Love Song
Whenever I’m alone with you,
You make me feel like I am home again.
Whenever I’m alone with you,
You make me feel like I am whole again.
Whenever I’m alone with you,
You make me feel like I am young again.
Whenever I’m alone with you,
You make me feel like I am fun again.
However far away,
I will always love you.
However long I stay,
I will always love you.
Whatever words I say,
I will always love you;
I will always love you.
Whenever I’m alone with you,
You make me feel like I am free again.
Whenever I’m alone with you,
You make me feel like I am clean again.
However far away,
I will always love you.
However long I stay,
I will always love you.
Whatever words I say,
I will always love you;
I will always love you.
只是听着你的声音
LEONARD COHEN – HOW I GOT MY SONG
It is a great honour to stand here before you tonight. Perhaps, like the great maestro, Riccardo Muti, I’m not used to standing in front of an audience without an orchestra behind me, but I will do my best as a solo artist tonight.
I stayed up all night last night wondering what I might say to this assembly. After I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.
When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.
I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.
Because I know that just as an identity card is not a man, a credit rating is not a country.
Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.
As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.
And so I had a voice, but I did not have an instrument. I did not have a song.
And now I’m going to tell you very briefly a story of how I got my song.
I was an indifferent guitar player. I managed a few chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.
One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.
And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.
He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’
I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”
I couldn’t play any better.
He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”
It was a mess. He said, ” I’ll come back tomorrow.”
He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.
I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.
The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.
I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.
I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.
Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.
So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.
Read More家后
一早上听到这首台语歌，说的是妻子心声，很是感动。
以此为纪念。
家后
主唱：江蕙
作词：郑进一/陈维祥
作曲：郑进一有一日咱若老 （有一天我们如果老了）
找无人甲咱友孝 （找不到人孝顺我们）
我会陪你 坐惦椅寮 （我会陪你，坐在椅子上）
听你讲少年的时阵 你有外摮 （听你讲年轻的时候，你有多厉害）
吃好吃歹无计较 (不计较吃好点还是吃差点)
怨天怨地嘛袂晓 （也不懂怨天怨地）
你的手 我会甲你牵条条 （你的手，我会紧紧牵着）
因为我是你的家后 （因为我是你的妻子）
阮将青春嫁置恁兜（我把青春都嫁到你家来了）
阮对少年跟你跟甲老 （我从年轻跟你跟到老）
人情世事已经看透透 （人情世事已经看透了）
有啥人比你卡重要 （有谁比你还重要呢）
阮的一生献乎恁兜 （我的一生都献给你家了）
才知幸福是吵吵闹闹 （才知道幸福就是吵吵闹闹）
等待返去的时阵若到 （等到回去的时间如果到了）
我会让你先走 （我会让你先走）
因为我会呒甘 （因为我会不忍心）
放你为我目屎流 （放着你一个人为我流眼泪）
有一日咱若老（有一天我们如果老了）
有媳妇子儿友孝（有媳妇儿子孝顺着）
你若无聊 （你如果无聊）
拿咱的相片（拿我们的相片）
看卡早结婚的时阵 你外缘投 （看以前结婚的时候 你有多帅）
穿好穿丑无计较（不计较穿好点还是穿差点）
怪东怪西嘛袂晓（也不会怪东怪西的）
你的心我会永远记条条（你的心 我会永远牢牢记得）
因为我是你的家后 （因为我是你的妻子）
阮将青春嫁置恁兜（我把青春都嫁到你家来了）
阮对少年跟你跟甲老 （我从年轻跟你跟到老）
人情世事已经看透透 （人情世事已经看透了）
有啥人比你卡重要 （有谁比你还重要呢）
阮的一生献乎恁兜 （我的一生都献给你家了）
才知幸福是吵吵闹闹 （才知道幸福就是吵吵闹闹）
等待返去的时阵若到 （等到回去的时间如果到了）
你着让我先走 （你得让我先走）
因为我会呒甘 （因为我会不忍心）
看你为我目屎流（看到你为我流眼泪）
floded flags
音频片段：需要 Adobe Flash Player（9 或以上版本）播放音频片段。 点击这里下载最新版本。您需要开启浏览器的 JavaScript 支持。
那天，在无数（其实也就几十箱）lp中，偶遇了《when the wind blow》,封面是树叶在沙土上的影子所构成的骷髅，封底是可爱的小人物。这张唱片在唱机上旋转了好几天，那首Folded flags无论怎样反复都觉得好听。
如果这些小小的偶然，不记录下来，就会永远地被忘记掉。
所以我记下来了。
against the wind
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It seems like yesterday
But it was long ago
Janey was lovely, she was the queen of my nights
There in the darkness with the radio playlng low
And the secrets that we shared
The mountains that we moved
Caught like a wildfire out of control
Till there was nothing left to burn and nothing left to prove
And I remember what she said to me
How she swore that it never would end
I remember how she held me oh so tight
Wish I didnt know now what I didnt know then
Against the wind
We were runnin against the wind
We were young and strong, we were runnin
Against the wind
And the years rolled slowly past
And I found myself alone
Surrounded by strangers I thought were my friends
I found myself further and further from my home
And I guess I lost my way
There were oh so many roads
I was living to run and running to live
Never worried about paying or even how much I owed
Moving eight miles a minute for months at a time
Breaking all of the rules that would bend
I began to find myself searchin
Searching for shelter again and again
Against the wind
A little something against the wind
I found myself seeking shelter against the wind
Well those drifters days are past me now
Ive got so much more to think about
Deadlines and commitments
What to leave in, what to leave out
Against the wind
Im still runnin against the wind
Well Im older now and still
Against the wind
亡命之徒
音频片段：需要 Adobe Flash Player（9 或以上版本）播放音频片段。 点击这里下载最新版本。您需要开启浏览器的 JavaScript 支持。
Desperado
Why don’t you come to your senses
You’ve been out riding fences for so long now
Oh, you’re a hard one
But I know that you’ve got your reasons
These things that are pleasing you
Can hurt you somehow
Don’t you draw the Queen of diamonds boy
She’ll beat you if she’s able
The Queen of hearts is always your best bet
How it seems to me some fine things have been laid upon your table
But you only want the ones you can’t get
Desperado
Oh, you ain’t getting no younger
Your pain and your hunger
They’re driving you home
Freedom, ah, freedom
That’s just some people talking
Your prison is walking thru this world all alone
Don’t your feet get cold in the winter time
The sky won’t snow and the sun won’t shine
It’s hard to tell the night time from the day
You’re losing all your highs and lows
Ain’t it funny how the feeling goes away
Desperado
Why don’t you come to your senses
Come down from your fences open the gate
It may be raining
But there’s a rainbow above you
You better let somebody love you
You better let somebody love you
Before it’s too late
亡命之徒
為何你不清醒一點
你築起城牆把自己圍起來已經很久了
噢！你真是個固執的傢伙
我明白你一定有你的理由
但那些令你欣喜的事情
總有一天會傷害你
你不拿走方塊皇后那張牌嗎？
它逮到機會就會把你擊垮
紅心皇后一直是你的王牌
我心目中的好牌都已攤開在你的面前
但你卻只要那些得不到的
亡命之徒
你已不再年輕
你的苦痛，你的飢渴
它們驅使著你歸來
自由啊！自由
那只是一般人的說法
孤獨行走天涯就是你的牢籠
冬日裡，你的雙腳不覺得寒冷嗎？
天空不飄雪，太陽也不照耀
分辨不出白天或黑夜
你已一無所有
這種失去的感覺很可笑吧
亡命之徒
你為何還不清醒一點
走下你的城牆，打開大門
外面也許下著雨
但彩虹就在你的頭頂上
你最好讓別人愛你
你最好讓別人愛你
在為時已晚之前
昨天下午，那个周日。午后的慵懒睡眠没有打败我，独自躺在床上，看了《逆向思考的艺术》。Johnny Cash从剧中人口中唱出来。
“亡命之徒，你为何不⋯⋯”
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