มาแล้ววว!!!
MV ไม่ใช่คนลำปาง (So Lonely)
Geno Feat.HT_Bryan
Single - ไม่ใช่คนลำปาง (So Lonely)
ไม่ใช่คนลำปาง (So Lonely)
ทํานอง : ปิยพล ม่วงมี (จีโน่ The Snack)
เนื้อร้อง : ปิยพล ม่วงมี (จีโน่ The Snack)
ท่อนแรพ : MC BBGUNZ Bullet Bwoyz & HT_Bryan
เรียบเรียง : Jan Auu jeerawat 691 (จ. จานอู๋ จีรวัฒน์)
เนื้อเพลง
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
มีหนึ่งคน...ที่อยู่ตรงนี้แต่เธอคงไม่รู้
มีหนึ่งคน...ที่เขารอเธออยู่ แต่ไม่กล้าพูดออกไป
ใจเธอมีใครอยู่บ้างมั้ย ฉันเองก็ไม่รู้
หรือมีใครที่เธอรออยู่ โอ๊ยจะบ้าตาย
ในวันนี้ ที่ฉันนั้นได้พบเธออีกครั้ง
ไม่รู้ทำไมหัวใจมันสั่น มันเขินแทบจะบ้าตาย
ต่อจากนี้ ไม่รู้ต้องทำยังไร
เหมือนหัวใจกำลังจะวาย สู้ตายไปเลยแล้วกัน
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันไม่มีใครนะเธอ
ขอฉันขอได้มั้ยเธอ นี่แหละจังหวะเผลอๆ เป็นแฟนกัน
(Rap)
Hey baby girl ตัวเธอนะแม่งโคตรจะ sexy
อยากจะพาเธอท่องไปในยามที่ราตรี
เขาก็บอกว่าเธอนะหวานเหมือน honey
ขอชิม ขอลิ้ม เธอได้มั้ย คนดี
ขอsheเอา ในcarได้มั้ย
ได้ทุกที่ all day all night
แล้วมันจะเป็นไปได้มั้ย
ที่เรานั้นจะมาเจอกัน
ถึงว่าในวันนี้ ฉันไม่ใช่...(คนลำปาง)
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันไม่มีใครนะเธอ
ขอฉันขอได้มั้ยเธอ นี่แหละจังหวะเผลอๆ (เป็นแฟนกัน)
(RAP)
เธอเข้ามาหน่อยได้มั้ย ขยับเข้ามาอีกนิด
เพราะเพียงแค่ได้ใกล้ชิด ก็ทำให้ใจผมสั่นไหว
การอยู่คนเดียวมันโคตรลำพัง ความเหงามีเต็มกระชัง
ทั้งหมดแค่อยากจะบอก ความโสดของผมนั้นมีเป็นลัง
ขนาดยายมียังคู่กับหอย ยายมอยยังคู่กับหมี
i love you already miss u all day และ all night
และมันจะเป็นไปได้มั้ย ที่เราจะคู่กัน
ถึงแม้ว่าในวันนี้ฉันไม่ใช่...
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันมีเพียงแค่เธอ
ขอฉันขอได้มั้ยเธอ นี่แหละจังหวะเผลอๆเป็นแฟนกัน
ขอฉันขอได้มั้ยเธอ แค่อยากจะบอกกับเธอ... เป็นแฟนกัน
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
Produced by : Jan Auu jeerawat 691 (จ. จานอู๋ จีรวัฒน์)
Thk Musician. Recording
Bass:Jan Oangkit Tangcharoen
Drums:Jan nut promnetikorn
Keyboard: Jan Nakarin samangkool
Guitar : Jan Auujeerawat 691Thailand
Tune melody : Jan Auu jeerawat 691
Recorded at J. ban-jert studio thailand ( contact Tel 061-5290555)
Mixed & Mastered by Monthon Dilokchavanis (มลฑล ดิลกชวนิศ)
同時也有18部Youtube影片,追蹤數超過72萬的網紅Warner Music Malaysia,也在其Youtube影片中提到,Hanbyul, Blimey, Daylan - Ku Ada Kamu [Official Music Video] Listen to 'KU ADA KAMU' here: https://wmm.lnk.to/KuAdaKamu #KuAdaKamu #Hanbyul #Blimey...
「lonely day guitar」的推薦目錄:
- 關於lonely day guitar 在 The Snack Facebook 的最佳解答
- 關於lonely day guitar 在 YOSHITOMO NARA Facebook 的最佳解答
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lonely day guitar 在 YOSHITOMO NARA Facebook 的最佳解答
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
lonely day guitar 在 Warner Music Malaysia Youtube 的最讚貼文
Hanbyul, Blimey, Daylan - Ku Ada Kamu [Official Music Video]
Listen to 'KU ADA KAMU' here: https://wmm.lnk.to/KuAdaKamu
#KuAdaKamu #Hanbyul #Blimey #Mbassadors
Composer: Hanbyul, Yi Jinwon
Lyrics: Puteri Fatin Nursyasya Binti Mohd Fozae, Blimey Yerim, Hanbyul
Arranger: Yi Jinwon
Check out the M-bassadors series: 'The story of Hanbyul, Blimey, Dayaln'
https://youtube.com/playlist?list=PLyfSAn8BP3bDqjC-WgjS_2zeXSH_HfFUY
Kenali Hanbyul di:
Youtube: https://www.youtube.com/channel/UCiTjV5d5RZJMerHtbpavoNQ
Instagram: https://www.instagram.com/onestarbyul/
Kenali Blimey di:
Youtube: https://www.youtube.com/c/Blimeywow
Tiktok: https://www.tiktok.com/@blimey.wow
Instagram: http://www.instagram.com/blimeytoyou
Facebook: https://www.facebook.com/wow.Blimey
Twitter: https://twitter.com/wow_Blimey
Kenali Daylan di:
Instagram: https://www.instagram.com/babanggg_/
Lyrics:
[Hanbyul]
Saban waktu (At all times)
Ku lelah merindu (I am always missing you)
oh saban waktu (Oh at all times)
Tak mampu hidup tanpamu (It is hard for me to live without you)
Ku kan terus utuh (But I will try to stay strong)
Dengan cinta hadiah kau berikan (With the gift of love that you gave to me)
[Jade]
Bersamamu (When I am with you)
Damai ku rasakan (I feel peace)
Kau suluh hatiku (You light up my heart)
Sinar kudus kasihmu oh (With your pure love)
Simpan segalanya (I will keep it all inside my heart)
Walau payah ku sematkan di jiwa (No matter how hard it is for me to do so)
Oh~
[Hanbyul]
Teguh berdiri kita (Together)
Bertahan (We could stand strong)
Oh sayang
Kau lah cahaya di hatiku (You are the light of my heart, the light of my life)
[Altogether]
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 빛을 찾아 (Close your eyes and find the light)
우릴 이어줄 바다야 (Take me back to the ocean)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle)
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 빛을 찾아 (Close your eyes and find the light)
우릴 이어줄 바다야 (Take me back to the ocean)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle)
[Dasol]
오늘도 (Today)
시간이 멈춘듯해 (As time stops)
아직도 (I can still remember)
사진처럼 선명한 기억 (The memories clearly)
[Dasol & Hanbyul]
이젠 나 말할게 (I’m telling you now)
너 없는 밤은 끝이 없는걸 우~ (Nights without you are endless)
[Jade & Hanbyul]
이대로 더 견딜 수는 없어 (I can’t stand any longer)
이제 너와 함께 하고 파 (Without you by my side)
[Altogether]
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 빛을 찾아 (Close your eyes and find the light)
우릴 이어줄 바다야 (Take me back to the ocean)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle)
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 빛을 찾아 (Close your eyes and find the light)
우릴 이어줄 바다야 (Take me back to the ocean)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle)
[Jade & Yerim]
새벽이 온다면 난 (When dawn comes)
고요한 오늘밤 (Into the silent night)
외롭지 않을 것 같아 (I won’t be lonely anymore)
[Hanbyul]
우-리- 다시 만-날 그-날 (The day we see each other again)
멈추지 않을 거야 (Time won’t stop)
네 손을 내밀어 줄래 (Would you give me your hand)
[Altogether]
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 빛을 찾아 (Close your eyes and find the light)
우릴 이어줄 바다야 (Take me back to the ocean)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle)
넌 깊은 밤에 빛나 (You’re shining bright in the darkest night)
눈 감아 너를 찾아 (Close your eyes and find the light)
난 빛나는 파도야 (I’m a shining wave)
그 밤에 날 데려다 줘 (Bring me to the night)
ku ada mu u u u (cause I have you)
ku kan setia menunggu (I will try to withstand every obstacle).
Recording Musicians:
-Vocal by Hanbyul, Blimey, Daylan
-Guitar by Lee Seungyoub
-Vocal Directed by Hanbyul
-Chorus by Hanbyul, Blimey
MV edited by: 0.100 Kim
Recorded by: Lee Pyungwook at DF studio
Song Mixed by: Ko Hyunjeong, Assist by Kim Junsang at koko sound studio
Mastered by: Kwon Namwoo at 821 Sound Mastering
Special Thanks To: Jeong Hongrim
A&R: Kim Minjee
Album Art: Hyein Ahn
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lonely day guitar 在 The Snack Youtube 的精選貼文
Single - ไม่ใช่คนลำปาง (So Lonely)
on iTunes: https://music.apple.com/th/album/ไม-ใช-คนลำปาง-so-lonely-feat-ht-bryan-single/1531468443
on Spotify :https://open.spotify.com/album/4Obm93pAvFqPmn6yAnWpEj
Instagram @GNPM
ไม่ใช่คนลำปาง (So Lonely)
ทํานอง : ปิยพล ม่วงมี (จีโน่ The Snack)
เนื้อร้อง : ปิยพล ม่วงมี (จีโน่ The Snack)
ท่อนแรพ : MC BBGUNZ Bullet Bwoyz & HT_Bryan
เรียบเรียง : Jan Auu jeerawat 691 (จ. จานอู๋ จีรวัฒน์)
เนื้อเพลง
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
มีหนึ่งคน...ที่อยู่ตรงนี้แต่เธอคงไม่รู้
มีหนึ่งคน...ที่เขารอเธออยู่ แต่ไม่กล้าพูดออกไป
ใจเธอมีใครอยู่บ้างมั้ย ฉันเองก็ไม่รู้
หรือมีใครที่เธอรออยู่ โอ๊ยจะบ้าตาย
ในวันนี้ ที่ฉันนั้นได้พบเธออีกครั้ง
ไม่รู้ทำไมหัวใจมันสั่น มันเขินแทบจะบ้าตาย
ต่อจากนี้ ไม่รู้ต้องทำยังไร
เหมือนหัวใจกำลังจะวาย สู้ตายไปเลยแล้วกัน
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันไม่มีใครนะเธอ
(Rap) Hey baby girl ตัวเธอนะแม่งโคตรจะ sexy
อยากจะพาเธอท่องไปในยามที่ราตรี
เขาก็บอกว่าเธอนะหวานเหมือน honey
ขอชิม ขอลิ้ม เธอได้มั้ย คนดี
ขอsheเอา ในcarได้มั้ย
ได้ทุกที่ all day all night
แล้วมันจะเป็นไปได้มั้ย
ที่เรานั้นจะมาเจอกัน
ถึงว่าในวันนี้ ฉันไม่ใช่...(คนลำปาง)
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันไม่มีใครนะเธอ
ขอฉันขอได้มั้ยเธอ นี่แหละจังหวะเผลอๆ (เป็นแฟนกัน)
(RAP)
เธอเข้ามาหน่อยได้มั้ย ขยับเข้ามาอีกนิด
เพราะเพียงแค่ได้ใกล้ชิด ก็ทำให้ใจผมสั่นไหว
การอยู่คนเดียวมันโคตรลำพัง ความเหงามีเต็มกระชัง
ทั้งหมดแค่อยากจะบอก ความโสดของผมนั้นมีเป็นลัง
ขนาดยายมียังคู่กับหอย ยายมอยยังคู่กับหมี
i love you already miss u all day และ all night
และมันจะเป็นไปได้มั้ย ที่เราจะคู่กัน
ถึงแม้ว่าในวันนี้ฉันไม่ใช่...
ไม่ใช่คนลำปาง ฉันเป็นคนลำพัง
เธอมีใครหรือยัง อยู่ลำพังเหงาจังเลย
ต้นไม้ยังมีใบ แต่หัวใจฉันมีเพียงแค่เธอ
ขอฉันขอได้มั้ยเธอ นี่แหละจังหวะเผลอๆเป็นแฟนกัน
ขอฉันขอได้มั้ยเธอ แค่อยากจะบอกกับเธอ... เป็นแฟนกัน
โว๊ะ...โอ๊ะโอ่...อู่โว๊ะ...โอ๊ะโอ่...
โว๊ะ...โอ๊ะโอโอ้...
Produced by : Jan Auu jeerawat 691 (จ. จานอู๋ จีรวัฒน์)
Thk Musician. Recording
Bass:Jan Oangkit Tangcharoen
Drums:Jan nut promnetikorn
Keyboard: Jan Nakarin samangkool
Guitar : Jan Auujeerawat 691Thailand
Tune melody : Jan Auu jeerawat 691
Recorded at J. ban-jert studio thailand ( contact Tel 061-5290555)
Mixed & Mastered by Monthon Dilokchavanis (มลฑล ดิลกชวนิศ)
#TheSnack #TheSnackCrew
พวกเราลงคลิปทุกวัน อังคาร พฤหัสบดี และวันอาทิตย์
ถ้าหลงอ่านถึงตรงนี้แล้ว ได้โปรดกดไลค์กดแชร์และกดติดตาม เพื่อดูวิดีโอใหม่ๆของผมด้วยนะครับ
*ติดต่องาน*
Email: Airpond.s@gmail.com
***Facebook Fanpage ***
The snack ► https://www.facebook.com/TheSnackOfficialPage
***สั่งซื้อสินค้าของพวกเรา***
Facebook ► https://www.facebook.com/thesnackcrew
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lonely day guitar 在 ハイサイ探偵団 Youtube 的最讚貼文
きよしTVこと、師匠が綺麗なおんなのひととデートしてるんだが、、、
夏にみんなで盛り上がれる曲を作りました!
タイトルは「Fruits」
各種配信DL&ストリーミング公開しているのでいっぱい聞いてくださいね
↓↓
//////
https://linkco.re/TAZ9YhSa
//////
↓SPECIAL THANKS↓↓
○歌 : よったけ、つーばー、336
○作曲 : HOMARE、トカシキマコト
○作詞:トカシキマコト(Rap Lyric:336)
○Guitar : HOMARE
○Bass:安田 陽
○Recorded & Mixed : 浜里 稔
○Act:前堂ニイナ&ゆうぞう&きよしTV
〇Direction:よったけ
○Camera&Edit:Hama
🟣作曲 : HOMARE
沖縄の才能と魅力を"音楽"をとして世界に発信するチャンネル
▼Nanaironote(ナナイロノート)▼
https://www.youtube.com/channel/UCbOqYjoQUcY6zPWd0nzkFwg
出演 : 前堂ニイナ
🟣インスタ
https://www.instagram.com/niina_maedo/
🟣ツイッター
https://twitter.com/NiinaOkinawa
🟣ライブ配信BIGO LIVE
ID / 425650717
出演:ゆうぞう
🟣YOUTUBE
https://www.youtube.com/c/robocopyuzo
出演:きよしTV
🟣ツイッター
https://twitter.com/d2iknpe1qjbdgsp
撮影協力:カフェレストラン&バー ダブルデッカー
http://www.double-decker.net/
***********************
★☆歌詞☆★
「Fruits」
きらめくbeach
束の間のfree
常夏の島が
踊り出すbeat
繰り出そう
海へと
過去最高の夏にしよう
one nightの宴
浜辺にはマーメイド
君とのstory
始まるきざし
楽園に風が
吹き荒れるstormy
しぶき舞うsummer day
君とつながる朝まで
beach sideに
映るシルエット
心の向くままにjust do it
赤く熟れた果実に
触れて火傷したい
夏の魔物が誘う
アバンチュール
あがりティーダ
激しく燃えて
消えゆく
運命だとしても
君を想うのはナツノセイかな
南風(ぱいかじ)の熱に
絆され
加速する渚のfantasy
小麦色の肌に刻まれた
真夏のfever
沈む夕陽
手には三つ星
常夏の島が
騒ぎだすparty
ほろ酔い気分に身を任せる
キワどい刺激まさに痺れる
Pay attention
燃やすパッション
君を見つけ出し
上がるテンション
君はひとり
佇みlonely
見つめるたびに
ざわつくmy feeling
喧騒を背に
海見てる君に
幻想的なほど
似合うビキニ
急な雨にじゃれる
ふいに見せる笑顔
揺れる理性
烈しい
スコールの下で
君と抱き合いたい
妄想で膨張していく
アバンチュール
美(ちゅら)さ花
甘い香りで
誘うような
素振りを見せても
すり抜けていくのさ
まぼろしのように
ひと夏の熱情に
濡れて加速する
真夏のmidnight trip
小麦色の肌に残された
切ないfever
ほら舞い降りた眩しい光
次第に期待うかがう兆し
行ったり来たり左に右に
波のように
来たいきなり
どうした事態は南の島に
訪れた出会い奇跡に近い
見たいもっと
居たいもっと
知りたい衝動
恋の症状
今日が終わるこの先に
ようは伝えたい真っ先に
笑っていてほしい
出来ればそばに居てほしい
波の音
風の音
君越しで聞きたい諸々
流れるまま行き着くその先は...
あがりティーダ
激しく燃えて
消えゆく
運命だとしても
君を想うのはナツノセイかな
南風(ぱいかじ)の熱に
絆され
加速する渚のfantasy
小麦色の肌に刻まれた
真夏のfever
あがりティーダ
激しく燃えて
南風(ぱいかじ)の熱に
絆され
美(ちゅら)さ花
甘い香りで
ひと夏の熱情に濡れて
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lonely day guitar 在 System Of A Down Lonely Day Guitar Lesson - YouTube 的推薦與評價
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