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本帖最後由 loowee 於 2015-10-23 21:46 編輯
十幾年都要做同一種情歌咪就係死囉,
重覆做「習慣失戀」、「天窗」有意義嗎?
要聽就聽返舊歌啦。

找尋 ...
liebe 發表於 2015-10-22 21:44


近10年最hit系咩歌呀?

愛得太遲
紅綠燈
離家出走
木紋
喜帖街
櫻花樹下
給自己的信
那誰
到此為止
我本人
+陳奕迅一堆慢歌


根本香港人中意聽咩歌已經好明顯
一直以來幾十年都系同一條formula
只要主流歌手系有心做一d有melody有共鳴歌詞ge抒情歌 根本就系會keep住叫好叫座 粵語歌本身ge定位同優勢就系咁
主流歌手一開始學外國歌手行多元化行偏門風就會失去左定位 只系得網上一班hipsters圍內打飛機
要知道canto-POP 始終系POP music 系迎合大眾口味 你搞咁多奇奇怪怪野 根本除左3C music 依d 懶高尚樂評人冇人會care
點解cantopop要學外國? 點解酒樓要賣壽司? 生意差左?d人開始選擇食壽司?食西餐? 咁咪要檢討下自己d點心迎唔迎合到顧客口味lo 你加幾多款異國菜都系無補於事。


乜鬼野系"hk pop is dead“姐?只要有population的地方就自然有popular music, 只系在乎hk本土artists 識唔識去迎合 而我個人覺得宜家好多主流歌手系唔識
近年做得最好的咪又系連詩雅/pakho/越難越愛lo 但至於佢地系咪高質並唔系我地自己定斷 系從大眾去決定。罐唔罐頭又如何姐? POP ge定義本來就系罐頭。
點解d人批評Canto-POP is dead 同時又覺得要非主流才是出路?完全系矛盾

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yumyum
花生
偽命題都咁多爭論
yumyum
希望dead前dead後個班友仔早dead早着
2019End
2020Week14
1孤獨的對岸2附近的人3低半度

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To me I have always thought that there is always good music out there!! 903 is a very good source to recommend me to songs to listen to. I do not know if actually people rather to listen to K pop or other kinds of music or if there are actual supporters of HK pop. Till today I really think that there are still good HK pop songs there but it seems that not many people are willing to continue to listen to them.

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近10年最hit系咩歌呀?

愛得太遲
紅綠燈
離家出走
木紋
喜帖街
櫻花樹下
給自己的信
那誰
到此為止
我本 ...
loowee 發表於 2015-10-23 21:23



   認同,講得非常之好。腦海里最深刻嘅都系果堆抒情歌...特別系03-07年呢段時間嘅hit song

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有時又唔可以話3c講啲野唔岩
但佢睇野既角度實在太唔正常
語氣又刻薄+晦氣
一次半次咁寫都尚可理解
但寫足十幾年都係咁
對件事完全冇幫助

唔係話香港歌唔鬧得
香港樂壇的確好多野都抵鬧
不過鬧既同時
可唔可以都pick up番少少值得鼓勵既音樂?
~Moses Idle in a Narrow Garden~
http://mosesming.blogspot.com/

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近10年最hit系咩歌呀?

愛得太遲
紅綠燈
離家出走
木紋
喜帖街
櫻花樹下
給自己的信
那誰
到此為止
我本 ...
loowee 發表於 2015-10-23 21:23


完全同意

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近10年最hit系咩歌呀?

愛得太遲
紅綠燈
離家出走
木紋
喜帖街
櫻花樹下
給自己的信
那誰
到此為止
我本 ...
loowee 發表於 2015-10-23 21:23



五億個同意。

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有時又唔可以話3c講啲野唔岩
但佢睇野既角度實在太唔正常
語氣又刻薄+晦氣
一次半次咁寫都尚可理解
但寫足 ...
mosesming 發表於 2015-10-26 16:30



得陳大文一個係咁樣啫
其他人寫嘢我覺得都正正常常

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得陳大文一個係咁樣啫
其他人寫嘢我覺得都正正常常
uran 發表於 2015-10-27 09:44

唔知係咪因為咁,本來 3c 幾個唔同人去寫,而家越來越少人了
論盡音樂 #愛香港樂壇而存在
https://www.facebook.com/stupidmusichk
Follow 埋我 IG 啦
論盡樂迷,敢愛敢恨

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本帖最後由 mosesming 於 2015-10-27 11:20 編輯
得陳大文一個係咁樣啫
其他人寫嘢我覺得都正正常常
uran 發表於 2015-10-27 09:44

3c依家都幾乎得番陳大文一個咋嘛

唔知係咪因為咁,本來 3c 幾個唔同人去寫,而家越來越少人了
星勤 發表於 2015-10-27 10:51


唔知其他作者點諗
但如果我係寫中文碟碟評
寫完都未必想登3c
個網頁個格太偏激
~Moses Idle in a Narrow Garden~
http://mosesming.blogspot.com/

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本帖最後由 uran 於 2015-10-27 17:33 編輯

我地再講落去就會變成討論「3C Music Is Dead」

言歸正傳,個人認為而家仲活躍於樂壇既女歌手
除咗Ivana明顯underrated之外,大致上都幾fair
(謝安琪就唔同人有唔同睇法,唔係我想講既重點)
反而係Kary (甚至楊千嬅) 喺903太overrated
唱成咁都年年有金曲,點唔令人搖頭歎息呢?

男歌手更加冇嘢好comment
(冇得解釋地) 討厭咗Eason起碼十幾年

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我地再講落去就會變成討論「3C Music Is Dead」

言歸正傳,個人認為而家仲活躍於樂壇既女歌手
除 ...
uran 發表於 2015-10-27 16:37



   容姨拎9年金都叫fair???kary拎得舊女銅都叫overrated?

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我地再講落去就會變成討論「3C Music Is Dead」

言歸正傳,個人認為而家仲活躍於樂壇既女歌手
除 ...
uran 發表於 2015-10-27 16:37



又唔係真係完全FAIR曬既
近年最唔FAIR都應該係12年
美祖歌海鬥贏FIONA
如果唔係D不明文規定女歌手獎要順住拎
再加上謝安琪無啦啦自動棄權玩殘903

如果個年903肯比佢銀獎咪好咯

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容姨拎9年金都叫fair???kary拎得舊女銅都叫overrated?
kayzzz 發表於 2015-10-27 16:42



    9年起碼有一半唔值
成班垃圾打手俾人BAM極都仲有面死出黎柒

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同意陳大文的文章越來越偏激,都一段時間冇睇了。佢好明顯係要用批評去証明自己品味的人。不論甚麽歌手總會被他批評,難道他不懂去客觀欣賞每人好的地方?

同意,其實香港樂壇最大問題就係啲人冇俾錢買音樂的意識,成日覺得免費係應份,批評非法下載時又話香港流行曲質素差唔值俾錢。其實如果唔值就連下載都費事啦,唔想俾錢先係真,我唔明點解偷嘢都可以咁理直氣壯。

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同意陳大文的文章越來越偏激,都一段時間冇睇了。佢好明顯係要用批評去証明自己品味的人。不論甚麽歌手總會 ...
Serendipity 發表於 2015-10-28 23:06


佢好似有讚過 Shiga
如果是真,咁 CASH 個歌后五強佢應該好開心
論盡音樂 #愛香港樂壇而存在
https://www.facebook.com/stupidmusichk
Follow 埋我 IG 啦
論盡樂迷,敢愛敢恨

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9年起碼有一半唔值
abcxyz302006 發表於 2015-10-28 03:38

05 12 最唔值 08 09 都應該比kay (個人意見)
鬥命長    多出街
怪物來    不必見怪
無論鐵路會崩壞    方向未會被活埋

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佢好似有讚過 Shiga
如果是真,咁 CASH 個歌后五強佢應該好開心
星勤 發表於 2015-10-29 12:54

Shiga唱歌都好讚...(?)
鬥命長    多出街
怪物來    不必見怪
無論鐵路會崩壞    方向未會被活埋

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Shiga唱歌都好讚...(?)
hehemamama 發表於 2015-10-29 12:58


http://3cmusic.com/home/sundaysong/
論盡音樂 #愛香港樂壇而存在
https://www.facebook.com/stupidmusichk
Follow 埋我 IG 啦
論盡樂迷,敢愛敢恨

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Shiga唱歌都好讚...(?)
hehemamama 發表於 2015-10-29 12:58

乜佢唱歌原來唔可以讚架?

其實陳大文都冇提過vocal部分

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05 12 最唔值 08 09 都應該比kay (個人意見)
hehemamama 發表於 2015-10-29 12:57



又講到依到等我都出翻句聲
利申: 個人並唔中意Joey
但我覺得05 08 09 佢攞系冇問題
講真05哥時hocc先系開始上一線 勞斯萊斯系好hit 而Joey本身個fanbase系大好多 明日恩典同越唱越強唔hit咩? 我覺得佢兩個當年系平手
08年kay首歌系hit 但其實同年Joey都系回勇之年 Starlight個concert 個口碑當年系好好 亦都為將來Joey演唱會ge賣座帶黎好大幫助
09年kay 根本就已經開始下滑...所以冇野好講
08-09年哥兩年其實亦都系Joey大眾好感度最高哥兩年
好記得當年佢攞09亞太/金曲金個感言 好多人都好感動 除左哥次之外我系從未見過網上系一致讃佢

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本帖最後由 kayzzz 於 2015-11-8 22:18 編輯
又講到依到等我都出翻句聲
利申: 個人並唔中意Joey
但我覺得05 08 09 佢攞系冇問題
講真05哥時hocc先系開始上一線 勞斯萊斯系好hit 而Joey本身個fanbase系大好多 明日恩典同越唱越強唔hit咩? 我覺得佢兩個當年系平手
08年kay首歌系hit 但其實同年Joey都系回勇之年 Starlight個concert 個口碑當年系好好 亦都為將來Joey演唱會ge賣座帶黎好大幫助
09年kay 根本就已經開始下滑...所以冇野好講
08-09年哥兩年其實亦都系Joey大眾好感度最高哥兩年
好記得當年佢攞09亞太/金曲金個感言 好多人都好感動 除左哥次之外我系從未見過網上系一致讃佢
loowee 發表於 2015-11-8 21:50

乜903女金係計演唱會嘅咩?開一場演唱會計幾多ap?08年joey有hit歌???

你真係有晒某啲fans搬龍門嘅技巧。

08-09年哥兩年其實亦都系Joey大眾好感度最高哥兩年好記得當年佢攞09亞太/金曲金個感言 好多人都好感動 除左哥次之外我系從未見過網上系一致讃佢
loowee 發表於 2015-11-8 21:50


咁05年joey攞女金被噓  即係無大眾好感度啦,你仲話佢值女金?
撐偶像無錯,但麻煩唔好扮中立。
利申: 個人並唔中意Kay(我講就係)

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又講到依到等我都出翻句聲
利申: 個人並唔中意Joey
但我覺得05 08 09 佢攞系冇問題
講真05哥時hocc先系 ...
loowee 發表於 2015-11-8 21:50


其實咪又係觀點與角度
其他人夠可以話容祖05年係出道以黎大眾好感度最低既一年
08-09 tvb 兩年都頒遲過903 所謂好感咪又係香港人講幾個月之後無左件事 完全唔明同903有咩關係

講到尾 903偏好比容祖兒金獎係事實
佢地咁愛容祖兒根本不需理由

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一直唔明點解d人用幾千蚊買件衫係捨得
但用幾蚊買首歌買個app就嫌貴

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一直唔明點解d人用幾千蚊買件衫係捨得
但用幾蚊買首歌買個app就嫌貴
electric 發表於 2015-11-9 11:08



幾千蚊買件衫買個袋去次旅行可以呃like
買一首歌?晌佢地眼中毫無意義

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幾千蚊買件衫買個袋去次旅行可以呃like
買一首歌?晌佢地眼中毫無意義 ...
uran 發表於 2015-11-9 12:46


摸唔到嘅嘢唔值錢?又唔係wor
我見d人玩game又可以幾千幾千咁去買武器之類
所以真係唔明點解音樂可以咁廉價(or"無價"?)

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摸唔到嘅嘢唔值錢?又唔係wor
我見d人玩game又可以幾千幾千咁去買武器之類
所以真係唔明點解音樂可以咁廉 ...
electric 發表於 2015-11-9 13:07


買歌/碟冇得哂命嘛
打機果啲都起碼有得同人講自己有幾多勁武器/achievement
聽歌真係冇野好講
~Moses Idle in a Narrow Garden~
http://mosesming.blogspot.com/

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原來仲有人留意3cmusic
JM 2016

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近10年最hit系咩歌呀?

愛得太遲
紅綠燈
離家出走
木紋
喜帖街
櫻花樹下
給自己的信
那誰
到此為止
我本 ...
loowee 發表於 2015-10-23 21:23


所以我鍾意 Powerful 成日 insist 用 港樂 呢個 term,
而唔係用 Cantopop,用得 Cantopop (Hong Kong Pop),就有局限。

其實香港娛樂事業,係全部一齊跌嘅,
原因不外乎接收娛樂嘅新平台興起,同埋大陸嘅轉變。
樂壇應該慶幸自己仲係一個 幾十萬 就有得玩嘅行業,
電影 電視 呢啲 minimum bet 都要 幾百萬 嘅行業,更加身不由己。
如果連 港樂 都唔去冒險,唔係港樂會死,而係香港嘅娛樂文化會全面失守,
因為要幾百萬嗰啲,已經全部投哂降了。
沒有盛世要賒 沒浮華暫借 沒時代 沒有記憶 來拉扯 燦爛地凋謝

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本帖最後由 matthew1990 於 2015-11-23 13:49 編輯
所以我鍾意 Powerful 成日 insist 用 港樂 呢個 term,
而唔係用 Cantopop,用得 Cantopop (Hong Kong Po ...
Bluejays 發表於 2015-11-22 18:54

事實上唔係人唔得
係聽眾唔再賣帳

我敢大膽講句如果Beyond 梅艷芳 張國榮 係呢個世代既歌手
佢地既成就只會到Rubberband 何韻詩 許庭鏗

音樂工業不再是sustainable business市場迫使香港歌手由trendsetters 變成trend followers
港樂已經會「死」
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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3c依家都幾乎得番陳大文一個咋嘛



唔知其他作者點諗
但如果我係寫中文碟碟評
寫完都未必想登3c
個網頁個 ...
mosesming 發表於 2015-10-27 11:17

你係咪登過係輔仁?
我又好想知你點睇
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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本帖最後由 kayzzz 於 2015-11-23 13:57 編輯
事實上唔係人唔得
係聽眾唔再賣帳

我敢大膽講句如果Beyond 梅艷芳 張國榮 係呢個世代既歌手
佢地既成就只 ...
matthew1990 發表於 2015-11-23 13:45



    咁beyond啲歌好聽過rubberband好多
其他兩個某程度上同意,但哥哥梅姐係有星味好多依一代歌手好多都好大眾臉, sor講咗樣

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本帖最後由 matthew1990 於 2015-11-23 14:24 編輯
咁beyond啲歌好聽過rubberband好多
其他兩個某程度上同意,但哥哥梅姐係有星味好多 ...
kayzzz 發表於 2015-11-23 13:55

呢個年代你個人幾勁都冇用

歌手係需要用金錢和輿論包裝的
好似外國而家數一數二既歌手
有幾多一出黎就又靚又有自信有星味?

某程度上,之前因為難以接觸明星
所以明星有一種距離感,好似特別高高在上咁
而且傳媒多數報喜不報憂,好容易幫歌手製造到「良好」既形象(星味)

重有以前既歌星出黎表演props又貴啲 排哂舞 dancers又多啲
而家啲歌手邊有錢請dancers啫 求其行行企企un兩un 唱完就算啦


[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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本帖最後由 matthew1990 於 2015-11-23 14:59 編輯

再總結一次點解會港樂會「死」:

主要原因:
1. 聽眾不肯消費在港樂
2. 主流港樂樂迷品味變得單一化,唱片公司為迎合市場迫使香港歌手由trendsetters 變成trend followers;喜歡其他音樂類型的聽眾轉投其他陣營
3. 主流媒體的音樂取向保守;歌手於頒獎禮得獎需論資排輩;得獎的標準不是就歌手於當年派台之歌曲和唱片的質素、傳唱度和銷售量,而是就歌手在演唱會的銷售狀況(如果外國都係咁玩,咁Madonna應該要一直拎女金,直到永遠,阿門)
4. 市場生態和主流媒體的取向令中生代和新生代無法向上流;唱片公司變得短視,不肯投放大量資源在新人身上

次要原因
5. 90年代紙媒生態的改變
6. 英皇娛樂
7. 無線電視

比較有爭議性的原因:
8. 廣東歌歌詞行文要求過高,而且歌詞內容亦日漸單一化。這令近年粵語流行歌變得離地,thereby failing to connect with a younger audience
9. 香港人講野明明用口語,但用口語填詞就會自動被人定義為膠歌

////////////////////////////////////////

雖則漿真係好鬼寸咀
不過你睇原因1-4 你就明佢點解自出道起要決心向外發展
同佢鬧903 係錯唔哂的 (903真係愈黎愈垃圾)
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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呢個年代你個人幾勁都冇用

歌手係需要用金錢和輿論包裝的
好似外國而家數一數二既歌手
有幾多 ...
matthew1990 發表於 2015-11-23 14:13


王菲就算一碌木企係到唱都有星味, 點睇

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王菲就算一碌木企係到唱都有星味, 點睇
kayzzz 發表於 2015-11-23 14:58

時勢造英雄
佢係呢個時代出道應該會係一至兩碟歌手,或者係好似Sita咁死左先俾人懷念
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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呢個年代你個人幾勁都冇用

歌手係需要用金錢和輿論包裝的
好似外國而家數一數二既歌手
有幾多 ...
matthew1990 發表於 2015-11-23 14:13



近依幾年啲歌手都走親民路線可以話潮流唔同左

好似早期嘅雨僑,agem,到今年嘅坤哥都有靠youtube拍片
落街brucking,出細show
自我宣傳/同觀眾互動,透過依啲交流吸納fsns


不過依家好多歌手都無機會去訓練舞台魅力/個人特質
好多時觀眾對佢地嘅印象都係唱歌好好聽,好靚呀你,但之後呢。。

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本帖最後由 matthew1990 於 2015-11-24 00:47 編輯
近依幾年啲歌手都走親民路線可以話潮流唔同左

好似早期嘅雨僑,agem,到今年嘅坤哥都有靠yout ...
harryharry 發表於 2015-11-23 23:47

Gem同坤哥可算係利用網上媒體走紅既成功例子
佢地另一共通點係fans/non-fans 對佢地既評價都一樣咁兩極化 (可能係偶然)

/////////////////

以前做歌手賺到錢
唱片公司就肯dum錢培訓新人

而家出碟都回唔到本,演唱會又賣唔到飛
唱片公司繼續俾你出碟已經要偷笑唔好奢望重會有錢俾你包裝同練習
冇budget既情況下大多數歌手只能夠行行企企唱歌
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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本帖最後由 harryharry 於 2015-11-24 01:29 編輯
Gem同坤哥可算係利用網上媒體走紅既成功例子
佢地另一共通點係fans/non-fans 對佢地既評價都一樣咁兩極化  ...
matthew1990 發表於 2015-11-24 00:40



   坤哥依個case真係好神奇
可以將平凡/廢萌做賣點(正所謂無特色亦都係一種特色)
好少有男明星走依條路
仲要(暫時)做得ok

不過依條路行唔遠,要以日後準備多啲技能
同埋有個危機,會一下了無端端變多負皮出現

至於agem就係 嗌唱法評價兩極 負面新聞多
(其實我覺得經理人不停洗Agem腦)
兩者兩極評價原因唔係話完全相同

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咁beyond啲歌好聽過rubberband好多
其他兩個某程度上同意,但哥哥梅姐係有星味好多 ...
kayzzz 發表於 2015-11-23 13:55


哥哥的确靚仔

梅姐都 係大眾臉, 佢入型入格只係用錢和心思(揾劉培基做型象設計)的結果而已

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本帖最後由 mosesming 於 2015-11-25 21:59 編輯
你係咪登過係輔仁?
我又好想知你點睇
matthew1990 發表於 2015-11-23 13:47


依家先見到你提起我XD

係呀
之前係Facebook隨口up被輔仁睇中所以登左~

我覺得要講香港樂壇之死
揾一個留意開香港歌既人分析其實冇咩用
明明都仲聽緊,又點會有「死」既感覺?
不如問下啲聽英美日韓歌既人覺得香港歌有咩滿足唔到佢地仲實際

老老豆豆
我覺得GEM係香港既情況又係慘左少少既
撤開佢啲臭串形象唔講
佢啲歌係有用心做既
但香港人唔受真係時也命也
變左做大陸歌手就更加返唔到轉頭
有時會覺得香港樂迷既音樂口味會唔會真係窄左少少?
~Moses Idle in a Narrow Garden~
http://mosesming.blogspot.com/

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本帖最後由 Bluejays 於 2015-11-27 21:08 編輯

http://www.cmusichart.com/discuz/redirect.php?goto=findpost&ptid=10339&pid=738111

轉翻嚟呢邊討論。

Re: 鐘意k歌依樣喺個榜都prove唔到
個 manifesto 唔係淨係講緊 香港人鐘意K歌,亦講緊由市場去決定乜野係好聽,唔係由個 supplier 去判斷乜野係好聽。陳慧嫻話比你聽,個市場鍾意舊歌仲多過 Adele,咁個 supplier 咪應該跟住去做囉。

Re: 個榜只prove 到會買碟既人鍾意咩歌, prove 唔到港樂樂迷口味
Re: 因為好多港樂樂迷都唔買碟
個 manifesto 嘅意思係,如果所謂 港樂樂迷嘅口味 唔可以 translate into 收入 或者 流行 嘅話,佢地根本就唔係個 market。


Phil 同 坤哥 兩人喺網上平台係做到 流行 嘅。Phil 今年最緊要 prove 到 非情歌 唔一定係one hit wonder,係可以持續咁做落去。坤哥 就 prove 到 宣傳費唔一定係製作費嘅四倍。根本 音樂個 product 本身 嘅製作費,買少個 宣傳package 已經喺翻度,只要解決到宣傳費嘅問題,點解唔試一啲非主流嘅可能性呢?

另一個 point,我比人追打都要講。當個 competition 係來自懷舊嗰班嘅市場時,點解仲要自己人踩自己人呢?坤哥 嘅歌質素唔係差到咁,又係原創又係打年輕人市場又流行得起。年輕人重視口味嘅高低,永遠唔會夠懷舊嗰班單一易服侍。
沒有盛世要賒 沒浮華暫借 沒時代 沒有記憶 來拉扯 燦爛地凋謝

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王菲就算一碌木企係到唱都有星味, 點睇
kayzzz 發表於 2015-11-23 14:58

我覺得王菲唔算好壓台, 而係傳媒/宣傳將佢塑造為一個有“個性”既歌手,
見到佢棟係度唱, 好冷酷既款就當係“型”, 其實我覺得同gin lee冇咩大分別,
只係gin lee 冇王菲咁多錢裝身, 咁多奇怪既衣著去營造呢個形象

IMO, 王菲 = GIN LEE, 唱功好,台上OK有自信, 但唔算好壓台, faye 開頭有小眾fans欣
賞, 唱D K 歌 & 美國R&B 路線, faye頭三隻碟其實成績一般,但多得903當年勁谷佢,
到第四隻碟 容易受傷的女人 同 miss you night and day HIT左, 就好快上一線,
分別係GIN LEE 現在冇903 做靠山, 冇人幫佢搞形象/衣著/特色, 亦冇HIT歌佢唱 ...而家香港好大既問題係冇咩有水準既商業作曲人

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轉翻嚟呢邊討論。

Re: 鐘意k歌依樣喺個榜都prove唔到
個 manifesto 唔係淨係講緊 香港人鐘意K歌,亦講緊 ...
Bluejays 發表於 2015-11-27 20:50


講到market, 而家香港有聽新本地歌既人相信不足30萬, 相信會買碟或者買票睇演唱會或者用付費音樂平台的不足10萬, 我相信樂迷入面唔少學生哥只會非法download, 因為唔尊重知識產權或者冇錢

肯花錢支持即代廣東歌既人真係唔夠, 所以而家d歌一係好pop(争取最多人聽, 希望做到傳唱度高), 一係擺明走小眾路線(例如林一二, 王菀之, 而家仲肯駛錢買碟的樂迷的口味其實傾向小眾化, 好pop 既歌通常不能引發呢類樂迷的消費意慾)

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我覺得王菲唔算好壓台, 而係傳媒/宣傳將佢塑造為一個有“個性”既歌手,
見到佢棟係度唱, 好冷酷既款就 ...
hkchart 發表於 2015-12-2 08:01


ginlee 以前在 bma 係冇marketing, 又冇容易hit 既歌

簽球記應該可以在呢2方面幫到d 手

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本帖最後由 hkchart 於 2015-12-4 07:34 編輯
哥哥的确靚仔

梅姐都 係大眾臉, 佢入型入格只係用錢和心思(揾劉培基做型象設計)的結果而已 ...
lblemon 發表於 2015-11-25 10:06


唔係呀嘛, 梅姐個種豪氣+殺氣大中華有邊個女歌手有呢種大姐大既氣質﹖
佢既霸氣係走貫江湖做成既,任何女歌手行埋梅艷芳身邊都變左小妹妹,
佢台上就係有一種好剛強霸主既FEEL, 何韻C想扮都扮唔到, 只係的種粗LESBIAN感覺, 絕對無個種大阿姐既FEEL
香港真係冇晒呢種FEEL既女星,而家一大堆詩文普通女仔FEEL既歌手, 就晒D 聽K 歌個班MK同毒X 既口味

不過就算梅艷芳係呢個年代出現, 我都唔認為佢會可以咁紅, 可能一樣比人話鳩叫,
台風太跨, 樣衰, mk, 總之一百萬樣也可以比香港人踩, 如果佢係外國歌手,
咁就唔同, 香港有唔少人會自動跪黏


香港樂壇仲有一樣問題,見到本地歌手就有一大堆人盲目去踩, 然後吹捧d 外國/舊
歌手去炫耀自己品味幾高

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本帖最後由 matthew1990 於 2015-12-4 22:20 編輯
依家先見到你提起我XD

係呀
之前係Facebook隨口up被輔仁睇中所以登左~

我覺得要講香港樂壇之死
揾一個 ...
mosesming 發表於 2015-11-25 21:54

姆明吖嘛
我睇過你寫既野



原來真係你 (adore)
[quote]The most iconic pop singers are for the most part are average on the technical front but all have extremely unique and distinct tonal qualities. This matters more than ever in today’s current industry.[/quote]

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唔係呀嘛, 梅姐個種豪氣+殺氣大中華有邊個女歌手有呢種大姐大既氣質﹖
佢既霸氣係走貫江湖做成既,任何 ...
hkchart 發表於 2015-12-4 03:58


梅姐既豪氣, 大姐大風采, 係紅左之後先至有吧.

選完新秀時完全唔覺佢有大姐大風采.

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之前見到篇post都係一笑置之,但過咗今晚真係笑唔出。
難為903班DJ同歌手今晚一直強調“廣東歌”三個字,結果轉個頭就被現場觀眾擺左上檯,一人一票送咗某位電視藝員攞最喜愛男歌手同埋最喜愛歌曲。

講真,樂壇變成咁,我哋班歌迷起碼要負番80%責任,今晚咁個結果,我都唔知以後有乜理由去埋怨大公司唔俾資源歌手去做D多元化嘅音樂。
如果今年樂壇比上一年仲悶,我一D都唔驚訝lo

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What’s really killing Cantopop
An old and almost forgotten album from the legendary and now retired diva Faye Wong has been rediscovered recently by pop music lovers in Hong Kong, creating a new sensation in the city.
Be it Gen-Xers or 40-somethings, people have rushed to vintage music stores to try to get a used copy of that album that was first released about 20 years ago.
Many teenage Cantopop fans who weren’t even born when the album was released have been trawling the Internet for critical reviews on the music title. Yes, you heard me right, people are getting crazy about a CD released 20 years ago.
Titled “Di-Dar”, the album was released in December 1995. It was Faye Wong’s ninth and last Cantopop album, and features ten songs.
Composers of the songs were from Hong Kong, mainland China and Taiwan, but almost all of the lyrics were written by Albert Leung (林夕), Wong’s long-time musical partner.
Di-Dar was often seen as a milestone and ground-breaking work in Wong’s musical career, as it represents a radical departure from her previous mainstream style.
It was after the release of Di-Dar that Wong began to part with mainstream Cantopop and move towards a more abstract, self-indulgent and psychedelic style of her own.
It is exactly this kind of unique, unparalleled, uncompromising and in-your-face attitude towards music that makes Wong a timeless legend and pioneer in Cantopop’s history, whose influence can still be felt today.
In fact it appears Di-Dar was intended to be an experimental production.
Wong, who was heavily involved in the production of the album, boldly introduced a strong touch of British psychedelic rock into her songs, using odd-sounding remixing, elaborate studio effects and drawing on a lot of different rare sources such as the ragga and exotic musical instruments.
That helped create a strong psychedelic, abstract and underground atmosphere to the album as a whole, something that had never been tried by other local musicians or singers before.
The album actually wowed musical critics and opened fans’ eyes to a much wider and outrageous music world back then, like a dazzling shooting star flying across the midnight sky at a time when mainstream commercial Cantopop still reigned supreme in the local market.
One of its title songs, “Lost” (迷路), composed by C.Y. Kong with excellent lyrics written by Albert Leung, depicts how a girl was lost in her thoughts about someone she used to love.
The song was so well arranged and remixed in such a way that it produces a surreal, whimsical, mysterious and psychedelic atmosphere so extraordinary that those who are listening to it feel like they are personally getting lost in a spooky and hideous forest of deep thoughts themselves.
As Fung Lai-Chee, a seasoned local music critic has once put it, Di-Dar is arguably “the best psychedelic and avant-garde work in Cantonese pop’s history, with songs that are self-centered, ignoring market and others’ work, at the same time abstruse, obscure and mysterious…”
Though critically acclaimed, Di-Dar was not as well-received as Wong’s previous mainstream albums because it was so far ahead of its time. Despite that it still sold 1.5 million copies across Asia.
In fact it is the ambition, innovation, boldness and the eagerness demonstrated to push the musical boundaries that made the album so extraordinary, captivating and monumental.
Its surreal and futuristic style makes it so cool today even after 20 years of its release, eclipsing all the present-day Cantopop albums on the market.
And that begs the question: what has happened to our current crop of Cantopop musicians? Where have all their innovation, boldness and passion for pushing the musical frontiers gone? Why can’t they pull off something as ground-breaking and experimental as Di-Dar today?
For years people kept blaming the decline of our music industry on piracy, the Internet, skyrocketing production costs, TVB’s music franchise, etc.
However, it appears to me that what’s really killing Cantopop is the complacency and sloppiness among today’s local musicians, their obsession with short-term profits and one-hit wonders, and their lack of innovation and unwillingness to push boundaries.
There is always demand for pop music in society, and good music can always find an audience. The CD industry could be dying but the Internet has opened a lot of doors for music producers and singers to promote and sell their work.
Therefore the notion that the music industry can’t survive unless people buy CDs again is absolutely ridiculous. The CD is just a vehicle, what really matters is the content.
The ground-breaking achievement of Di-Dar and its recent resurrection perhaps can remind our present-generation musicians of what their predecessors could pull off in the heyday of Cantopop.
If musicians of the past generation could do it, why can’t our present-day songwriters and singers?
FROM:http://www.ejinsight.com/2016020 ... y-killing-cantopop/

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