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專輯名稱：藍掉
成員兩人，樂器三把，團長不唱歌。
DNA波瀾壯闊，只有一個宇宙存在。
這不是藍調吉他，也不是傳統琵琶，而是一種全新的音樂狀態，充滿未知的實驗，絕對新鮮的跨界實驗。背著琵琶闖世界的鍾玉鳳，遇上才華洋溢的藍調吉他樂人David Chen，琵琶與藍調，三把弦樂，兩種相異的文化脈絡，多聲的音樂文化對話，各自帶著強烈的敘事風格與想像，在風雨交驟的熱帶海島上，撞擊出最生機蓬勃，饒富興味的混種草根樂。
鍾玉鳳與David Chen，兩人在音樂路上耕耘數十載，各自擁有豐富的創作經歷，他們共通的特質是：誠實、自由，且勇於冒險。琵琶來自古老的魯特琴家族（Lute），是個性分明，敘事性強的獨奏樂器。藍調最早源自非洲，後發展成西方深厚的民謠傳統基底，David玩的12弦老吉他，聲響層次更為豐富，有一般吉他難以取代的獨特味道。「跨界」是樂器特性延伸與探索的新起點，玉鳳與David以藍調開啓對話，彼此浸染、滲透，玩出更多琵琶與吉他的想像空間，拓展更自由的音樂邊界。
在這個全新的跨界組合裡，他們各有新的體驗與發現，玉鳳說：「藍調音樂最好玩的一點，就是他們很放鬆，享受音樂，跟著感覺走，這是以往著重技巧的傳統音樂『玩』不起來的。」兩人排練當中，有點枯竭，沒有靈感的時候，「David會停下來，開始彈起一段藍調的即興，慵懶地，親密地，漫無目的隨指尖閑晃遊蕩，讓音樂帶領漫遊，然後，轉幾個彎之後，發現自己到了一個新的地方，有了全然新鮮的呼吸。」
對David而言，時文時武，剛柔並濟的琵琶，乍看性格強烈而難以親近，一旦完全浸透在她獨特語彙與美學中，就會發現無限可能。她不用和弦思考，卻可以架構出比搖滾更具爆發力的曲式，也可以俏皮活潑地玩起不規則的七拍子旋律，或是忽然奏起氣勢磅礡的阿拉伯樂曲。David說：「琵琶的音樂裡有很多空間，在那裡，你可以盡情地去即興對話，編曲的過程像是奇妙的化學變化，最後，連吉他的音色都發生了微妙的質變。」
2014年秋，玉鳳與David從一同創作、醞釀，正式展開浪遊，巡演的腳步走過台灣、中國、香港、澳門的街市廣場，落腳在大大小小Live House與Cafe，一路邊走邊唱，指尖上的聲響跨越邊界，全新的創作在巡遊裡有機生長。本專輯收錄14首「藍。掉」的在路上的精華現場選輯，以及玉鳯與David妙筆生花的中英文手稿，有掌聲，有笑聲，有活生生的人與音樂，一切的愛恨情仇，閃避不及的擦槍走火，都在現場的溫度中自然發酵，走著走著，越來越藍，掉入波瀾壯闊的藍色宇宙....
演奏：
琵琶：鍾玉鳳Chung Yu-feng
演唱、共鳴器吉他、12弦木吉他：陳思銘David Chen
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曲目／歌詞、曲介紹：
1.茶與威士忌 Tea and Whiskey
David很早就知道琵琶喜歡D調（小工調，在向他介紹傳統時我很克制就此打住，沒去瞎扯這個古老名詞。），練團時他常把該練的曲子晾在一旁，繞著邊邊角角彈一些無關緊要的東西，有一天他的slide滑進了D，不斷重複，晶盈響亮如天籟，我聽了滿心歡喜湊上去玩了起來，一起把船打翻，屢屢樂此不疲；當然啦，世界上沒有哪個唱藍調的像他那麼愛泡烏龍茶，也沒有哪個彈琵琶的像我這麼在乎超市裡單一麥芽威士忌的價錢。對於我們在此顛覆大家的刻板印象，我感到有些不幸。
Yufeng and I are far from the first to try the pipa-guitar duo format, but we believe we have a unique chemistry when playing live. With this in mind, I 'wrote' this tune - in other words, cobbled together some standard slide guitar riffs and chord changes in Open D tuning -- to create an adventurous jam opportunity for resonator guitar and the pipa. Every time we play it, we never know how it's going to turn out, but that's part of the fun. And along the way, maybe we can convince listeners that 'tea and whiskey' actually go pretty well together. By the way, don't fall for the stereotypes: The blues-loving American slide guitar player prefers tea (Taiwanese oolong), while the Taiwanese classically trained pipa player loves her single malt whiskey.
2.西瓦 Siwa
2011年寫於開羅博斯坦大街公寓裡，當時我已逐漸適應窗外的抗議聲、喇叭聲，安靜的在室內抱著琵琶反覆推敲錯綜的過弦音，「西瓦」是位於埃及西北部的一個綠洲，對我來說阿拉伯音樂在這裡與David的吉他滑音一起進入沙漠的煙塵。
David :“Siwa” refers to the Siwa Oasis in western Egypt. Yufeng wrote this in 2011, when she lived in Cairo, Egypt, to participate in a musical and cultural exchange program. This composition is her way of connecting the pipa with its ancestral home, as the instrument's origin can be traced back to the Middle East. For my part, I tried to help 'take us to the desert' by playing slide on a resonator guitar.
3.夜之城 City of Night
曲目介紹
紀錄片《邊界移動兩百年》（From Border to Border）主題談18、19世紀為了躲避戰亂貧窮的華人，移民到印度加爾各答的歷史，David在參與前期翻譯工作時，特別讀了同時代在孟買出生的英國小說家魯迪亞德.吉卜林的遊記，從一位長期居住印度的「局外人」來觀察印度。魯迪亞德.吉卜林在文中援引了倫敦詩人詹姆士.湯姆森的詩《萬惡之城》來描述加爾各答，有些評論者認為吉卜林是個對加爾各答、孟加拉帶有輕蔑鄙視角度的殖民主義者。David在創作時轉借了「萬惡之城」的詩名，想像這些大時代顛沛流離移民者的心境。
This song was written for the soundtrack to the film “From Border to Border,” a documentary about Chinese immigrants living in Kolkata, India. Yufeng composed the melody and I wrote the words. I was fascinated by the fact that a small number of Chinese emigrated to India to escape poverty at home in the late 18th and 19th centuries. There are few written accounts by Chinese in India, so to get a feel for those times, I read writings by another 'outsider' who lived in India in earlier times, “Jungle Book”-author Rudyard Kipling. A journalist by training and long-time resident of India, Kipling wrote a series of articles on his travels throughout the country, invoking a poem by British writer James Thomson, entitled 'City of Dreadful Night' to describe Kolkata.
Later I realized that the reference was somewhat problematic as critics read Kipling as a colonialist who portrayed the city, then called “Calcutta,” and the local Bengalis, with a measure of disdain. But I decided to keep the song as it was, using Kipling and Thomson’s work as a springboard to imagine the mindspace of Chinese immigrants, who were experiencing a 'City of Night' that was uniquely their own.
作曲：鍾玉鳳 & 陳思銘
作詞：陳思銘
演唱：陳思銘
I was born by the river.
This river, my home.
Where the sailors, they drink,
their yell and they roar.
They sing about love, of sorrow, of war.
They sing of their dreams.
Of a home on another shore.
If I leave this home.
Will I see it again?
This city of night.
Where the lights are low?
This city of dread.
I’ve no place to go.
If I leave this home.
Will I see it again?
Will I die by the river.
This river, my home?
Where my father, he drank, he yelled and he roared.
He sang about love, of sorrow, of war.
He sang of his dreams.
Of a home on another shore.
生在河畔 河就是我家
水手們在那買醉、哭喊、也咆哮
他們為愛 為悲、為戰爭而歌
他們為逐夢、為彼岸的家而歌，
一但我離開家 還會再見嗎？
這夜之城 當夜燈低垂
這恐懼之城 我無處可逃
一但我離開家 還會再見嗎？
我可會長眠於此，我的河、我的故鄉？
我父曾醉、曾泣、層嘯的河畔
他為愛 為悲、為戰爭而歌
他為逐夢、為彼岸的家而歌。
4.七拍子 7-Beat Flash
一個想像琵琶奇數拍也很在行的概念。琵琶D轉B、過完三條弦再掃四條弦，吉他從B minor（琵琶認為的D）轉B major，我們小心翼翼讓7感應一切，撐到最後才像植物趨光性那樣，不爭氣的奔回溫暖的偶數拍衝向終點，然而一旦體驗過節奏的時間差，很難再去單一理解什麼是穩定，奇數拍的平衡感很美妙，只要不跌下馬背都算贏。
This is a very enjoyable, but challenging, song to play as accompanist on 12-string guitar. When Yufeng first taught me this composition of hers inspired by Mongolian folk music, I felt bewildered and overwhelmed. The shifting harmonies and moods meant playing a lot of chord changes outside of my blues and folk vocabulary. Then there was the odd time signature of seven beats. I tried to train myself to count in seven, but then found in the end that 'feeling the groove' was the key to making it work. We don't always hit it exactly playing live, but that's part of the thrill: trying to hold on for the ride.
5.直到 Until Then
我把第三弦降到B，於是一切衝突、模糊就在琵琶上產生了，這個調弦起初是為了模仿Flamenco的Phrygian調式，後來就寫成了這首歌，琵琶有許多細微的音色變化，David的12弦吉他現此顯得相當淒迷，2013年夏天一個生命的離去促發了這首歌，我的好朋友告訴我，音樂是生命的隱喻，我相信是的，這首歌是獻給所有未完成的渴望。
A melodic scale commonly used in flamenco music sparked Yufeng's imagination and became the root of this beautifully quiet piece, for which I provide accompaniment on 12-string guitar. Every time we play it, I'm surprised at the emotional depth she draws from the pipa. But given that the song has personal meaning for Yufeng -- she connects it with the loss of someone close to her -- I should stop being surprised.
6.黑莓盛開 Blackberry Blossom
這首曲子在全世界的藍草、昔時樂中無人不知、無人不曉，常常被拿來當即興的曲目，傳統大部分用民謠提琴、吉他、曼陀鈴演奏，David覺得用琵琶彈應該很好玩，我也這麼覺得，尤其最後一段與滑音吉他短跑衝刺很刺激，我們謹獻上這首傳統歌謠的非傳統詮釋。
At bluegrass and old-time music jams all over the world, 'Blackberry Blossom' is a tune that everyone knows. Normally played by fiddlers, guitarists and mandolinists, I thought it would be fun to see how Yufeng would handle this one, with backing on a slide guitar. She worked diligently and came up with a unique interpretation. We humbly offer our non-traditional take on this traditional tune.
7.傳教士藍調 Preachin’Blues
每次演奏傳教士藍調，總是令我打從心底激賞美國的藍調傳統，每個藍調樂人的歌詞都是一棵老實樹，進過監獄的Son House說當傳教士可以不用工作，他雖然在房間祈禱，但威士忌和女人已經把他的靈偷走，自白直接成了反諷，解放了虛假，非常人性。音樂上藍調的調式與琵琶傳統相近，但是節奏卻很顛簸，喜歡在最後一個16分音符彈跳，這對琵琶有些挑戰，我常得留心一下彈挑的順序，David每次都唱得不一樣，聽說這是藍調保留給狂喜的空間，我得把這招學起來才是。
This is our take on the classic by the one and only Son House. The 'fire and brimstone' energy of this song is perfectly suited to the tonal range of the pipa. I had always associated the instrument with elegant, flowing melodies of Chinese music until I asked Yufeng why she preferred pipa over other traditional instruments. She said 'I can play it really, really loud, even though we’re not supposed to.' For our arrangement, I wanted to offer my respect to Son House, for both his otherworldly singing and tongue-and-cheek humor, as well as a hat tip to renditions by Robert Johnson and Corey Harris.
演唱：陳思銘
詞曲：Eddie Son House
Yes, I’m gonna get me religion,
I’m gonna join the Baptist Church.
Yes, I’m gonna get me religion,
I’m gonna join the Baptist Church.
You know I wanna be a Baptist preacher.
Just so I won’t have to work.
Oh, I‘m gonna preach these blues,
And I want everybody to shout.
I want everybody to shout.
I’m gonna be like a prisoner,
I’m gonna wait my time out.
You know I wish I had a heaven of my own.
You know I wish I had a heaven of my own.
I‘d give all my women a good old happy home.
Woke up this morning.
Met the blues walking like a man.
Walking like a natural man.
In my room, I bowed down to pray.
In my room, I bowed down to pray.
But the whiskey and women,
they stole my spirit away.
嘿，我有信仰了。我要加入浸信教會。
嘿，我有信仰了。我要加入浸信教會。
我要當一個傳教士。
只要如此我就不必工作。
哦，我要傳教藍調福音，
我要大家一起盡情吼叫。
大家一起盡情吼叫。
我將成為一個囚犯，等待時間用盡。
我多希望有一個專屬自己的天堂。
我多希望有一個專屬自己的天堂。
讓我所有的女人有個快樂無比的家。
今早起床。
我遇見藍調人模人樣走過來。
像個好手好腳的人四處蹓躂。
在房間我跪地祈禱。
在房間我跪地祈禱。
但威士忌和女人。
早已偷走我的靈魂。
8.惡魔奪走我的女人 Devil Got My Woman
來自Skip James的歌，分手創傷症候群的歌，療效無期限，點Repeat自行服用即可，但治好後請別愛上David。
A beloved song by one of my favorite singers and guitar players ever, Skip James.
演唱：陳思銘
詞曲：Skip James
I’d rather be the devil.
Then to be that woman’s man.
Oh nobody but the devil.
Took my darling by the hand.
You know, I laid down last night.
You know, I laid down last night.
And I tried to take my rest.
But my mind got to rambling.
Like the wild geese from the west.
You know, I’m so sorry.
You know, so sorry.
That I ever fell in love with you.
Because you don’t treat me like you used to do.
You know the woman that I love.
The woman that I love.
The woman that I love.
I stole her from my best friend.
But you know he got lucky.
And he stole her back again.
he got lucky.
And he stole her back again.
You know, my baby she don’t drink whiskey.
My baby, she don’t drink no whiskey.
And she ain’t crazy about no wine.
Now, it was nothin’ but the devil.
He came and changed my baby’s mind.
You know, I laid down last night.
You know, I laid down last night.
And I tried to take my rest.
But my mind got to rambling.
Like the wild geese from the west.
我寧可當一個惡魔。
也不願意當那女人的男人。
喔，沒有人。只有惡魔，能夠把我的心肝奪走。
你知道，我昨晚躺在床上。
你知道，我昨晚躺在床上。
我試著睡去。
但我的心卻開始流浪。
如同呼嘯向西的狂風。
你知道，我很抱歉。我感到如此慚愧。
我竟曾經愛上你。
而你不在帶我如往昔。
你知道，我愛的女人。
那個我愛的女人。
那個我愛的女人。
我從最好的朋友那邊把她偷過來。
但他很幸運。
他很幸運，又把她奪了回去。
你知道，我的寶貝不喝威士忌。
我的寶貝，他不喝威士忌。
她從不為酒精著迷。
這一次，是惡魔的緣故。
是他改變了我的寶貝的心意。
你知道，我昨晚躺在床上。
你知道，我昨晚躺在床上。
我試著睡去。
但我的心卻開始流浪。
如同呼嘯向西的狂風。
9.當你安撫我入眠 As You Lay Me Down to Sleep
這首是發行於2013年泥灘地浪人的專輯《寶島賣藥秀》的歌，David與他的浪人們在臺北悠悠渡過十幾個年頭，寫了許多漂泊的、溼冷的、難以入眠的音樂，「時間太少，故事還沒說完，月光太少，不夠引我回家」，失魂的夜，等待入眠。
A song written for my band, the Muddy Basin Ramblers, from our album 'Formosa Medicine Show.”
演唱：陳思銘
詞曲：陳思銘
Have you ever seen a night so dark?
A night that only comes when lovers part.
Have you ever seen a man so lonely?
As you lay, lay me down to sleep.
I feel like a sailor lost at sea,
I’m waiting for my angels to call for me.
How I long to hear them singing in the breeze.
As you lay, lay me down to sleep.
The winds are howling, my hands are cold.
There is no more time for stories untold.
There is no more moonlight to lead me home.
As you lay, lay me down to sleep.
I’m 18 years, but this life feels so long.
Tell me once again, where do you come from?
Yesterday a boy, tomorrow I’m gone.
As you lay, lay me down to sleep.
你見過夜暗如此嗎？
這樣的夜只在愛人分離時出現
你見過男人寂寞如此嗎？
當你安撫我。安撫我入眠。
我向式海上迷失的水手。
等待天使的召喚。
多麼渴望聽他們風中吟唱
當你安撫我，安撫我入眠
風在吼，我的手掌冰冷
時間太少，故事還沒說完
月光太少，不夠引我回家
當你安撫我，安撫我入眠
我年方十八，但此生好漫長
在告訴我一次，你從哪裡來
昨日男孩身，明日將消逝
當你安撫我入眠，安撫我入眠
10.衝繩媽媽 Okinawa Mama
也是出自泥灘地浪人《寶島賣藥秀》的歌，一個衝繩、美國混血士兵內心矛盾糾結的故事，我們在此感謝所有現場觀眾朋友們拍手擊掌。
Another song written for my band, the Muddy Basin Ramblers, from our album 'Formosa Medicine Show.' On that album, Yufeng played the Okinawan samisen, a three-stringed banjo-like instrument, providing the song’s Okinawan folk flavor. On the live rendition, she adds a new dimension to the song with her pipa accompaniment.
演唱：陳思銘
詞曲：陳思銘
Typhoon winds come a blowin’ in.
As this boat pulls on to shore.
I wish my Okinawa Mama was here with me.
To give me shelter from the storm.
Give me shelter from the storm.
It’s been five long years,since I last saw her.
My sweetheart was singing by the sea.
I did’t understand a word she said.
But I know that she loved me.
Oh, I know that she loved me.
My granddaddy was a steel-driving man.
My daddy was a sailor he died at sea.
I’ve been a loyal soldier,
I fought for my country.
Oh but my country don’t love me.
My country don’t love me.
So I’m packin my bags,
I’m going over the hill.
My Okinawa Mama on my mind.
I’m sick and tired of death,
I’m sick and tired of fightin’.
I’m sick and tired of crying.
Oh, I’m sick and tired of crying.
Don’t you try and stop me,
my love is a storm.
Drifting across the sea.
I’ll drown you crew,
I’ll tear down your ship.
Cause my baby is waiting for me.
Oh yes, I know she’s waiting for me.
My granddaddy always said to his captain.
“A man is just a man.”
I ain’t gonna let no machine beat me down.
I’d rather die by my own hand.
Oh, I’d rather die by my on hand.
颱風猛灌 我們拉小艇上岸
但願有衝繩媽媽陪著我
護著我躲過暴風雨 躲過暴風雨
上回看她至今，五年已過
那時我的甜心在海邊歌唱
她說的話我一個字都不懂
但我知道她愛我\
哦，我知道她愛我
我的祖父是鐵路開路英雄
我父親是水手，葬身在海裡
我是忠誠的士兵，衛國奮戰
哦，可我的國家不愛我
我的國家不愛我
所以收拾行囊，我將翻山越嶺
腦海裡掛念衝繩媽媽
我厭倦死亡
我厭倦戰爭
我厭倦哭泣
哦，我厭倦哭泣
莫想阻止我，我的愛如狂風暴雨
橫掃海洋
我會淹你的船員，拆毀你的船隻
因為我的寶貝在等我
因為我的寶貝在等我
我祖父一在告訴她的工頭
人就是人
決不讓機器打敗我
我寧願死在自己手中
是的，我寧願死在自己手中
11.直白藍調 I Do Not Play No Rock’n Roll
四弦震盪，火力全開，勞動量很大的琵琶曲，揮汗之餘還得與管區員警打交道。十年前創作時心中想著藍調的線條，沒想到十年後真的與藍調歌手合作。這首曲子仗勢著音量恢弘周遊列國，不同的音樂家各有詮釋，在這裡新的DNA叫〈直白藍調〉，David是很懂琵琶的。
Yufeng wrote this song as a “pipa player's take” on rock music, which she simply called “Rock ‘n’ Roll”. When I first heard it, playing slide guitar seemed like the best way to accompany her. And every time we play this song, I think of a quote by Mississippi Fred McDowell, who was 're-discovered' during the folk revival in the US in the 1960s. 'I do not play no rock ‘n' roll...I play the straight and natural blues.' Yufeng was gracious enough to let me add this tidbit to the original title of this piece, which is part rock n' roll, part blues, and completely natural for this particular pipa player.
12.風入松 In the Pines
來自19世紀美國阿帕拉契山區的民謠，David用此曲向比爾門羅、鉛肚皮致敬，音樂內容是恐怖謀殺、陰陽穿梭、遊魂尋找，看起來美國古代松樹林的空間使用率也很高。
An American folk traditional sung by bluegrass musicians such as Bill Monroe and made famous by Lead Belly. I was thinking of these two musical heroes of mine while singing on this particular night.
演唱：陳思銘
詞曲：傳統
My girl, my girl, don’t lie to me.
Tell me where did you sleep last night.
In the pines, in the pines.
Where the sun don’t ever shine.
I shivered the whole night through.
My husband was a railroad man.
Lived a mile away from here.
His head was found at the driver’s wheel.
His body ain’t never been found.
My girl, my girl, where will you go?
I’m going where the cold wind blows.
In the pines, in the pines
Where the sun don’t ever shine.
I shivered the whole night through.
My girl, my girl, where will you go.
I’m going where the chilly winds blows.
You caused me to weep.
You caused me to moan.
You caused me to leave my home.
13.無國界 Borderless
這是來自《城市邊界》原聲帶、由我們的朋友Wolfgang Obrecht所創作的曲子，感謝他讓我們無限次反覆吟唱，「無國界」的意涵在「藍。掉」也契合，難怪我們談得來。
A playful piece written by our friend, musician, composer and sound engineer Wolfgang Obrecht for the soundtrack to 'From Border to Border.' I substitute 12-string guitar for the accordion accompaniment originally recorded by Wolfgang, while Yufeng offers a rare display of her vocal talent. Before starting the song, Yufeng announced to the audience she had to take a moment and gather the courage to sing. So I teased her, telling her in Chinese, “Are you ready? No need to be nervous.”
14.藍掉 Fade to Blue
「藍。掉」上路演出之後，我們突然意識到曲子不太夠，某日David福至心靈創作出這首美麗的曲子，在手法上David採用夏威夷滑音吉他的傳統，獻給台灣東海岸的太平洋。當時「藍。掉」計劃名稱剛擬定，David也隨之將新曲稱為「藍。掉」，我以為再完美不過。於是「藍。掉」三位一體就此拍板形成，它同時是歌、樂團、以及專輯名，影視及流行音樂產業局已登記備案。
This became our 'theme song' by accident. Before one of our first performances together, we realized we needed a few more numbers to round out our repertoire, so I came up with this piece with our two instruments in mind. It's my personal ode to the Pacific side of Taiwan and is inspired by Hawaiian slack key music. The song remained title-less until just a few days before a performance, when we had to decide on a set list. Yufeng casually asked me if I was just going to call it 'Untitled' when I happened to notice a piece of paper with the words 'Fade to Blue.' We had already decided on this as the name for our project, but at that moment I realized it would be a good name for the song.
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