几年以后，有一个制作人慧眼识珠，当时在邮局工作的Dan重新创作了歌词，这首歌从此一举成名。原曲是轻摇滚，这个女版的原唱是新加坡歌手OliveOng, 女版伴奏一支吉他到底，所以情绪上的力度还是有点不好把握。我也是尽力。值得一提的是这首歌的歌词，每一句都写的好，有意味可细读。最喜欢的还是灵魂句： Sometimes when we touch, the honesty is too much, 当那种真实的感受太过强烈令人无处可逃，战栗，心跳，或者幸福电流来袭的时候，有没有想把自己藏起来的感觉？
Here is the story behind the song from Dan hill himself
In a video to promote his 2010 album Intimate, Dan Hill told the story of this Adult Contemporary classic. Said Hill: "I grew up in a really suburban area, the model suburb of which all suburbs were based in Canada. And it was a beautiful place to grow up in terms of there were so many talented kids that I learned from, music, writing, books. But it was also very, very conservative. By that I mean I had no experience at all with girls.
So suddenly I was like 18, 19, living on my own. And I was running into a whole different kind of girl that I didn't even know existed. I didn't know females could think the way some of these girls were thinking, and I'm talking the early '70s. And at the time the world was changing. Fear of Flying had just come out by the writer Erica Jong, you know, the great writer Germaine Greer had read written 'The Female Eunuch.' And women were kind of wearing their sexuality almost on their chest, as though it was a political statement, as though they were saying, This is my body and I can do what I want with it. They were almost like embracing the 'slut' word, in terms of turning it into a term of empowerment.
I didn't really understand that at the time. All I knew was there was this woman that I was falling desperately in love with, and I just thought everybody was naturally monogamous. My parents have always stayed together. Well, this woman didn't want anything to do with monogamy. She wanted to get close to me, so to speak, but she wanted to be close with a lot of other guys at the same time, and I found this to be terribly distressful. She also liked to tell me about how all the other guys were so much more rich than I was, older, more established, she was going out with athletes, Argonauts (players from the Toronto football team), famous photographers. So I felt very inadequate.
And I thought the only thing that I could do to make her take me seriously as more than just her occasional fling was to write a song that would absolutely galvanize her. I knew that all these guys might have more money, might be older, maybe more sophisticated. But they sure as hell couldn't write songs and sing like I could.
So I set out to write the most powerful song ever written that was just going to absolutely flatten her, so that she would reconsider me, so that she would take me as her only lover. I was very proud of that song. I thought that I had really, really broken into new territory. I'll always remember, I was working for the civil service for $1.89 an hour. I was so proud of that lyric. And I taped it right over where I sorted all the mail. So I saw it on the wall, just looked at that lyric, because I was so proud of it. And then, of course, I got a little too proud of it and a little too cocky, went home from work, phoned up my erstwhile girlfriend, and played her the song, 'Sometimes When We Touch' in its earlier incarnation, expecting her to swoon. Well, there was this sort of martyr silence on the other end of the phone after she had heard that song, and a long, drawn out sigh. And she said, 'Did anyone ever tell you for a 19 year old you're way too goddamn intense. I'm leaving town with a CFL football player, he just got cut. We're moving to North Carolina.' Bam, she was gone.
That was the first of many unintended consequences of 'Sometimes When We Touch.' You think you're going to do one thing with a song, it does something else. You know, I was a very intense guy. 'Sometimes When We Touch' was a very intense song."
After the 19-year-old Dan Hill failed to win the heart of the 22-year-old object of his affection with this song, he took it to his music publisher, who had him work with the songwriting legend Barry Mann. Says Hill: "We tried to write together, but I wasn't used to collaborating. I'd always written by myself. Barry, who'd written songs like 'You've Lost That Lovin' Feelin',' 'On Broadway,' 'Kicks,' 'We Gotta Get Out Of This Place,' was way out of my league. He was coming out with melodies here, there, and everywhere, expecting me to write lyrics right off the spot. And I'd come from this world where I thought that songs had to come from this deep place of soulful inspiration. I believed that sexual torment was the only way to write really great songs. So I was striking out big time.
So I said to Barry, 'Look, I really can't write like this. I'm not an experienced collaborator. But I have a lyric I brought in my guitar case. What do you think? Here it is. If you like it, write music to it. If you don't, don't worry about it.' I didn't want to tell him I'd actually written an entire song, because I was afraid that he would think that I was giving him my castoffs. So I left the little Sony ATV piano room to call for a cab to pick me up. When I finished reaching the cab, calling the cab, hung up the phone, Barry's standing in front of me, smiling shyly like a little boy. He says to me, 'Dan, I think I've got something for your chorus.' Takes me back into the piano room, sings (singing), 'And sometimes when we touch, the honesty's too much.' And I wasn't sure. You know, I was so used to my own music that I didn't really know what to think. So I said something kind of diplomatic and then left.
And then he tracked me down a couple of days later. I was breakfasting at the Polo Lounge Hotel. Tracked me down right at the hotel. They gave me this little pink phone, and he played me the entire song over the phone. And then I knew, when he played it to me over the phone in its entirety, I knew that there was something special to do with that song. Of course, no one ever knows when you've stumbled onto a classic song. Now I feel the song is bigger than me. It's really not mine anymore. You know, I'm proud of the song, and I feel really fortunate that it's opened up so many doors for me so that I could write with so many brilliant writers, work with so many great artists. Because it was my calling card, my key."
唱坛两年，感恩遇见。
加拿大摇滚歌手Dan Hill 四十多年前的作品，个人感觉这首歌从旋律和立意上都非常的不过时。我在学生时代就很喜欢这首歌，随着成长和成熟，对于歌曲的理解也有很大的变化。
当年Dan hill写这首歌是想追回自己喜欢的姑娘，可是姑娘听了以后说，我很感动，但是你作为一个19岁的孩子，有点太沉重了。她于是跟着一个踢足球的走了。
几年以后，有一个制作人慧眼识珠，当时在邮局工作的Dan重新创作了歌词，这首歌从此一举成名。原曲是轻摇滚，这个女版的原唱是新加坡歌手OliveOng, 女版伴奏一支吉他到底，所以情绪上的力度还是有点不好把握。我也是尽力。值得一提的是这首歌的歌词，每一句都写的好，有意味可细读。最喜欢的还是灵魂句： Sometimes when we touch, the honesty is too much, 当那种真实的感受太过强烈令人无处可逃，战栗，心跳，或者幸福电流来袭的时候，有没有想把自己藏起来的感觉？
其实，今天我很沮丧，花了很多很多很多时间写的第二首歌，流产了。。。。。。
But I am a fighter......
1. 自己的歌从来没有流产这一说，不管你是花多时间还是花少时间，相信我，总有一天你会完成，也许要好几年。我有好几首原创歌我认为挺成熟的了，就是懒得走完最后一步，怀孕好几年了还没生产。所以不会流产的。
2. 这能把这么熟悉的歌唱得这么到位真不容易，下功夫了。
3. 图片感人，只要有生命，感觉一样的，不管是人还是动物。
我不是没完成，是完成得太烂了。。。。所以。
看着每句歌词及视频里的画面，很触动人心。我觉得世上最让人留恋的还是"情", 无论哪一种。感恩在这里遇见你！
另外视频做得真棒！
正如蕾蕾姐说的，不会流严的，只是孕育的时间长短问题，加油，我们都好期待着听…
祝贺美景唱坛两周年！
献花
美景自己的版本。。
儘管是有無數個版本。。
這是昨天再聽德一首。。
與美景之前的選曲有些類似。。
同一個時代的智者-:))。。
。。
好歌我也要学起来。。。感觉到歌词里面有种难言之隐，做了一点创作背景调研，给自己将来学唱做准备工作。。。这里跟大家share一下。。。
===================
Here is the story behind the song from Dan hill himself
In a video to promote his 2010 album Intimate, Dan Hill told the story of this Adult Contemporary classic. Said Hill: "I grew up in a really suburban area, the model suburb of which all suburbs were based in Canada. And it was a beautiful place to grow up in terms of there were so many talented kids that I learned from, music, writing, books. But it was also very, very conservative. By that I mean I had no experience at all with girls.
So suddenly I was like 18, 19, living on my own. And I was running into a whole different kind of girl that I didn't even know existed. I didn't know females could think the way some of these girls were thinking, and I'm talking the early '70s. And at the time the world was changing. Fear of Flying had just come out by the writer Erica Jong, you know, the great writer Germaine Greer had read written 'The Female Eunuch.' And women were kind of wearing their sexuality almost on their chest, as though it was a political statement, as though they were saying, This is my body and I can do what I want with it. They were almost like embracing the 'slut' word, in terms of turning it into a term of empowerment.
I didn't really understand that at the time. All I knew was there was this woman that I was falling desperately in love with, and I just thought everybody was naturally monogamous. My parents have always stayed together. Well, this woman didn't want anything to do with monogamy. She wanted to get close to me, so to speak, but she wanted to be close with a lot of other guys at the same time, and I found this to be terribly distressful. She also liked to tell me about how all the other guys were so much more rich than I was, older, more established, she was going out with athletes, Argonauts (players from the Toronto football team), famous photographers. So I felt very inadequate.
And I thought the only thing that I could do to make her take me seriously as more than just her occasional fling was to write a song that would absolutely galvanize her. I knew that all these guys might have more money, might be older, maybe more sophisticated. But they sure as hell couldn't write songs and sing like I could.
So I set out to write the most powerful song ever written that was just going to absolutely flatten her, so that she would reconsider me, so that she would take me as her only lover. I was very proud of that song. I thought that I had really, really broken into new territory. I'll always remember, I was working for the civil service for $1.89 an hour. I was so proud of that lyric. And I taped it right over where I sorted all the mail. So I saw it on the wall, just looked at that lyric, because I was so proud of it. And then, of course, I got a little too proud of it and a little too cocky, went home from work, phoned up my erstwhile girlfriend, and played her the song, 'Sometimes When We Touch' in its earlier incarnation, expecting her to swoon. Well, there was this sort of martyr silence on the other end of the phone after she had heard that song, and a long, drawn out sigh. And she said, 'Did anyone ever tell you for a 19 year old you're way too goddamn intense. I'm leaving town with a CFL football player, he just got cut. We're moving to North Carolina.' Bam, she was gone.
That was the first of many unintended consequences of 'Sometimes When We Touch.' You think you're going to do one thing with a song, it does something else. You know, I was a very intense guy. 'Sometimes When We Touch' was a very intense song."
After the 19-year-old Dan Hill failed to win the heart of the 22-year-old object of his affection with this song, he took it to his music publisher, who had him work with the songwriting legend Barry Mann. Says Hill: "We tried to write together, but I wasn't used to collaborating. I'd always written by myself. Barry, who'd written songs like 'You've Lost That Lovin' Feelin',' 'On Broadway,' 'Kicks,' 'We Gotta Get Out Of This Place,' was way out of my league. He was coming out with melodies here, there, and everywhere, expecting me to write lyrics right off the spot. And I'd come from this world where I thought that songs had to come from this deep place of soulful inspiration. I believed that sexual torment was the only way to write really great songs. So I was striking out big time.
So I said to Barry, 'Look, I really can't write like this. I'm not an experienced collaborator. But I have a lyric I brought in my guitar case. What do you think? Here it is. If you like it, write music to it. If you don't, don't worry about it.' I didn't want to tell him I'd actually written an entire song, because I was afraid that he would think that I was giving him my castoffs. So I left the little Sony ATV piano room to call for a cab to pick me up. When I finished reaching the cab, calling the cab, hung up the phone, Barry's standing in front of me, smiling shyly like a little boy. He says to me, 'Dan, I think I've got something for your chorus.' Takes me back into the piano room, sings (singing), 'And sometimes when we touch, the honesty's too much.' And I wasn't sure. You know, I was so used to my own music that I didn't really know what to think. So I said something kind of diplomatic and then left.
And then he tracked me down a couple of days later. I was breakfasting at the Polo Lounge Hotel. Tracked me down right at the hotel. They gave me this little pink phone, and he played me the entire song over the phone. And then I knew, when he played it to me over the phone in its entirety, I knew that there was something special to do with that song. Of course, no one ever knows when you've stumbled onto a classic song. Now I feel the song is bigger than me. It's really not mine anymore. You know, I'm proud of the song, and I feel really fortunate that it's opened up so many doors for me so that I could write with so many brilliant writers, work with so many great artists. Because it was my calling card, my key."
积极乐观向上，就像你打高球一样，there are always ups and downs！不过最后成功了，乐趣无穷！
美语世界： 【ChildhoodFantasy】写了一首小短歌，给活动助助兴 - 由陶陶三发表 - 文学城 (wenxuecity.com)
显单薄，这大概就是用声的问题，我也在学习改善中:)
我在妳這里賣個乖-也賣個慘-
妳帖子里說的寫歌-
不管是什麼原因-我昨天半夜有那種後悔到掐斷自己右手的一刻-
辛辛苦苦校改好的歌詞-
對好的內容-
叫一個高科技全弄沒了。。
幾小時候再回神。。
那種一頭灰暗的無奈-
但時間回不來了-
幸好還知道一早還爬了起來-
感恩-:&__祝美景司儀勝任步步高-:))。。
端午節安康。。
謝謝妳-;))。。
这事我一直都再干， 我哼过好多烂调， 因为要了结就必须写词， 于是憋了好多词， 想着以后涨劲了再重搞， 要是没那些瞎哼哼成为动机，我还真写不出来。 我想你流产歌肯定有好得东西值得保存， 所以你可以先完成， 等以后回头再重新搞。如果你每次都想着一写必出精品， 不停地否定自己， 那估计十年你也写不出一首。
夏安&
端午節安康-:))。。
琥珀和家裡-:))。。
抢鱼吃啊啥的：））这首很熟很喜欢，亲唱的真好听，音色很美很细腻不说，歌声和视频也感人，有故事的歌声，very touch。。。。混坛两周年快乐，很开心认识你！
总是非常开心，感怀你的友善和爱心，大爱无疆抱抱！
Love the depth of feeling in this song you did ~
感恩遇见你！
感恩听到这首歌，你的两周年里。
第一首歌直接写旋律，天马行空。以为和弦先行写旋律，也难不倒我。结果写出来的作品，被编曲班老师否定......
不用伤心，咱们写更好的
加油啊！等你有作品我求唱