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The real pop songs in Hong Kong have developed for more than 20 years, and a number of famous superstars have emerged, and a large number of popular songs have been released, which has influenced the growing teenagers from generation to generation. If you have seen some women in their forties and fifties screaming and their idols such as Tan singing, you will have a deeper perceptual knowledge of the history of Hong Kong's music scene. I want to write a short story for the Hong Kong music scene I know, hoping to help my younger brothers and sisters who only know Hong Kong music for a few years to improve their understanding. In fact, the past five years have been the worst in the history of music in Hong Kong.
All the information is collected and memorized by candlelight individuals, and there will inevitably be some mistakes, fallacies or thoughtlessness. Welcome to correct me and participate in the discussion! Most of the songs mentioned in this article have been included in this site and have been linked separately. Before the mid-1970s, the music scene in Hong Kong was dominated by "foreign languages", mainly ethnic songs and English songs, and popular ethnic minor and British and American pop songs. Most of the songs sung in Cantonese (local dialect) are adapted from Cantonese opera. The rise of contemporary pop music in the true sense has to start with Winners and Samuel Hui:
First, the creation of contemporary pop songs in Hong Kong.
Winners's former loser disintegrated after a failed attempt. Several loser members thought the name of the band was ominous (loser) and renamed it "Winner", and invited A B (Zhong Zhentao) to join them and formed wynners. At first, wynners mainly sang English songs, represented by L-O-V-E love and Sha LaLa. Later, based on the style of British and American pop songs, I filled in Cantonese lyrics and sang Cantonese songs. "I like it" and "Let's play together" are popular in Xiangjiang. They won the imitation of young people with their youthful and avant-garde shapes (such as bell-bottoms and shoulder-length hair), and "band" (forming a band) became a popular novelty for a time. Samuel Hui's song "Trend Band" describes this grand occasion. The rise of Wen Na indicates that Hong Kong's music scene has its own pop songs and idols, which deeply influenced a generation of young people in the middle and late 1970s in Hong Kong. 1978, wynners announced its dissolution, and its members developed independently. They agreed to meet once every five years and release a big album. They fulfilled their promises, among which the album released on the 10th anniversary of their dissolution 1988 was the most influential, and Never Changed entered the top ten hits of that year. After solo flight, Wen Na members achieved incredible success in Hong Kong entertainment circle: Alan Tam became the first person in Hong Kong music scene; Wen Na lead singer Zhong Zhentao is also red, amphibious; Although Jianxin Peng's achievements are not as good as the latter two, he has gained a certain position in the music world with his unique country style. Chen You became famous in the film industry, and made great achievements from actor to director. Only Ye Zhiqiang rarely continues to appear in the entertainment circle. Samuel Hui Samuel Hui is known as the originator of contemporary pop songs in Hong Kong. His oral interpretation in Hong Kong initiated a new era of local songs in Hong Kong and played a decisive role in the implementation of Cantonese songs. Samuel Hui formed a band in his early years, singing English songs with his brother Xu Guanwen and hosting TV programs. Xu Shi Brothers' films were very popular in the late 1970s and early 1980s, and the best partner still holds the record of the number of people watching movies in Hong Kong. 1974 released Samuel Hui's first Cantonese album Ghost Horse and Double Star, which kicked off the contemporary pop music scene in Hong Kong, while 1978' s classic album "Half a catty and 82 liang" marked the formal formation of the canto pop market in Hong Kong. Samuel Hui is a musician, and his works can be freely collected and distributed. The songs he wrote and performed can be clearly divided into two categories: vulgar and elegant, especially the former is of great significance. These songs written in Cantonese are smiling, cursing, praising and criticizing current events from the standpoint of ordinary people, and their language is humorous, which has received unprecedented welcome. For example, Half a catty tells the hardships of the lower class through the mouth of wage earners, Ten Girls sharply satirizes girls who are one-sided in pursuing fashion and only taking care of others, and Price Rising Tide directly expresses their dissatisfaction with soaring prices. "Xuedi" exhorts students to study hard, and "Zuo Ye" uses a fable to persuade the world from both positive and negative aspects. However, his songs with literary accent inherit the style of China's classical poetry, so they are full of poetry, and every lyric is a poem. Pear vortex laughs and whispers at midnight, which won the charm of graceful words in Song Dynasty. Ling Yun Lou (written by his brother Xu Guanwen) is a masterpiece of Que Aigang. The ideas of Zhong, Lao and Zhuang in The Voice of the Prodigal Son and The Love of Genius and Idiot in the Past are interpreted with elegant words and gentle tunes, which is really amazing for the development of pop songs. It is said that a company in Southeast Asia once bought the copyright of the words "Dream of a Genius Idiot" from Samuel Hui for advertising, and each word paid 1000 yuan. Samuel Hui is the greatest contributor to the creation of contemporary Hong Kong pop songs and the first superstar in Hong Kong pop music. Under the influence of Samuel Hui, a large number of singers switched to singing canto pop, and at the same time, a group of rookies rose, and the spring of Hong Kong music came. ...
Second, the era of popular TV songs
The mid-late 1970s to the mid-1980s was the golden age of Hong Kong TV dramas, and most of the most classic TV dramas in Hong Kong were shot during this period. The popularity of TV series has made a large number of actors popular, such as Chow Yun Fat, Adam Cheng, Wang Mingquan and General Five Tigers. They have become important figures in the entertainment circle in Hong Kong. With the vigorous development of TV series, their theme songs and interludes quickly spread all over the streets and became the most popular genre, and a group of famous singers became popular by singing TV series songs. Adam Cheng Adam Cheng, with his upright and handsome image, played various heroes and chivalrous men in TV series. The representative works of songs include the theme song of the same name in the TV series Chu Liuxiang, The Dragon Slayer and Turn in Turn. He was not only one of the most popular movie stars in that period, but also one of the most influential singers. Until the 1990s, he continued his evergreen position in the music world with excellent TV songs such as "Laughing at the Wind and Cloud" and "Time is Ruthless". There is a word in Cantonese called "Qiu Jin" (meaning very powerful, and some people write "Golden Ugliness"). It is said that Adam Cheng was named after his widely circulated concert. Wang Mingquan in Wang Mingquan is also a popular movie star. Her representative works in the television industry include "Dream of Spring in Beijing" and "Love in Qianshan". The theme songs of these two TV series are also representative works of Wang Mingquan's songs. Wang Mingquan is honored as "First Sister" in Hong Kong entertainment circle, which is inseparable from her qualifications. Like Adam Cheng, she was born in an old Cantonese film, and experienced the vicissitudes of the Hong Kong art scene. Wang Mingquan is now a member of the Chinese People's Political Consultative Conference (CPPCC). She often appears in major events inside and outside the art world as a program host (known as "master of ceremonies" in Hong Kong). Guan Guan's position is not as prominent as the first two, one of the main reasons is that he is not an official. But he is one of the most important singers of this era and a frequent visitor to the music awards ceremony. Representative works include the TV series Dragon Eight Branches, Qian Shan Thousands of Waters, Two Forgets in the Smoke, The Legend of Heaven and the Galaxy (I can't remember which TV series this song is) and The Mercy of the Earth. After becoming popular, Guan began to fade out of the music scene. Ye Zhentang Ye Zhentang, as the lead singer of the theme song "The Great Wall Will Not Fall" of "Huo Yuanjia", is best known by Chinese people. Compared with Guan, his career as a singer is much longer. In recent years, he sang the theme songs of several major ATV dramas and became active again. Representative works include Su's theme song "Forget Your Heart and Feelings" and the theme song of the same name in the lush years. The magical popularity of Ye Liyi's "Shanghai Beach" has helped Ye Liyi become one of the most popular singers in Hong Kong's music scene, but her other representative works are not many, and the black women Magnolia and the legendary swordsman are more famous. The representative works of Zhang Delan and Zhang Delan should be The Condor Heroes, Firm Feelings and Hearts, and When Can We Meet Again. Other famous works, such as acquaintance is fate, May your heart be remembered, Man in the Net, Chicken, etc., are also famous. Together with Wang Mingquan, Shen Dianxia and Oi-Ming Wong, she was called the four golden flowers of the art world at that time. Zhang Delan is good at lyric minor. She was one of the most popular female singers in the early 1980s. Tam may be wrong to classify Tam in this category. He not only sings TV songs, but also has many representative works of other types of songs. However, his TV songs occupy an important position in the music scene in Hong Kong. Little Li Fei Island is still one of the most classic songs in Hong Kong. It is said that Hong Kong artists will sing this song when they perform in Southeast Asia. Tan's theme songs, such as Legend of the Condor Heroes, Iron Blood and Red Hearts, and Hello All the Time, are also famous classic songs. Tam's singing path is very broad and her voice is very adaptable. His frivolous masterpieces like In the Laser and inspirational masterpieces like How Many Storms are eloquent. Tan is a heavyweight superstar in Hong Kong music scene for more than 20 years. His early representative works, such as A Good Song for You, were avant-garde at that time. In the mid-1990s, Tam once made a comeback in the music world, and was recognized by the world with Bad Lover and Confucius. Jenny Tseng, Jenny Tseng and Tan have a lot in common. They are not singers who specialize in singing TV series songs, but the TV series songs they sing are very important in Hong Kong music scene. Their chorus The Legend of the Condor Heroes is very classic. Jenny Tseng's other TV songs include Spring Moon Machete and Pearl of the Orient. Different from most contemporary singers, she can sing pure Chinese songs and English songs, among which Flowers on the Sea and Lu are her representative works. The representative works of Cantonese songs include Loneliness Again, Rickshaw in Dream and Talk about Today and Tomorrow. In addition to the lead singer mentioned above, there are some important songs sung by second-tier singers. For example, Lei Anna's Old Dreams Don't Have to Remember, Liu Yinghong's A Thousand Hatreds, Bao Cuiwei's Typhoid Dream and Chen Jieling's Tonight are all extremely classic works. The theme songs of TV dramas during that time were almost an instant hit, and the quality was quite high, which can still be remembered for a long time now. George Lin George Lam, another important singer of this era, witnessed the development of the whole Hong Kong music scene. I sang English songs in my early years, but I changed to Cantonese songs and took a national style. "A Thousand Needles in the Heart" and "Water Center" have obvious flavor of classical minor, while his other songs, such as "Love to a fever" and "Diary of Aram", go to the other extreme and are completely westernized. The latter style was once considered as the representative of George Lam and the image of people who had drunk foreign ink. Alam's other famous works, such as Real Man, Dare to Love and Dare to Do, and Men Should Strengthen themselves, fully show his superhuman voice. In the era of Tan and Zhang's hegemony, they still firmly grasped the status of music superstars and showed good strength. Paula Tsui Paula Tsui was a real singer in the pre-pop era. Before Cantonese songs became popular, she sang Chinese songs. "In the 1970s"