亂咁寫評論就不如唔好寫喇

周博賢:劣質評論

雖然與謝安琪以往的碟比,《Yelling》是出現「商業迷失」的問題(陳奕迅都出現過,這是香港唱片畸形產業結構搞出來,與歌手甚至監製無關),但小弟支持周博賢公開開火鬧爆健吾。

周博賢並非無容人之量的人,他都接納批評,但重點是,寫批評要有論點,真的以音樂論音樂,到底健吾寫些什麼垃圾出來:

但聽完《Yelling》大碟後,你會覺得她的監製真的知道謝安琪需要什麼嗎?抑或,大家都知道在香港這個市場,歌手只是瞬間和即時的消費品。做唱片,目的只是快,只要有東西給粉絲買,給你們這些只要消費不要質素的香港人可以即時下載新ringtone 和在K 場扮謝安琪。各位,請記住,謝安琪是一個人,是一個歌手。任何人都需要人愛惜,對他們坦白。真相是,謝小姐需要更多時間唱歌,需要更多時間練歌,需要更多好聽的歌,而不是一些創作人們認為「需要寫的題材」,如已經OUT 了十世的《祝英台》。

小弟要質問,健吾,你知道謝安琪和周博賢是需要什麼?一個容許謝安琪和周博賢寫自己的歌,唱自己的歌的商業空間,不是要應付各類硬膠八卦周刊無謂報導,或傳媒一窩蜂報導,讓音樂人做回音樂的生存環境,謝安琪《Yelling》中的《直角等於三角形》和《字裡行奸》,很周博賢、很謝安琪,問題在於,傳媒或唱片公司會來當主打歌咩?

最令人詫異是健吾竟然用了Out這個字來形容《祝英台》這首歌,健吾自己搞清自己的邏輯沒有?一方面又不要新ringtone和K歌,一方面又隨便指責一首歌主題Out,音樂不是時事評論,沒有「時效問題」。而他挑剔讀音、國語咬字之類,甚至「海豚音」問題,簡直去到外行指導內行的境界,難怪讀音樂出身周博賢的反應是「慶過辣雞」。

更不幸的是,《明報》非常熱中刊登這類掛著學者的羊頭,事實上論點邏輯一塌糊塗的所謂新晉評論人文章。林忌在去年六月的《家長無罪福佳有理》,已經批評過健吾這類邏輯去了大西洋深海的奇談怪論,但健吾的評論,《明報》依舊照登如儀,不知香港報章編輯們,還要縱容這類作者到什麼時候?小弟的評論不是很有見地,不過作為寫評論的讀者,這類霸佔報紙珍貴版面胡說八道,實在真的忍夠了。

如果論對近期粵語新碟的評論,小弟不敢班門弄斧(儘管我寫過樂評),吾友Joann的的樂評,比健吾的可觀太多了。博客的好處在於,臥虎藏龍都有發表空間,而不會被濫竽充數之輩獨霸武林。

Joann Ho: Love & Living

One thought on “亂咁寫評論就不如唔好寫喇

  1. I was as heartbroken as 健吾 towards Kay Tse’s new album (or precisely the 主打歌).

    I think a negative review still has its own virtue. The undertone of 健吾’s review is the environment under this Kay’s latest album was produced; the priority is the consumption or reception rather than technicality. As I read along, Kay’s disappointing album was already out of my concern. I start to think about how her case represents in general the Hong Kong pop music industry .

    以音樂論音樂? I don’t think we can expect this in mainstream paper in Hong Kong. I envy New Yorkers. They can enjoy New York Times’ wonderful section devoted to quality and in-depth (and very musical) reviews of music, be it classical or pop, theatres, movies, and the like. There are just not enough platforms for pop music criticism in Hong Kong.

    健吾 positioned himself as an outsider; he relied on word articulations and apparent melodic structures, etc. Say for her Mandarin song, it brings forth the question who the target demographic this particular version is for, given her subpar Mandarin is not a matter in the recording. Have they brought in Taiwanese/Chinese producers to do the song? These small decisions reflect at least some aspects of the attitudes behind making a Mandarin version of the hit that made her a top Hong Kong female artist.

    Anyway, I wonder if there is really a problem here. From the start the industry has not nurtured good listeners. Who really listen to the key changes or chord changes crafted carefully and beautifully by the writers/arrangers? It was lucky enough to have an artist like Kay who can deliver these to the point.

    Kay is a happy outcome in this weird Karaoke-driven music scene. She was both an underdog and a warrior before she rose to fame; she questioned and did not compromise. Finally she reached the top but this unique brand of her didn’t seem to be registered in her new 主打歌. Yes I meant 主打歌. I know there are songs in her latest album that are so 謝安琪. But 主打歌 is what we wanted from her to strike a complete discord, now that she has assumed a mainstream position.

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