After listening to "Exclamation Mark", Du Xinghe spent time listening to Jay Chou's 12th solo album "12 New Works" released on December 28, 2012.

This album is obviously more surprising than "Exclamation Mark", especially the final song "Uklili", which is an absolute highlight. This can be seen from the comments posted by music fans.

One of the posts was written like this, called "I hope your music will not be listened to in vain", which specifically evaluates "12 New Works".

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Let me first talk about two personal opinions about Jay Chou’s records, which are also the entanglements that have been accumulated in my heart over the years.

First of all, Jay Chou’s MV cannot be watched. Whether others agree with this sentence, after Jay Chou has gained control over the part other than his record music since "Ye Huimei", he strongly promoted his so-called dream behavior to his later albums. Of course, this behavior is understandable by his authority, but I think it can only be called a stubborn approach under the influence of curiosity. After participating in a real movie, his confidence in controlling filming has increased. From creative intervening to full power to take over MV, he has become more and more courageous in shooting, so that we see that later MVs are all three major plot types: extreme personal heroism, science fiction virtual time travel, and high school-style love. I believe Jay Chou loves these MVs, but in fact, the actual texture of these finished films and TV products is too far apart from the music he made, and it will even completely drag down the grade of the music works.

And there is another point - for listeners, the sense of picture generated by any song must be diverse and rich rather than single. Even for lyrics like Fang Wenshan, a hundred people will inevitably get a hundred of their own picture sense in their minds by listening to it. However, the mv directed by Jay Chou is often full of irreconcilable narrative, which leads to the music videos he created to be strongly deprived and cover the audience's imagination. This situation may be double-edged, but if you want to achieve good results, you will definitely test your ability and hardware, otherwise it will be a waste of time. No matter what others think, I personally think that the mv directed by Jay Chou has some screenwriter and structural problems, which will hinder the appreciation process and then cannot match the artistic conception of the music, which will eventually lead to the comprehensive

Point deductions. Why do many MV plots in Taiwan and Taiwan are as light as water, even without plots, but they still look quite comfortable? First, because of the fresh soul of Taiwan and Bay, second, it is that mature directors know how to compromise the scope of MV influence on music and will not use the picture to disturb the audience's imagination space and the power of fantasy. But Jay Chou is more inverse in this regard. In my opinion, it is the actual reason for the album "Chinese style repetition" and "no breakthrough in arrangement" in recent years - in fact, those works are not the same at all, and it is obvious. It is just a large number of repetitive and clichéd MV plots that put a series of pattern complexes on these songs, which resulted in the disgust and psychological resistance of most listeners.

So after the MV of "Father-in-law Migraine" appeared, I glanced and pulled the page down. Avoid biased vision and listened to the song itself. A brief glance already knew what this MV could say. The atmosphere, tone and the essence of the narrative were revealed. Although the main body of the story has changed and I no longer become the emperor but the eunuch, I still cannot do without the root of the spoof and unpleasantness. The feeling I got from listening to the music directly is that "Father-in-law Migraine" is such an excellent electronic work, which integrates almost everything belongs to Jay Chou.

The advantages of mature electronic music. Delicate and layered arrangement, ingenious pronunciation, the dispersion and reorganization of traditional instruments in arrangement, as well as the editing and organic connection of the combined sound part - if the dialogue at the beginning can be cut off, it is simply comparable to the "Ninja" level work. However, those who have watched MV will inevitably be impacted by merciless thinking and cannot get their first impression of fitting the rhythm of the music, or objectively evaluating the arrangement. This leads to the prejudice or giving up directly due to the failed spoof.

"Everywhere is You", "Big Ben" and "Smile" can be discussed in one line: emotional explosive power. Although the musical components and emotional colors of the three are not the same, these three songs are actually mid-board works that make a lot of work in short-term explosive singing. The main and deputy "Big Ben" are both very brief. The focus is on the rapid rise and fall of the words and sentences, which are quite memorable; the most important thing about "Smile" is naturally in the chorus gimmick, but the frequency of true and false sounds of men and women is extremely high, and the repeated mirror images are changed.

The role is impressive; while "Everywhere is You" is the heaviest and sad song on the record, which can be understood even if you read the lyrics alone or read the orchestrator alone. The faults between the chorus and the main song are the fuses of the explosion. Once the high notes are not falling, they are integrated into a uniform and balanced rock atmosphere, allowing people to digest at a constant speed without urgency or discomfort. Moreover, "Everywhere is You" also has a touch of the typical lyrical rock charm of the 1990s. The treatment at the end is also very obvious.

The most talented work on the record is "The Larger Cello". In this song, we can hear all the characteristics of Jay Chou's era: his imagination, rich visual effects, ever-changing arrangements, lyrics comparable to novels, humorous atmosphere, retro jazzy atmosphere, mutual assistance between men and women, etc. In this song, you seem to find the shadows of "Indian Old Dove", "Mr. Magic", "Perfectionism", "Free Teaching Video", "Milan's Little Blacksmith" and even "Chronic Spirit", but it is their chemical synthesis of rough and fine, rather than fragmentary straightforward editing. Liang Xinyi is a hero in this song, and the total voice part of the three people in the second half, her voice part and Yang Ruidai were in charge of the opposite of the expected, and it also became the sharpness of the song.

Actually, I have another personal opinion about Jay Chou, which is that I miss his songs that cannot be heard clearly without reading the lyrics. In "Twelve New Works", such works have increased significantly - although it is a joke, it also reflects that the record has finally achieved substantial success, improved texture, and has no disappointment and joy in the expectation. It can still be said that Jay Chou's music has given us real touch and positive influence, and also raised our listening taste to unexpected heights. You can continue to criticize him, but you must also grow up simultaneously and be brave to explore. No matter how ridicule it is caused, just like what Jay Chou did. As long as he succeeds with one step, you should find that you have made progress and gains instead of luck - then these complaints are considered to be without gray hair, these times are not wasted, and these music is not in vain.

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There is another post that Du Xinghe also read, and he thought it was quite pertinent. It was called "Jay Chou's achievements and starting point are too high. What he needs to defeat is himself."

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The greater the ability, the greater the responsibility. This is my most pertinent evaluation of Jay Chou. You might as well make this assumption that in 2000, if Jay Chou did not debut, there would be no such person in the music industry. Just imagine the Chinese music industry. I dare say that it is definitely Korean, Japanese, American, and British music that instantly kills domestic records,,,,

When Jay Chou debuted, he shouldered an unusual responsibility: saving Chinese records. Listen to his first chapter "jay". You will know that his appearance was not as good as the Four Heavenly Kings. He wanted to compete with a singer. He wanted to compete with the entire Internet and foreign music. His starting point was too high, so he won the Golden Melody Award for the best album as soon as he debuted. He bought over 1 million copies as soon as he debuted. So we all used higher standards to measure it. In the past, we judged whether an album was good or not, but we just hoped that the album would be complete, excellent production, and two or three beautiful melodies and pleasant songs would be considered a good album.

When it comes to Jay Chou, our standard is: starting from the conception of the album, we must be novel, leading the trend, overall balance and uniform. Then to the production, we must be absolutely excellent, and at least the best album every year. Then to the singing style, we must try our best to hear it clearly. Then to the melody of the song, we must be good at every song, and we do not waste our ears for a minute. These requirements, I can only say: high is terrible. But what is even more terrifying is: from 2000 to 2008, Jay Chou’s magical things have reached... I dare say that at least every song before Jay Chou’s songs before 2008 had a very good sound. Whether it is the main melody or the accompaniment, there are very strange things. 2007

When "Rainbow" first came out, I always thought it was a simple melody love song with beautiful melody, and that's all. But when I heard the end patiently, when the beautiful accompaniment was turned out, I jumped up excitedly. Just like when I watched Zhang Yimou's "Red Sorghum" before, I started to feel boring and had no highlights, but finally I saw Jiang Wen coming out of the sorghum field with a brazier in his arms, and the simple soundtrack sound of the trumpet soundtrack came, and the impact of life came like a spring. Only then did I think of carefully listening to Jaylen's album slowly, mainly listening to those accompaniments, and each song had a particularly outstanding feature... I gradually realized Jaylen's grasp and careful arrangement of the music.

We found that as soon as Jay Chou debuted, everyone called him the Little King. At first, he compared him with Tao Zhe, saying that he was both R&B. Then he compared him with Leehom Wang, competing for the King of Singers, and competing for the best album. Then Huang Lixing, all of them were unique... Then when he went to Fang Datong, they were all creative talents. Finally, JJ Lin, Luo Zhixiang, Wu Kequn, Cao Ge. Records were compared with Mayday, Jolin Tsai, and so on. Influence was compared with Jackie Chan and Andy Lau. Then when he went to Xu Song in the mainland, he said what to replace Jay Chou and so on. In twelve years, Jay Chou has many more opponents than he has released.

Now let’s look at the situation in the music industry. Jay Chou is still the same Jay Chou. Those opponents may have a little highlight in one aspect and will be taken out to make a big book. For example, it is beyond Jay Chou. But the fact is that Jay Chou is still standing at the highest point. No matter what music event they attend, it is always the finale. Other celebrities say: legends cannot be surpassed or copied.

Tao Zhe will not release the album, Leehom Wang is not good at album, and he can’t make any movies. If you want to say "Love Notice" is good, I have nothing to say. I think "The Secret I Can't Tell" is better than those filmed by academic directors. The truth I tell the truth... JJ Lin is still the little king, Luo Zhixiang continues to jump around on the stage. If you ask him if he can sing past songs, it is still difficult to write "Self-Hypnosis" and composed by Jay Chou.

Jolin Tsai changed her style and dance music became popular, but those who really listened to music were still listening to "Rewind", listening to me 72 times, and hearing about loving you and so on. I feel that Jolin Tsai's highest peak in music was before breaking up with Jay Chou.

Fang Datong is the most pleasant and pleasant song among singers later, but I only think "Thousand Paper Crane" is good for the new album released these days. Some people say "McCandle" is good, but the prelude to McConley is really bad. The first few sentences at the beginning are a bit too crowded. And only this song "Thousand Paper Crane" has the best integrity and listening performance. When you look closely, Fang Wenshan is still writing the lyrics... Recently, Xu Wei has also released an album, a singer I like very much, but I really have nothing to show off.

Let’s take a closer look at the music that Chinese people have recently heard: the most dazzling national style, Jiangnan style. I really want to scold people. You professional music fans, professional musicians, can’t you say something? What else do these songs besides vulgarity?????

Whether you believe it or not, I believe that there will be no next Jay Chou. This Jay Chou’s era is far from the past. Also, please treat Jay Chou with a normal heart. Don’t be shady at any time. Jay Chou’s own songs are unprecedented in quantity and quality, and there are no future generations. Please keep respect. If you don’t like it, please avoid him. But please don’t be shady. Many people are really unreasonable. And they have been shady for 7 years, and they have been shady for seven years. Now, there are unscrupulous media who take off their clothes every day to report. Jay Chou’s brilliant achievements never report, just talk about some tricks to slander Jay Chou. It seems that anyone can find a place where Jay Chou is worse than others, who is the most powerful. Your mother, Leslie Cheung and Jackson, were both harmed by the media. Now it’s Jay Chou’s turn. I’m speechless…

The 12 new work is almost released. I believe Jayne's ability is at least three or four good-sounding.

In addition, there are still seven or eight songs in the original soundtrack of the movie in March next year. I can only say that Jay Chou will rule the music scene for a long time. I am afraid that those who are black Jay Chou will disappoint...

"Mingmingji" is really nice. If you don't believe it, you can listen to the songs on the music rankings first. Don't listen to the classic European and American songs. Just compare them with the current Mandarin songs. I think you have to listen to this song for the last time.

To be honest, Hongchen Inn has nothing new, but the melody is still OK.

The fastest fall is definitely not Jaylen. Wenshan is the fastest, followed by the arrangement, Jaylen's song is still very catchy. Why do you have to do electronic music? "Uklili" has a great accompaniment, but as soon as the electronic music comes out, I collapsed... I find a way to get a version without electronic music and listen to it, everyone in the Internet gods...

In short, look at Jayne objectively. Don’t expect him with the eyes of God. Once he becomes a human, he will feel that he is not good enough.

Jaylen is a match for the flowing water. This is what I want to say.

This is a supplement.

Jaylen's songs have not been enough in recent years, so I've been fascinated by the singers.

The most fascinating thing is Faye Wong. The classic air singing method is, no matter which song it sings, the sound is at least charming. Moreover, Faye Wong's classic songs are really comparable to Teresa Teng. So she has been fascinated for the longest time... (To be continued...)

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Chapter completed!