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Chat about my pick for Jay Chou’s GOAT album

Mon, 26 May 2025 11:06:05 +0800

『The Eight Dimensions』 [Taiwan] Jay Chou

< 9.2 >

Can a song really tell a story as rich as a movie? Well, in just a few minutes per track, across his 43-minute album “The Eight Dimensions”, Jay Chou totally went all out with his insane creativity and wild imagination to build this incredible “space”. “The Eight Dimensions” basically refers to the Western octave scale, which sounds pretty limited, right? But Jay just took all the inspiration he usually got from movies and MVs, and somehow crammed a whole plot into each song, creating this totally boundless, fantastical musical world!

Album

For me, Jay Chou’s The Eight Dimensions is an absolutely mind-blowing album. When most people think of his ‘god-tier’ albums, it’s almost always one of Jay, Fantasy, or Ye Hui Mei, nine times out of ten. There’s even this saying in the music world that genius musicians are done after three albums (and speaking of which, you can’t help but think of those artists who truly peaked right out of the gate!): the first is groundbreaking, the second is a massive hit, and the third is just a desperate struggle. Of course, Ye Hui Mei later totally proved that Jay Chou’s creative genius was nowhere near limited to just three albums. By the time Common Jasmine Orange and November’s Chopin came out, his popularity had soared to new heights again. But I still gotta say, The Eight Dimensions is a real outlier for Jay Chou. Among all his legendary, peak albums, it’s the one that feels the least ‘Jay Chou-esque.’ It has such a unique and rich vibe, an unconventional concept that explores so many different angles – I seriously never ever get tired of listening to it.

But hey, why am I even talking about Jay Chou on a Cantonese blog, you ask? Because he seriously had a huge impact on my musical journey. Whether it’s the sheer breadth or the depth of his music, he’s got so many solid, standout tracks. And honestly, after the millennium hit, there just aren’t that many Cantonese singers worth mentioning anymore. As for Alan Tam and Jacky Cheung? Well, they’re practically ancient legends, like mythical beasts from another era!

Half-Beast

The intro, with its strings and horn calls, is absolutely epic and carries a hint of desolation – that’s all thanks to the underlying woodwind and brass sections, and those ‘dong-dong-dong’ timpani beats in the middle don’t just keep time, they give it the vibe of an epic movie opening! Seriously, these forty-something seconds of intro could totally be the album’s official ‘Intro.’ In fact, it was Jay’s first time playing with an album opening ‘easter egg’ like this. What’s really cool is how this intro totally echoes ‘The Final Battle’ at the end of the album. Both tracks use those poignant brass sounds, instantly unifying the whole album’s tone. Later on, ‘In the Name of the Father’ from Ye Hui Mei used a similar technique for its opening, but it doesn’t really seem to echo the overall vibe of that album, does it? (Seriously, what was the vibe of that fourth album anyway?)

After that storm of strings, a few heavy drum beats mixed with ‘shhh-shhh’ scratching sounds crash in, officially drawing back the curtain on the Half-Beast world. Listen closely, and besides the staccato violins, there’s an underlying piano subtly surging, pulsing in sync, like a shared heartbeat, with the strings. Speaking of which, even though Jay’s a rhythm genius, he’s never stingy with his arrangements’ layers – no wonder his songs are endlessly re-listenable. When it comes to the verses, you get that classic Jay-style flow paired with Vincent Fang’s wonderfully fantastical lyrics. And especially that rhythmically displaced bridge before the first chorus – it’s just so cool! This kind of ‘playing around’ that pops up now and then is super fun, and it’s totally similar to the modulation at the end of ‘Blue Storm.’ As for the chorus and outro, the brass section performs as expected. The whole song is actually packed with clever, hidden arrangement tricks, but it’s a shame not many people seem to appreciate those details.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 7.1

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.6

‍Arrangement ‍‍‍‍ 8.2

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 7.9

Peninsula Iron Box

After ‘Half-Beast’ came storming in with that powerful opening, Jay Chou chose a slow song to follow it up. The melody is just so smooth and natural, the rhythm harmonious and flowing, with those sad guitar notes weaving through a chill, almost nonchalant vibe. The busy hi-hats sound like subtle rustling, like a quiet whisper, hinting at a slight unease beneath the calm strings. And through all the constant key changes, it builds this sense of emotional hesitation and loneliness, with the emotions just simmering and intensifying as the song goes on.

Oh, and by the way, the mixing on this album was a massive leap forward! While it didn’t quite hit that ‘big production’ level of later albums like Common Jasmine Orange and November’s Chopin, overall, they totally nailed it. As for the arrangement of ‘Peninsula Iron Box,’ even though there aren’t a lot of flashy tricks to pick apart, it’s actually one of those rare tracks from Jay Chou that isn’t overly ‘decorated’ or ‘busy.’ The emotional expression is perfectly controlled and just cuts deep, hitting you right in the feels. Honestly, in this fragmented age we live in, it’s probably a tall order to hear such pure new works again.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 8.8

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.4

‍Arrangement ‍‍‍‍ 7.9

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 8.1

Secret Signal

“Secret Signal” is pretty much a classic Jay-style R&B love song, following a similar formula to “Love Before BC” from his previous album. The overall vibe is still that melancholic feel, but this time, the emotional rollercoaster is way more intense! He really pulls off those frequent transitions between his chest voice and falsetto, even within a relatively narrow range – he totally delivers there. And that bridge part, with the falsetto that almost sounds like he’s tearing up, combined with the super smooth key change? It just makes the whole song really come alive!

But honestly, compared to his earlier stuff, this song definitely feels like it’s missing a bit of that signature ‘Jay Chou’ touch. It’s one of the rare tracks on the whole album that feels a bit… well, ‘assembly-line’ or just a bit plain. Thankfully, that falsetto in the bridge is just so gorgeous, it makes the whole song way more enjoyable and re-listenable. Maybe it’s all thanks to that legendary live performance, perhaps?

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 8.5

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.6

‍Arrangement ‍‍‍‍ 7.3

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 8.0

Dragon Fist

After “Nunchucks” became a massive hit, Jay Chou really found his groove with that Chinese-style + rock combo, so much so that his next album even had a similar track, “Double Blade” (though I’m guessing “Double Blade” didn’t land as well, which is why Jay shelved that style for a while, only bringing it back for “Huo Yuan Jia”?). The song kicks off with drums, then suddenly throws in an unexpected scratch, followed by an explosive electric guitar that just blasts right into your ears. In this part, Jay Chou’s signature four-tone rap, combined with Vincent Fang’s lyrics, is an absolute perfect match! The verses are incredibly groovy, then it transitions to a guzheng section, giving listeners a moment to breathe. When it hits the bridge, Jay starts playing around again – that one line, “Wait a minute,” immediately shifts the song’s whole groove, leaving some lingering charm amidst the onslaught. The whole song has these big ups and downs, but it’s not as dazzling or overwhelming as “Turkish Ice Cream,” and placed in the middle of the album, it really has this refreshing and invigorating effect.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 8.1

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 8.5

‍Arrangement ‍‍‍‍ 8.6

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 7.8

Where’s the Train Going

After catching a breath, the album goes right back to that head-nodding, immersive vibe. The mumbling rap, mixed with Hokkien, easily conjures up those old-time story scenes. The clanging sound of a train hitting the tracks at the beginning instantly pulls you back to slower, old times. The arrangement might seem simple, but it hides so many clever details that make you addicted to listening. Even though the name sounds similar to Luo Dayou’s “Train,” they’re totally worlds apart. “Where’s the Train Going” isn’t as passionate or stirring as “Train.” Its muted atmosphere, echoing harmonies, and drum patterns that sound like clanging train tracks all come together to form a truly unique Hokkien song. The biggest pity is that Jay never released anything similar afterwards – in my heart, it’s truly an undiscovered gem.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 7.9

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.8

‍Arrangement ‍‍‍‍ 8.9

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 8.6

Split

This is a rare moment where Jay Chou really opens up, baring his soul in this song. He relies on the emotional layers of just a few chords to build up this sense of vulnerability. He doesn’t package himself as an omnipotent strongman here; instead, it’s about the helplessness he feels as time and memories fade, continuing that consistent sense of disorientation and loss from earlier tracks like “Peninsula Iron Box” and “Secret Signal.” Looking back at his later albums, he started to get a bit ‘inflated’ (and I don’t mean that negatively) – he’d say not getting awards was the Golden Melody Awards judges’ problem, he’d vow to be the emperor of music, he’d emphasize he was a superman. But listening back to this song, I realize this is Jay Chou’s rare inner monologue after taking off his halo and experiencing hardships as an ‘ordinary person.’ It also adds this lingering, drawn-out emotion to the song. The whole track might be simple to the point of being bare, but its strength lies in its authenticity. It’s precisely this raw sincerity that gives the song its unique flavor.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 8.0

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.5

‍Arrangement ‍‍‍‍ 7.7

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 8.2

Grandpa’s Tea

“Grandpa’s Tea” just gives you this super light and airy feel, kind of like the refreshing, carefree vibe of “Simple Love.” The arrangement is totally Michael Lin’s signature, most comfortable R&B groove too, with those crisp drum beats paired with Jay Chou’s surprisingly clear and distinct vocals. Seriously, in a nutshell: it’s pure comfort, pure bliss!

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 6.9

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 7.0

‍Arrangement ‍‍‍‍ 7.5

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 7.5

Return to the Past

When it comes to “Back to the Past,” the guitar and string arrangements are still unbelievably smooth, but just like “Secret Signal,” it goes for that light and cheerful vibe, which honestly isn’t my cup of tea. (I feel like this song is super polarizing; people who love it cherish it like gold, while those who don’t ‘get it’ feel absolutely nothing – basically, I just said nothing useful, haha!)

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 7.1

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 6.9

‍Arrangement ‍‍‍‍ 6.6

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 6.8

The Little Blacksmith in Milan

“The Little Blacksmith of Milan” might remind you of the songs he wrote for Jolin Tsai around the same time. The scratching and various sound effects are purely there to add flavor to the song, keeping listeners from getting distracted. The muffled atmosphere that seeps out from the MIDI brass in the intro is like a storybook opening, first introducing the setting, instantly making you see a cloudy day in Milan. Then the guitar suddenly perks up and jumps, that bouncy feel almost like it’s depicting the little blacksmith’s proud and swaggering look. After the chorus, a “creak” as the tavern door closes, and the little blacksmith sits still, listening to the performance on stage. Unconsciously, his mind is playing a scene of himself on stage one day, with thunderous applause below. But then a few dog barks pull him back to reality, and that final “baa” really has a touch of an O. Henry ending.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 8.6

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 9.0

‍Arrangement ‍‍‍‍ 9.3

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 9.3

The Last Battle

“The Final Battle,” compared to “Wounds of War” two years later (which also served as a grand finale and talked about war), puts an even deeper and grander period on the entire album. Of course, following “The Little Blacksmith of Milan,” it also fits well with the restrained melancholic undertone from earlier in the album. The vocal delivery change in the second verse makes the whole song even more re-listenable, and that Scottish bagpipe at the end is Jay Chou’s signature exotic sound trump card. But paired with the strings’ lively major key arrangement, it’s contrasting yet doesn’t feel contradictory. The album reaches this point, continuing that perfectly executed closing vibe from his first two albums.

‍ ‍Vocals ‍‍‍‍ ‍‍‍‍ 7.6

‍ ‍Lyrics ‍‍‍‍ ‍‍‍‍ 9.2

‍Arrangement ‍‍‍‍ 8.8

‍ ‍‍‍‍‍‍‍‍ Overall ‍‍‍‍ 8.2

In my eyes, aside from those two songs whose positioning feels a bit redundant and awkward, The Eight Dimensions is truly an album worth savoring slowly. Maybe the remaining eight songs actually correspond to the album’s title? No matter what, if I had to pick a Jay Chou album to accompany me, this would definitely be my first choice.

品香港電影滄海遺珠有題

Sat, 17 May 2025 16:45:56 +0800

《暗戰2》 [粤] 杜琪峯

< 8.6 >

高級督察何尚生（劉青雲）被劫持人質嘅劫匪伊健（鄭伊健）點名到案發現場進行談判，眼見伊健喺現場嘅囂張，何尚生鬥意昂揚欲將佢拎落去，但被佢逃脫。挫敗激起何尚生嘅戰意同好奇心，開始同伊健玩起「取贖金嘅遊戲」嚟。何尚生收到伊健寄嚟嘅數件藝術品嘅殘骸，喺國際刑警 Ruby （黃卓玲）嘅幫助下發現被破壞藝術品均喺同一間國際級保險公司承保，猜想伊健意圖勒索該保險公司，遂前往展開調查，而此時伊健恰好致電該公司高層 Teresa （林熙蕾）勒索一千萬，尚生即刻接手案件，卻發現事情遠非想像中咁簡單。

Movie

觀感

電影一開始，畫面見到鄭伊健面向咗邊企喺度，頭頂有隻鷹盤旋跟住飛落嚟。鏡頭好快就 cut 走。跟住一聲鷹擊長空，留住絡腮胡又型又 chok 嘅鄭伊健就跟住隻鷹出場喇，戴住對大手套引隻鷹落嚟。之後就打出戲名《暗戰2》，林熙蕾坐喺架房車度出場，好多嘢做忙到甩轆噉。停好車行入大廈，鏡頭就轉到一個監視器嘅角度，簡單介紹咗背景：林熙蕾係保險公司嘅老細，有三件喺佢哋公司投保嘅藝術品畀人偷咗，呢度就解釋咗點解會有人監聽。

之後幾聲雀仔叫，預告住鄭伊健要出場。鏡頭影住幾個雀籠，籠入面啲雀仔睇落好似好生猛，但其實到頭嚟都係畀個籠困住咗自己。如果結合返後面套戲講嘅主題，其實呢度就係暗示緊，套戲入面大部分人都係畀生活呢個籠困住咗。噉跟住點算好呢？型仔嘅鄭伊健出場，預示住跟住落嚟就要靠佢嚟打破呢個困局喇。

好似睇緊嗰個男助理，亦好似睇緊嗰一籠籠嘅雀，隨後好靚仔噉笑咗。

抵得你咁靚仔真係 🤷‍♂️

隨後轉場到一間餐廳，鄭伊健見到咗林雪同兩個人講跑馬嘅事，仲未講完就畀人一巴掌 kam 咗上去。原來係林雪借咗錢還唔上，妄想通過跑馬將錢贏返嚟還債。然後場景轉換，交代咗監聽嘅人係黃啟法手下嘅人，劉青雲依然係佢手下嘅人。

注意，呢一部黃啟法嘅職位變成咗中區刑事副指揮官警司，對比上一部嘅總督察，佢已經升職咗哦 ~

直接跳到鄭伊健企喺樓頂，林雪喺工作前仲畀人催債，原來佢係談判專家。被鄭伊健抓住咗賭狗嘅心理，叫佢一直猜硬幣。

呢度就係講緊，一次賭博睇落要輸要贏都係二分之一嘅機會，但係有人就係可以令你一直輸落去，告誡人哋千祈唔好賭博。

而且就算係呢種睇落你好有希望贏嘅局，你都根本冇可能贏，因為人哋一鋪都唔會畀你贏。當你真係覺得自己總唔可能一直噉輸落去啦，欸，你就死咯。

有意思嘅係，劉青雲話：「你唔會贏嘅」，鄭伊健就對林雪話：「佢話你冇運行」。然而後面佢同鄭伊健對賭嘅時候，亦都冇管住自己，同林雪又有咩分別呢？賭徒其實並唔係自己有幾大本事，喺一次又一次嘅輸落去之後，心懷僥倖噉諗我前面輸咗咁多都係運氣差，呢一把我運氣應該好咗啦。。。

最後林雪畀人捉咗，鄭伊健跳落去靠陣煙走甩咗。至於呢套戲今次點樣走甩，其實都冇乜點解釋，都唔重要啦。最後都係向第一集致敬，劉青雲喺的士上面截住咗鄭伊健，但係又係靠住嗰陣煙，畀鄭伊健走甩咗。有個細節位，今次喺的士上面呢場貓捉老鼠嘅戲，係劉青雲自己提出嘅。同時鏡頭影住佢個額頭，有個特寫，仲有漸漸變綠嘅效果，凸顯出佢呢個時候實在太急燥喇。

跟住鄭伊健就用嗰三件失竊嘅藝術品嚟勒索林熙蕾，仲向劉青雲提出玩個遊戲：攞到贖金，就當佢贏。由夜晚到第二朝，個轉場系鄭伊健揸住車，帶住隻鷹喺高架上面飛馳（雖然只鷹系特技嚟嘅），呢度就用隻鷹嚟比喻鄭伊健，而用之前開場困喺籠入面嘅雀仔嚟比喻班警察。兩邊一對比，鄭伊健嗰邊簡直係逍遙自在到爆。鄭伊健打電話嚟挑釁劉青雲，但係劉青雲都估唔到佢哋會喺邊度見面。最後竟然係靠黃啟法甩甩咳咳噉撞彩估中咗個垃圾桶，點知成也黃啟法敗也黃啟法，佢一掂個垃圾桶，成個差館就炸咗，搞到鄭伊健可以即刻攞袋走人。追到樓下先發現，原來啲假錢已經畀人掟晒去大街度。劉青雲又一次畀人玩到陀陀轉。

跟住劉青雲就搵到隻白頭禿鷹嘅線索，同林熙蕾一齊去搵隻鷹。佢哋兩個都仲係對對方好唔耐煩，但係喺天窗上面，又好似擦出咗少少好奇怪嘅火花？劉青雲頭先仲大大咧咧噉同佢講嘢，但係喺天窗上面逼咗逼之後，竟然一口氣講咗三次「唔該」，林熙蕾都係呆咗噉款。劉青雲睇住隻鷹，但又發現林熙蕾好似分唔清咗右，特登改用手伸落去指畀佢睇方向，最後成功追到咗一處荒山野嶺，隻鷹飛咗入一間工廠度。套戲啱啱過咗一半呢陣，鄭伊健就講出咗佢喺套戲入面嘅角色系咩：

佢只係嚟逗人開心嘅魔術師啫，重點係逗人開心。林雪爭落一身賭債，劉青雲雖然好有本事，但係好耐都冇升職，而且脾氣越嚟越大；林熙蕾做女老細，雖然忙到甩轆，好有本事但係脾氣都唔好；劉青雲對住黃啟法係咁大嗌，林熙蕾對住個外籍助手都係滿不耐煩，同「享受生活」呢四隻字完全唔啦更。鄭伊健係個俠盜，只不過佢偷嘅唔止係珠寶，仲要將大家嘅快樂，由流逝嘅時間度偷返嚟。

最令人摸不着頭腦嘅一幕就係呢度喇，劉青雲追鄭伊健，硬係由下晝追到天黑，就好似玩煮飯仔咁。追追吓，劉青雲追鄭伊健已經唔係差佬捉贼喇，而係好似兩個人玩緊咁，又唔叫同事幫手自己夹硬要追。第一次睇嗰陣，我都唔明點解劉青雲會咁傻；睇第二次至發覺，原來呢個係杜琪峰估佢唔到嘅講手法，鄭伊健玩緊，劉青雲都系玩緊。呢個時候，鄭伊健同劉青雲嘅關係，就同第一集劉德華同劉青雲一樣，亦敵亦友。可能劉青雲都好耐冇試過咁爽咁同朋友一齊玩喇。跟住鄭伊健匿喺黑暗度呃過咗劉青雲，轉個彎截停咗架的士。正當觀眾以為架的士係劉青雲揸嚟捉鄭伊健嗰陣，點知劉青雲突然由街角捐咗出嚟，兩個人又開始跑過。追到攰仲休息吓，飲吓水食吓雪糕，跟住就開始咗個幼稚嘅單車大賽。背景音樂係鄭伊健首《敢做敢為》，特别有feel！

啊，呢個就係杜琪峰鏡頭底下嘅屬於男人間嘅浪漫啦 ~

最後仲係鄭伊健上車畀林熙蕾指明劉青雲去咗邊，但係劉青雲喺大口大口嗦面嘅時候見到佢嘅第一句說話係「做乜」⋯⋯交贖金嗰日嘅早上，除咗黃啟法其他人嘅表情都係空洞呆板冷冷嘅，你估佢哋諗緊咩嘞：

仲有佢哋後面喺食晏時嘅狼吞虎咽，都暗示住呢幫打工仔被生活壓得喘唔過氣、失去咗喜怒哀樂只剩一個空洞嘅軀殼。

交代咗劉青雲，接下來場景又畀到林雪，雖然剃光咗頭，但係終究放唔下心中嘅怨念。直到鄭伊健請佢食咗餐飯，令佢同樣大快朵頤風捲殘雲之後主動提出估公字，林雪打咗個嗝，終於意識到自己已經連續輸咗372次。光線都打喺咗鄭伊健嘅整塊面度，而林雪塊面基本上都睇唔清喇，喺至暗時刻佢終於醒悟咗：

~~點解仲要繼續估落去？~~ 點解仲要繼續賭落去？

其實到呢度電影要表達嘅內核已經結束咗，影片最後順便交代咗一下，鄭伊健偷走保險公司一個億系捐咗畀非洲兒童。

後記

《暗戰》係一套高智商犯罪片，雙雄對決、邏輯嚴謹、節奏掌握非常好，愛情戲點到即止，含蓄隽永又好耐人尋味；《暗戰2》就好似披住商業片個殼，其實係一套更加戏谑、更有哲學味，甚至係浪漫嘅文藝片，佢唔再強調邏輯嘅自圓其說，淡化咗雙雄嘅戲份，連愛情戲都淡到變咗數唔清道不明、似是而非嘅曖昧關係。

第一部片劉青雲根本就係個工作狂，對國際刑警女上司嘅好感隻耳入隻耳出，到咗第二集就更加偏執，對住（又一個女）上司同埋朋友嘅關心都視而不見。天台對決、兩千萬贖金、一億贖金，三次對決劉青雲都輸晒。所以喺呢套戲入面，導演就藉住魔術師隻手話畀佢聽，工係做唔完㗎，不如放鬆啲，回歸生活嘅本質啦。同樣道理都適用喺朱麗花身上，佢前期係個冇感情冇血肉、為咗生意甚至可以不擇手段嘅人。現實生活入面，應該仲有好多人同佢哋一樣㗎啦，為咗追名逐利，變咗個唔識體諒人、唔識關心朋友、唔識享受生活嘅工作狂。至於林雪，就係貪婪嘅人格，渾渾噩噩、不求上進，沉迷賭博，尤其係嗰時香港人都好鍾意賭馬，算係提醒大家要戒賭喇。成套戲充滿住浪漫主義，而佢想表達嘅核心思想就係：

嗰啲喺人生道路上迷失嘅人啊，重新搵返自我啦 ~

杜琪峰都係好識浪漫嘅。

一笑常在，我便已擁有天和地。

淺談我心中的周傑倫最佳專輯

Sun, 02 Mar 2025 11:06:05 +0800

《八度空間》 [台] 周杰倫

< 9.2 >

歌曲可以擁有與電影媲美的敘事性嗎？在短短四分鐘左右的歌曲裡，43 分鐘的專輯「八度空間」中，周杰倫用旺盛的創作力和狂想嘗試建構出這樣的「空間」。「八度空間」意指西方的八度音階，在看似局限的音樂空間中，周杰倫用他平時從電影和 MV 得來的靈感，給每首歌曲賦予了情節，打造沒有維度限制的音樂異想世界。

Album

《八度空間》，喺我心目中，係周杰倫非常之unbelievable嘅一隻碟。或者喺大眾心目中稱得上神碟嘅，十居其九都係《Jay》、《范特西》同《葉惠美》之中三揀一。而音樂圈仲有個講法，話天才音樂人出三隻碟就玩完（呢個就不得不提隔籬檯真·出道即巔峰嘅歌手啦）：第一隻係開山劈石，第二隻係大獲成功，第三隻就係困獸之鬥。當然，後來《葉惠美》成功證明咗周杰倫嘅創作天賦絕對唔會局限喺三隻碟之內，去到《七里香》同《十一月的蕭邦》，佢嘅人氣直頭再創高峰。但係我仲係要講，《八度空間》係周杰倫嘅異數，係佢咁多巔峰神碟之中最唔似周杰倫style嘅專輯，氣質獨特又夠厚實，概念唔落俗套仲玩到好多面向，真係聽極都唔厭嘅。
不過咧，點解呢度係粵語博客但係要講Jay呢？因為佢對我嘅音樂影響真係好大。無論係音樂嘅廣度定係深度，都有非常多拎得出手嘅作品。咁踏入千禧年之後，講得出手嘅粵語歌手已經唔多；至於譚詠麟張學友佢哋，又係啲屬於上古神獸級數嘅存在啦。

半獸人

前奏弦樂組同號角聲夠晒磅礴，又帶住絲絲蒼涼——全因木管同銅管聲部做底，中間定音鼓「咚咚咚」喺打著拍子之餘，直頭有種史詩片頭曲嘅氣勢！其實呢四十幾秒前奏可以當成成張碟嘅《Intro》，in fact仲係周生第一次玩專輯開場彩蛋。最過癮係呢段前奏同碟尾《最後的戰役》遙相呼應，兩首都用晒悲壯銅管聲，成隻碟嘅tone即刻統一起嚟。後尾《葉惠美》嘅《以父之名》開場雖然都玩類似手法，但同成張碟格調似乎無咩呼應咁囖（查實四專到底係咩格調呢）

弦樂風暴過後，幾下重鼓夾雜打碟聲「唰唰」殺到，正式拉開半獸人世界大幕。豎起耳仔聽真啲，除咗小提琴嘅頓弓，底層仲有鋼琴暗湧，同弦樂組玩緊同頻率心跳。話時話周生雖然係節奏鬼才，但編曲層次從來唔孤寒，難怪啲歌聽極唔厭。講到主歌部分，經典嘅Jay式flow配合住方文山堆砌嘅奇幻詞藻，尤其第一次入副歌前嗰段節奏錯位嘅bridge，夠晒過癮！呢種「玩嘢」間唔中出現係幾過癮，同《藍色風暴》尾奏嗰段變調都係異曲同工。至於副歌同尾奏銅管組發揮正常，成首歌暗藏嘅編曲機關其實幾有心思，可惜好似冇乜人buy呢啲細節囉。

‍ ‍唱 ‍‍‍‍ 7.1

‍ ‍詞 ‍‍‍‍ 7.6

‍ ‍編 ‍‍‍‍ 8.2

‍總分 7.9

半島鐵盒

《半獸人》來勢洶湧嘅開篇之後，周杰倫揀咗首慢板歌做承接。旋律平穩自然，律動和諧流暢，悲傷嘅結他聲喺漫不經心嘅氣氛度穿插。密密麻麻嘅踩鐙聲似啲窸窸窣窣嘅細響，喺平靜嘅弦樂底下滲出絲絲忐忑。通過不斷變調營造出情感上嘅猶豫同孤寂，跟住首歌推進，情緒越煲越濃。順便講句，今次隻碟嘅混音技術真係大躍進，雖然未及後來《七里香》同《十一月嘅蕭邦》嗰種大製作級數，但整體嚟講已經交足功課。至於《半島鐵盒》嘅編曲，雖然冇乜特別多花臣可以拆解，但反而係周杰倫少有無點加花嘅作品，情感表達收放自如又入心入肺。喺而家呢個碎片化時代，想再聽到呢種純粹嘅新作，恐妨都幾艱難喇。

‍ ‍唱 ‍‍‍‍ 8.8

‍ ‍詞 ‍‍‍‍ 7.4

‍ ‍編 ‍‍‍‍ 7.9

‍總分 8.1

暗號

同上一隻碟嘅主打歌《愛在西元前》差唔多套路嘅周氏 R&B 情歌，總體情緒都係嗰種憂鬱嘅味道，不過今次首歌嘅情緒起伏波動大咗好多。密集嘅真假音轉換喺音域跨度唔大嘅情況下都算交到功課， bridge 嗰段帶哭腔假音加升 key 好順滑，成首歌即刻生猛晒。不過相比返前作，呢首歌明顯少咗啲「周杰倫」嘅標誌性味道，算係全隻碟少有嘅流水線式有啲普通嘅作品，好彩可能係 bridge 段假音真係夠靚，令成首歌襟聽好多。唔通係多得嗰個神級 Live 現場？

‍ ‍唱 ‍‍‍‍ 8.5

‍ ‍詞 ‍‍‍‍ 7.6

‍ ‍編 ‍‍‍‍ 7.3

‍總分 8.0

龍拳

自從《雙截棍》紅到發紫之後，周杰倫摸到中國風 + 搖滾嘅路數，搞到下一隻碟都出咗同款套路嘅《雙刀》（不過估計《雙刀》反應麻麻，所以 Jay 收埋呢種套路一排，直到《霍元甲》先再拎返出嚟？）。鼓聲開頭之後突然插段估佢唔到嘅搓碟，跟住勁爆電吉他直轟耳仔殺到。到呢 part 周杰倫招牌四聲音調 rap 夾住方文山啲詞真係夾到絕，主歌異常帶感之後接段古箏畀聽眾抖啖氣。到咗 bridge 段 Jay 又開始玩嘢，一句「慢着」即刻畀首歌轉 groove ，狂轟濫炸之中留低啲餘韻。成首歌大起大落但又唔似《土耳其冰淇淋》咁花多眼亂，擺喺隻碟中段仲有提神醒腦之效。

‍ ‍唱 ‍‍‍‍ 8.1

‍ ‍詞 ‍‍‍‍ 8.5

‍ ‍編 ‍‍‍‍ 8.6

‍總分 7.8

火車叨位去

喺抖順啖氣之後，隻碟又返到嗰浸 dup 頭 dup 尾嘅氣氛。喃喃自語嘅 Rap 夾住閩南話，好容易勾出舊時嗰種古仔畫面。開頭火車撞鐵軌嘅鏘鏘聲，一嘢就將人扯返去慢節奏嘅舊時光，編曲平淡之中暗藏唔少心機位，令人聽到上癮。雖然個名同羅大佑嘅《火車》好似，但兩者根本南轅北轍。《火車叨位去》冇《火車》寫得咁激昂，翳悶嘅氣氛、呼應嘅和聲、同埋啲似撞軌聲嘅鼓組，夾埋就成首獨樹一幟嘅閩南話歌。最可惜係 Jay 之後冇再出類似作品，喺我心中真係首滄海遺珠。

‍ ‍唱 ‍‍‍‍ 7.9

‍ ‍詞 ‍‍‍‍ 7.8

‍ ‍編 ‍‍‍‍ 8.9

‍總分 8.6

分裂

難得交心嘅周杰倫喺呢首歌度剖白心跡，靠幾個和弦嘅情感層次嚟煲出份柔弱感。冇將自己包裝成無所不能嘅強者，面對時間同回憶流逝嘅無力感，延續住前面《半島鐵盒》《暗號》嗰種一脈相承嘅迷失。睇返之後幾張碟，佢開始有啲膨脹（唔係貶義），會話自己冇獎攞係金曲獎班評審問題，會立志做音樂皇帝，會強調自己係超人；返轉頭再聽呢首，先發覺原來呢個先係周杰倫難得脫下光環、以「普通人」姿態歷經滄桑後嘅內心獨白，亦令首歌多咗份延綿嘅情緒。成首歌雖然簡單到冇朋友，但勝在夠真，正正係呢份赤誠令首歌有咗獨門嘅風味。

‍ ‍唱 ‍‍‍‍ 8.0

‍ ‍詞 ‍‍‍‍ 7.5

‍ ‍編 ‍‍‍‍ 7.7

‍總分 8.2

爺爺泡的茶

《爺爺泡嘅茶》整到成浸輕飄飄嘅感覺，有啲似《簡單愛》嗰種爽朗，編曲都係林邁可最耍家最自在嘅 R&B 路數，清脆鼓點夾埋周杰倫清透難得咬字正嘅唱腔，一句講晒：夠晒舒服、夠晒純粹。

‍ ‍唱 ‍‍‍‍ 6.9

‍ ‍詞 ‍‍‍‍ 7.0

‍ ‍編 ‍‍‍‍ 7.5

‍總分 7.5

回到過去

去到《回到過去》，結他同弦樂編排依然順滑到冇得頂，但同《暗號》一樣走輕鬆歡快路線，真係唔係我杯茶。（感覺呢首歌好兩極分化，鍾意嘅人當寶，唔 buy 嘅人完全冇感（講咗等於冇講

‍ ‍唱 ‍‍‍‍ 7.1

‍ ‍詞 ‍‍‍‍ 6.9

‍ ‍編 ‍‍‍‍ 6.6

‍總分 6.8

米蘭的小鐵匠

《米蘭的小鐵匠》可能會諗起同期佢寫畀蔡依林嗰啲歌，搓碟同各式聲效純粹係幫成首歌吊味，等聽眾唔使分心。前奏嘅 MIDI 銅管聲浸出嚟嗰浸翳悶氣氛，好似一本故事書開頭先介紹環境，一嘢就令人見到米蘭個陰天。跟手結他突然醒神彈起，嗰種彈跳感恍如照住小鐵匠嗰副威威勢勢嘅樣。副歌唱完「吱呀」一聲閂埋酒館門，小鐵匠坐定定聽台上演奏，唔知唔覺個腦度播緊自己第日坐喺台上，台下掌聲雷動嘅畫面。點知幾聲狗吠扯返佢返現實，最後嗰聲「咩」真係有啲歐亨利式結尾嘅味道。

‍ ‍唱 ‍‍‍‍ 8.6

‍ ‍詞 ‍‍‍‍ 9.0

‍ ‍編 ‍‍‍‍ 9.3

‍總分 9.3

最後的戰役

《最後的戰役》比起兩年後同屬壓軸兼講戰爭嘅《止戰之殤》，畀成隻碟落咗個更深沉宏大嘅句號，當然接住《米蘭的小鐵匠》後面，同前文嗰浸收斂嘅傷感底色都算夾得埋。第二段主歌轉唱腔令成首歌更襟聽，最尾蘇格蘭風笛係周杰倫拿手嘅異國音色殺手鐧，但配埋弦樂組明快嘅大調編排，反差得嚟又唔覺矛盾。成隻碟行到呢度，延續咗頭兩張專輯收尾嗰份恰到好處。

‍ ‍唱 ‍‍‍‍ 7.6

‍ ‍詞 ‍‍‍‍ 9.2

‍ ‍編 ‍‍‍‍ 8.8

‍總分 8.2

喺我眼中，diao 低兩首定位有啲重複尷尬嘅歌之外，《八度空間》真係好值得細細噉品味。可能剩低嘅呢八首歌就係對應翻只碟嘅名？無論點樣，如果要揀返張周杰倫嘅專輯陪住我，佢肯定係我嘅首選。

한국 노래 추천

Thu, 27 Feb 2025 11:06:05 +0800

미쳐 - 이정현

클릭하여 동영상 열기

미쳐 - 이정현 (반주)

클릭하여 동영상 열기

노래 가사

왜 우니 또 왜 그리

바보같이 혼자니 왜 못 잊니

그 사람을 이미 끝나버린 사랑

어떻게든 지워버려

바보야 이 바보야

이러지마 어리석게 추억에 기대지마

다시는 돌아오지 않아 이젠 울지마

너 땜에 미쳐

있을 땐 미쳐

이럴 줄 몰랐었어

행복에 갇혀

모든 걸 바쳐

사랑만 했으니까

어떻게 네가 떠날 수 있니

그럴 줄 몰랐었어

내 맘에 상처 추억에 다쳐

랐었어

내 맘에 상처

추억에 다쳐

이토록 아플 줄은

네가 너무 보고 싶어 죽겠어 어떡해

너 하나만 바라보고 살아갈테니

제발 내게 돌아와줘

더이상 그 누구도 사랑할 수 없어

난 어떻게 살아가야 하니

다시 내게 돌아올 수 없니 사랑해

이렇게 니앞에서 무릎꿇고 빌게

죽을 만큼 다시 사랑할게

니가 보고싶어 미쳐버릴 것 같아

내게로 돌아 내게로 돌아와

아무리 멀리 있어도

아무리 오래 걸려도

돌아올 그날까지 기다릴거야

다시는 거울 앞에서

다시는 울지 않을래

다시 넌 돌아와 줄 테니까

歌词翻译

[001]

왜 우니 또 왜 그리 바보같이

为何哭泣为何依旧如此愚笨

왜：为什么 또：又 그리：那样 같이：像……一样

혼자니 왜 못 잊니 그 사람을

为何独自一人为何无法忘怀那人

혼자니：独自一人 그 사람을：那个人（사람：人）

이미 끝나버린 사랑 어떻게든 지워버려

早已结束的爱情无论如何都要忘记

이미：已经 끝나버린：结束的 어떻게든：无论如何 지워버려：抹去、擦除

바보야 이 바보야 이러지마

傻瓜啊你这傻瓜别再这样

바보：傻瓜 이：这

어리석게 추억에 기대지마

别再愚蠢地依赖回忆

어리석게：愚蠢地 추억에：回忆 기대지마：别依赖

다시는 돌아오지 않아 이젠 울지마

再也不会回来现在别再哭泣

다시는：再次、重新 이젠：从此刻开始 울지마：别哭了（지마：别……）

[002]

너 땜에 미쳐 있을 땐 미처

为你疯狂时，让我尽情疯狂吧

너：你 땜에：因为

이럴 줄 몰랐었어

我竟浑然不觉

이럴 줄：会这样 몰랐었어：没想到

행복에 갇혀 모든 걸 바쳐

被困在幸福里付出所有

행복:幸福 갇혀：被困住 모든：所有的 걸：东西、事物 바쳐：付出

사랑만 했으니까

只因全心投入这份爱

만：只

어떻게 네가 떠날 수 있니

你怎会就这样离我而去

어떻게：怎么 네가：你 떠날 수 있니：能离开

그럴 줄 몰랐었어

没想到会那样

그：那（이：这）

내 맘의 상처 추억에 다쳐

我心上的伤痕被回忆反复折磨

내：我的 맘의：心 상처：伤处 추억에：回忆 다쳐：因……受伤

쓰라려 아파하길

这般痛楚灼烧着

쓰라려：灼痛 길：希望……

[003]

차라리 너 이 세상에 없었음 좋겠어

宁愿你从未存在过这世间

차라리：倒不如、宁愿 이：这 세상：世上 없었음：不存在

영원히 널 미워하고 원망할거야

我会永远憎恨并怨恨着你

영원：永远 널：你 미워：讨厌 원망：怨恨

나는 이제 어떻게 해

如今我该如何是好

나는：我 이제：现在 어떻게 해：怎么办

더이상 그 누구도 사랑할 수 없어

再也无法爱上任何人

난 어떻게 살아가야 하니

我该怎样继续活下去

다시 내게 돌아올 수 없니 사랑해

不能回到我身边吗我爱你

이렇게 니앞에서 무릎 꿇고 빌게

就这样跪在你面前祈求

죽을 만큼 다시 사랑할게

爱到濒死也要重新开始

니가 보고싶어 미쳐버릴 것 같아

思念你到快要发狂

내게로 돌아와

回到我身边吧

[004]

날 혼자 버려두지마

别把我独自遗弃

이제서야 사랑이란 걸 깨우친 걸

直到此刻才领悟何为爱情

늦은 후회뿐인 걸 하지만 널 잊기 위해 나

徒留迟来的悔意但为了忘记你

그렇게 애를 썼지만 소용없는 걸

那般拼命努力却毫无意义

네가 비운 자리 채워보려 했지

试图填补你留下的空缺

그 무엇도 그 누구도 채워질 수 없었지

却发觉任何事物任何人都无法替代

이만큼 이토록 너를 사랑하기에

正因爱你至此爱得如此深切

[005]

네 맘이 닫혀

你的心门紧闭

네 맘이 닫혀 떠날 땐 미쳐

你的心门紧闭离开时那般决绝

이럴 줄 몰랐었어

我竟未曾预料

내 맘에 상처 추억에 다쳐

我心上的伤痕被回忆反复撕裂

이토록 아플 줄은

痛楚竟如此剧烈

네가 너무 보고 싶어 죽겠어 어떡해

思念你到快要死去该如何是好

너 하나만 바라보고 살아갈테니

此生只愿注视你一人而活

제발 내게 돌아와줘

求你回到我身边

[006]

더이상 그 누구도 사랑할 수 없어

再也无法爱上任何人

난 어떻게 살아가야 하니

我该怎样继续活下去

다시 내게 돌아올 수 없니 사랑해

不能回到我身边吗我爱你

이렇게 니앞에서 무릎 꿇고 빌게

就这样跪在你面前祈求

죽을 만큼 다시 사랑할게

爱到濒死也要重新开始

니가 보고싶어 미쳐버릴 것 같아

思念你到快要发狂

내게로 돌아와

回到我身边吧

[007]

아무리 멀리 있어도 아무리 오래 걸려도

无论相隔多远无论要等多久

돌아올 그날까지 기다릴거야

直到你归来的那天我都会守候

다시는 거울 앞에서 다시는 울지 않을래

再也不会对镜垂泪

다시 넌 돌아와 줄 테니까

因为我知道你终将回来

「Magic To Go To My Star」는 이정현의 음색이 가장 뛰어나고 독특한 앨범이라고 생각합니다.
특히 〈미쳐〉는 녹음실에서만 들을 수 있는 독특한 보컬 스타일로, 이정현 본인조차도 재현하기 어려운 특별함이 담긴 곡입니다.

翻译注释：

私以为：제생각에는 或者 저는 …라고 생각합니다
《Magic To Go To My Star》：保持原名，使用书名号或者引号，这里可能用「Magic To Go To My Star」
李贞贤：이정현
音色最好最独特：음색이 가장 좋고 독특한
一张专辑：앨범

组合起来： 제생각에는 「Magic To Go To My Star」 가이정현의 음색이 가장 좋고 독특한 앨범이라고 생각합니다.
或者更简洁的版本：「 Magic To Go To My Star」 는 이정현의 음색이 가장 뛰어나고 독특한 앨범이라고 생각합니다.

“疯掉"采用原曲名〈미쳐〉(韩文原版歌名)
“独一无二的唱腔"译为"독특한 보컬 스타일”(独特的声音风格)+“녹음실에서만 들을 수 있는”(只能在录音室听到的)进行语意补充
“难以复现"处理为"재현하기 어려운”+“특별함이 담긴”(蕴含特别性的)双重表达，增强语气层次

“录音室里独一元二的唱腔”要翻泽成韩语，注意“独一无二”可以用“독특한” 或者“유일무이한"，但“독특한"更常用。“唱腔”可以翻译为“보컬스타일"或者“노래 스타일”。“录音室”是"녹음실에서”或者“스튜디오에서"。
然后，“连李贞贤本人也难以复现”中的“难以复现”可以用“재현하기 어렵다”或者“다시 구현하기 힘들다”。要确保主语正确，这里的主语是李贞贤本人，所以用“이정현 본인조차도”此较合适。
还需要注意韩语的语序和助词的使用，比如은/는，이/가的正确搭配。例如，“《미쳐》는녹음실에서의 독특한 보컬 스타일이이정현 본인조차도 재현하기 어렵다고 생각합니다.”这里“는”用于主题标记，“이”用于主语。