't know if it was because "Sun Rain" was not selected and introduced by "Wolf I", so that Zhang Xing's version at that time was very famous and was about to become Zhang Xing's representative work. And "Yakou", as the first song of the B side at that time, is also a good echo with the first "Wolf" of the A side, which is a variation of the image of "wolf", more rock and tough in style, "singing a song called life, but not knowing what life is", when I was young, I felt cool, and now I hear more philosophical meaning.
The lyricist of "Don't Have to Be Reluctant" was Chen Youming, an assistant to "Zongyi Records" at the time, and in this album, he also filled in the words for Qi Qin's "Forgotten ..." Composed by Qi Qin, and the final "Rhapsody" was also Chen Youming's work. Although the song is not mature enough, you can already see the shadow of some works in "Crowded Paradise", "Unrestrained Lover", and even "Summer" and "June".
I have to say that Qi Qin's voice at that time was really good. He can suppress his voice extremely low in his own "Wanderer in a Foreign Land", or in Chen Youming's "Rhapsody", he can sing as high as he wants.
This album, like the early Taiwanese pop music albums, did not list the Credit behind the scenes, so it is not known who the musicians were, and the producers only wrote "Zongyi Production Group", which can be imagined how humble the status of musicians and arrangers at that time was. However, from the perspective of listening, the production and accompaniment of this album should come from the "Big Four" at that time and the teacher Chen Zhiyuan at that time.
Finally, with regard to Qi Qin's "Wolf", the newspaper reviews on the mainland at that time, as well as the Language teachers in the classroom, often corrected the quantifiers used in it, that is, the wolf should not use a horse, but should be one. But times have changed, if you sing "I am a wolf from the north" now, there is a strange feeling, just like singing "I am a fish" into "I am a fish", and in minutes there is a sense of déjà vu of "man-made knife tricks, I am fish meat", which is very uncomfortable and uncomfortable.
Fast forward, more than thirty years have passed...
