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Ms. Dong's note: The folk song movement has epoch-making significance for Chinese music, and its far-reaching influence is self-evident. After the efforts of a whole group of musicians, this trend dominated the trend of the Taiwanese pop music scene in the 80s, and the campus folk songs in the 90s were in the ascendant, and the era of love and dust and white clothes was the spring breeze of the Taiwanese folk song movement, which was developed after blowing into the mainland.
In the previous article, Ms. Dong detailed the three Taiwanese music masters Li Taixiang, Ye Jiaxiu and Liang Hongzhi, who worked side by side to drive folk songs into mainstream pop music, which can be called the "troika" dedicated to the prosperity of folk songs.
Remember Lee Tae-hsiang - a musical knight looking for a dream olive tree
Throughout his life, Li Taixiang has pursued the voice of inner freedom, and has ambitious and extensive research, spanning classical, experimental and popular exploration, opening up experimental fields for Chinese music.
Ji Ye Jiaxiu - a musical poet who plucks youth and photographs the countryside
Ye Jiaxiu is regarded as the "ancestor of rural pastoral songs", tracing back to the origins, and even the origin of mainland campus folk songs, and is revered by Gao Xiaosong as a "grandfather" type figure.
Ji Liang Hongzhi - a master of music that narrates emotions
Liang Hongzhi's compositions are fresh and timeless, especially for portraying delicate emotions, so he is known as the banner figure of exquisite sketches in the Chinese music scene.
The character Miss Dong wants to share today is Mr. Li Shouquan, a gold medal music producer in Taiwan, who entered the music scene in the mid-to-late 80s of the folk song movement, inherited folk songs as a behind-the-scenes producer, corrected the single form of folk songs, produced a series of classic works that turned the tide, and excavated musicians such as Wang Jie, Wang Lihong, and Zhang Hang, which had a profound impact on the Taiwanese pop music scene after the 90s.
In 1980, at the age of 25, Li Shouquan entered the Taiwanese music scene after his early work experience as a DJ in a music house, and his first owner was a new record in the folk song movement. At that time, Xinge Records benefited from its vigorous promotion of the "Golden Rhyme Award" folk song competition, and was happily picking fruits.
The "Golden Rhyme Award" has accumulated a large number of music songwriters and singers for Xinge Records, and the main position of folk songs has shifted from the campus to the record company to complete the commercial transition. At that time, the new grid record can really be described as "fierce generals like clouds, strategists like the sea", and was the most backbone of the entire folk song movement.
In 1980, Xinge Records released "Descendants of the Dragon", and the producer behind the scenes was Mr. Li Shouquan. The song "Descendants of the Dragon", young people know that Wang Lihong is singing, and perhaps they also know that Zhang Mingmin, the "cover singer" who hit the world with a song "My Chinese Heart", has also sung, in fact, the songwriter of this song is Hou Dejian, and the first singer is Li Jianfu.
"Descendants of the Dragon" is the debut album of Li Jianfu's debut, which is Li Shouquan's model image designed by Li Shouquan based on the clear and exuberant image of Li Jianfu's voice, which is a model image of a promising youth in the big era, thus becoming a hit, and finally ranking seventh in Taiwan's top 100 records, and its influence can be seen.
When this album was launched, it just so happened that Taiwan had just experienced the Sino-US diplomatic relations establishment incident in 1979, and the people of Taiwanese society living in a remote corner were panicked, and the advent of this album was just in time, and with the help of the background of the times, "Descendants of the Dragon" became a patriotic song that spread throughout the island overnight, and even the Taiwan authorities used it to appease the people.
What is surprising is that the songwriter Hou Dejian "defected" to the mainland with this song, and after some turmoil, the Taiwan authorities listed the song as a "forbidden song", and the mainland also downplayed it. It was not until later, wang Lihong, who was excavated by Li Shouquan, turned "Descendants of the Dragon" red again, and only then did he settle the embarrassing historical problem of this song.
After the completion of Li Jianfu's "Descendants of the Dragon", Li Shouquan successively produced Wang Hailing's album "偈", Bao Meisheng's album "Wood Song", Yang Yaodong's album "Seasonal Rain", and Li Shouquan chose to leave after making a total of 4 albums by Xinge Records.
In 1981, several important musicians in the folk song movement made tea and talked at the "ZiTeng Lu" on Xinsheng South Road in Taipei City, including Li Shouquan, Jin Tiezhang, Su Lai, Xu Naisheng, Cai Qin, and Li Jianfu, who were almost all from the two major record camps of the folk song movement: Xinge Records and Haishan Records.
The topic of the discussion during the banquet was that the exploitation of record companies seriously hindered the creation and living space of musicians. As a result, the kung fu of a cup of tea made a table of spirited young people announce their departure from the commercial system of the record company at the same time, and under the leadership of producer Li Shouquan, established the "Tianshui Music Collection" music studio that fought for the royalties rights of musicians and free space for creation.
The "Tianshui Music Collection" is known as the most brilliant feat of the last period of folk songs, and they advocate "from creation to singing, without faking others, not subject to commercial restraints". This is the first production company in taiwan in the true sense, and it is also a production company with no capital at all, all with a passion and ideals, as well as a sincere heart for music.
The "Tianshui Music Collection" produced two records, one is Li Jianfu's "Chaila Khan", and the other is Li Jianfu and Cai Qin's "A Thousand Springs", although these two records are not popular, they are also among the top 100 records in Taiwan, and are called classics that turn the tide at the end of folk songs.
In fact, as early as Li Shouquan's production of "Descendants of the Dragon", he consciously required efforts in arranging and scoring, and strived to improve the way of music production to a more professional level, not just a school folk song with a guitar.
With the rise of Rolling Stone Records and UFO Records, The Emergence of Luo Dayou, Pan Yueyun, Su Rui and others, the development of Taiwanese pop music has entered its peak state, and Li Shouquan, as a producer, is closely related to the names of these shocking Chinese music scenes, and in a more vigorous state, to meet the arrival of this new era.
At that time, Li Shouquan met Pan Yueyun, who had just debuted in 1982, when the "Tianshui Music Collection" was disbanded, and produced a second solo album for her, "Sky Sky Blue", which was finally shortlisted for the 4th place in the top 100 albums in Taiwan, second only to Luo Dayou's "Zhi Hu Ye", Su Rui's "Hitchhiking Movie Soundtrack", and Qi Yu's "Olive Tree".
Pan Yueyun's previous debut album "Goodbye Parting" released by the Rolling Stones, Li Shouquan did not participate in the production, but he found that the producer at the time deliberately let Pan Yueyun imitate Cai Qin's bass, covering up her original clear and beautiful high voice. To this end, Li Shouquan's rigorous selection of songs complements Pan Yueyun's clear and high-pitched voice, allowing her to soar in the music world.
Su Rui, the second in Taiwan's Top 100 albums, "Hitchhiking Movie Soundtrack", the name of the album producer column, Li Shouquan is impressively listed. In 1983, Wong Pat-ming, the helmsman of Hong Kong's New Arts City Film Company, ambitiously planned the film "Hitchhiker" into the Taiwanese market, and Li Shouquan was invited to serve as the producer of the soundtrack album.
Li Shouquan recruited Hou Dejian, Luo Dayou, Liang Hongzhi, Wu Nianzhen, Chen Zhiyuan, Zhong Xingmin, these first-class Taiwanese masters, and tailored 6 classic works for the film and Su Rui, "The Same Moonlight", "Please Come with Me", "Change", "If the Wine Is Sold Without", "Whether", "Grasp", "The Same Moonlight" was created by Li Shouquan.
This album with Su Rui's magnificent and wild and uninhibited interpretation was nothing less than dropping a bombshell in the music scene of that year, which made people feel earth-shaking, not only created a precedent for Chinese film soundtrack albums, but also pushed Su Rui to the forefront of the pop era, making her a banner of the times in the history of Chinese pop music.
In 1986, Li Shouquan made two amazing moves that shook the Chinese music scene, one was to produce the star public welfare song "Tomorrow Will Be Better" dedicated to the "Year of World Peace", and the other was to launch his debut solo album "Eight and a Half".
The Chinese singers invited by "Tomorrow Will Be Better" span different regions and different record companies, breaking the restrictions on signing. Li Shouquan as a producer, Zhang Aijia is responsible for convening singers, Luo Dayou composes music, Chen Zhiyuan arranges the music, the initial version of the lyrics was completed by Luo Dayou, but Li Shouquan believes that his style was gray and dark in the past, so a group of people worked together to change it to a popular version that now sounds bright and brisk and vibrant.
In the same year, Li Shouquan issued his first album "Eight and Two-Half" in the form of playing tickets. The name of the album is taken from the famous Italian director Federico Fellini's "Eight and a Half Parts", the film aims to explore the inner world and spiritual crisis of modern people, and Li Shouquan's album also presents his insight into society and personal experience.
Always thinking about when to stop wandering, in fact, life is wandering. Run away by the past, run by the future.
Li Shouquan's album copy writes such a passage, he hired Wu Nianzhen, Zhang Dachun, Zhan Hongzhi and other Taiwanese writers to write lyrics.
"My Volunteer" is about Li Shouquan's thinking on Taiwan's university system; "California's Rainbow" is set in Taiwan's beautiful girls yearning to immigrate to the United States, as we all know that California is a place where it doesn't rain, so I use a song of Taiwanese girls chasing California rainbow to needle the society; "The Broken Corner" tells the story of Li Shouquan who saw a harmonica player and selling chewing gum on the news, and later this person lit a fire and committed suicide.
After Li Shouquan released an album, he began to gradually become famous in society outside the music world, and when he walked on the street, some people began to treat him as a star, which made Li Shouquan, who has always been low-key, somewhat unacceptable, he believes that singers as artists need to deliberately maintain their image, but they have lost too much of their own authenticity, and since then, he has never made a record.
In 1987, after Wang Jie, who was born in the Dragon and Tiger Martial Arts, ran into a wall at Li Zongsheng of Rolling Stone Records, he was excavated by Li Shouquan, and after signing Wang Jie, he tailor-made three records for him, "A Game and a Dream", "Forgot You Forgot Me", and "Whether I Really Have Nothing", which pushed him to the throne of the Chinese pop king in one fell swoop.
At that time, Li Zongsheng felt that there was already Qi Qin in the music world, and he did not need Wang Jie's voice, and even when recording "A Game and a Dream", he kindly reminded the producer Li Shouquan that "this song should not be sung so straight, it should be gentle, no vibrato will not be red", what surprised Li Zongsheng was that this record that was not optimistic about him sold 18 million copies in Asia, equivalent to 250 times platinum sales.
These 3 albums created by Li Shouquan fully show Wang Jie's heart, and it is the voice of that era. Later, Wang Jie crossed the film and television songs, the Raptors crossed the river to develop in Hong Kong, affecting the Southeast Asian market, as a producer who single-handedly created him, Li Shouquan, out of consideration for Wang Jie's future development, after consulting with Wang Jie, transferred his economic agency to Taiwan UFO Records, prompting Wang Jie to move to a bigger stage.
After Wang Jie's economic rights were oversubscribed to flying saucers, Li Shouquan began to deliberately fade out of the Taiwanese music scene. From 80 to 90 years, it was the golden decade of Taiwan's music development, and the "gold" was reflected in the fact that musicians at that time were able to grasp the pulse of the times very well and grasp the balance between art and fashion, and Li Shouquan was a well-deserved master.
When Li Shouquan entered the recording industry, he often told singers as a producer
Talking about your record in 30 years is not successful, because now you can't see it at all, even if it is a best-seller, it may just be a gust of wind, even if it is not so popular today, it will not stop it from becoming a classic in the future.
Today, what Li Shouquan once said has finally been confirmed, and the records he made for Li Jianfu, Pan Yueyun, Su Rui, and Wang Jie have become classics. Nowadays, when we walk the busy streets of the city, listening to his song "Future Future" will not feel outdated.
Finally, I would like to thank a group of outstanding musicians like Li Shouquan in the Chinese music scene who have made music with their hearts, irrigated the music scene, and created classics.