新劇《吸血鬼日記》首映集片頭插曲Here We Go
Here We Go
by Mat Kearney
Did you close your eyes as you walked away?
Did I get too close in the pouring rain?
If there's one more chance for us here tonight
I'll take the long way 'round this time
We sing
Oh, love, it's easy if you don't try to please me
If you don't want to see me any more
We sing out...
Oh, oh
Here we go again
I know how I lost a friend
We go 'round and 'round again
Oh, oh
Oh, oh
Bitter is the kiss that says goodbye
I can hear it in your voice, I see it in your eyes
'Cause we've been this low and we've been around this bend
I don't to lose you all over again
We sing
Oh, love, it's easy if you don't try to please me
If you don't want to see me any more
We sing out...
Oh, oh
Here we go again
I know how I lost a friend
We go 'round and 'round again
Oh, oh
Oh, oh
Oh no,
Here we go again
I know how I lost a friend
We go 'round and 'round again
Oh, oh
Oh, oh
Around here
We've got a light here that's not going away
?
So here's my heart I'll give over and over again
[Instrumental]
Oh oh,
Here we go again
I know how I lost a friend
We go 'round and 'round again
Oh no
Oh no
It's a long road baby, running away
Mat Kearney 歌手介紹:能寫善唱的Mat Kearney從在加州大學(xué)讀書(shū)的時(shí)候就開(kāi)始了自己的音樂(lè)生涯,在那里他進(jìn)修文學(xué)而且還是足球隊(duì)的主力球員。完成了三年級(jí)的學(xué)業(yè)后Kearney和他的好友也是后來(lái)的制作人Robert Marvin一起前往了納仕維爾,本來(lái)的目的僅僅是夏季采風(fēng)吸取靈感寫些歌,可出乎意料有唱片邀約,Kearney決定留在田納西隨即開(kāi)始了專業(yè)音樂(lè)生涯,他鐘愛(ài)把Hip-Hop和民謠夾雜入流行的曲調(diào),在2004年Kearney在家獨(dú)立廠牌下出版了第一張專輯《Bullet》,06年加盟了主流廠牌哥倫比亞唱片后第二張專輯《Nothing Left to Lose》問(wèn)世,這張?jiān)诩{仕維爾Dark Horse Studio錄制的專輯,為Kearney稍稍淡化Hip-Hop的押韻,更多的專注于吉他的演奏上,旋律性更強(qiáng)。
在加盟了主流廠牌后推出的第一張專輯《Nothing Left to Lose》,年輕的唱作人Mat Kearney呈現(xiàn)的是糅合John Mayer, Jason Mraz,和U2風(fēng)格的聽(tīng)覺(jué)感受,旋律猶如John Mayer初期的作品,但Kearney熱衷加入Hip-Hop強(qiáng)化節(jié)奏的押韻感,他則在輕輕哼唱的副歌和Rap演唱間自如交錯(cuò)。同時(shí)他演唱時(shí)表現(xiàn)出的真摯隱忍又讓人不禁聯(lián)想到Chris Martin或者是早期的U2,涵蓋《Nothing Left to Lose》中的十幾首歌曲,無(wú)論是Kearney的聲線還是回復(fù)段的吉他演奏都能讓人覺(jué)得極似Coldplay,尤其是"Crashing Down"和"In the Middle"的鋼琴演唱部分。聽(tīng)Kearney的音樂(lè),是一種感受新興音樂(lè)的體驗(yàn),既有成人另類流行樂(lè)的通俗又不乏學(xué)院派演出的嚴(yán)謹(jǐn),Kearney的音樂(lè)是迎合大眾的,即使有點(diǎn)過(guò)激的Rap,也被他處理得工整。
Kearney從不自詡是另一個(gè)Jason Mraz,專輯中無(wú)時(shí)無(wú)刻不體現(xiàn)的是演唱者的真切和嚴(yán)肅,但對(duì)于Kearney來(lái)說(shuō)要面對(duì)的是一個(gè)猶如阿契里斯之踵般的弱點(diǎn),一種固有的羞怯和謙虛,讓他總是呈現(xiàn)哀傷和過(guò)于自我專注。拋開(kāi)隱藏的哀怨情緒不談,Kearney的音樂(lè)還是討人喜歡的,多虧了他那鄰家男孩版的嗓音和干凈有干勁的信條。關(guān)于《Nothing Left to Lose》,作品水準(zhǔn)不品均是年輕歌手很難避免的弊病,尤其是難以把握的Rap和民謠流行曲、情歌的比重, 稍不留心即影響了給人的優(yōu)雅感?!禢othing Left to Lose》中過(guò)半的歌曲其實(shí)是那些定位Kearney為未來(lái)之星曲目的重新混音版本,尤其適合那些覺(jué)得近來(lái)John Mayer過(guò)于猛烈,Coldplay過(guò)于冷淡藝術(shù)性的聽(tīng)眾。