黄舒骏 Huang Shujun

[Outofin]

In short: Huang Shujun mostly documented his observation of love, life, and society from an outsider’s view, with a few exceptions. His thoughts (not his music) are noticeably influenced by Buddhism.

It’s good to know him for knowing the history of Taiwan music. But it’s obvious to me that old songs are usually bland compared to today’s taste. Some could be disappointed by the lack of flavors/elements.

黄舒骏

我有次看黄舒骏上的娱乐节目。他本人非常亲切可爱，像大熊猫一样受人欢迎。因为年纪渐长也有点发福了。黄舒骏说，很多评论说我写词第一，其实我的曲子也是第一嘞！然后他唱歌，很普通的一个人，一张嘴唱歌就不一样了，技惊全场，有摄人的魅力。我对《恋爱症候群》这首歌非常熟悉，我之前也一直感觉黄舒骏的曲子一般都怪怪的，说不清好听不好听。但是那次看他表演，让我对这首歌有了很大改观。曲调动听，唱功也非常好。

黄舒骏的创作主题大概可以分为三类，人生感悟，情歌，和社会批判。

黄舒骏的思想有相当的佛教色彩。由此出发，也决定了黄舒骏对爱情，对人生，对社会的基本视角。年轻人的看破红尘往往流于嘲弄人生和自作聪明，为我不悦。当黄舒骏以感情导师的形象出现我都有点无所适从。这可能也是我从来没有特别喜欢黄舒骏的原因。但是不能否认的是，他对我对华人流行乐也占据着不可忽视的位置。

所谓佛教色彩，我指的是 “无常”的世界观。比较典型的是《三代之间》。黄舒骏还有一首直接描写佛教徒的《三跪九叩》。

他的情歌曲调悠扬，深情款款，歌词描写极其细腻入微。情歌一般是从“我爱你”发展出来的，讲的是我怎么爱你，我有多么爱你，我为什么爱你。黄舒骏当然也不缺这种情歌，但他还有一些是剖析普遍的或者某种特定的爱情关系，比较有审视的态度，这让他在情歌市场比较特殊。比如他有名的曲子《爱情症候群》，还有《男女之间》。

由游戏人生自然也就可以延伸到嘲弄社会的态度。黄舒骏直接涉及政治和社会变迁的主题很少。他并不针砭时弊，只是发掘其中的荒唐，听起来很搞笑，比如《见怪不怪》。

黄舒骏的思想主线是非常清晰，连贯一致的。甚至有的主题一再重复的出现。比如，《所谓今昔》和《不要变老》是一模一样的。再比如，《听不懂的话》《不存在的寓言》和《座右铭》，从歌名就可以看出它们讽刺的都是庸俗哲学。

我相信如果你不了解黄舒骏，读到这里应该大概对他有个定位了。但是凡事都有例外，黄舒骏有一些对社会很真挚很执著的歌曲。在《寻找抗议青年》这首歌里，他没有旁观更没有嘲笑，他唱的是：“寻找抗议青年，我曾为你流泪。”我一直以为这是他很少见的投入的一面。这也是我最近常唱的一首歌。

在《雁渡寒潭》中，他唱道，

“多少人默默挥下他们的汗水热血

多少人只是贩卖台面上的谎言

多少人随时准备远走高飞

多少智慧才能破解这虚伪的一切

多少意气风发的少年

失落在理想现实之间

口口声声要做英雄圣贤

最后却变成魔鬼

多少人生活在这个世界

却向往另一个世界

多少智慧才能逃离这古老的预言”

是为现今社会真实写照。

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如果需要推荐的话，我以为黄舒骏以《马不停蹄的忧伤》《山盟海誓》和《我是谁》这三张专辑见佳。

[zhwj]

I see where you're coming from. The Buddhist thinking pervades his whole lyrical outlook - although ironically, 《三跪九叩》, which features a monk, seems to me to be a rather straight-up social criticism song (much like Simon and Garfunkel's "Silent Night" uses the idea of religion to contrast with the realities of modern life), without any particular religious underpinning.

Lyrically, I find his songs interesting, but melodically, they don't have the grab that other contemporary songwriters had. I can't help but compare him to Luo Dayou, especially since he said "我企图创作出流行乐坛中极少数可进入“史册”中的重量级作品,而且能结结实实地击倒罗大佑的《鹿港小镇》、《亚细亚的孤儿》、《现象七十二变》" on his first album. Call it commercialism or whatever, but with few exceptions (notably 恋爱症候群), I don't think there's enough balance between meaningfulness and memorableness - that is, his deeper songs aren't as catchy as the ones that seem more tossed-off.

But then, he also said "我与罗大佑的批判方式，若要做一明显的区别，则可以这么说：罗大佑以社会现况入手，以现象反映人性，而籍以批判人性。而我则是‘历史轮回’入手，以看破红尘的心情，直接批判人性。" Which ties in with what you wrote above.

[Outofin]

Interesting. I didn’t know too much what he says outsides his music. But it seems that I got it right.

I didn’t know he had such an ambition to surpass Luo Dayou. Aiming high is good. But unfortunately, he can’t be compared with Luo Dayou. Even his first album, one of his best, is not at the same level of Luo Dayou’s first album. He started off from a quite different position and direction.

He’s certainly good and I very much liked his personality when I saw him on TV. But, not a master.