關於 let it rock, let it roll lyrics ，我們在網路上蒐集到這些相關的討論、資訊與評價

(English and lyrics below)

明けましておめでとうございます！動画をアップするのがかなり久しぶりになりました。加えて、昨夏、予期せず水泳しちゃったとき（つまり「カヌー転覆事故」）に、いつも使っていたビデオカメラが他界してしまったので、新しいカメラを購入して画質の向上を図ってみましたが、いかがでしょうか。

2019年の初動画として、あいみょん「君はロックを聴かない」を英語で歌ってみました。この歌の解釈については、ある男性の視点から描かれたストーリーで、好意を寄せている年下の女性に対し、青春の頃聴いていた音楽やレコードを紹介する形で、お互いの距離を縮めようと努力する恋愛をイメージして訳しました。Enjoy♪

Hello all! It's been a while since I've uploaded a video, but I'm back for the new year and with a new camera to boot, since the other one met its untimely demise during an accidental evening swim (i.e. canoeing incident).

I'm starting the year with an English version of "Kimi wa rokku wo kikanai" (You don't listen to rock) by female Japanese singer-songwriter Aimyon, who gained a lot of popularity last year and appeared for the first time on Kohaku (popular Japanese end-of-year music program) this year. It wasn't with this particular song, but this one is apparently the fan favorite, which I can certainly understand. I plan to get to some of her other songs as well.

This song is from the perspective of a man (which is common for Aimyon) who is introducing a younger love interest to the music that he grew up with, hoping that it will bring them closer together.

Enjoy!

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

You look a little lonely and a little blue
Come here and let me play this song for you
Follow my lead and clap in time
To this simple little surprise
I’ll give it everything that I have

Upon the dusty record spinning round and round
Lost dreams from long ago are dancing now
I drop the needle with a solemn touch
You don't need to hold your breath so much
Come over and have a seat with me

The rhythm of my youth with a warm pleasant crackle starts to play
And we can dance to the cool and laid back melody

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
Saw me through the aches and joys of love

My heart is palpitating in time with the beat
A steady BPM of 190
Can you hear it pounding loud?
Why are you smiling at me now?
Until my eyes start shifting bashfully

The rhythm of my youth carries on like everything is the same
As I look into your eyes and the air starts to change

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
That once upon a time I fell in love to

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow to love me like I love you
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
And now that make me ache with love again

君はロックなんか聴かないと思いながら
kimi wa rokku nanka kikanai to omoi-nagara
少しでも僕に近づいてほしくて
sukoshi demo boku ni chikazuite hoshikute
ロックなんか聴かないと思うけれども
rokku nanka kikanai to omou keredomo
僕はこんな歌であんな歌で
boku wa kon'na uta de an'na uta de
恋を乗り越えてきた
koi wo nori-koete kita
恋を乗り越えてきた
koi wo nori-koete kita

https://youtu.be/vZGc1_u_H7o

Roger 寫本土爵士樂，大家請多多指教。如果喜歡，請轉載。

這是我為賽馬會街頭音樂系列撰寫的最新文章，談討香港的爵士樂。因為參於其中的人數眾多，如有遺留或資料錯誤，敬請原諒，亦歡迎留言交流及指正！稍後再分享英文版本。

【爵士樂在香港】
Jazz in Hong Kong

鍾一諾@鍾氏兄弟
Roger Chung of the Chung Brothers

賽馬會街頭音樂系列文章
Written for Jockey Club Street Music Series
Oct 24, 2017
Edited: February 5, 2018

在我與兄Henry Chung為香港大學設計的課程「爵士樂：歷史與鑒賞」中，常被學生問到一個問題：「有沒有香港爵士樂這回事？」意思是，爵士樂 (Jazz) 作為美國的文化產物，它的影響力遍佈世界各地，而在美國以外的多個地方也有屬於自己本土風格的爵士樂；例如：在巴西的Samba遇上Jazz後演變成Bossa Nova，在古巴有Afro-Cuban Jazz，在歐洲有歐陸及古典色彩甚濃的European Jazz，而在日本也有J-Jazz。那麼，在香港有沒有屬於香港獨有的爵士樂呢？要解答這個問題，要從歷史說起。

《三十年代上海：爵士樂登陸神州》
爵士樂在中國首先登陸的地點不是香港，而是三十年代華洋雜處的上海。在1934 年至1937 年第二次中日戰爭發生前，著名美國爵士小號手Buck Clayton在法租界的逸園跑狗場Canidrome Ballroom （即現今的文化廣場）帶領爵士樂隊 Harlem Gentlemen (哈林紳士) 演奏西洋音樂，得到社會賢達的長期支持，當中包括蔣介石夫人宋美齡、宋靄齡及有「華語流行音樂之父」之稱的黎錦暉。黎氏受到Clayton 從美州帶來的爵士樂深深影響，開始嘗試把這種曲風與中國音樂融合，促成了「國語時代曲」的誕生。明顯受到爵士樂影響的時代曲包括：周璇主唱的《夜上海》（曲：陳歌辛）、姚莉主唱的《玫瑰玫瑰我愛你》（曲：陳歌辛）、《得不到的愛情》（曲：姚敏）等。除了時代曲外，在三十到四十年代大受歡迎的上海舞廳與夜總會裡，也不難聽到Benny Goodman 、Chick Webb 、Glenn Miller等的爵士搖擺樂（Swing）悠揚於熱鬧的空氣中。

1949年，隨著中華人民共和國的成立，中國在文化領域上推行了大規模的改革政策，時代曲被打壓為「色情」音樂，以致在中國大陸的流行音樂發展嚴重受挫，而上海的音樂與藝術家們紛紛逃難到英屬的香港。雖然華語音樂的基地在五十年代已遷移到香港，但隨著Rock & Roll（搖滾音樂）在美國本土取代爵士樂而成為最受歡迎的音樂，爵士樂在香港亦不見有重大的演變，只是在某些時代曲或電影配樂中還會聽到一些爵士元素，如葛蘭的《我要你的愛》、《我愛恰恰》、姚莉的《雞尾酒》等。另一方面，在夜總會這些拉闊音樂場所中，歌手方逸華與潘迪華也經常會將一些爵士歌曲選到她們的曲目裡，而當爵士樂名家如Louis Armstrong、Benny Goodman來港演出時，她們又往往會擔任本地嘉賓，築起中西音樂交流的橋樑。

《九十年代 : 爵士樂在香港的轉捩點》
在香港，國語時代曲一直是五十年代最受歡迎的流行音樂，直至Beatlemania 在六十年代中期直捲全球，掀起樂隊潮。西洋搖滾樂對年青樂迷的影響力超越了國語時代曲，直接促成七十年代粵語流行音樂的冒起，從此粵語流行音樂大行其道，甚至主載了整個樂壇。雖然粵語流行曲的風格頗多元化（七十年代有搖滾、小調、市井、電視主題曲，八十年代有城市民歌、日本風、電子），爵士樂在主流音樂中還是不見經傳 （可能除了個別歌手如林子祥的某些作品外），但事實上，爵士樂一直存在於香港，卻只是局限於Live music酒吧、酒廊或高級酒店的場所，而甚少在電台或電視這些主流媒體聽見。其中一個原因是大部份演奏爵士樂的都是來自菲律賓的樂師，而不是普羅大眾熟悉的偶像歌星。為了生計，他們跑到香港來當上流行曲的樂師，但爵士樂往往才是他們的摯愛，因為相比較為公式化的流行曲，爵士樂賦予樂手無窮無盡的自由度。Tony Carpio、Joey Villanueva、Paul Candeleria、Roel Garcia、Andrew Tuason (杜自持)、Dodong Fuego只是其中一些活躍於爵士音樂圈的專業樂師。這些專業樂師大多沒有出版個人專輯，所以個人認為Tony Carpio 1992年的爵士大碟Just Let It Happen便是最能代表這班為音樂默默耕耘的菲律賓樂師之作。

至於在主流音樂中找不到爵士樂的這個情況一直到九十年代才開始有所改變。有人說，八十年代是粵語流行音樂的黃金期，之於我來說，九十年代更是香港獨立及非主流音樂最百花齊放的時期。經歷過九十年代的香港Live music樂迷大概也會記得蘭桂坊Jazz Club及尖沙嘴的Rick's Cafe盛況時期的一些情景 – Rudy Balbuena的低音貝斯及Danny Wee或Anthony Fernandes的鼓襯托著Eugene Pao（包以正）的結他、Dave Packer的鋼琴與口琴及Ric Halstead的色士風 – 原來香港也有爵士樂！而在香港主權移交前的幾年，口琴家William Tang的Movin’ On、Eugene Pao 的By the Company You Keep、Hong Kong Jazz Quartet 的 Minor Change等爵士專輯更躋身主流音樂銷量榜，把爵士樂在香港的地位大大提昇。與此同時，結他手Tommy Chung的專輯Play My Blues亦把爵士的根源音樂藍調帶到樂迷的耳朵。九十年代後的主流音樂因種種的原因（相信包括以上的成功例子），隨之帶有爵士樂味道的歌曲數量開始增加，有些更成為上榜的流行歌曲（如黃尚偉、Tommy Ho為蘇永康度身訂做的一系列輕爵士作品、張學友的《多麼的需要你》及《釋放自己》專輯等），但聽眾有沒有把這些歌曲視為爵士樂去欣賞又是另一回事。

《爵士樂與靚聲發燒界結緣》
在香港，雖然很多聽眾都屬於追捧偶像的樂迷，但也有一部份樂迷更追求唱片的錄音質素及其製作方法，所以對聽歌時使用的音響設備特別講究，務求達致最佳的聽歌體驗；為這班「音樂發燒友」而設的特定音樂市場便是所謂的「靚聲發燒界」。可能因為爵士樂本身的演奏形式比較簡潔（通常沒有過份加工的插電樂器或電子合成器），每一種樂器與人聲的音頻、音量平衡、位置、分佈都相對清晰，這便與發燒友對錄音的要求不謀而合，而一些爵士專輯也成為了他們推崇備至的發燒天碟。除了以上介紹過的一些以音樂為主的標誌性唱片外，1996 年Angelita Li （當時藝名為Unique）以國語翻唱美國爵士標準曲的一張拉闊專輯《迷》更成為了以歌聲為主的爵士發燒專輯先驅。而早於八十年代已在主流樂壇有一定支持度的夏韶聲在1998年推出以爵士風格重新演繹香港標準曲的概念大碟《諳》，銷量更超越主流唱片，成功在香港唱片業界開拓了一條新路向。千禧年代以爵士重新演繹粵語金曲的成功例子還包括泰迪羅賓、胡琳、羅敏莊及趙學而等。特別需要注意的是以上提及的唱片很多皆由Clarence Chang 或Tommy Ho (又名谷中仁) 擔任監製，實在對樂壇貢獻功不可沒。事實上，我們鍾氏兄弟2009年的《鐘聲》及2011年的《齊唱・吳秉堅之歌》(此專輯亦為我們奪得華語金曲獎「年度最佳爵士藝人」） 之所以大膽嘗試把爵士、發燒與福音元素融合一起也是受到這些唱片的啟發。直到2010年張學友推出他的首張全爵士專輯《Private Corner》，流行歌手灌錄爵士發燒碟從此變得行常化。2011年二胡大師霍世潔更推出二胡crossover爵士樂的大碟《爵士胡情》，堪稱本地爵士與發燒界在創意上登峰造極之作。

《發燒以外的爵士樂》
當然，爵士樂絕對不是靚聲發燒界的專美，而千禧年後亦可以在流行榜上聽到更多的輕爵士，如古巨基的《羅馬假期》、盧巧音的《很想當媽媽》、Swing 一系列的作品等。Ted Lo（羅尚正)、Billy Chan 、杜自持等彷彿成為了流行曲的御用爵士編曲家。

近十年，香港的爵士樂發展也更見精彩，來港定居的傑出外籍音樂人數目亦有上升的趨勢，包括格林美獎提名人Howard McCrary、菲籍鋼琴家Jezrael Lucero、美籍鋼琴家Bob Mocarsky、澳洲籍色士風手Blaine Whittaker、加籍貝斯手Sylvain Gagnon、澳洲籍貝斯手Scott Dodd、菲籍歌手Jennifer Palor、南非籍歌手Brigitte Mitchell、Talie Monin等。除此之外，本地亦開始出現新一代的爵士樂幼獅，包括In One Stroke Quartet 以及它的鋼琴手Patrick Lui、Alex Ho、結他手Teriver Cheung、Tjoe Man Cheung、貝斯手曾德康、Justin Siu、鼓手Nate Wong、口琴手CY Leo 、歌手Ginger Kwan等。可以說，香港的爵士樂漸趨年輕化。

《在香港，哪裡可以聽見爵士樂？》
雖然香港有定期爵士表演的場地屈指可數 (Peel Fresco、Foxglove、Gecko、Fringe Club、Ned Kelly、Grappa's Cellar...)，但爵士樂的受歡迎程度不減反升，証明了有心、有知性、有靈魂的音樂始終可以找到知音人。由Clarence Chang 籌辦的Jazz World Live Series亦定期邀請世界級爵士音樂大師來港獻技。如果擔心聽拉闊的門檻太高，打開收音機，由1949 年他的第一個節目 《Progressive Jazz》 開始，傳奇唱片騎士Uncle Ray 每晚都在大氣電波以懷舊金曲與爵士標準曲陪伴港人，68年來從未間斷，而港台每逢星期日晚亦有純爵士節目《Jazzing Up》。至於數碼廣播，D100 逢星期六晚有我與兄主持的《爵士鍾情》，而想進一步探討爵士樂與精神和心理的關係，更可以上網重溫由爵士貝斯演奏家曾德康主持的《精神 . 爵士》。只要你肯去打開你的耳朵，自由奔放的爵士樂就在你的身邊等待你去發掘。現在就讓我們宣告: 「香港也有爵士樂！」

作者簡介:
鍾一諾
香港男歌手、監製、作曲及填詞人，與其兄藍調口琴家鍾一匡組成的「鍾氏兄弟」是香港知名音樂組合，並獲得多個華語樂壇重要獎項，包括2012年全球華語金曲獎「年度最佳爵士藝人」、2014年華語音樂傳媒大獎「最佳組合」、2014年CASH金帆音樂獎「CASH最佳歌曲大獎」、「最佳歌詞」等殊榮。亦為D100電台節目《爵士鍾情》主持及香港大學「爵士樂：歷史與鑒賞」課程客席講師。
Dr. Roger Chung is a male singer-songwriter and record producer based in Hong Kong. Together with his older brother/blues harmonica maestro Henry Chung, they formed the famed musical duo “The Chung Brothers.” The group was the winner of various prestigious awards in the Chinese music scene, including the 2012 “Jazz Artist of the Year” of the Chinese Golden Songs Awards, the 2014 “CASH Best Song,” “Best Lyrics” of the CASH Golden Sail Music Awards, etc. He is also a regular presenter of D100 radio show “Jazz It up with the Chung Brothers” and also a guest lecturer of the “Jazz: History and Appreciation” course at the University of Hong Kong.

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

THIS SONG IS A BOMB! BTS never disappoints ?

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Lyrics:


Smooth like butter
Like a criminal undercover
Gon' pop like trouble
Breakin' into your heart like that (ooh)
Cool shade, stunner
Yeah, I owe it all to my mother
Hot like summer
Yeah, I'm makin' you sweat like that (break it down)
Ooh, when I look in the mirror
I'll melt your heart into two
I got that superstar glow, so
Ooh (do the boogie, like)
Side step, right, left to my beat
High like the moon, rock with me, baby
Know that I got that heat
Let me show you 'cause talk is cheap
Side step, right, left to my beat
Get it, let it roll
Smooth like butter
Pull you in like no other
Don't need no Usher
To remind me you got it bad
Ain't no other
That can sweep you up like a robber
Straight up, I got ya
Makin' you fall like that (break it down)
Ooh, when I look in the mirror
I'll melt your heart into two
I got that superstar glow, so
Ooh (do the boogie, like)
Side step, right, left to my beat
High like the moon, rock with me, baby
Know that I got that heat
Let me show you 'cause talk is cheap
Side step, right, left to my beat
Get it, let it roll
Get it, let it roll
Get it, let it roll
Ice on my wrist, I'm that nice guy
Got that right body and that right mind
Rollin' up to party, got the right vibe
Smooth like (butter) hate us (love us)
Fresh, boy, pull up and we lay low
All the playas get movin' when the bass low
Got ARMY right behind us when we say so
Let's go
Side step, right, left to my beat (right, left to my beat)
High like the moon, rock with me, baby
Know that I got that heat
Let me show you 'cause talk is cheap (you know that talk is cheap)
Side step, right, left to my beat
Get it, let it roll
Smooth like (butter) cool shade (stunner)
And you know we don't stop
Hot like (summer) ain't no (bummer)
You'll be like, "Oh my God"
We gon' make you rock and you say (yeah)
We gon' make you bounce and you say (yeah)
Hotter? Sweeter! Cooler? Butter!
Get it, let it roll

#88barsremix #大嘻哈時代 #乞丐ceo

最近覺得88Bars有點屌然後決定做一個自己的版本，其實我也不確定自己到底有沒有內定，反正就是先報名再說

在 StreetVoice 上面聽：
https://streetvoice.com/papetone/songs/638467/

追蹤我的 IG:
https://www.instagram.com/onemoretimebabywu/


888S Credit:
作曲Composed by 踢萬8ig8a8y
作詞Lyrics by 踢萬8ig8a8y
製作人Producer by 薑母鴨ginger duck
編曲Beats Arrangement by 薑母鴨ginger duck
混音Mixing by章湘柏
母帶後期Mastering by章湘柏
錄音室Recording Studio Nora Says諾拉說

設計Logo Design by Demi.C
影片剪輯 Editing by 楊策

888S Lyrics:
萬
插卡進 ATM,
餘額好像沒有變
Yeah I’m trained to bring game,
華語嘻哈音樂圈還是硬了點 (硬拉)
BIGGIE 萬 my band, (my band)
Just Ｗhen things seems the same
and the whole scene is lame,
Goddamn 還是討厭下雨天 (OSN)
Show no respect, so relaxed,
go too fast, toast to that (Clink)
8IG8A8Y 八十八個 BARS 霸的話語權
“No Flocking” like Kodak Black (On they ass)
Fuck it 下局見， 風格太平太侷限
Na mean? I need change like PiNkChAiN
太依戀曬衣鏈 What’s my name?
@ONEMORETIMEBABY 再一遍 (踢萬)
February Twenty Eight, 進大嘻哈時代掙專輯費
三票當選【窮】到四腳朝天， 身價還沒天價但直接
翻一倍 (double up)
Drinking 西西里 Coffee 『Let Ｍe 嘻犀里』
Mini 晉級到 MTV 裡
沈浸在進擊的信義區，
忠言逆耳說實話我有聽進去 (listen)
了無牽掛 just wanna, work on my album
千里馬 "PONY" 還沒開喝就先掛
先發制人，水到渠成 (每幹拎)
Rhyme scheme so brilliant,
萬 in a billion, 專情的明理人，
Told y’all Imma finished them (On GOD)
鑽新的 bars, shine like 鑽金的卡， 硬底子 Indie 的 rock
講心裡的話，穿金戴銀 (Nah) 是該清醒了吧？
沈睡已久最純粹野獸為何會困獸之鬥？
剃刀蔣那 part, 太嘻哈實在 Imma keep that in mind
無限 看齊感激 fo sho (That's right)
HAHA I don’t really care how you feel, everywhere I go
All Star, Hall Of Fame 116, always in the field
獅子星座 Leo 王者爭霸
肉弱強食從此先發， 不是種子真假？
What the fuck happened to Hip Hop?
金價萬夫莫敵，一匹黑馬，思維 gain-up (My 思維)
Know pain Know game huh?
Spitting fire 太嗨了 higher than Higher Brothers
我的 flow 五花八門
喜歡 started from the bottom
Mo money mo problems, 火侯只開了八成
Now I got options
請叫我木柵人
What’s popping?
Reping Taipei City 捍衛我的家人
我的 freestyle 不好說不好不會加分
我的 attitude so awesome
燒肉粽燒口燙， 就像我的貨，roll up son 不誇張
遇強則強，這是我的命
8IG8A8Y 巨嬰活體的 meme
牛年行大運收拾玻璃心，demo 已經錄了太多首你聽
噴 flows, money in, 收進收銀機 (Ching ching)
Drinking Ice Tea 到 6AM in the morning
文字當兇器
Love me or hate me, don’t give a fuck about you
還有你的抨擊
恭喜如果有 “Baby Fat” 幫你拍拍手 (拍手聲)
Hashtag 我 #曬北鼻challenge 有在用 IG 都可以參加 though (Okay)

我不需要拍影片，我知道會有人拍我
曾太多向左向右，生態濁，畢竟深愛過深愛過深愛過
My flows never lazy 從不怠惰 I know
我身高187 所以你看我都要抬頭，94不是一個 idol
Got the key 可以開鎖
Suicide doors 麻將輸了太多，主很愛我 (Lord)
讓我們保持聯絡就算到四點多 (FO)
【窮】,【4PM】, 【Burning】, Make Secens
把真實故事寫進歌裡每一天
Fuck you pay me 請你給錢
Get rich or die trying 就像 50 CENT (GGG G-UNIT)
萬
888S

明けましておめでとうございます！動画をアップするのがかなり久しぶりになりました。加えて、昨夏、予期せず水泳しちゃったとき（つまり「カヌー転覆事故」）に、いつも使っていたビデオカメラが他界してしまったので、新しいカメラを購入して画質の向上を図ってみましたが、いかがでしょうか。

2019年の初動画として、あいみょん「君はロックを聴かない」を英語で歌ってみました。この歌の解釈については、ある男性の視点から描かれたストーリーで、好意を寄せている年下の女性に対し、青春の頃聴いていた音楽やレコードを紹介する形で、お互いの距離を縮めようと努力する恋愛をイメージして訳しました。Enjoy♪

～♪～♪～♪～♪～♪～
曲情報 / SONG INFO
～♪～♪～♪～♪～♪～

あいみょん／君はロックを聴かない
2017年リリース
作詞曲： あいみょん
日本語詞：渡辺レベッカ

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リンク / LINKS
～♪～♪～♪～♪～♪～

■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

You look a little lonely and a little blue
Come here and let me play this song for you
Follow my lead and clap in time
To this simple little surprise
I’ll give it everything that I have

Upon the dusty record spinning round and round
Lost dreams from long ago are dancing now
I drop the needle with a solemn touch
You don't need to hold your breath so much
Come over and have a seat with me

The rhythm of my youth with a warm pleasant crackle starts to play
And we can dance to the cool and laid back melody

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
Saw me through the aches and joys of love

My heart is palpitating in time with the beat
A steady BPM of 190
Can you hear it pounding loud?
Why are you smiling at me now?
Until my eyes start shifting bashfully

The rhythm of my youth carries on like everything is the same
As I look into your eyes and the air starts to change

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
That once upon a time I fell in love to

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow to love me like I love you
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
And now that make me ache with love again

君はロックなんか聴かないと思いながら
少しでも僕に近づいてほしくて
ロックなんか聴かないと思うけれども
僕はこんな歌であんな歌で
恋を乗り越えてきた
恋を乗り越えてきた