이해연 - Lee Ha-Young / Lee Hae-Yeon

Track 13-19 of this compilation are dedicated to Lee Hae-Jeon.

The songs seem to be inspired to be performed on stage or most likely in a movie theatre. They have a small trot and here and there Japanese influence but show creative power for having an individual voice in songs.

The first track is pre-trot and is accompanied by mandolin and accordion and the usual rather subtly played humpapa rhythm. The singing here is with a slightly grotesque or better say individualised voice. The second track shows a higher soprano, nice orchestration mixed with banjo. The third track is from a better and more modern sound production. It features a song with the repeated word “thailang”, making it a popular sounding and broadway or cabaret related song.

Noticeable instruments are flutes humpapa rhythms, accordion, piano, and violin. Track 16 is an attractively sung Japanese-alike song with accompanying flute and piano leads to further arrangements of an on bass sounds based rhythm. The singer shows beautiful pauses in singing or long notes, which increases the emotional effect of the song.

Track 17 is another vivid stage song accompanied by orchestra with accordion, humpapa backing. The song allowed a small song improvisation expressing some lalalaas. Track 18 shows a different staging, with an oriental belly dance clarinet led theme and a pompompom rhythm, filmic string orchestrations. This sort of fantasy song fits with Japanese-like singing, is entertaining and beautiful as well, very nicely sung. A better film related song contribution.

The last track has more jazz elements. It still has small Japanese flavours. You can hear a bit of song dialogues with male responses and with a choir adding here and there harmonies to the song. It is well orchestrated and shows a thoughtful result.

This CD comes from the follow 23CD box:

유성기로듣던 불멸의 명가수 남인수 / Immortal singer Nam In-soo (vol 18)

13 가을에 보는 달 / Autumn Moon (COLUMBIA 40713)

* 14 소주 뱃사공 / Suzhou voyeur (COLUMBIA 40890)

* 15 고향산천 / Goyangsancheon (COLUMBIA 40892)

* 16 뗏목 이천리 / Catamaran Icheon-ri (?) (COLUMBIA 40895)

* 17 청란(靑蘭)의 꽃 / Blue flower (COLUMBIA 40896)

* 18 안남 아가씨 / Anna Nam (?) Babes (COLUMBIA 40896)

* 19 황해도 노래 / Huanghae song (COLUMBIA 40910)

On the first track "Autumn Moon" with banjo, accordion leads Lee Ha-Young's voice sound more that of a young girl and the song slightly lullaby-like, even though meant as a pleaser for adults. On "Suzhou Voyeur" you can hear a studied (Asian) technique of jumps in the singer's voice which makes the song more special. From there each track became a favourite. I already did an early review above.

Tracks with * I consider essential listens or classics, also very suitable for western radioshow airplay. Tracks that are only underlined, without *, might be considered interesting tracks as well, for various reasons.

유성기로 듣던 가요사 두번째(1945~1960) / Second generation Meteor singer [Disc 2]

15 단장(斷腸)의 미아리 고개 / Master's Miari Pass (?) (1950)

16 울어라 대동강(大同江) / Cry along the Daedong River

17 심산(深山) 호들기 / Deep mountain

18 세월(歲月)은 간다 / As Time goes by

The first track starts very filmic in its orchestration, and therefore I conclude it must have been taken from a movie. It is a Japanese-sounding early trot track. I contains, as the tradition prescribes, also some part of a complaint in spoken word. Also the next slow waltz is slightly filmic in its perspective. It has slightly sad expressions expressed well with its voice. "Deep Mountain" is a celebrating trot-like song led by accordeon ideas arranged with additional strings and a steady rhythm. "As Times Goes By" is a nostalgic song with a foxtrot rhythm. Its arrangements partly also has something of a slowed down Greek dance mixed with accordion led nostalgia.

유성기로 듣던 가요사 10 (1925~1945)

12 뗏목 이천리 / Catamaran Icheon-ri (1943)

This track was already listed on the compilation I have reviewed before. Here Lee Ha Young's vocal techniques comes out very well, with slowed down parts, nice complex variety of intonations and so on. Also its additional phantasy touches of arrangements with piano (and flute) are pretty nice. I assume this is referring to an old folk song.

마음의 홍장미 / Red rose of heart (1942.3)

* 양귀비 / Poppy (1962) -Chinese?-

백련홍련 / White lotus (1941,10) -Chinese?-

달래고 가시구려 / Soothe and spin

I heard 18 more tracks by this artist. The most original and most essential creative song was this Chinese (or Shanghai?) song with original arrangements. Also "White Lotus" sounds like Chinese song to me. This kind of singing suits her voice well. It seems that she sang mainly a lot of trot

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BIOGRAPHIES:

From what I understand from Korean pages is that she was born in Hwanghae in 1924 or 1926. Her first record was on Columbia Records in 1941 years which was a relatively late debut compared to other artists who were active at the time. But she quickly became a popular singer during the Japanese occupation days. She sang several folk songs with one big hit expressing tragedies of the Korean War in 1956. She migrated to the United States in the 60s after which her history remains a bit unclear.

Her husband Benny was a dentist but also performed as a trumpet player in the Eighth Army stage in 1950. One of their children formed the Kim Trio.

Yongwoo Lee: "Many popular songs voicing the experience of mothers or wives can be found during Korean War era, such as Danjangui miarigoge‖ / "Heartbreaking Miari Valley", performed by Lee Hae-Yeon, Oasis Records"

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Roughly from Wikipedia:

Born in Hamhung, South Hamgyong Province, she has been interested in movies since childhood and dreamed of becoming an actor. Around 1924, she became an actor after she visited Lee Pil-woo, who was shooting a film in Hamgyeong-do. In 1927, while filming The Flocks for Paradise, Lee Pil-woo starred Jeon-ok whe the lead actor was missing.

After that, she and her brother, Chun Doo-ok, went to Kyungbu to work. Jeonok is named after the brother's last letters of his name. When Naungyu Productions was founded, she joined and appeared in “The Goodbye, Ogyeo”, and “In Search of Love”. Her main role in this period was that of a country girl, based on her naive appearance. At this time, she also worked in the theater stage, and learned acting in the summit.

In 1929, she was starred in place of Seok Geum-seong, who was injured in Arirang Hill, and was acclaimed for his acting tears. After Naunkyu Productions disbanded, she became a popular singer, working mainly on theatre until the late 1930s. In 1933, she made her debut with “The Melody of Jazz”, and was a success in 1935, ranking fourth after professional singers Wang Soo-bok, Sun Woo Il-sun, and Lee Nan-young in a popular poll conducted by Samchully.

Jeon-ok, who was good at singing, made his mark as a singer since the 1940s. At this time, she rarely appeared in the film, but when many pro-Japanese films were produced during the Pacific War, she appeared in “Bokman-ri and the Soldiers”. He also founded and toured for militaristic propaganda purposes.

In 1946, shortly after the end of the Pacific War, the South Sea Performing Arts was reorganized into a troupe to act with plays. In particularly the tragedy repertoire enjoyed the greatest popularity as the Korean War began to evacuate. Jeon-ok was so talented in the tragic acts that heightened the sad feelings of the audience so that he was called 'the queen of tears'. Jeon-ok's method is said to have produced the effect of "reinducing the sorrow that settled deep in the heart and without exaggerating it, but adjusting and arranging itself to feel emotional stability."

In the late 1950s, when the troupes began to fall, they returned to the film world. As her husband Choi Il filmed the popular repertoire of the group, Jeon replayed her role in the drama. However, the exaggerated acting trained before in the play of drama was not so greatly appreciated in the film, and in the 1960s, instead of starring, she acted mostly as a charismatic villain, leaving an impressive acting with that.

Among his daughters, Kang Hyo-sil became a famous actor in the Republic of Korea. Kang Hyo-sun, who went with his father to the Democratic People's Republic of Korea, became a famous actor in North Korea. His son Choi Min-soo was married to movie star Choi Mu-ryong.

After retiring, she ran an orchard in Yangju-gun, Gyeonggi-do, but fell to hypertension and moved to the intensive care unit at Seong Paulo Hospital in Dongdaemun-gu, Seoul. Jeon Ok died on October 22, 1969 due to kidney disease and hypertension. Jeon Ok's ceremony was held on October 26 at the General Assembly Square.

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이해연(李海燕, 1926년 ~ ？)

일제 강점기에 데뷔하여 1960년대까지 활동한 대한민국의 가수이다.

1924년 일제 강점기 황해도 해주시에서 태어났다.

1926년이라는 설도 있다.학력에 대해서는 알려지지 않고 있다.

1941년 10월 콜럼비아레코드에서 군국가요인 <백련 홍련>을 취입하며 데뷔하였다.

이해연은 당시 활동하던 다른 가수들에 비해 비교적 늦은 시기에 데뷔했다.이후 <뗏목 이천 리>,<소주 뱃사공>,<아리랑 풍년>,<황해도 노래> 등을 발표하며 일약 인기 가수가 되었다.

또한 일제 강점기에 <청란의 꽃> 등 군국가요를 여러 곡 취입하였다.

신민요를 주로 불렀으며 해방 후에는 악극단 무대에서 활약하였는데

1956년에 6.25전쟁의 비극적인 아픔을 그린 반야월 작사,이재호 작곡의 <단장의 미아리 고개>를 불러 대히트를 기록했다.

1950년대 후반에는 작곡가 박춘석과 같이 작업을 하였으며

1950년대 말에 미국으로 이민을 갔다.

1960년대 초까지 음반을 취입하였으며

1984년에는 손인호와 함께 히트곡집을 발매하였다.

현재는 생사가 불분명한 상태이다.

이해연의 여동생 백일희는 1955년 <황혼의 엘레지>를 부른 가수이고,

남편 베니 김은 치과 의사 출신이며 1950년대 미8군 무대에서 트럼펫 연주자로 활동하면서 유명세를 떨쳤다.

또한 자녀들은 김트리오라는 밴드를 결성하여 <연안 부두>를 불러 히트시켰다.

1979년에 발표한 <연안 부두>는 응원가로도 많이 쓰이며 오늘날까지도 많이 불리는 국민 가요이다.

활동 시기 1941년 ~ 1960년대

대표곡

〈뗏목 이천 리〉 1942년11월

〈소주 뱃사공〉 1942년12월

〈황해도 노래〉 1943년4월

〈아리랑 풍년〉 1943년8월

〈단장의 미아리 고개〉 1956년

〈울어라 대동강〉 1957년

〈압록강 칠백 리〉 1960년

가족 관계

여동생: 백일희

남편 : 베니 김 (본명: 김영순)

장남 : 김파

장녀 : 김단

차남 : 김선 (김철에서 개명)

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Rough translation (with Google Translate help):

Lee Hae-yeon (李海燕, 1926 ~?)

Debuted during the Japanese occupation, she was very active during the 1960s.

Born in Haege City, Hwanghae Province in 1924, during the Japanese occupation.

There is also a theory of 1926: no education is known.

In October 1941, she made his debut at Columbia Records by incorporating the militarist White Lotus. Lee Hae-yeon debuted later than other singers at the time, and became a popular singer by releasing Raft Icheon Lee, Soju Voyeur, Arirang Pungnyeon, and Hwanghae Song. In addition, during the Japanese occupation, various songs such as <Flower of Blue Flower> were taken. She sang mainly folk songs, and after liberation he played on the stage of the troupe. In 1956, he struck a big hit by writing the lyrics of Van Yawol, which depicted the tragic pain of the Korean War, and Lee Jae-ho's Composer Miari's Pass. In the late 1950's he worked with composer Park Chun-seok. In the late 1950s, he immigrated to the United States. If she's still alive or not is unclear.

Lee Hae-yeon's younger sister, Baek Il-hee, was a singer who sang Elegee at Twilight in 1955. Her husband, Benny Kim, was a dentist and became famous as a trumpet player on the US Army stage in the 1950s. In addition, the children formed a band called Kim Kim Trio and sang 'Yeon Wharf'.

The Coastal Quay, released in 1979, is a popular song for cheering and is still popular today.

Activity Period 1941 ~ 1960s

Featured Songs

Raft Icheon Lee November 1942

Shochu Boatman December 1942

Song of the Hwanghae April 1943

``Arirang Plenary Years'' August 1943

``The Miary Pass of the Director '' 1956

Cry the Daedong River, 1957

``Anolu River Seven hundred lis '' 1960

Family Relations

Sister: Baek Il-hee

Husband: Benny Kim (real name: Kim Young Soon)

Eldest son: Gimpa

Eldest daughter: Kim Dan

Second son: Kim Sun (renamed from Kim Chul)

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LYRICS:

양귀비/이해연(1962) -영화 "양귀비" 주제가- 왕적삼 살랑살랑 실눈썹을 가리고 내버린 정기속에 꿈을 꾸는 양귀비 달뜨는 흥겨움에 비파줄을 걸으며 누구를 생각하고 눈물짓는가 그리운 태백이여 시한수를 읊어주 와악루 큰잔치에 구름같은 호걸들 하늘의 선녀러냐 춤추는 양귀비 안록산 달랑대부 먼북소리 쫓는데 이목숨 초개같은 이슬로 젖어 이생에 못다한꿈 천상에서 바치오리 -반야월 작사/이인권 작곡-