生祥乐队

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风格: #民谣　#民谣摇滚
地区: Taiwan, PRC 中国台湾

艺人介绍

林生祥　主唱、电月琴、六弦月琴锺永丰　笔手早川彻　电贝斯、电钢琴大竹研　吉他福岛纪明　鼓吴政君　打击乐器、二胡黄博裕　唢呐、管子生祥乐队的成员有：林生祥/六弦月琴、电月琴、主唱，大竹研/吉他，早川彻/电贝司、电钢琴，吴政君/打击乐器，福岛纪明/鼓，黄博裕/唢呐、管子，及诗人锺永丰。永丰与生祥的词曲合作，始于1998年交工乐队时期的“我等就来唱山歌”专辑，至今已发表十张专辑。锺永丰拿过两届金曲奖最佳作词人奖座，林生祥则有十座金曲奖、十座金音创作奖、两座金马奖及一座台北电影奖。日本籍的大竹研与早川彻分别于2006及2009年加入，吴政君则于2011年成为团员，福岛纪明和黄博裕则于2014年成为团员；乐手皆有爵士乐的即兴修养，每一次的现场演出，均有令人惊喜的表现。生祥乐队关注农工、环境议题，音乐上则以台湾传统音乐元素为基底，并协调西方当代音乐。生祥乐队从2001年走向国际，巡回欧、亚、美洲等十几个国家，2018年7月登上纽约中央公园Summer Stage，把台湾独树一格的农村摇滚传到国际。【林生祥 Lin Sheng-xiang】美浓山下歌手，住美浓，成长的地方；目前发表11张音乐专辑、3张电影配乐专辑，拿过9座金曲奖（其中拒领了两座）、10座金音奖、1座台北电影奖、2座金马奖。走唱天涯，行脚欧、美、亚洲；在生活里写歌、唱歌、看影像配乐，养小孩。1998年回乡参与美浓反水库运动，创作主题围绕著土地、农民与劳工。音乐上撷取台湾传统音乐元素结合西方节奏，并改造月琴、三弦乐器。2006年创作专辑《种树》，探讨安静的力量和农业的价值。2009年发表作品《野生》聚焦在“女性”的生命故事。2010年超时空与文学家锺理和合作，完成《大地书房》专辑。2013年组“生祥乐队”发表专辑《我庄》，唱著家乡的荣耀与悲伤。2016年透过群众募资出版生涯首张概念双唱片《围庄》，内容关于与石化工业交缠、交战的故事。【锺永丰 Chung Yung Feng】作词人、诗人、音乐专辑制作人、文化行政工作者、与林生祥合作超过15年的最重要伙伴。出身种植烟草的农家，交工乐队笔手（执笔者），2000年以音乐专辑《我等就来唱山歌》与林生祥、陈冠宇同获第11届金曲奖最佳专辑制作人奖。2005年以客语歌词〈临暗〉得第16届金曲奖最佳流行音乐作词人奖。2007年，以客语歌词〈种树〉再度获得第18届金曲奖演唱类最佳作词人奖。 2014年以《我庄》入围金曲奖最佳作词人奖。【大竹研 Ken Ohtake 】(日本)林生祥近年来最重要与密切合作的音乐伙伴。1974年生于日本。高中时代接触电吉他和热门音乐，大学时代开始触类旁通摇滚、爵士、民谣等各式乐种，近几年潜心钻研木吉他演奏技巧，并曾与冲绳民谣大师平安隆(Takashi Hirayasu)搭档多年，重新编演冲绳民谣，平安隆誉之为“最沉稳内敛的搭档伙伴”。大竹研透过对音乐理性的拆解与分析，佐以原音弹拨，却发挥较插电效果器更富想像力的音响效果，提炼出创新的音乐能量。与客家新民谣创作人林生祥初识于2003年流浪之歌音乐节，此后密切合作演出及创作，受到高度瞩目。2006年《种树》中画龙点睛的演出，2009年《野生》专辑中吉他与吉他默契对话，《大地书房》中的大竹研与林生祥，更是难以拆解的契合。【早川彻　Toru Hayakawa】(日本)早川彻是出身于日本爵士乐界、极受重视的新生代电贝斯手，他的演奏风格独具一格，灵动的节奏，是许多亚洲乐人欠缺的。同时，他擅长多样旋律乐器，也使得他在扮演贝斯手的角色时，不局限于低音节奏的线条，而能超越乐器的特色，与合作乐人以共同悠游的姿态，贯穿乐曲。【吴政君 Alex Wu】毕业于国立台湾戏曲学院，擅长南胡、拉丁打击乐器、中国打击乐器、世界手鼓、爵士鼓等多项乐器，学生时代即以优异表现受邀与多位国乐名家同台演出。近年来以国乐素养与多方位的打击才华，跨足世界音乐、爵士乐、拉丁音乐、流行音乐等领域，曾与张惠妹、江蕙、任贤齐、戴佩妮、日本鬼太鼓座、变形虫爵士乐团、声之动等歌手及乐团合作演出，现为 Montonos 拉丁乐团、丝竹空爵士乐团、声之动乐团团员，并任教于台湾戏曲专科学校。【福岛纪明 Noriaki Fukushima】(日本)福岛纪明师出日本爵士音乐家古泽良治郎，打鼓的风格有多种，从流行歌摇滚、爵士、自由即兴等都难不了他。 2014年，与大竹研和早川彻首次以“东京中央线”名义在台湾巡回，并于2015年到香港演出，大获好评。同年加入生祥乐队的围庄双CD专辑录音及巡回。【黄博裕 Huang Po Yu】80后的年轻乐手，毕业于国立台湾戏曲学院，主修唢呐。现就读国立台北艺术大学。曾师承吕燕玲、林子由、郭进财、黄章桐，并曾向中国大陆演奏家郭雅志、李光才、单文通等名师请益。The Hakka are a minority group in Taiwan with a culture distinct from the Hoklo majority. When Sheng Xiang was growing up in Meinong in southern Taiwan, he was influenced by traditional Hakka mountain songs that he heard from his grandmother, and as a student he listened to Western folk and rock ‘n’ roll. When he was a college student at Tamkang University in northern Taiwan, he formed his first band, Kuan-tsu [Guanzi] Music Pit, in which he was the lead vocalist and guitarist. The group became involved the fight against a government plan to build a dam in Meinong, writing several anti-dam protest songs and performing these and traditional Hakka songs around Taiwan.In 1999, following some personnel changes, Kuan-tsu Music Pit changed its name to the Labor Exchange Band and began incorporating traditional instruments into their sound, including suona (a trumpet-like instrument) and Sheng Xiang’s yueqin (sometimes called a “moon guitar”) and sanxian (a three-string guitar-like instrument). Sheng Xiang also began writing songs with activist and poet Zhong Yongfeng, the two of them collaborating on songs for the Labor Exchange Band’s first album, Let’s Sing Mountain Songs, for which Sheng Xiang won the Best Composer award and shared the Best Producer award in the traditional music category at the Golden Melody Awards. With the dam project finally suspended by the government, the group’s second album, The Night March of the Chrysanthemums, focused more generally on the difficulties faced by Taiwan’s farmers in the face of globalization. The album, released in 2001 to an enthusiastic critical response, won the group the Best Band award in the pop music category at the Golden Melody Awards, and was ranked 53 in a list of the top Taiwanese 100 albums from 1993 to 2005, chosen by a team of top artists and critics in the music industry.In 2003, the Labor Exchange Band announced that it was splitting up, to the great sorrow of Taiwanese music fans and critics. However, their sadness was relieved by the news that Sheng Xiang and Chung Yongfeng, the team responsible for most of the Labor Exchange Band’s songs, would continue writing songs together. In 2004, Sheng Xiang formed a new group, Water3, and released the album Getting Dark, which dealt with the experiences of Hakka migrants from the countryside in adjusting to life in the cities. In this album, he expended his musical palate to incorporate different kinds of traditional Taiwanese sounds such as gua-a-hi (Taiwanese opera). The album received numerous nominations at the Golden Melody Awards, with Chung Yongfeng winning Best Lyricist, Sheng Xiang and Water3 winning Best Band, and the album winning Best Hakka Album. Getting Dark also was ranked 43 in the above-mentioned list of the top 100 Taiwanese albums.In 2005, Sheng Xiang toured Europe, playing at festivals such as TFF Rudolstadt in Germany, Riddu Riddu in Norway and Colours of Ostrava in the Czech Republic. He also performed at UC Berkeley in the US with Okinawan musician Hirayasu Takashi and Japanese guitarist Ken Ohtake, an experience which inspired the three of them to record music together. The following year, he released the album Planting Trees, on which his songwriting collaboration with Chung Yongfeng was amply supported by Hirayasu and Ohtake’s playing. The lyrics focused on the environment and rural life, and garnered more nominations at the Golden Melody Awards. Zhong Yongfeng won his second award for Best Lyricist, and Sheng Xiang won for Best Hakka Album and Best Hakka Singer, though he declined to accept the awards because of he felt music shouldn’t be categorized according to language.In spring 2009, Lin Sheng Xiang released his third solo album Growing Up Wild, a collaboration with Japanese guitarist Ken Ohtake. On the surface it seems simpler than his previous ones, with the music consisting of only his and Ken Ohtake’s guitars, plus harmonica on a couple of tracks. However, the lack of other accompaniment is more than compensated for by the virtuosic guitar playing, using a wide variety of rhythms influenced by sources as diverse as Okinawa, Cuba, and West Africa. On this album, Chung Yongfeng and Sheng Xiang decided to focus on the experience of women and girls in traditional, rural Hakka society in southern Taiwan. Some songs reflect nostalgia for childhood, the beauty and simplicity of southern Taiwan, the countryside, and simpler times in the past, while many of them also address the low status of women in the culture; the title track, for instance, refers to the fact that girls were not thought worth making much effort to raise, and other tracks deal with the helplessness of women in the face of family quarrels. Sheng Xiang and Yongfeng’s deep understanding of traditional agricultural society and Sheng Xiang’s distinctive music and voice combine to give the listener a deep appreciation for life in rural Taiwan.In 2011, Sheng Xiang & Band played in Fuji Rock and received good responses. Sheng-xiang & Band released their 9th album [i-village] in 2013, this album also won from Golden Indie Music Award, and they went touring over China, Hong Kong and some cities in North America.Sheng-xiang & Band released their latest 2CD album: Village Besieged in May, 2016. This album contains 18 new songs about their concerns for air-pollution, how industrial development influence agriculture rural life and environmental issues. The music has a base of elements from Taiwanese traditional music, coordinates with western music elements and develops into a unique genre of new folk in Taiwan.Ken OhtakeKen Ohtake is a very talented and versatile guitarist from Japan. He is capable of playing a wide variety of musical styles ranging from jazz to pop to all types of folk. He produces an impressive range of sounds with his guitar, and is quick to pick up new styles. For many years he played with legendary Okinawan musician Hirayasu Takashi and gained a thorough mastery of Okinawan folk music. He first met Taiwanese Hakka singer-songwriter Lin Sheng Xiang at the Migration Music Festival in Taipei, and the two formed a fruitful musical partnership that remains active to this day, Ken playing a vital role on Sheng Xiang & Band’s albums.Toru HayakawaToru Hayakawa is part of a new generation of electric bass players in Japanese jazz music. His playing style covers traditional jazz, funk, blues, reggae, as well as free jazz, avant-garde and noise music. In 2000, Toru started performing with the legendary Japanese jazz drummer Ryojirou Furusawa and his group "Ne", which means "tone of a sound" or "roots" in Japanese. In 2009, he recorded an album with guitarist and long-time friend Ken Ohtake, which led to his collaboration with Lin Sheng Xiang on the Hakka singer-songwriter’s 2010 album "The Land Is My Study." As of late, Toru has been working with an avant-garde/free jazz piano player Mikio Ishida and recorded on Ishida’s album.Noriaki FukushimaNoriaki Fukushima was student of Ryoujirou Furusawa, his drum style influenced by different kinds of music, i.e. Jazz, free style, rock and roll. He started touring with Sheng-xiang & band in 2014 and recorded the latest album.Alex WuA graduate of the National Taiwan College of the Performing Arts, Alex is a master of the erhu, latin percussion, traditional Chinese percussion, hand drum, and drum set. In recent years he has brought his traditional skills and multiple instrumental talents to world music, jazz, latin and pop, performing with famous artists worldwide. Alex is currently a member of Sizhukong and the Montunos Latin ensemble, a lecturer at the National Taiwan College of Performing Arts, and the founder of the EJ Music Studio.

生祥乐队　Sheng Xiang & Band

艺人介绍

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最新简评（共43条）

生祥乐队 Sheng Xiang & Band

艺人介绍

热门评论

最新简评（共43条）

生祥乐队　Sheng Xiang & Band