關於 best rhythm guitar songs ，我們在網路上蒐集到這些相關的討論、資訊與評價

完整版在youtube 🔍林子安AnViolin
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第一次聽到這首歌的時候就上鉤了～～～
不愧是Ed Sheeran口中最適合走在婚禮走道上的歌，清澈嘹亮的聲線加上背景的吉他、鼓、鋼琴和其他配樂的節奏，好像跟隨節奏的重拍，我們走進浪漫星空之中，在點點星光下感受另一半的心跳，看著另一半的笑眼，即使不說話也知道每一拍心跳代表的意義，再也沒有比這樣更浪漫的事情了吧！
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台北的夏天夜晚，送給大家小提琴詮釋的柔情溫暖卻又輕鬆愉快地翩翩起舞的歌😉
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請分享訂閱我的Youtube頻道保證讓你享用全糖也不發胖，喔對！也保證籌備婚禮歌曲絕對順順順。如果喜歡我的cover，記得在Youtube按讚留言分享，也可以告訴我想聽我cover什麼作品。
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歡迎大家在沒有下雨的週末到信義區香堤大道，聽cover歌曲的live版！詳細演出相關資訊，都會更新在我的限時動態！⠀
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I was hooked to the song when listening to it at the first time.
The modulated voice of Ed Sheeran accompanied by the rhythm n melody of the guitar, drums, piano and others in the background make this work a masterpiece.
No wonder Ed Sheeran said this song is the best song for walking down the aisle.
It was like with the song goes on, we are taken to the place where all we can see is the starry sky and we feel our loved one's heartbeat under the starlight, looking into his/her eyes smile from the cheeks and know the meaning of each heartbeat even if you two don't utter a word.
There is no more romantic love than this, right? 😉
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Feel free to come to Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out on my Instagram stories! ⠀ ⠀⠀ ⠀
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小提琴 Violin: 林子安 Lin Tzu An
攝影師剪接師 Photographer & Film editor：@santon.w
文字編輯 Social media editor/manager：Lily Wu
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@teddysphotos
#子安在哪裡
#子安在Youtube頻道coverThinkingOutLoud
#走在婚禮走道上的歌
#婚禮必備
#婚禮請找我
#求婚請找我
#婚禮歌單王
#婚禮有子安保證一切甜
#建議林子安遷戶口到台南
#暖男子安已幫大家準備許多婚禮配樂
#暖男在台北的夏天感覺有點太熱了
#EdSheeran
#ThinkingOutLoud
#ThinkingOutLoudViolin
#EdSheeranViolin
#AnViolin
#instaAnViolin
#林子安
#街頭藝人
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#XinYiViolin
#violin
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#lintzuan
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#wherestzuan
#cover
#coversong
#violincover
#instacover

31号要去哪里玩呢？
我会和Green Market一起在Puteri habour，来跟我们一起倒数吧！

Come and celebrate 2017 with us at Puteri Harbour with a host of fabulous performances as well as bazaars and special triple fireworks.

Event: 2017 Puteri Harbour new Year’s Eve Celebrations
Date: 31 December 2016
Time: 2pm to 12am (Performances starts at 8pm onwards)
Venue: Puteri Harbour, Iskandar Puteri, Johor

FREE ENTRY

PERFORMANCES

Joe Flizzow
Joe Flizzow is a Malaysian rapper, producer and songwriter. A pioneer and industry leader of the hip-hop music scene in his home country, Joe Flizzow is also widely regarded as an influential figure in Asian hip-hop. He began career as one-half of the groundbreaking hip-hop group, Too Phat, releasing 4 studio albums and 4 compilation albums. In 2009, he embarked on a new career as a solo artist with the release of his debut solo studio album "President". This critically acclaimed album garnered Joe Flizzow multiple music industry and personality awards. Joe Flizzow also has interests in a music label (Kartel Records) which he founded in 2005. Kartel Records has since grown in a multi-genre music label with interests in music publishing, song/video production, talent management and lifestyle products.

Darren Ashley
Darren Ashley is a music composer with Malaysian roots. Jumping into the music scene as a drummer for Busco, he is now venturing into original compositions as a solo performer. A master of electropop, Darren has risen from his time in Busco to become a star in his own right. The best part about it is that he does so with his tongue firmly in his cheek and dry wit, as you’ll see here. Growing up in Kuala Lumpur, Sarawak, and Thailand, he was blessed to have a variety of musical influences from everywhere.

Salam Musik
Salam Musik is a band from Malaysia that was founded in 2006. The band is known for its new and music rhythm combined with elements of modern culture. The name of the band, Salam Musik, combining the two words "Peace" and "Music". Their first album titled "Salam Music" received the Anugerah Industri Muzik 19th for "Best Album" in 2012. Salam Musik’s stage appearance is related to the application of Malay traditional clothes during the show as a way to reflect the unique culture of Malaysia at the international level.

Nading Rhapsody
Members of Nading Rhapsody have participated in various music festivals such as Penang World Music Festival, the Rainforest World Music Festival, International Gong Festival, Malacca World Heritage Music Festival and other involvements locally and internationally. Nading Rhapsody is an Avant-Garde Borneo Ethnic Music band. The young musicians are Boy Keevin (Composer / Bass Guitar), RaWa (Ruding / Acoustic Guitar/ Sape’), Yen (Tribal Percussion), Roy (Lyrics / Vocal / Chants), Christ (Lyrics / Vocal / Dance) and Opah (Vocal / Chants). Their music presentation is a unique cross-cultural and fusion of folk songs, ritual chanting, lullabies, myths, stories of ethnic groups in Sarawak and Contemporary music with a new and different arrangement. The band has also composed a few original songs with an injection of various ethnic elements.

Etnography
A contemporary fusion band from Malaysia.

Muniros
Muniros is a local based instrumental band consists of musicians with over 30 years of experience in the industry and playing mainly in smooth jazz and fusion rock.

The Sound of Bangsa Johor
A cross-cultural drumming initiative featuring Chinese, Malay, and Indian drummers; in which drummers will present their own traditional drums as well as to experience and collaborate drumming from other ethnicities.

Other highlights include:-
Port of Call Bazaar
Johor Green Market
Food Trucks
Special Triple Fireworks

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….

Connect with Huan Huan
‣ Instagram ｜https://www.instagram.com/huanhuantw/
‣ Facebook | https://www.facebook.com/HuanHuanTW/
‣ Bandcamp | https://huanhuan.bandcamp.com/
‣ Twitter | https://twitter.com/huanhuantw

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主演 Starring | 任敏嫻 Daphne Jen
主演 Starring | 楊哲維 Peter Yang

製片 Producer | 陳品佳 Cookie Chen
製片 Producer | 陳詠雙 Chen Yung Shuang
製片助理 Production Assistant | 江秉彰 Jiang Bing Jhang
製片助理 Production Assistant | 陳祐民 Chen You Min
製片助理 Production Assistant | 黃子晏 Huang Tzu Yen

導演 Director | 黃元懋 Huang Yuan Ｍao

攝影指導 Director Of Photography | 陳貞文 Michaha
攝影大助 1st Assistant Camera | 劉晉源 Jin Yuan Liu
攝影助理 Assistant Camera | 丁智盈 Chih Ying Ting
攝影助理 Assistant Camera | 鄧欽豪 Qin Hao Deng

燈光指導 Gaffer | 萬又銘 Youming Wan
燈光助理 Best Boy | 陳覺安 Chen Jue An
燈光助理 Best Boy | 曾鈺展 David Zen

美術指導 Art Director | 許耕維 Geng Uei Hsu
美術大助 Set Decorator | 孫興筠 Audrey Sun
美術協力 Art Assistant | 林泰佑 Lin Tai You
美術協力 Art Assistant | 郭毅賢 Kuo Yi Hsien
美術協力 Art Assistant | 劉宇庭 Liu Yu Ting

服化 Costumer ＆ Makeup | 魏雅鮮 Wei Ya Hsien

剪接 Editor | 黃元懋 Huang Yuan Ｍao
調光 Colorist | 江偉 Will Chiang ＠萬事屋影像制作

劇照 Still｜溫肇鈺 Easen Wen

攝影器材 Photographic Equipment | 蜻蝏製作
燈光器材 Light Equipment | 仙人掌影業

場地協力 Location | 喬迪親子動動館、加減工作室

特別感謝 Special Thanks |
梁元瀚
李婉寧教練
蜻蜓製作 小闕
DC 杜彥豪
黃安
呂紹凡
張詔崴
李唐宜
陳亭妤
胡芮萍
緩緩樂團

_

水可以去任何地方 Water Can Go Anywhere

詞/曲 | 蕭戎雯
Songs & Lyrics written by Coco Hsiao
編曲/演奏 | 緩緩
Arranged & Performed by Huan Huan

Lyrics:
我用笨拙的模樣 I put on a foolish appearance
想接近成熟的形狀 To come across as more mature than I really was
我做了好多努力 I worked quite hard to do it
有時顯得多餘 Sometimes it was a bit too much
但不需要你的可惜 But I don't need your pity

他說把杯子打破吧 He said go on, it's all right, break the cup
水可以去任何地方 Water can go anywhere
要一個眼光 You don't need anything except your own vision
只屬於我那樣 to be who you want to be
無需假裝 There's no need to pretend

奮力上游 I push upstream with all my might
想擁有從容不迫的臉孔 I try to stay composed, keep a brave face
但 海潮洶湧 But the tide is ferocious
我該怎麼做 What do I need do
才能夠存活 To survive
我能否看清 Will I be able to see clearly
事情的經過 And get through this?

他說把杯子打破吧 He said go on, it's all right, break the cup
水可以去任何地方 Water can go anywhere
朝新的方向 It always finds new directions
從不存在過那樣 There will always be another void
慢慢有光 from which light starts to appear

奮力上游 I push upstream with all my might
想擁有從容不迫的臉孔 I try to stay composed, keep a brave face
但 海潮洶湧 But the tide is ferocious
我該怎麼做 What do I need do
才能夠存活 to survive?
我能否看清 Will I be able to see clearly
事情的經過 And get through this?

我能否看見 Will I be able to see
自己的輪廓 my own silhouette?
還能去追求 Will I be able to catch
真實的悸動 the true rhythm of the heart?

_

製作人 Producer | 蕭戎雯 Coco Hsiao
配唱 Vocal Director | 徐振程 Jason Hsu
主唱 Lead Vocal | 蕭戎雯 Coco Hsiao
爵士鼓 Drums | 彭一珍 Yi Jen Peng
電貝斯 Electric Bass | 黃柏豪 PauL Huang
吉他 Guitar | 蕭戎雯 Coco Hsiao
打擊 Percussion | 彭一珍 Yi Jen Peng
合成器 Synth | 蕭戎雯 Coco Hsiao
和聲 Background Vocals | 邱厚文 Hou Wen Chiu
和聲 Backing Vocals | 蕭戎雯 Coco Hsiao
剪輯 Editing | 徐振程 Jason Hsu
錄音師 Recording Engineer | 黃榮毅 Eazie Huang、李詠恩 Joshua Lee (荒原錄音室 The Wasteland Studio)、Andy Baker (玉成戲院錄音室 YuChen Studio)、徐振程 Jason Hsu (玉成戲院錄音室 YuChen Studio)
混音師 Mixing Engineer | Andy Baker

บทเพลงแทนใจจาก 'แอ๊ด คาราบาว' ที่บอกเล่าเรื่องราวชีวิตการเดินทางบนเส้นทางสายดนตรี ตั้งแต่วัยเยาว์จนถึงปัจจุบัน ซึ่งเพลงนี้มีความพิเศษตรงที่มีการผสมผสานระหว่างเนื้อเพลงภาษาอังกฤษ และภาษาไทย ได้อย่างลงตัว

จากปลายปากกาการสร้างสรรค์โดย ทิวา สาระจูฑะ และ ยืนยง โอภากุล

#MySong #AddCarabao #Carabao

【 CREDITS 】
Lyricist : ทิวา สาระจูฑะ, ยืนยง โอภากุล
Composer : ทิวา สาระจูฑะ, ยืนยง โอภากุล
Producer : ยืนยง โอภากุล
Vocals : ยืนยง โอภากุล
Guitar : โอฬาร พรหมใจ
Bass : สุเทพ ปานอำพัน
Chorus/Keyboards/Programming : ภูวกฤต นนท์ธนธาดา
Recording & Mixing : อ๊อด อ่างทอง @Mongol Studio
Mastering : Woody Pornpitaksuk @Westside Mastering
Production : Smurfs Film
Translator : เทพฉัตร สวัสดิวัตน์

【 เนื้อเพลง 】
It’s always been my dream
Since I was very young
I’ve got rhythm in my ears
Strumming on guitars for years

Quitting my daytime work
I’ve known where I could stand
Music is the love of my life
I give it all the best I can
 
Every night I play with the band
In the spotlights before the crowd
Every night I sing my songs
I hope you would sing along
And I sing...
 
แม้ชีวิตได้ผ่านเลยวัยแห่งความฝัน
วันที่ผ่านมาไร้จุดหมาย
ฉันเรียนรู้เพื่ออยู่เพียงตัวและจิตใจ
เป็นมิตรแท้ที่ดีต่อกัน
 
Don’t give me a shot gun
I just want a pen in my hand
Write down the words on pages
Then take the stories to the stages
 
I love music, I love singin’
That’s only thing I want to do
And after all these years
I’m still living in dream-come-true
 
Every night I play with the band
In the spotlights before the crowd
Every night I sing my songs
I hope you would sing along
And I sing
 
โลกนี้ไม่สมประกอบ
เพราะบางคนชอบ เอาแต่ประโยชน์ส่วนตน
โลกนี้มีสักกี่คน
เป็นบัวหลุดพ้น ดังคนชื่อบัวลอย

Every night I play with the band
In the spotlights before the crowd
Every night I sing my songs
I hope you would sing along

【 คำแปล 】
เป็นความฝันของฉันมาเสมอ
ตั้งแต่เมื่อตอนที่ฉันยังเป็นเด็ก
เสียงดนตรีดังกึกก้องอยู่ในโสต
เกลากล่อมเล่นดีดกีตาร์นานนับปี

ลาออกจากงานประจำ
ฉันรู้ดีว่าที่ทางใดฉันควรยืนอยู่
ชีวิตฉันคือเสียงเพลงและดนตรี
สิ่งที่ฉันพร้อมทุ่มเทสุดกำลัง

ทุกคืนค่ำฉันร้องเล่นกับสหาย
ภายใต้แสงสปอทไลท์ต่อหน้าฝูงชน
ทุกค่ำคืนฉันขับขานบทเพลงกัน
ฉันหวังให้ทุกคนได้ร้องตาม
แล้วฉันก็ร้องออกมาว่า...

แม้ชีวิตได้ผ่านเลยวัยแห่งความฝัน
วันที่ผ่านมาไร้จุดหมาย
ฉันเรียนรู้เพื่ออยู่เพียงตัวและจิตใจ
เป็นมิตรแท้ที่ดีต่อกัน

อย่ายัดเยียดศาสตราใส่มือฉัน
ฉันเพียงต้องการปากกาในมือ
ฉันจะเขียนถ้อยคำจากกระดาษ
และนำเรื่องราวไปสู่เวที

ฉันรักเพียงดนตรีการขับขาน
เป็นเพียงสิ่งเดียวที่ฉันหวัง
แม้จะผ่านไปกี่คืนและกี่วัน
ฉันยังคงใช้ชีวิตในฝันที่เป็นจริง

ทุกคืนค่ำฉันร้องเล่นกับสหาย
ภายใต้แสงสปอทไลท์กลางผู้ฟัง
ทุกค่ำคืนฉันขับขานบทเพลงกัน
โดยหวังให้ทุกคนได้ร้องตาม
แล้วฉันก็ร้องออกมาว่า...

โลกนี้ไม่สมประกอบ
เพราะบางคนชอบ เอาแต่ประโยชน์ส่วนตน
โลกนี้มีสักกี่คน
เป็นบัวหลุดพ้น ดังคนชื่อบัวเลอย

ทุกคืนค่ำฉันร้องเล่นกับสหาย
ภายใต้แสงสปอทไลท์กลางผู้ฟัง
ทุกค่ำคืนฉันขับขานบทเพลงกัน
โดยหวังให้ทุกคนได้ร้องตาม

【 ช่องทางติดตามข่าวสาร วงคาราบาว 】
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--

Violin cover by Lin Tzu An of《Thinking Out Loud》by Ed Sheeran

第一次聽到這首歌的時候就上鉤了～～～
不愧是Ed Sheeran口中最適合走在婚禮走道上的歌，清澈嘹亮的聲線加上背景的吉他、鼓、鋼琴和其他配樂的節奏，好像跟隨節奏的重拍，我們走進浪漫星空之中，在點點星光下感受另一半的心跳，看著另一半的笑眼，即使不說話也知道每一拍心跳代表的意義，再也沒有比這樣更浪漫的事情了吧！

台北的夏天夜晚，送給大家小提琴詮釋的柔情溫暖卻又輕鬆愉快地翩翩起舞的歌😉

歡迎大家在沒有下雨的週末到信義區香堤大道，聽cover歌曲的live版！詳細演出相關資訊，我都會更新在我的Instagram 限時動態！

--

I was hooked to the song when listening to it at the first time.
The modulated voice of Ed Sheeran accompanied by the rhythm n melody of the guitar, drums, piano and others in the background make this work a masterpiece.
No wonder Ed Sheeran said this song is the best song for walking down the aisle.
It was like with the song goes on, we are taken to the place where all we can see is the starry sky and we feel our loved one's heartbeat under the starlight, looking into his/her eyes smile from the cheeks and know the meaning of each heartbeat even if you two don't utter a word.
There is no more romantic love than this, right? 😉

Should you have any request regarding cover songs, just comment below and let me know.
Also please share the video and subscribe to my channel https://bit.ly/2EsTGMQ.
Don't forget to click the 🔔 bell to be notified when my videos come out!

Visit me at Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out details on my Instagram stories!

--

編曲Arrange：林子安 Lin Tzu An
混音Remix：林子安 Lin Tzu An
小提琴 Violin: 林子安 Lin Tzu An
攝影師剪接師 Photographer & Film editor: Santon.W
文字編輯 Social media editor/manager: Lily Wu

--

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--

【Cover by AnViolin】每週上傳新的小提琴cover影片，
喜歡的話請訂閱我的頻道 https://bit.ly/2EsTGMQ
也記得開啟🔔訂閱通知，按讚留言分享給你家人朋友看！

還想看子安cover什麼歌？留言跟我說 ！

--

#EdSheeran
#ThinkingOutLoud
#AnViolin
#ThinkingOutLoudViolin
#ThinkingOutLoud小提琴
#EdSheeranViolinCover
#CoverSong
#ViolinCover
#CoverByAn
#林子安
#林子安小提琴