专辑歌曲：
专辑介绍：
成员两人，乐器三把，团长不唱歌。
DNA波澜壮阔，只有一个宇宙存在。
这不是蓝调吉他，也不是传统琵琶，而是一种全新的音乐状态，充满未知的实验，绝对新鲜的跨界实验。背着琵琶闯世界的钟玉凤，遇上才华洋溢的蓝调吉他乐人David Chen，琵琶与蓝调，三把弦乐，两种相异的文化脉络，多声的音乐文化对话，各自带着强烈的叙事风格与想像，在风雨交骤的热带海岛上，撞击出最生机蓬勃，饶富兴味的混种草根乐。
钟玉凤与David Chen，两人在音乐路上耕耘数十载，各自拥有丰富的创作经历，他们共通的特质是：诚实、自由，且勇于冒险。琵琶来自古老的鲁特琴家族（Lute），是个性分明，叙事性强的独奏乐器。蓝调最早源自非洲，后发展成西方深厚的民谣传统基底，David玩的12弦老吉他，声响层次更为丰富，有一般吉他难以取代的独特味道。“跨界”是乐器特性延伸与探索的新起点，玉凤与David以蓝调开启对话，彼此浸染、渗透，玩出更多琵琶与吉他的想像空间，拓展更自由的音乐边界。
在这个全新的跨界组合里，他们各有新的体验与发现，玉凤说：“蓝调音乐最好玩的一点，就是他们很放松，享受音乐，跟着感觉走，这是以往着重技巧的传统音乐‘玩’不起来的。”两人排练当中，有点枯竭，没有灵感的时候，“David会停下来，开始弹起一段蓝调的即兴，慵懒地，亲密地，漫无目的随指尖闲晃游荡，让音乐带领漫游，然后，转几个弯之后，发现自己到了一个新的地方，有了全然新鲜的呼吸。”
对David而言，时文时武，刚柔并济的琵琶，乍看性格强烈而难以亲近，一旦完全浸透在她独特语汇与美学中，就会发现无限可能。她不用和弦思考，却可以架构出比摇滚更具爆发力的曲式，也可以俏皮活泼地玩起不规则的七拍子旋律，或是忽然奏起气势磅礡的阿拉伯乐曲。David说：“琵琶的音乐里有很多空间，在那里，你可以尽情地去即兴对话，编曲的过程像是奇妙的化学变化，最后，连吉他的音色都发生了微妙的质变。”
2014年秋，玉凤与David从一同创作、酝酿，正式展开浪游，巡演的脚步走过台湾、中国、香港、澳门的街市广场，落脚在大大小小Live House与Cafe，一路边走边唱，指尖上的声响跨越边界，全新的创作在巡游里有机生长。本专辑收录14首“蓝。掉”的在路上的精华现场选辑，以及玉鳯与David妙笔生花的中英文手稿，有掌声，有笑声，有活生生的人与音乐，一切的爱恨情仇，闪避不及的擦枪走火，都在现场的温度中自然发酵，走着走着，越来越蓝，掉入波澜壮阔的蓝色宇宙....
演奏：
琵琶：钟玉凤Chung Yu-feng
演唱、共鸣器吉他、12弦木吉他：陈思铭David Chen
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曲目／歌词、曲介绍：
1.茶与威士忌 Tea and Whiskey
David很早就知道琵琶喜欢D调（小工调，在向他介绍传统时我很克制就此打住，没去瞎扯这个古老名词。），练团时他常把该练的曲子晾在一旁，绕着边边角角弹一些无关紧要的东西，有一天他的slide滑进了D，不断重复，晶盈响亮如天籁，我听了满心欢喜凑上去玩了起来，一起把船打翻，屡屡乐此不疲；当然啦，世界上没有哪个唱蓝调的像他那么爱泡乌龙茶，也没有哪个弹琵琶的像我这么在乎超市里单一麦芽威士忌的价钱。对于我们在此颠覆大家的刻板印象，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年写于开罗博斯坦大街公寓里，当时我已逐渐适应窗外的抗议声、喇叭声，安静的在室内抱着琵琶反复推敲错综的过弦音，“西瓦”是位于埃及西北部的一个绿洲，对我来说阿拉伯音乐在这里与David的吉他滑音一起进入沙漠的烟尘。
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
曲目介绍
纪录片《边界移动两百年》（From Border to Border）主题谈18、19世纪为了躲避战乱贫穷的华人，移民到印度加尔各答的历史，David在参与前期翻译工作时，特别读了同时代在孟买出生的英国小说家鲁迪亚德.吉卜林的游记，从一位长期居住印度的“局外人”来观察印度。鲁迪亚德.吉卜林在文中援引了伦敦诗人詹姆士.汤姆森的诗《万恶之城》来描述加尔各答，有些评论者认为吉卜林是个对加尔各答、孟加拉带有轻蔑鄙视角度的殖民主义者。David在创作时转借了“万恶之城”的诗名，想像这些大时代颠沛流离移民者的心境。
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：钟玉凤 & 陈思铭
作词：陈思铭
演唱：陈思铭
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
水手们在那买醉、哭喊、也咆哮
他们为爱 为悲、为战争而歌
他们为逐梦、为彼岸的家而歌，
一但我离开家 还会再见吗？
这夜之城 当夜灯低垂
这恐惧之城 我无处可逃
一但我离开家 还会再见吗？
我可会长眠于此，我的河、我的故乡？
我父曾醉、曾泣、层啸的河畔
他为爱 为悲、为战争而歌
他为逐梦、为彼岸的家而歌。
4.七拍子 7-Beat Flash
一个想像琵琶奇数拍也很在行的概念。琵琶D转B、过完三条弦再扫四条弦，吉他从B minor（琵琶认为的D）转B major，我们小心翼翼让7感应一切，撑到最后才像植物趋光性那样，不争气的奔回温暖的偶数拍冲向终点，然而一旦体验过节奏的时间差，很难再去单一理解什么是稳定，奇数拍的平衡感很美妙，只要不跌下马背都算赢。
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，于是一切冲突、模糊就在琵琶上产生了，这个调弦起初是为了模仿Flamenco的Phrygian调式，后来就写成了这首歌，琵琶有许多细微的音色变化，David的12弦吉他现此显得相当凄迷，2013年夏天一个生命的离去促发了这首歌，我的好朋友告诉我，音乐是生命的隐喻，我相信是的，这首歌是献给所有未完成的渴望。
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.黑莓盛开 Blackberry Blossom
这首曲子在全世界的蓝草、昔时乐中无人不知、无人不晓，常常被拿来当即兴的曲目，传统大部分用民谣提琴、吉他、曼陀铃演奏，David觉得用琵琶弹应该很好玩，我也这么觉得，尤其最后一段与滑音吉他短跑冲刺很刺激，我们谨献上这首传统歌谣的非传统诠释。
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.传教士蓝调 Preachin’Blues
每次演奏传教士蓝调，总是令我打从心底激赏美国的蓝调传统，每个蓝调乐人的歌词都是一棵老实树，进过监狱的Son House说当传教士可以不用工作，他虽然在房间祈祷，但威士忌和女人已经把他的灵偷走，自白直接成了反讽，解放了虚假，非常人性。音乐上蓝调的调式与琵琶传统相近，但是节奏却很颠簸，喜欢在最后一个16分音符弹跳，这对琵琶有些挑战，我常得留心一下弹挑的顺序，David每次都唱得不一样，听说这是蓝调保留给狂喜的空间，我得把这招学起来才是。
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：陈思铭
词曲：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。我要加入浸信教会。
嘿，我有信仰了。我要加入浸信教会。
我要当一个传教士。
只要如此我就不必工作。
哦，我要传教蓝调福音，
我要大家一起尽情吼叫。
大家一起尽情吼叫。
我将成为一个囚犯，等待时间用尽。
我多希望有一个专属自己的天堂。
我多希望有一个专属自己的天堂。
让我所有的女人有个快乐无比的家。
今早起床。
我遇见蓝调人模人样走过来。
像个好手好脚的人四处蹓跶。
在房间我跪地祈祷。
在房间我跪地祈祷。
但威士忌和女人。
早已偷走我的灵魂。
8.恶魔夺走我的女人 Devil Got My Woman
来自Skip James的歌，分手创伤症候群的歌，疗效无期限，点Repeat自行服用即可，但治好后请别爱上David。
A beloved song by one of my favorite singers and guitar players ever, Skip James.
演唱：陈思铭
词曲：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.
我宁可当一个恶魔。
也不愿意当那女人的男人。
喔，没有人。只有恶魔，能够把我的心肝夺走。
你知道，我昨晚躺在床上。
你知道，我昨晚躺在床上。
我试着睡去。
但我的心却开始流浪。
如同呼啸向西的狂风。
你知道，我很抱歉。我感到如此惭愧。
我竟曾经爱上你。
而你不在带我如往昔。
你知道，我爱的女人。
那个我爱的女人。
那个我爱的女人。
我从最好的朋友那边把她偷过来。
但他很幸运。
他很幸运，又把她夺了回去。
你知道，我的宝贝不喝威士忌。
我的宝贝，他不喝威士忌。
她从不为酒精着迷。
这一次，是恶魔的缘故。
是他改变了我的宝贝的心意。
你知道，我昨晚躺在床上。
你知道，我昨晚躺在床上。
我试着睡去。
但我的心却开始流浪。
如同呼啸向西的狂风。
9.当你安抚我入眠 As You Lay Me Down to Sleep
这首是发行于2013年泥滩地浪人的专辑《宝岛卖药秀》的歌，David与他的浪人们在台北悠悠渡过十几个年头，写了许多漂泊的、溼冷的、难以入眠的音乐，“时间太少，故事还没说完，月光太少，不够引我回家”，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：陈思铭
词曲：陈思铭
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.
你见过夜暗如此吗？
这样的夜只在爱人分离时出现
你见过男人寂寞如此吗？
当你安抚我。安抚我入眠。
我向式海上迷失的水手。
等待天使的召唤。
多么渴望听他们风中吟唱
当你安抚我，安抚我入眠
风在吼，我的手掌冰冷
时间太少，故事还没说完
月光太少，不够引我回家
当你安抚我，安抚我入眠
我年方十八，但此生好漫长
在告诉我一次，你从哪里来
昨日男孩身，明日将消逝
当你安抚我入眠，安抚我入眠
10.冲绳妈妈 Okinawa Mama
也是出自泥滩地浪人《宝岛卖药秀》的歌，一个冲绳、美国混血士兵内心矛盾纠结的故事，我们在此感谢所有现场观众朋友们拍手击掌。
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：陈思铭
词曲：陈思铭
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.
台风猛灌 我们拉小艇上岸
但愿有冲绳妈妈陪着我
护着我躲过暴风雨 躲过暴风雨
上回看她至今，五年已过
那时我的甜心在海边歌唱
她说的话我一个字都不懂
但我知道她爱我\
哦，我知道她爱我
我的祖父是铁路开路英雄
我父亲是水手，葬身在海里
我是忠诚的士兵，卫国奋战
哦，可我的国家不爱我
我的国家不爱我
所以收拾行囊，我将翻山越岭
脑海里挂念冲绳妈妈
我厌倦死亡
我厌倦战争
我厌倦哭泣
哦，我厌倦哭泣
莫想阻止我，我的爱如狂风暴雨
横扫海洋
我会淹你的船员，拆毁你的船只
因为我的宝贝在等我
因为我的宝贝在等我
我祖父一在告诉她的工头
人就是人
决不让机器打败我
我宁愿死在自己手中
是的，我宁愿死在自己手中
11.直白蓝调 I Do Not Play No Rock’n Roll
四弦震荡，火力全开，劳动量很大的琵琶曲，挥汗之余还得与管区员警打交道。十年前创作时心中想着蓝调的线条，没想到十年后真的与蓝调歌手合作。这首曲子仗势著音量恢弘周游列国，不同的音乐家各有诠释，在这里新的DNA叫〈直白蓝调〉，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.风入松 In the Pines
来自19世纪美国阿帕拉契山区的民谣，David用此曲向比尔门罗、铅肚皮致敬，音乐内容是恐怖谋杀、阴阳穿梭、游魂寻找，看起来美国古代松树林的空间使用率也很高。
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：陈思铭
词曲：传统
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.无国界 Borderless
这是来自《城市边界》原声带、由我们的朋友Wolfgang Obrecht所创作的曲子，感谢他让我们无限次反复吟唱，“无国界”的意涵在“蓝。掉”也契合，难怪我们谈得来。
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.蓝掉 Fade to Blue
“蓝。掉”上路演出之后，我们突然意识到曲子不太够，某日David福至心灵创作出这首美丽的曲子，在手法上David采用夏威夷滑音吉他的传统，献给台湾东海岸的太平洋。当时“蓝。掉”计划名称刚拟定，David也随之将新曲称为“蓝。掉”，我以为再完美不过。于是“蓝。掉”三位一体就此拍板形成，它同时是歌、乐团、以及专辑名，影视及流行音乐产业局已登记备案。
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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