장세정 - Yang Se-Jung / Jang Se Young / Yang Se Jeong / 朴 響 林
유성기로 듣던 불멸의 명가수: 장세정 편
Immortal Singer Heard during the Meteor Period: Jang Se-jeong (Vol. 5) SYNCD-127
1 연락선(連珞船)은 떠난다 / The ferry is leaving (OKEH 1959)
2 무정곡(無情曲) / Independence (OKEH 1998)
3 분홍 손수건 / Pink Handkerchief (OKEH 12002)
* 4 고백하세요! 네? / Please confess! Sure? (OKEH 12054) (OKEH 12054)
* 5 꼭 열일곱 살이예요 / I'm 17 years old (OKEH 12062)
* 6 미풍(微風)은 꿈을 싣고 / The breeze carries a dream (OKEH 12078) (1938.1)
7 헛소문 / Rumors (OKEH 12080) (1938.1)
8 청춘초(靑春草) / Cheongchuncho (OKEH 12095)
9 젊은 날의 꿈 / Dream of a young day (OKEH 12115)
10 처녀야곡(處女夜曲) / Virgin Nights (OKEH 12122)
* 11 외로운 화장대 / Lonely Vanity (OKEH 120139) (1938.7)
12 꺽으면 실혀요 / When you break (OKEH 12175)
13 항구(港口)의 무명초(無名草) / Cotton plant at the port (OKEH 12213)
14 정부한(貞婦恨) / Government of Korea (OKEH 12224)
15 청춘문제(靑春問題) / Youth Problems (OKEH 12229)
16 아가씨 독본(讀本) / Reading Lady (OKEH 12259)
17 사각(四角) 봉투 / Square Envelope (OKEH 12259)
* 18 꿈꾸는 처녀원(處女園) / Dreaming Virgin (OKEH 12285) (1939.11)
* 19 순정(純情) 월야(月夜) / Pure moon night (OKEH K5007) (1940)
* 20 처녀(處女) 합창(合唱) / Virgo Chorus (OKEH 20037) (1940.6)
Radioshow related review:
Yang Se Jung has a good, convincing professional voice in soprano reach. Most tracks recorded here are recorded in the (pre-)trot style, so show similarities to some style that was also performed in Japan, only Korea had its own interpretation of it. The band softly and delicately plays the hum-papa rhythms, we have slight repetitions of the themes by clarinet/flute, but here and there are unusual solos to be heard too, like a by horn amplified violin solo (2), or a small trombone solo (3), some 30s jazz trumpet solos, or accordion and banjo, or occasional acoustic guitar, with a slight American 30s jazz combo influence present. Here and there is a Hawaiian guitar (12,16), which is a great sound to this music. A few tracks have a bit more a broadway accent, like the 19th track which shows male/female dialogue and some harmony singing. The highlight of harmony singing is the last track with a full female choir of singers performing clever frivolous 50s harmonies.
Tracks with * are pick-outs to listen too, tracks that should work fine in a western radio show too. They sound like somewhat more essential tracks. This time it was difficult to choose because I hear something of perfection in many songs, even in many of the old trot songs. Underlined ones without * I personally consider to be perfect tracks too.
This is one CD from the following box:
Other tracks can be found here:
유성기로 듣던 가요사 두번째 / Second Generation of Meteor Singers (1945~1960)
CD4-12 백팔염주(百八念珠) / White Pagoda Beads
CD4-13 여인 애가(女人哀歌) / Woman Lover
"White Pagoda Beds" is a fully orchestrated dramatic song which could fit well to a film score. There are almost operatic parts in it. "Woman Lover" is much jazzier in its core sung with a rather sultry voice.
CD11-16 그리운 고향길 / Nostalgic hometown
Like the title shows, this is a nostalgic sounding song with fully orchestrated arrangements. Here Yang Se-Jung’s voice has much intentional vibration which makes her voice sound older, perhaps to sound more mature.
유성기로 듣던 가요사 / Song I heard on Meteor (1925~1945) [Disc 4]
10 연락선(連絡船)은 떠난다 / Ferry leaves (1937)
This is another orchestrated song in a more Japanese flavored trot style. It has a small emotional flute lead part. Yang Se-Jung’s voice breaks and jumps which is beautiful to hear.
유성기로 듣던 가요사 (1925~1945) [Disc 5]
15 토라진 눈물 / Torn Tears (1938)
This is a nice old trot song sparsely combo arranged and with a jazz touch.
유성기로 듣던 가요사 (1925~1945) [Disc 8]
* 8 잘있거라 단발령 / Good night, Dan (1940)
This is a very nice song, also for its original colorful wooden block arrangements and fantasy provoking lead vocals and singing technique.
유성기로 듣던 가요사 (1925~1945) [Disc 10]
* 1 역마차 / stagecoach (1941)
This is an accordion led theme of a more happy sort of a song with certain entertaining rhythmical words and with funny swinging arrangements by mostly piano and accordion.
도미도 베스트 컬렉션 100 VOL.1 / 50-60 Domido label
CD1 5 베니스의 창문 / Windows towards Venice
With slightly jazzy waltzing band this is a great waltzing song with beautiful emotional melodic evolution, a very nice song and performance with slowly vibrating voice.
* CD2 10 워디꾸냥 / Wordy (1955)
This is a lighter, brighter and more up tempo slightly jazzy song, with a very pleasant atmosphere.
도미도 베스트 컬렉션 100 VOL.2 / 50-60 Domido label
CD4-1 카이로 야곡 / Cairo Yagok
This is an emotional slow tango, sung with soprano and vibrating voice. The band plays the rhythm mostly adding some extra accordion and violin arrangements into it. On these CD boxes the songs were completely remastered.
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CONCLUSION:
Yang Se Jeong's voice makes the trot genre of the 40s mostly a worthy genre to check out. It's because Yang Se Jeong's soprano voice is full of gentle emotion that immediately shows its effect. The arrangements are sparse and gentle, but the whole combination works perfect. Each track is in fact also worth listening and checking out to foreign ears. It makes her a collectable artist also for outside Korea.
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BIOGRAPHIES:
Rough translation of the Korean Wikipedia page:
"°1921- February 16, 2003, USA.
Singer. Category : trot. Active from 1937 ~ 1960 mostly during the Japanese occupation period. Japanese name: 張 田世貞.
Hits : “the ferry leaves” 1937, “Do you know” 1937, “Mumyeongcho port” 1939, “Farewell …" 1940, “Stagecoach” 1941, “Cry la eunbangul” 1948, “Home early” 1952.
She was born in Pyongyang. At early age she lost her mother and was raised by her grandparents. During the Pyongyang Broadcasting Station competition she won the first place when she was only 15 years old. In the same year, 1936, she was chosen to represent the voice of the Orchestra records. Her debut in 1937 (“the ferry leaves”) became a smash hit. The content referred to a degree with the Japanese occupation over the ethnic Han people. She sang also some covers. In 1937 the war broke out. There she got involved to sing some militarist songs too, with “Stagecoach” about a volunteer mother, which was used as a theme song of the movie of the same name. According to Wikipedia her finesse grew over the years. I cannot make up what happened after the war, but I assume musical activities weren’t the same after the war. In her last days she immigrated to the United States."
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박향림(朴響林, 1921년 ~ 1946년)은 일제 강점기에 주로 활동한 한국의 가수이다.
Park Hyang-rim (朴 響 林, 1921-1946) was a Korean singer who mainly worked during the Japanese occupation. Her real name is Park Eung-byeol.
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From "KOREANS PERFORMING FOR FOREIGN TROOPS: THE OCCIDENTALISM OF THE C.M.C. AND K.P.K." Roald Maliangkay https://core.ac.uk/download/pdf/156645615.pdf
only some fragments taken (the whole article is relevant !!)
" Kim Haesong, his wife Yi Nanyŏng 李蘭影 and their seven children played crucial roles in the development of Korean popular music in the twentieth century. Their work spans five decades, and across national borders, but the K.P.K., which was established at the end of the Pacific War and disbanded at the start of the Korean War, was the only collective in which the Kims and at least three of their children worked together.
Over the years, the family faced enormous challenges in the form of colonial oppression, censorship, violence, racism, sexism and poverty. However, through their talent, stubborn persistence, courage and hard work they were able to overcome most of the hurdles placed in their way and enjoyed success for decades, but not without making great sacrifices. For example, for many years they had to give up the dream of performing for paying audiences who admired them and had chosen to see them rather than some other group. While Japanese and American audiences often praised the shows, these were times of colonial oppression and war, and open professional competition was limited. What is more, whereas the Kims and their peers played key roles in the development of Korean popular music and its recognition abroad, their performances in some cases served only to emphasize their foreign audiences’ cultural superiority. This study therefore considers the activities of the collectives from the viewpoint of both the entertainers and their audiences.
The members of the two collectives were very ambitious and believed that Korea could catch up with Japan and the modern West. In the eyes of the foreign audiences, however, this aspiration would not have been evident in the content or style of the shows. While Japanese audiences will have genuinely admired the quality of the performances and the skill of the entertainers, their attitude appears to have been rather patronizing. To many Japanese, Korean traditional music would have represented an authentic “Oriental” culture, albeit one that would typically serve to highlight the superiority of modernized Japanese culture compared with the provincial efforts of Korea. This may also explain why some Koreans who performed modern songs in Japan adopted Japanese stage names even before they were forced to do so by law; record producers felt that Japanese audiences were more likely to embrace a Japanese-style “modernity”, rather than its Korean counterpart. To the majority of Americans, on the other hand, the shows would have offered basic entertainment, comforting in their endorsement of American cultural dominance and the Koreans’ eagerness to emulate it.
Few, however, would have considered Korean indigenous culture as offering anything of equal value. The choice to include both Occidental and Oriental elements in the performances (the use of Western names and the performance of American “standards”, and the inclusion of well-known songs from other Asian countries) as well as the theatrical adoption of pre-conceived notions about East Asia, was therefore informed not by a desire to highlight the value of indigenous Korean culture, but to strike a balance between the emulation of Western culture and the retention of an Oriental character.
The term Occidentalism posits a generalising notion of the West as a single, sociocultural entity that serves to positively endorse the culture it is considered against. Although a generalisation like many other paradigms, it has utility in the field of humanities. With careful examination, studies of Occidentalism can yield crucial insights into the sociopolitical structure and value system of a given local culture, whether in relation to its past or its future. A romantic view of that culture would hold that the imagined binary is ever-present, underpinned by an unbridgeable difference in values and belief systems, often validated by drawing on historical examples. A positivist view, on the other hand, would predict a narrowing of the cultural gap. It is common, therefore, to regard “Occidentalism” as the opposite of “Orientalism”, but Xiaomei Chen points out that while the two may serve similar purposes of highlighting difference, they are based on very different relationships of power. She warns that one should not regard them as representing one manifestation of an East/West binary, but adds that, like Orientalism, Occidentalism ultimately and perhaps paradoxically serves to highlight a misrepresented image of the self as unique and superior. Thus, even though Occidentalism may be inspired in some sense by Western Orientalism, and uses the West as a reference point, it may be manifested in entirely Asian contexts without any involvement of actual western countries or cultures."
....
" Yi Nanyŏng was born Yi Ongnye 李玉禮 in Yangdong陽洞 in downtown Mokp’o 木浦, South Chŏlla 全羅province, on 6 June 1916. Her family was poor and her father, Yi Namsun 李南順 was always ill, so Ongnye’s mother Pak Soa 朴小兒 had to go as far as Cheju 濟州province to find work as a kitchen maid.36 Thus from an early age Ongnye had to help out around the house. In 1923 she entered the Mokp’o National Elementary School, but because of her family’s financial problems left in her fourth year. It is reported that she began making a name for herself from the age of twelve when she found a job singing at a cinema during intermissions. In 1929 she went to join her brother Pongnyong at a cotton factory where she worked for two years until she had enough money to travel to her mother. At the age of fifteen she began singing for Yi Ch’ŏl’s Three Streams Operetta Group. In the same year she joined the Sun Show Band (T’aeyang kagŭktan 太陽歌劇 團), but when the group went to perform in Osaka, it was unable to sell tickets because of the recession and it eventually disbanded.37 On 26 August 1933, Pacific Records brought out two recordings of her as a member of the group—Fading Youth (Shidŭrŭn ch’ŏngch’un 시들은 靑春) and A Foregone Dream (Chinagan yet kkum 지나간 옛꿈)—but she was never paid.38 Having no money even to return home, the young teenager ended up roaming the streets of Osaka in search for a job and a way home. She managed to survive by singing at a low-class bar.
After some time, Yi Ch’ŏl located her and had her sign a contract to sing exclusively for his label. In 1932, she recorded the popular song Fragrance(Hyangsu 鄕愁) and, at the end of September 1933, the theme song of the movie Chongno (종로, dir. Yang Chŏl, 1933).39 Recordings of the songsPhoenix (Pulsajo 不死鳥 ) and Solitude (Kojŏk 孤寂), by composer Mun Howŏl 文湖月, followed in the next month.40 In 1935 she recorded Tears of Mokp’o (Mokp’o-ŭi nunmul 木浦의 눈물), composed by Mun Ilsŏk and written by Son Mogin. The song, which expressed sorrow over the loss of Korea’s autonomy, was one of Okeh’s biggest hits, selling over 50 thousand copies.41 A poll in the magazine Three Thousand Li (Samch’ŏlli 三千里) from October 1935 put her in third place as Korea’s most popular female singer with 873 votes, behind Wang Subok 王壽福 with 1903 votes and Sŏnuilsŏn 鮮于一扇 with 1166.42 In 1936, two years after she represented Korea at a national contest in Tokyo, she toured Japan as Oka Ranko 岡 蘭子 and while overseas recorded Farewell Boat Song (Ibyŏr-ŭi paennorae이별의 뱃노래) and Arirang (Ariran no uta アリランの唄) for Teichiku.43Soon after she returned to Korea, she performed the song The Passage of Youth (Ch’ŏngch’un haehyŏp 靑春海崍) alongside Kim Haesong whom she married in 1937.44."
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LYRICS:
(translations with the help of Google Translate)
(so possibly with still some mistakes)
"The Ferry Leaves"
(Yŏllaksŏn-ŭn ttŏnanda 連絡船은 떠난다) (Okeh 1959) (1937)
고백하세요!네?
장세정
좋걸랑 좋수다고 써 올 일이지
벙어리 가슴 앓듯 할게 무어요
공연히 거드름만 피지 말구서
떳떳이 사내답게 고백하서요 네
고백하서요 네
언짢건 언짢다고 써 올 일이지
송아지 하품하듯 할 게 무어요
섣불리 한 눈 파다 경치지 말구
열나없는 공사루다 고백하세요 네
고백하서요 네
밑져야 본전인데 걱정도 팔자
연애도 기회라오 놓치지 마소
구름과 사랑이라 가는 손에
나중에 후회말고 고백하서요 네
고백하서요 네
Confess! Yes?
I'm gonna write good and well
I'm going to be a dumb of heart
I Don't just smoke
I also confessed it like a man Yes
I confess, yes
I'm going to write it down
What is it like to yawn like a calf?
Digging in the snow
No confession, no confession Yes
I confess, yes
It's only tough when it's hard to sell
Don't miss your chance too
In the hands of clouds and love
I confess not later for regrets Yes
I confess, yes
꼭 열일곱 살이에요
넌즈시 남모르게 이가슴 속에
새빨간 복사꽃이 피어 납니다
오호 정말 열입골살이예요
정말 꼭 열일곱살이예요
울리면 싫어요
하늘을 바라보면 어쩐지 설워
눈물이 어리우는 흑갑사댕기
오호 정말 열일곱살이예요
정말 꼭 열일곱살이예요
울리면 싫어요
두손을 가슴 위에 얹어 보고는
가만히 붉어지는 얼굴이지요
오호 정말 열일곱살이예요
정말 꼭 열입곱살이예요
울리면 싫어요
작사: 박영호
작곡: 박시춘
I'm seventeen years old.
In my heart
Red copies of flowers bloom
Oh, he's really hot bones.
I'm really 17 years old.
I don't like it ringing
When I look at the sky
Black armor sandals with tears
Oh, he's 17 years old.
I'm really 17 years old.
I don't like it ringing
Put your hands on your chest
with a face turning red
Oh, he's 17 years old.
I'm really seventeen years old.
I don't like it ringing
Lyrics: Park Young-ho
Composed by Park Si Chun
헛소문-장세정
이노홍 작사/박시춘 작곡
1938년 1월 오케레코드
물길러 갈적마다 우연히 만나
우연히 만나면은 가슴이 선뜻
두 얼굴을 붉히고서 토라만져도
청춘의 헛소문은 청춘의 헛소문은
퍼져갑니다 아-
휘파람 불며가는 뒷모양 보다
돌이킨 그의 눈과 마주칠 적에
두 가슴 설레면서 돌아만 서도
청춘의 헛소문은 청춘의 헛소문은
퍼져갑니다 아-
피었던 꽃이라면 꽃이라면은
사랑의 열매라도 맺겠소만은
뜻없는 헛소문에 가치없는 꽃
가슴만 태우면서 가슴만 태우면서
퍼져갑니다 아-
Rumors
Whenever I go back, I will meet by chance
If you meet by chance, your heart will be refreshed
Even when you blush and then touch your face
Youth rumors Youth rumors
they will spread ah-
Look back at the whistles
On encounter with his turning eyes
Even when my heart flutters and turns around
Youth rumors Youth rumors
they will spreads ah-
If it's a flower that bloomed
I will bear the fruit of love
Worthless flowers in meaningless vain
While only burning my chest
It will spreads ah-
Lee, No-Hong wrote lyrics
Ocher Records January 1938
젊은날의 꿈 - 장세정 송달섭
1.둘이서 뒹글잔다 잔디 밭우에 둥글둥글 생글생글 둥글생글 둥글생글
가슴에 젊은 피가 모닥불 놓는데 둘이서 둥글잔다 잔디 밭우에
2.둘이서 부르잔다 사랑의 노래 너도나도 나도나도 너도나도 너도나도
청춘의 꽃다발은 우리 것 아니냐 둘이서 부르잔다 사랑의 노래
3.둘이서 가자꾸나 속삭이면서 소근사근 사근사근 소근사근 소근사근
저 멀리 아스라한 행복의 나라로 들이서 가자꾸나 속삭이면서
ㅡ작사 이노흥((본명;박노홍)/작곡 양상포(본명;손득열)ㅡ
Dream of a Young Day
The Snoozing of two people round the grass round and round
Young blood is placed on the chest, when they sleep together.
Let's sing together The song of love of You and me, me, you, me, too
Isn't the bouquet of youth ours?
Two people whisper and whisper
As you enter the faraway kingdom of happiness, whisper
written by Lee, Innoheung (Real Name; Park, No Hong)
장세정 - 외로운 화장대
불근 불근 불근 불근 입술이 타오르는
이밤은 왜 이렇게 외로울까요
왜 이다지 쓸쓸할까 왜 이다지 쓸쓸 할까
남치마 열두줄은 갈피 갈피 갈피 갈피
설음이 사른다 눈물이 사른다
까만 까만 까만 까만 눈동자 깜박이는
이밤은 왜 이렇게 외로울 까요
왜 이다지 쓸쓸할까 왜 이다지 쓸쓸할까
보체는 앙가슴에 구석 구석 구석 구석
설음이 퍼진다 눈물이 퍼진다
하얀 하얀 하얀 하얀 얼굴에 화장하는
이밤은 왜 이렇게 외로울까요
왜 이다지 쓸쓸할까왜 이다지 쓸쓸할까
풀어진 허리가에 살금 살금 살금 살금
설음이 풀린다 눈물이 풀린다
Lonely Vanity
Sloppy Sloppy Sloppy Lips
Why are you so lonely this night
Why is she lonely Why is she lonely
Twelve lines
Tears burn away
Black black black black pupils are flashing
Why is this night so lonely
Why is she lonely Why is she lonely
a Complement towards every corner
Tears spread. Tears spread.
White makeup white white face
Why are you so lonely this night
Why is she lonely Why is she lonely
Creeping on loose waist
one's speech is released The tears are released
OK Record July 1938: 12139 - K 888
장세정 - 미풍(微風)은 꿈을 싣고 1938년 1월
덧없이 산 팔찌만 넌즈시 물고
하느적 하느적 바람에 미풍
아서요 말어요 헹여보지 말어요
요 몹쓸 바람에 바람이 나요
요 몹쓸 바람에 바람이 나요
알뜰이 먹은 맘이 실실히 풀려
옷깃만 스쳐도 심란해지네
아서요 말어요 행여보지 말어요
요 몹쓸 바람에 바람이 나요
요 몹쓸 바람에 바람이 나요
붓꽃도 빛깔보다 더 푸른 마음
미풍은 떠나도록 흔들어 놓네
아서요 말어요 행여보지 말어요
요 몹쓸 바람에 바람이 나요
요 몹쓸 바람에 바람이 나요
최다인 작사/ 박시춘 작곡
The breeze carries a dream
I hold on the bracelet which I bought temporarily
like A breeze in a breeze
Arthur, don't rinse.
It's a terrible wind
It's a terrible wind
My heart-eaten heart is released
Even if you just pass this collar
Arthur, don't do it.
It's a terrible wind
It's a terrible wind
the Iris is more blue than any color
Shake the breeze out
Arthur, don't do it.
It's a terrible wind
It's a terrible wind
Choi Da-in / Lyrics for Park Si-chun
꿈꾸는 처녀원
날개 접은 밤비들기 꿈을 꾸는 밤
남 모를 설움 속에 등불을 끄고
나 혼자 울었나이다
창문위에 달빛만이 내 마음 알아주는 듯
문풍지 찬바람도 울어줍니다
초저녁에 이별하고 돌아온 이 밤
비단 폭 치마끈이 눈물에 젖어
나 혼자 탄식합니다
가신다는 그 말씀이 내 가슴 찔러주는 듯
속연없이 원망하며 울었나이다
선물이라 주신 것은 손수건이나
철없이 받은 것은 눈물이 오니
야속타 원망하네요
밤하늘의 기적소리 내 행복 뺏어가는 듯
설레이는 가슴 속에 사모칩니다
조명암 작사/이봉룡 작편곡/장세정 노래/1939년 11월 오케레코드
Dreaming Virgin
Wings unfolded a night rain dream night
I turn off the lights
I'm crying alone
Only The moonlight on the window knows my heart
A cold wind is blowing
This night after a breakup in the early evening
the Silk wide skirt strap is getting wet
I sigh alone
These words that came to pierce my heart
I resentlessly cried
A handkerchief is its gift
Tears come without a cry
I'm resentful
The sound of a miracle in the night sky is taking away my happiness
which is Fluttering in my heart
Written by Kwang-am Lee / Bong-ryong Lee
Composition / Jang Se-jung Song / November, 1939
향림ㆍ이난영ㆍ장세정 - 처녀합창(處女合唱) 1940년 6월|♬
오케레코드 20037 - A 1940년 6월
박향림,이난영,장세정 = 처녀합창 ↔ 작사 박원 작편곡 김해송
오케레코드 20037 - B 1940년 6월
이인권 = 청춘하이킹 ↔ 작사 김용호 작편곡 손목인
박향림ㆍ이난영ㆍ장세정 - 처녀합창 1940년 6월
우리집 오빠는 장가를 가더니
나만 보면 싱글벙글 시집을 가래 음 ~
꽃바구니 옆에 끼고 산너멀 가면
피리 부는 총각들이 피리 부는 총각들이
라라 라라 라라 라라 라라 라라 따랐습니다
우리집 오빠는 눈치가 빨라서
나물 캐러 간다면은 야단을 쳐요 음 ~
꽃봉투에 향수 냄새 가슴에 안고
꿈을 꾸는 내 마음은 꿈을 꾸는 내 마음은
라라 라라 라라 라라 라라 라라 아마릴리스
열여덟 열아홉 꽃다운 동무야
오빠타령 그만두고 노래부르자 음 ~
꽃바구니 풀어 놓고 잔디밭에서
진달래를 입에 물고 진달래를 입에 물고
라라 라라 라라 라라 라라 라라 노래 부르자
The Virgin Chorus
My brother went to marry
If you look for me, you will see me
wearing a mountain mask next to a flower basket
Pipers Bachelors Pipers Bachelors
Lala Lala Lala Lala Lala Lala I just followed
My brother was quick to notice
If you go to Namul, yell
I hold a perfume smell on my chest
My heart is dreaming My heart is dreaming
Lala Lala Lala Lala Lala Lala Amaryllis
Eighteen, nineteen flowery companions.
Let's stop singing Oppa-Ring
Let go of the basket
Biting azalea in the mouth biting azalea in my mouth
La la la la la la la la la la la
Okay Record 20037-A June 1940
Park Hyang-lim, Lee Nan-young, Jang Se-jung = Maiden Chorus ↔ Lyrics
OKRECORD 20037-B June 1940
Lee In-kwon = Youth Hiking ↔ Lyrics by Kim Yong-ho
Park Hyang-rim, Lee Nan-young, Jang Se-jeong
워디꾸냥
(我的姑娘) 장세정
(손로원 작사/한복남 작곡)
아~ 팔각 등불 울고 웃는 홍콩의 거리
별빛따라 달빛따라 아~ 호궁이 운다
그리운 워디꾸냥 보고싶은 워디꾸냥
귀거리에 한들 한들 고향꿈이 그리워
안개낀 홍콩 부두 울며 새는
아~ 차이나 로맨스
아~ 목단꽃잎 피고지는 홍콩의 거리
바람따라 구름따라 아~ 호궁이 운다
애달픈 워디꾸냥 보고싶은 워디꾸냥
실눈썹에 아롱아롱 고향꿈이 그리워
안개낀 홍콩부두 헤매도는
아~ 차이나 로맨스
Wordy
Ah, the streets of Hong Kong
laughing with the octagonal lanterns
Following the starlight and the moonlight
Ah ~ Hongong is crying: I miss you.
I miss my hometown dream
Misty Hong Kong Pier with its Crying Birds
Ah ~ China Romance
Ah, the petals of blooming petals are the streets of Hong Kong.
Follow the wind and follow the clouds
I'm an awful wordie. I miss you.
I miss Along Along one's dream
Foggy Hong Kong wandering
Ah ~ China Romance
(Songwonwon lyrics / Hanboknam composition)
