When Du Xinghe took Fang Yajun into the recording studio, Duan Xiaoxuan and He Miao, two guys who like to be lively, were excitedly distributing headphones to everyone.

As soon as Du Xinghe entered the house, he was greeted by everyone's expectations and cheers, including the mature and steady Zhao Yi (34 years old), who couldn't wait to listen to Du Xinghe sing.

In the cheers of everyone, Wei Yimin smiled bitterly and spread his hands to Du Xinghe, saying that he was also a little helpless in the face of such a scene.

Du Xinghe didn't care, since everyone wanted to hear it so much, he listened to it for them, but given that the staff of the media and public relations department were generally very young, all young people in their early 20s, he expected that these people should not be able to hear the true taste of this song.

Don't waste more time outside the recording room, after Wei Yimin instructed a few words to make everyone quiet when recording songs, Du Xinghe entered the recording room with Fujiao wine.

Outside the soundproof glass, He Miao equipped Fang Yajun with a monitor-level headphone, only Fang Yajun and the two recording engineers sat in front of the mixing console, listening to Du Xinghe's recording with the best headphones in the best position, including the rest of the Old Boy Band standing behind the recording table to listen to the song.

After Du Xinghe entered the recording room, he closed the door, and the space inside seemed to be isolated from the outside, and they could see that the people outside were laughing, waiting, and expecting, but they couldn't hear any sound. He had already experienced the soundproofing of this new recording studio, which can only be described as perfect.

In the quiet to quiet environment, Du Xinghe noticed a small detail, He Miao, who was sitting in the middle of the mixer. Secretly glanced at Fang Yajun, who had sunglasses on her left and put them on top of her head, probably because the goddess next to her was too beautiful and amazing in reality, she actually blushed after peeking, as if she had really become a boy, and after seeing the beauty she liked, she blushed shyly.

This little episode made Du Xinghe smile knowingly, he didn't have the energy to explore what He Miao's tomboy's sexual orientation was like. Now in the sacred recording studio, he was going to devote himself to recording the first song in this plane.

In the silent and surprised eyes of everyone, Du Xinghe opened the old wine in the cellar and poured two sips of wine on his neck. Let the strong smell of alcohol fill the whole body. Then he exhaled a good breath and came to find the state.

Fang Yajun, who was watching outside the recording studio, thought helplessly, there should be no one else recording in the recording studio today. Because it must have been drunk by Du Xinghe. No one else can record a song at all.

Fang Yajun really didn't expect it. The genius Xiao Du will have such a vulgar problem, and he has to use spirits to open his voice.

In Fang Yajun's impression. Among the top singers, including the Ten Kings and Ten Queens, there seems to be no one who has such a bad problem that harms their voices. This habit is mostly prevalent among some singers who do not enter the stream or give up on themselves after entering the stream.

Du Xinghe usually takes care of his voice so much, but he also has such a bad habit, Fang Yajun is very surprised, looking at Du Xinghe's calm appearance, he definitely doesn't drink spirits to relieve tension, this guy seems to have never been nervous in the world of music, he has always been so leisurely, extremely confident.

He drank spirits before singing, it must have been used to open his voice, why did he have such a bad habit?

looked at the "Ordinary Road" song sheet she just got in her hand, Fang Yajun had passed the melody of this song in her mind, and after reading it in combination with the lyrics, she seemed to understand something, but she couldn't be sure.

This song was obviously written by someone who "came over", just like most of the profound songs made by Du Xinghe.

She could not believe that the works were written by a boy as young as 17 years old.

can see the vicissitudes of life revealed by the red silk on Du Xinghe's eyeballs after drinking, and she has to believe that these works are written by this boy who climbed back from the death line of a car accident.

Just by looking at the content of this song, you can see that this guy has obviously experienced more things than others.

In fact, Yajun has had this kind of question since a long time ago, after Du Xinghe's car accident, has she experienced a life that ordinary people can't imagine and speculate, just like some of the brain-opening fantasy novels she once read.

Xiang Shaolong, the protagonist of Du Xinghe's novel "Searching for Qin", is a modern person who was bombed back to the Qin Dynasty by scientific reality. Du Xinghe can have such a creative idea, is it because he himself has some magical encounters?

Could it be that he ran away to another time and space after the car accident and lived for a long time, and then returned to the current child's body?

If not, it's just a family tragedy, how did it make him become vicissitudes of life like a little old man?

Fang Yajun's mind was chaotic, but these were just some reverie, just like she always fantasized that there were immortals in this world who could fly directly to outer space, it was just a feeling of satisfaction that she had obtained from her own thoughts and lust that could be explained.

In real life, how could she believe that Du Xinghe was crossed?

At least today in 1993, she would rather believe that Wang Mang was traversed, that Tesla was traversed, and that Du Xinghe was traversed.

Du Xinghe in the recording room, after drinking, his spirits were greatly lifted!

The whole person entered a familiar recording state.

However, to record this song "Ordinary Road", he can't let himself be too excited, even if he is in a mood now, he is indeed very excited, after all, he is going to record the first song of this plane. But the main tone of the song is not meant to convey a sense of excitement. Therefore, Du Xinghe must adjust his mentality.

He's going to put himself into the song.

Before recording, Du Xinghe silenced himself, did not wear a recording headset, but first stood quietly behind the microphone, closed his eyes and replayed the Pu Shu version of the song "Ordinary Road" in his mind, looking for the soul of the original creator of this song, combining original thoughts and his own thoughts with reality, so that the two collided with sparks, so that this song can really be recorded into a perfect new version.

……

Wandering ~ on the road ~ are you going to go ~ via ~ via ~ Fragile ~proud~ that used to be what I used to be ~

……

Boiling ~ restless ~ where are you going ~ via ~ via ~

The mystery is like ~ silent ~ are you really listening to the story~

……

I have crossed mountains and seas~ and also crossed mountains and seas~

I used to have a qiē ~ floating like smoke in the blink of an eye ~

I was once lost~disappointed~lost all directions~

Until I see the ordinary, the only answer~

……

But you're still fantasizing about ~your tomorrow~via~via~

Will she be okay ~ or worse ~ another day for me ~

……

I once ruined my one qiē ~ I just want to leave forever ~ I once fell into the boundless darkness ~ I wanted to struggle and couldn't extricate myself ~

I used to be like you, like him, like the weeds and wild flowers~

Desperate and longing~ also crying and laughing ordinary~

……

Go forward~just go like this~

Even if you've been ~given something~

……

Go forward~just go like this~

Even if you're ~taken away from something~

……

Go forward~just go like this~

Even if you will ~ miss something~

……

Go forward~just go like this~

Even if it will~

……

I have crossed mountains and seas~ and also crossed mountains and seas~

I used to have a qiē ~ floating like smoke in the blink of an eye ~

I was once lost~disappointed~lost all directions~

Until I see the ordinary, the only answer~

……

I once ruined my one qiē ~ I just want to leave forever ~ I once fell into the boundless darkness ~ I wanted to struggle and couldn't extricate myself ~

I used to be ~ like you ~ like him ~ like the weeds ~ wild flowers ~

Desperate and longing~ also crying and laughing ordinary~

……

I have crossed mountains and seas~ and also crossed mountains and seas~

I've asked the whole world ~ and never got an answer~

I'm just like you~like him~ like the weeds~wildflowers~

In the dark~This is the only way I have to go~

……

Time is silent~So so~Tomorrow is just around the corner~

The wind blows ~ the road is still far ~ where is your story ~ ……

The song "Ordinary Road" sounded in his mind again, and Du Xinghe once again had an understanding of this song in his heart.

No doubt. As soon as this "Ordinary Road" appeared in the previous plane, it immediately became a divine comedy in Wen Qing's heart.

But to move to this plane, the impact of this song, in this era, should be very subtle.

The reason why this is so is that there are huge differences in the social forms of the two planes, and there is also a great deal of surprise in what people accept and what they think.

In the last plane, "Ordinary Road" is a creative single released by Pu Shu 10 years after he has been out of the music scene, and it is just in time for a season of good voices. It also coincided with an era of diversity. Therefore, his "ordinary" work, therefore, has a feeling of freshness in such an impetuous era. In this plane, there is obviously no such external environment as zài.

Speaking from the heart. The song "Ordinary Road" looks at it from a musical level. It's not an extremely successful classic. However, the "ordinary" song has encountered an extraordinary era, which is destined to be extraordinary.

Not to mention this era in this plane. If "Ordinary Road" is placed in the early 21st century of the previous plane, it must also be the most inconspicuous work in Pu Shu's album, listen to "September" and "Train to Winter", the two songs that were abandoned by his first album and not used, you will know that "Ordinary Road" is likely to suffer this treatment.

However, it is precisely because of the music environment and social environment of the previous plane that too many brainwashing divine comedies have sprouted, or works that emphasize treble without emotion, and remake zuò without melody, those humanistic qualities in "Ordinary Road" have been infinitely amplified because of the mediocrity of the "opponent".

In terms of creation, "Ordinary Road" is not a consumer song. As long as you are familiar with Pu Shu, you can find that the song actually has a creative connection with his old works in his early years. It's honest and open. As for the pursuit of this song by the eager fans, there is no lack of herd mentality, but the simplicity and purity of some details can really resonate.

The humanistic feelings in this song can evoke the smoke of many post-75s and post-80s in the previous plane, and many people were moved to tears when they listened to "Ordinary Road". Not only because of the charm of the song itself, but also because they weep for their youth and ideals.

It's hard to say how much of this effect can be in this plane.

Moreover, in the previous plane, "Ordinary Road" is more successful in its marriage with movies and Han Han.

Movies have a much larger consumption platform than music in the previous plane, and Han Han's extremely high popularity, coupled with the spread effect of the Internet, have benefited this song because of multiple crossovers. However, this has nothing to do with the music itself.

At this moment, I listened to Pu Shu's "ordinary" singing voice in my head. Du Xinghe recalled a lot of his relationship with Pu Shu.

I remember when I was on the last plane in October 2012. He went to Shanghai to see a performance, which was a concert called "Trees and Flowers" by Pu Shu and Zhang Hang on the Shanghai Grand Stage.

Although both of them are folk singers, their temperaments are very different.

At that time, Zhang-Hang's demeanor was natural and kind. has a qiē quality that a Taiwanese pop female singer should have. And Pu Shu is in the time outside of singing. It's hard to even finish a long sentence fluently, and when he speaks to the audience, it's like talking to himself in the mirror. Keep encouraging and communicating with yourself, as if this is the only way to support him to sing this half of the concert.

And Du Xinghe, who was in the audience at that time, wandered in the special musical feelings of the two people, except for the word happiness, there was no other feeling.

Although he has admired so many musicians, only Pu Shu and Jay Chou are the two musicians who grew up with him during his adolescence and have the most special significance to him.

Therefore, he has special favor for Pu Shu's songs.

After coming to the new plane, the first batch of songs he registered included all of Pu Shu's published and unpublished songs.

Thinking back to the last plane in 1999, Mai Tian Music released the "I Go for Two Thousand Years" that shocked the mainland music industry, different from Ye Bei's "Age of Innocence", as a white album in the "Red, White and Blue" trilogy, "I Go for Two Thousand Years" should have been a swan song of campus folk songs, but due to Pu Shu's strong personal style, it has a very heavy rock color.

As for Pu Shu himself, he shouldn't care if he does campus folk songs or rock, he just writes the words he wants to say most in his heart and makes the tunes that naturally spring up in his heart.

Ten songs on an album, remove the first song "New-Boy", you can clearly see what kind of teenager Pu Shu is in his twenties.

The beautiful times that have passed, the vast unknown road ahead, the impetuous and noisy era, and the indifferent and numb world are his most important cognitions at that time.

Therefore, he indulges in the past and cannot extricate himself ("Those Flowers"), he resists growth and has to grow ("Journey"), he rejects the adult world ("Alive"), but still retains a glimmer of hope for the future ("Don't, Don't"), he walks and retreats in the trend of the times ("I Go for Two Thousand Years"), and in the deepest part of his heart he still hides the purest soul, and only there is the real destination ("Summoning").

So he grieves, he contradicts, he struggles, he despairs. He has the common rebellion and simplicity of adolescent children, but in those youths, there are few people like Pu Shu, who collide so fiercely in their hearts, magnifying these feelings several times and dozens of times, so that people can hear the so-called cruelty of youth, many times not because of what happened, but simply because growth itself is so cruel!

Pu Shu in "I'll Go for Two Thousand Years" is obviously a Pu Shu who is not mature enough in his musical life and life outside of music, but it is precisely because of this immaturity that his music is particularly touching.

Even if the latest electronic instrumental music is used, even if the original song "The Long-Lost Sea" is abandoned, as soon as Pu Shu's singing voice appears, people can still see his naked heart, a heart full of thorns but full of trauma, self-enclosed but almost transparent.

In "I'll Go for Two Thousand Years", the immature Pu Shu left too many problems or contradictions, which were left to Pu Shu to solve in the future, because no matter how he resisted and resisted, youth would eventually pass away, growth would eventually come, and the world would eventually rush with him, and how should Pu Shu at that time face this qiē? Is it the fierce head collision in "Alive", or the ambiguous toying in "I'll Go for Two Thousand Years" chasing me, the optimistic waiting in "On the Field of Hope", or the endless cold and loneliness in "The Journey". Until he was "called" back to the vast tree-lined road?

In 2003, Warner Records released the album "Born Like a Summer Flower", which was not available for four years.

At that time, Du Xinghe was still a student of Western classical music, and he had not systematically studied pop music, but he already had his own perception of pop music.

At that time, he already had a special feeling and self-interpretation of Pu Shu's music, listening to the previous "I Go for Two Thousand Years", and then listening to the new album "Born Like Summer Flowers", he always had the urge to throw "Born Like Summer Flowers" into the trash.

This is not because "Born Like a Summer Flower" is not good - in fact, the music written by Pu Shu never disappoints - but because the album "Born Like a Summer Flower" has almost no response to the questions left over from "I Go Two Thousand Years".

Four years have passed. Thirty-year-old Pu Shu. What kind of attitude is there in the face of the world, and what kind of perception do you have in the face of the growth you have experienced. Didn't hear.

Or maybe it's not that Pu Shu didn't sing it. It's Pu Shu's truest thoughts. Hiding behind the music, I want to get in touch with his closed heart through these beautiful melodies. There's no way, he didn't plan to show you.

At that time, Pu Shu said: "My album is even more desperate than the previous one." Du Xinghe didn't understand the meaning of this sentence at the time, and later he thought that it might be because Pu Shu was deliberately evading - Pu Shu four years ago could still directly dissect his contradictions and pains to show others, but Pu Shu four years later could only avoid talking about it.

Since he escaped, it shows that his heart has not solved the problems of youth - those problems may be just small episodes of youth for others, and they have long forgotten everything by the age of thirty, but this is not the case for Pu Shu, who is still in the midst of violent conflicts, and may even be more autistic than four years ago, so although he has made such good music, it does not relieve his pain in the slightest.

Perhaps many people are not aware of the fact that Pu Shu has a very strict depression.

In the mainland music scene of the previous plane, Pu Shu is actually not the only one who has depression.

After the publication of "That Year", Xu Wei also fell into depression, and after getting rid of depression, he made "Time? Walk" is a record that reached its pinnacle in musical prowess.

The knot is not terrible, but the fruit after untying the knot is very exciting.

It's just that for Pu Shu, he has been waiting for ten years!

In the past ten years, Pu Shu has not been without action, in the last plane in 2007, he and Liu Xuan participated in the famous show of Ma-Bowl Station.

In fact, the later results proved that this was a mistake, and Pu Shu was not suitable for entertainment-oriented TV stations like the toilet station at all. In the show, he and the judges had a fierce verbal conflict, which made people see that he was still the one who insisted on himself; After the show, he became seriously ill and bedridden, but looking back, this was just a small episode, perhaps because of this illness, Pu Shu understood the preciousness of life better.

In July 2014, the month of Du Xinghe's crossing, Pu Shu's new song "Ordinary Road" finally came out.

Countless people are sighing: After saying goodbye for ten years, Pu Shu is finally back.

However, for fans like Du Xinghe who have been paying attention to Pu Shu's music for N years, this is more like a reunion after a long absence of fifteen years.

I don't know how much Han Han played a role in the lyrics of this song, but Du Xinghe analyzed from the perspective that he could see, almost every sentence in "Ordinary Road" is Pu Shu's response to "I Go for Two Thousand Years" fifteen years ago, if Han Han plays a leading role in the creation of the lyrics, then I have to admire his amazing understanding of Pu Shu.

At the time of "I'll Go for Two Thousand Years", because the feelings in Pu Shu's lyrics were too strong, the general audience was more moved by this feeling, and it was difficult to notice that Pu Shu was actually a genius composer.

It wasn't until "Born Like a Summer Flower" that his amazing talent in composition was shown to the fullest. Pu Shu's tunes and his lyrics have common characteristics, scattered culture, flowing water, casual, naturally composed into a good melody, Pu Shu does not deliberately pursue rhythm, but "Susan's Dancing Shoes" and "Proud Colonel" prove his ability to manipulate rhythm changes.

Speaking of "Ordinary Road", the tune of the entire chorus part is indeed a bit bland.

"Ordinary Road" is very reminiscent of another of his songs, "Journey".

"Journey" is like a fable, judging from the tone of the entire album of "I Go for Two Thousand Years", it also carries the fear and loneliness of a child who is about to become an adult in the face of an unknown future. (To be continued......)