Interview with Alvin Leong

Interview date: 26 February 2010


Alvin is a renowned record producer. He has joined the local pop music industry since the 80s. He has been record producer for many local artists including Faye Wong, Leslie Cheung, Eason Chan, Sammi Cheng, Andy Lau, Aaron Kwok and many more. He has produced countless award winning greatest hits. He has been named as ‘Ace Producer’ by the local media.

Interview of CASHFLOW Issue 62. For full text version, please click photo:

Part 1 Music Journey play video
Part 2 As A Producer play video


《麦王争霸 2014》四大评委宣传片

《麦王争霸 2014》四大评委宣传片

Good Company Good Food

March 9, 2011

跟林夕吃飯。Yum yum。



January 2, 2011

Another happy moment to start out a new year.
叱吒樂壇我最喜愛的歌曲監製 - 陀飛輪  陳奕迅
叱吒樂壇至尊唱片大獎 監製 - Time Flies
My honorary mention is  一絲不掛 although it did not win an award surely it won the hearts of many.

叱吒樂壇唱作人I am also happy to see 孫耀威 awarded for his songwriting talents.



December 30, 2010
Winning the Producer Award 「新城勁爆監製大獎」《一絲不掛》
 is one of my happiest gift this Christmas Thanks  新城!


Happy Birthday, Keeva!

December 9, 2010

Keeva's birthday day with her non-alcoholic drink


明報周刊演藝動力大獎 2010

November 18, 2010

陳奕迅奪最突出男歌手奬 <一絲不掛 >
最突出唱片‘Time Flies’


2010 CASH金帆音樂獎部份得獎名單

November 3, 2010

2010 CASH金帆音樂獎入圍名單已揭曉,最佳歌曲《一絲不掛》及《 陀飛輪》歌平分而兩首歌都是屬於陳奕迅

作品:一絲不掛 歌手:陳奕迅
作曲:Christopher Chak 作詞:林夕 編曲:陳珀 監製:Alvin Leong

作品:陀飛輪  歌手:陳奕迅
作曲:Vincent Chow 作詞:黃偉文編曲:Gary Tong 監製:Alvin Leong

作品:一絲不掛 作曲:Christopher Chak 歌手:陳奕迅

作品:陀飛輪 作詞:黃偉文 歌手:陳奕迅

作品:玩樂 歌手:方大同

作品:小團圓 歌手:王菀之

作品:高八度 歌手:王菀之/張敬軒

作品:天連地 樂隊:RubberBand

第2屆顧嘉煇新生代音樂獎:Vincent Chow

富士山下(2007年) 作曲:Christopher Chak 歌手:陳奕迅

人來人往(2003年) 作詞:林夕歌手:陳奕迅

富士山下(2007年) 作詞:林夕歌手:陳奕迅

明年今日(2003年) 歌手:陳奕迅
作曲:陳小霞作詞:林夕 編曲:陳輝陽 監製:陳輝陽



Billboard Magazine Interview - Songwriters and Producers Nuture Artist Relationships

September 29, 2010

Strong relationships between songwriter/producers and artists are crucial to pop success, as illustrated here by our interviews with Alvin Leong in Hong ...
For the full interview click here

This article got me thinking back in the days working with Faye the communication was always there not necessarily in a words but in the music we both enjoyed. Although it may sound unimportant to you yet a simple adjustment unconsciously made by us may have changed the way other producers in their traditional approach relied heavily on the guitar solos to fill in the music break including the saturated digital piano throughout the song. You would able to notice in the our songs you do not hear these as often compared with other productions, hence, differentiating itself from rest of the Canto-pop songs. It was just a matter of preference unaware it was the tipping point for the future musical influences.



August 16, 2010


Express Yourself

August 8, 2010

That was the simple greeting used to begin a lasting conversation. How that all changed in the digital world.
Today we ‘speak’ the informal language of the internet. We communicate by online and sms using shorthand texting, email, instant messaging, and by textual expression known as emoticons.

The music are arranged by the introduction in the 80s the wonderful MIDI.  This widely accepted standard tool changed the way musicians create music with unlimited possiblities but may have limited their personal style as oppose to playing a real guitar that gives them their individuality of that ‘unconventional’ sound. The same with Auto-Tune the audio processor program a great tool if used creatively particularly to correct vocal pitch, however, when overused every song back to back with perfect pitch may be difficult to differentiate from one another. What about  the rawness of the vocal the essence of emotions captured and conveyed?

It is easy to recognize the music from different eras but not since the last two decades.

'The moment in emotion than correction in perfection’- Legendary producer and engineer Tom Dowd
ttyl   : )


曲 、詞 、監

August 1, 2010

Kisses in the Wind  Faye Wong
曲/編: 杜自持  詞/監: 梁榮駿
You told me one misty day
(that) you’ll never go away
The look in your eyes I’m so afraid
Deep in a spell Feels like a spinning carousel
Are they just kisses in the wind
One day in the morning rain
You came back(to) ease my pain
Will our hearts ever the same again
Make believing there were no broken promises
But they’re just kisses in the wind
*And the sun won’t ever shine
I guess it don’t mind Now that you’re gone
But I will always love you
Who’ll stop the rain Is it me to blame
Broken records and picture frames 
The sun setting to the west
(I’m) feeling the emptiness
Or are you saving it all the best
Pour out my heart then say
We should be(far) apart
And they’re just kisses in the wind
The evening breeze is here
Say goodbye(I) don’t wanna cry
One last kiss My love will never die
I may be a fool My neverending love for you
To you It’s just kisses in the wind

一剎那 王菲
曲/監:梁榮駿  詞:林夕  編:王利名
短短的黑髮 似舊年 你那深深的膚色 並沒有變
不過怎麼等到今天 先叫你我去各自發現 在眼中燒出了戀火無邊
溫馨的開始 太突然 快將傾倒的身軀 就像斷箭
只要彼此拉近一點 所有錯覺也會盡應驗 令到即將虛耗光陰 都改變
在這短短一剎那 令我愛意迅速感化 想不到 無需情話
在這短短一剎那 如雲彩變化 像半世年華
單戀加單戀 到目前 共處一天加一天雌漸蛻變
只要當初走近一點 將腦裡愛意化在臉上 或會一早享有此刻在先
今天的呼吸似是甜 也許今天的空間 特別漂染
所以火花一碰一閃 所以意態也格外美艷 令腦海所虛構光景 都可見



Timeless Madonna

July 18, 2010
time'less / adj. unaffected by time

 & Alvin tenure at the record company as A&R Director, Hong Kong

View Billboard Magazine

Blue Vinyl

David Byrne: How architecture helped music evolve

July 11, 2010
David Byrne of Talking Heads explains about how the acoustics of a room or a performance venue affects the way music are unconsciously created to adapt.


July 4, 2010

B16 | 副刊文匯園 | 詞話詩說 | By 梁偉詩

林夕是著名的「佛家詞人」。林夕本尊不但念珠不離身,更開創了在樂壇頒獎禮上「多謝如來佛祖」的致謝先河,近作另闢蹊徑如〈太陽照常升起〉、〈不來也不去〉、〈生死疲勞〉、〈顛倒夢想〉也 禪意迭出。最近林夕在陳奕迅EP《TimeFlies》發表的〈一絲不掛〉,同樣延續了「林系佛line」 的品牌式創作傳統,在大路情詞中隱然佈置了韻味深長的佛家語和中國傳統文化意象,使得 〈一絲不掛〉既意象綿密又棉裡藏針,聽眾仿如追隨其智慧結晶上天入地。

驟眼看去,〈一絲不掛〉原是一個老掉牙的「重遇舊愛」故事。開端(A段)即以男主人公第一身講述前度情人再度出現,讓他止水不波的心泛起漣漪,並回憶起從 前相戀時儼如被對方牽着走,予取予攜;男主人公不但受情人所「遙控」、直至「勒到呼吸困難才知變扯線木偶」,更毫不諱言一直沉溺於「綑綁」、「纏繞」、 「欲斷難斷」中不能自拔。林夕就在這個庸常的愛情故事中,巧妙地選取了一個非常獨特的意象──「絲」。「絲」通常指衣物衣飾,「一絲不掛」一般解作赤身露 體脫光光。林夕〈一絲不掛〉的「絲」卻另有所指,當中的「絲」即絲線,如釣絲、風箏的絲線。通過「絲」,主體可以操控處身另一端的客體。〈一絲不掛〉的 「如一根絲牽引着拾荒之路結在喉嚨內痕癢得似有還無掛」就是指上釣的魚兒在痛苦掙扎;副歌部分,也直言如果把這份情割捨掉,便如「斷線風箏會直飛天國」。

林夕〈一絲不掛〉全詞最嚴密的裝置,則是緊扣了「一絲不掛」在佛家語中的涵義。「一絲 不掛」一解為一縷衣飾,源出《楞嚴經》:「一絲不掛,竿木隨身」,專指超然灑脫毫無牽掛,絕無患得患失的念頭,絲毫不受塵俗的牽掛,是很高的修持境界。 「一絲不掛」又作「寸絲不掛」,指魚類不受釣絲的糾纏掛礙。《景德傳燈錄.普願禪師》:「陸(亙)異日又謂師曰:弟子亦薄會佛法。師便問:大夫十二時中作麼生?陸云:寸絲不掛。」陸亙的意思是,我一天到晚不受任何俗念的牽 掛,是謂大超脫。

回到林夕〈一絲不掛〉,〈一絲不掛〉並非勸導聽眾要心無掛礙的勵志歌或宗教宣傳歌。林夕反而表現出過盡千帆、極具智慧的「扭橋」,乾脆把「一絲不掛」的佛家意味倒過來用─即割捨不下泥足深陷固然是勘不破情關,無法心無掛礙,可是,對於凡夫俗子,愛情 真正讓人神魂顛倒的,正是因為有所束縛,因此道出天問式慨嘆:「難道愛本身可愛在於束縛?」因為懂得,所以慈悲。〈一絲不掛〉反過來為凡夫俗子追逐感情、 愛得死去活來自我解說─愛令人生活有重心、有牽繫。只要有愛的對象,個體再也不是獨立蒼茫的生命體,而是有哭有笑有血有肉活生生的紅塵中人。

值得注意的是,〈一絲不掛〉發展到「難道愛本身可愛在於束縛?」一句,全詞本已非常完整,題旨亦相當清晰;最出人意料卻是最後一句畫龍點睛的低迴詠歎: 「無奈你我牽過手沒繩索」,神來之筆把「繩索」與「絲」產生連繫。這裡的「繩索」即中國傳統文化中的「紅線」或「赤絲」。中國傳說中一直謂「中國愛神」月 老每每為有緣男女「扯紅線」,把「赤絲」繫在兩人足上玉成其事。七十年代顧嘉煇作曲、葉紹德填詞的〈啼笑因緣〉,就曾寫過「赤絲千里早已繫足裡」的傳統意 象。因此〈一絲不掛〉中「無奈你我牽過手沒繩索」對於「有緣無份」的感嘆,同樣牢牢緊扣在「赤絲」隱喻上,通過文化意蘊把詞義推深到另一層次。
觀乎此,林夕〈一絲不掛〉其實是一首設計非常周密的作品。由「絲」作為核心衍生出絲線、釣絲、風箏絲和赤絲,想像出「遙控」、「勒頸」、「綑綁」、「纏 繞」、「捨割」等來描述一段感情關係,並動員一切與「絲」有關的意象,連過渡句「以為青絲不會用上餘生來量度」,亦以「青絲」指代煩惱(青絲->煩 惱絲->煩惱)。〈一絲不掛〉一系列「絲」語組織起來渾然天成,仔細咀嚼自得箇中三昧。正因為〈一絲不掛〉指向操控者與被操控者的關係,也為〈一絲 不掛〉官方MV帶來靈感,透過沙畫投影概念讓陳奕迅在「白紙」上翻滾。沙畫藝術家海潮就在黑暗中施展其「翻雲覆雨手」,把陳奕迅玩弄於股掌之間。

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