해피돌스 - The Happy Dolls
Solar Records SAR 2012 1977 LP
해피돌스 (The Happy Dolls) - Show Album No. 1 (LP Miniature)
Beatball Music | 2013년 10월 24일
140gram LP, 투명 스카이블루 에디션, 150장 한정 Beatball 2015
Cobrarose Records CR69022 2015 LP
* 1 Hello Dolly
* 02 Pick Up The Pieces
03 Bombie(봄비)
* 04 (Shake, Shake, Shake) Shake Your Booty
05 Sweet Gypsy Rose
* 06 Misty Blue
07 Drum Solo
08 Funky Stuff
This is a reissue of one of the funkier and soul-related albums (23 minutes in length only), with mostly covers, published in Canada and with a small production, which still is part of the charm because it still allowed a charming, effective result.
- “Hello Dolly” shows harmony vocals by the female vocalists, simple rhythm guitar, trumpet solo. At some point they imitate with their voice a bit Louis Armstrong, which is the original version they refer too. A short effective track.
- This is followed by “Pick Up The Pieces” (Average White Band) with funky guitar, a brass led theme with sax solo.
- “Bombie” is a mostly instrumental Korean cover of a Shin Jung Hyun related song, lead by one vocalist and ahaa backings, piano, bass mostly.
- “Shake your booty” (KC & The Sunshine Band) shows funky brass, simple rhythm guitar a bass, again with one vocalist lead.
- “Sweet Gypsy Rose” (Tony Orlando & Dawn) shows relaxed piano plus guitars, a simple up-tempo simple rhythm, entertaining vocal harmonies. It is simple and effective in it’s work-out.
- “Misty blue” (Dorothy Moore) is more soul-styled, sung by one lead vocalist with answering girls, features keyboards, drums, again is simple and effective. It could have been even better with lush strings but is also good without them. It succeeds in giving a feeling ofa reference of black music.
- This is followed by an instrumental which is called “Drum solo”. It still is introduced with some brass theme before the drum solo takes off, which is a longer and typical 70s drum solo from a psych rock band, it still returns to a conclusion with trumpet in the end.
- The last track is “Funky stuff” (Cool & the Gang) with funky bass, drum, some brass.
A nice album from the soul/funk era with pop/rock/soul associations.
The cd package contains stickers, photographs, the LP sticker, a booklet with biography in Korean / English.
The booklet explains how the money involved in the entertainment industry linked to the US 8th Army was greater than the income of the rest of the country. Noticeable groups that went to Las Vegas included Kim Sisters, Korean Kittens, Lady Birds and the Seoul Sisters (with Ok-Hee). Not many recordings survived, Happy Dolls LP was one of the few items that were recorded. The band had stayed 2 years in Vietnam, where they had earned the nickname of Korean Jackson 5. In 1973 they returned to Seoul. One of their labels on posters was “Girls just wanna have Funk.”
One of the singers (she only sang solo on the first track) would continue her career as Nami, with which she went into a different direction.
Other review :
“True to the title 'Show Album No. 1', the tracks comprise a repertoire one would expect of a show stage. However, these tracks are much more than a mere ‘record of activity’ done in between their many show performances. The quality of the recording and consistency of production are top-notch throughout the album, while the details and the dynamics in the music itself rival that of the best Korean bands. Producer Yu-Chil-wang recalls of the album, “..it wasn’t a hack job – we brought out the most we could with the bare minimum of 5 people working with a talented music director and producer.
'Hello Dolly' kicks off the album, with mock Louis Armstrong vocals showcasing the Dolls’ clout as a show band. The only track with Nami (noted on the back of album as Ogie Kim) on vocals (since all members sang vocals while playing instruments), ‘Misty Blue’ is a classic number by Missippi soul legend Dorothy Moore. Her voice here is far removed from the familiar trademark nasal tone of the later Nami era, and is much closer to that of a traditional soul singer. The only ‘gayo’ track on the album is Shin Joong-hyun’s ‘Bom-bi’ (sung by Jee Kim), and is played more subtly with a more spacious feel. ‘Shake Your Booty’ (KC And the Sunshine Band) covers what was surely one of the hottest disco tracks at the time. The reason this album should be considered an important record in Korean band history can be found in the two funk numbers: ‘Pick Up the Pieces’ (Average White Band) and ‘Funky Stuff’ (Kool And the Gang). On these tracks the band’s rhythm section lays down tight grooves that would not sound out of place anywhere – this is probably the closest a Korean band has ever come to nailing genuine funk. ‘Funky Stuff’, featuring an uncanny clavinet and a brass section whose dynamic is filled out by the 5-piece band, is already a sought-after find among DJ’s and collectors. Then there’s the tour de force track ‘Drum Solo’ by drummer Boonie Kim, which is exactly what it says it is. It’s hard to imagine, with a drummer of average confidence, thinking to include a drum solo track all by itself. But the track works beautifully – precision timekeeping, nuanced strokes, and shifting beat progressions are all in there. This track, along with stories of how Dolls would take the stage with the Korean flag fixed to the kick drum, will be remembered as one of this album’s legendary moments.
Although belatedly, this album demands recognition because it was the result of a completely different production concept and level of musicianship compared to that found in the domestic ‘gayo’ market at the time. It’s value can be summed up in producer Yu-Chil-wang’s words: “One thing’s for sure – nobody can make a record like this with a 5 piece girl group. “If you’re still not convinced, just pay a visit to the Museum of Canadian Music website. This album can be found under ‘rarest Canadian music, top 1000 Canadian albums of all time.
The album was re-issued by Beatball Music Group in Korea on Oct 29, 2013. Thanks to Beatball, Bae-Ki-joon (translation) and Karen Fownes, who originally contacted the Museum of Canadian Music regarding a feature and re-issue.”
Biography: Long ago, there was once a time in Korea when the money involved in the entertainment industry linked to the U.S. 8th Army was greater than the entire gross national income of the rest of the country. This fact, along with various other historical sources, shows that much of Korea’s postwar pop music was born and forged in the melting pot that was the so-called ‘army-base’ culture. The 8th Army scene’s sphere of influence was often pan-Asian and at times reached beyond Asia itself: take the Kim Sisters, who were playing Las Vegas by the late 50’s (and paid $15,000 a week – as big time as it gets) or Ok-hee, who went straight from the base scene to Las Vegas, without a stint in Korea’s local pop music market. This attests to the sheer scale and the level of competition found in the 8th Army entertainment scene. In the entertainment world, making it to Las Vegas has always been emblematic of ultimate success, and it is striking and unprecedented that so many Korean girl groups of the past have succeeded in doing so. Even though in the case of groups such as the Korean Kittens (ft. Yoon Bok-hee), the Lady Birds (ft Jang Mi-hwa, usually performing in Canadian venues), and the Seoul Sisters (ft. Ok-hee) almost no recorded material survives, their legendary achievements attest to the depth and density of Korean popular music at the time. It’s particularly painful that no work survives of the Seoul Sisters, who are said to have performed soul numbers like ‘Funky Broadway’ and ‘Land of 1000 Dances’ alongside Don Ho at the Flamingo – the hottest hotel stage in Las Vegas.
The Happy Dolls, with a single surviving album from 1978 released in Nova Scotia, Canada, represent the last of the 5-piece girl groups who would perform mostly in the Las Vegas and other North American scenes. Chronologically, their work comes from a time when the entertainment industry’s centre of mass was shifting from the 8th Army scene to the domestic ‘gayo’ market. Although the Dolls performed mainly around Toronto and their album was recorded in Canada, their roots go back to Korea, circa 1970. The Dolls got their true beginning when Kim Myoung-ok (aka Nami) – the youngest of the group at age 14 – joined the lineup and they headed to Saigon, Vietnam under an arrangement by Universal Records, a Korea based record label. By this time, Kim was already a star in her own right, having cut her teeth in the 8th Army as well as other venues. They had earned nicknames like ‘Baby Team’ and ‘Korean Jackson 5’ from U.S. soldiers (since songs like ‘Ben’ was a favourite among their repertoire) during their 2-year stint in Vietnam, after which they returned to Seoul in 1973, going on to play major clubs such as Silver Town and Las Vegas, alongside heavyweights like the ‘He 6’ and the ‘Trippers’, After that came another arrangement by Yu Chil-wang, the owner of C.W.Y. Productions – this time the destination was the U.S. mainland, San Francisco.
Since the Dolls’ arrival in North America up to the release of this album, strenuous effort was put in by the producer, Yu Chil-wang and Lee Dong-hoon, who acted as band master, song arranger, and overall musical instructor. The beginnings were not easy. One of their shows, set to take place at a prestigious hotel in San Francisco, was cancelled upon short notice. This led to producer Yu’s overall revamp of the existing repertoire, which was primarily derived from the scenes in the U.S. bases in Korea and Vietnam. Music director Lee (who had studied music in Seoul National University, and recently passed away in Toronto during the early 1990’s from a chronic illness) completely redid the old repertoire, introducing the latest contemporary numbers. He also beautifully reworked the song arrangements and acted as instructor to bring out each member’s best musical abilities. Within just three months of arriving in the U.S., the Dolls played an acclaimed show at the legendary Aladdin hotel in Las Vegas at May, 1974. Success in Vegas threw open the doors to any venue in the U.S. – even the whole of North America. They had hit the big times. A glance at the venues they played (listed on the back of the album cover) gives us an idea of the extent of their success. However, the band’s return to Korea in 1978 – their first vacation in 7 years – marked the beginning of the end for the Dolls. The financial difficulties of Kim Myung-ok’s family forced her to stay in Korea, thus ending the 8 year long run of the Dolls (and ironically launching the debut of Kim as the artist Nami).
Other description :
"KPOP reissue of the rare previously Canadian-only show band funk album from this 5-piece Korean girl group who re-located from South Korean to Canada in the mid-70s. Originally released on the Solar label and out of print for many years."
나미가 재적했던 그룹으로 알려진 5인조 훵크그룹 해피돌스의 유일한 앨범!
팀의 7년 여 북미 투어 기간 중 캐나다에서 녹음, 발매됐으며 당시의 한국팀으로는 드물게 동시대 훵크 문법의 정수에 닿아있는 연주를 들려준다. 국외활동을 하던 팀의 현지 제작 앨범으로 음반 이상의 사료적 가치를 지닌 한국 대중음악사의 중요한기록이다.
The only album of the five-member Shank group Happy Dolls, known as the group where Nami was registered! It was recorded and released in Canada during the team's seven-year tour of North America. It is an important record of Korean popular music history, which has a feed value of more than records.
Ogie Kim - 보컬 ;
Jee Kim - 기타, 색소폰, 보컬 ;
Joo Kim - 트럼본, 보컬, 기타 ;
Sook Lee - 베이스 기타, 보컬 ;
Boonie Kim - 드럼, 퍼커션
Hello Dolly ;
Pick Up The Pieces ;
Bombie(봄비) ;
(Shake, Shake, Shake) Shake Your Booty ;
Sweet Gypsy Rose
Misty Blue ;
Drum Solo ;
Funky Stuff
‘
Girls just wanna have Funk!’ ‘나미의 레코딩 데뷔이자 한국 최초 걸-훵크 그룹의 음반, 35년 만에 재발매!’ THE HAPPY DOLLS <Show Album No.1>
(liner notes by DJ Soulscape, 360 sounds) True to the title 'Show Album No. 1', the tracks comprise a repertoire one would expect of a show stage. However, these tracks are much more than a mere ‘record of activity’ done in between their many show performances. The quality of the recording and consistency of production are top-notch throughout the album, while the details and the dynamics in the music itself rival that of the best Korean bands. Producer Yu-Chil-wang recalls of the album, “..it wasn’t a hack job – we brought out the most we could with the bare minimum of 5 people working with a talented music director and producer. 'Hello Dolly' kicks off the album, with mock Louis Armstrong vocals showcasing the Dolls’ clout as a show band. The only track with Nami (noted on the back of album as Ogie Kim) on vocals (since all members sang vocals while playing instruments), ‘Misty Blue’ is a classic number by Missippi soul legend Dorothy Moore. Her voice here is far removed from the familiar trademark nasal tone of the later Nami era, and is much closer to that of a traditional soul singer. The only ‘gayo’ track on the album is Shin Joong-hyun’s ‘Bom-bi’ (sung by Jee Kim), and is played more subtly with a more spacious feel. ‘Shake Your Booty’ (KC And the Sunshine Band) covers what was surely one of the hottest disco tracks at the time. The reason this album should be considered an important record in Korean band history can be found in the two funk numbers: ‘Pick Up the Pieces’ (Average White Band) and ‘Funky Stuff’ (Kool And the Gang). On these tracks the band’s rhythm section lays down tight grooves that would not sound out of place anywhere – this is probably the closest a Korean band has ever come to nailing genuine funk. ‘Funky Stuff’, featuring an uncanny clavinet and a brass section whose dynamic is filled out by the 5-piece band, is already a sought-after find among DJ’s and collectors. Then there’s the tour de force track ‘Drum Solo’ by drummer Boonie Kim, which is exactly what it says it is. It’s hard to imagine, with a drummer of average confidence, thinking to include a drum solo track all by itself. But the track works beautifully – precision timekeeping, nuanced strokes, and shifting beat progressions are all in there. This track, along with stories of how Dolls would take the stage with the Korean flag fixed to the kick drum, will be remembered as one of this album’s legendary moments. Although belatedly, this album demands recognition because it was the result of a completely different production concept and level of musicianship compared to that found in the domestic ‘gayo’ market at the time. It’s value can be summed up in producer Yu-Chil-wang’s words: “One thing’s for sure – nobody can make a record like this with a 5 piece girl group. “If you’re still not convinced, just pay a visit to the Museum of Canadian Music website. This album can be found under ‘rarest Canadian music, top 1000 Canadian albums of all time. creditsreleased October 25, 2013
‘Girls just wanna have Funk!’ ‘나미의 레코딩 데뷔이자 한국 최초 걸-훵크 그룹의 음반, 35년 만에 재발매!’ 해피돌스 [쇼 앨범 넘버 원] [해설지 일부 발췌] (전략…)
‘78년 캐나다에서 발매된 단 한 장의 앨범이 기록으로 남아있는 해피돌스 또한 같은 경로로 라스베가스 쇼 무대와 북미지역을 기반으로 활동하게 되는 마지막 세대의 여성 5인조 그룹으로 미8군 무대에서 일반 무대 (내수 가요 시장)로 그 헤게모니가 옮겨가던 시점의 중요한 활동으로 기록되어있다. 앨범은 캐나다에서 발매되었고, 실제로 해피돌스는 토론토를 중심으로 활동하기도 하였지만, 그 시작은 약 70년 경의 대한민국으로 거슬러 올라간다. 당시 14살의 나이로, 막내였던 김명옥 (나미)의 합류로 본격적인 시작을 알린 해피돌스는 유니버설 레코드의 주선으로 베트남 사이공으로 향하게 된다. (이미 막내 김명옥은 8군 무대와 각종 일반 무대에서 검증받은 스타였다.) 당시 미군들로부터 ‘베이비 팀', ‘코리안 잭슨 파이브’(잭슨 파이브(Jackson 5)의 ‘Ben’을 주 레퍼토리로 삼고 있었기 때문이라고 한다)라는 별칭을 얻으며 73년까지 약 2년간의 베트남 활동을 마친 이들은 귀국길에 오르게 되고, 서울에서도 실버타운이나 라스베가스등의 클럽에서 활동하면서 히식스나 트리퍼스같은 대형 밴드들 사이에서 기량을 과시하기도 하였다. 하지만, 다시 한 번 제작자이자 C. W. Y 프로덕션의 대표인 유칠왕의 제안으로 본고장인 미국에 진출한다는 포부를 안고 샌프란시스코로 향하게 된다.
[Show Album No.1] 이라는 타이틀에 걸맞게 본 앨범의 수록곡들은 당시 쇼 무대에서 선보일 법한 레퍼토리로 채워져 있다. 그러나 쇼 중간 중간에 녹음된 단순한 ‘활동 기록'으로서의 앨범은 결코 아니다. 앨범의 전반적인 레코딩 품질이라던지 프로덕션의 일관성, 연주의 디테일과 다이나믹은 그 어떤 한국 밴드의 앨범에 비했을 때도 최상의 순간들을 보여주고 있다. 앨범의 제작자인 유칠왕 선생은 ‘급조된 앨범이 아니라, 유능한 편곡자와 프로듀서의 지도로 만들어진, 5명의 최소인원으로 만들어진 최대 효과의 앨범'이라고 회상한다. 앨범의 첫 문을 여는 곡, ‘Hello Dolly’에서는 유쾌하게 루이 암스트롱의 발성을 흉내 내면서 쇼 밴드로서의 관록과 여유를 보여주고 있다. ‘오기 김'으로 표기된 ‘나미'의 유일한 보컬 트랙인 (모든 멤버가 리드보컬과 다양한 악기들을 동시에 소화하였기 때문) ‘Misty Blue’는 미시시피 소울의 여제인 ‘도로시 무어(Dorothy Moore)'의 곡으로, 우리가 기억하고 있는 비음 섞인 나미의 트레이드 마크-보이스에 비해서 훨씬 정통파 소울-싱어로서의 면모를 선보이고 있다. 이 앨범에 수록된 유일한 ‘가요'곡으로 지 김(김승희)이 부른 신중현의 ‘봄비'는 이정화, 박인수의 버젼에 비하면 더 담백한 연주와 공간감을 선사한다. 케이씨앤더선샤인밴드(KC & The Sunshine Band)의 ‘Shake Your Booty’는 동시대에 유행하던 디스코 넘버로 밴드가 당시에 연주하던 최신 레퍼토리였을터. 이 앨범이 가장 중요한 한국 밴드사의 사료로 여겨지는 이유는 아마도 두 곡의 훵크 넘버인 ‘Pick Up The Pieces’(원곡: 애버리지화이트밴드 Average White Band)와 ‘Funky Stuff’(원곡: 쿨앤더갱 Kool And The Gang) 때문이 아닐까 한다. 본토의 것이라고밖에 생각할 수 없는 그루브의 리듬섹션은 실로 한국 밴드 역사에서 유일하게 훵크(funk)문법의 정수에 닿아 있다. 클라비넷의 절묘한 운영과 5명의 멤버로 브라스섹션의 다이나믹까지 완벽하게 소화해 내는 ‘Funky Stuff’는 이미 해외 디제이/컬렉터들 사이에서는 엄청난 발견으로 전해지고 있기도 하다. 이 앨범에서 연주의 정수를 보여주는 부분은 드러머인 분이 김(김은숙)의 절정 기량이 돋보이는 드럼 솔로 트랙 ‘Drum Solo’이다. 웬만한 프로덕션에서의 자신감이 아니고서는 단독 트랙으로 실을 수 없는 이 넘버는 역시 이 앨범이 가지고 있는 매우 중요한 순간이다. 정확한 타임키핑과 강약조절, 변화무쌍한 리듬과 전개는 이 당시 베이스 드럼에 태극기를 붙이고 공연에 임했다는 일화와 함께 전설적인 순간으로 기억될 것이다. 당시의 한국 가요 시장에서 나오던 음반들과는 다른 컨셉과 연주의 레벨에 있었기에 더욱 재조명되어야 할 이 음반에 대한 가치는 제작자인 유칠왕 선생의 다음과 같은 회상으로 요약할 수 있겠다. “확실한 것은 5인조 걸그룹으로는 이러한 음반을 누구도 만들 수가 없습니다.” 이 설명만으로 부족하다면, Museum of Canadian Music 사이트를 접속해보도록 하자. Rarest Canadian Music, Top 1000 Canadian Albums of All Time으로 기록되어 있는 자랑스러운 본작을 만나볼 수 있다.
‘Girls just wanna have Funk!’ ‘It was Nami's recording debut and the first Korean-Hunk album to be re-released in 35 years!’ Happy Dolls [Show Album Number One]
[Excerpts from Commentary] ... Happy Dolls, which recorded only one album released in Canada in '78, is also a group of the last generation women's five-member group who will be based on the Las Vegas show stage and North America on the same route. It is recorded as an important activity at the time when hegemony moved to the domestic market. The album was released in Canada, and Happy Dolls was based around Toronto, but its beginning dates back to Korea in about 70 years. At the age of 14, Happydols, who began the full-fledged start by joining the youngest Kim Myeong-ok (Nami), will head to Saigon, Vietnam, under the auspices of Universal Records. (The youngest Kim Myung-ok was a proven star on the 8th Army stage and various general stages.) At that time, the US team was using the associations of the 'Baby Team' and 'Korean Jackson 5' (Jackson 5's 'Ben' as the main repertory. After two years of Vietnamese activities by 73, they returned to their home country. In Seoul, they worked in clubs such as Silvertown or Las Vegas, and worked among large bands such as Hisics (He6) and Trippers. This also showed off. But once again, with the suggestion of King Yoo Chil, producer and representative of C. W. Y Productions, he heads to San Francisco with the ambition to enter the United States.
Consistent with the title of [Show Album No.1], the album's songs are filled with repertoires that would appear on the show stage at that time. But it's never an album as a simple “record of activity” recorded in the middle of a show.
The overall recording quality of the album, production consistency, performance details and dynamics show the best moments of any Korean band album. Yoo Chilwang, the creator of the album, recalls, "It's not an urgent album, but an album of the maximum effect made with the minimum number of five people, guided by competent arrangers and producers."
'Hello Dolly', which opens the first door of the album, happily mimics Louis Armstrong's vocalizations, demonstrating his record and leisure as a show band. 'Misty Blue', the only vocal track of Nami, marked 'Ogi Kim' (since all members played lead vocals and various instruments at the same time), is a song by Dorothy Moore, the Mississippi Soul Empress. It is more orthodox as a soul-singer than Nami's trademark-voice. Shin Ji-hyun's 'Spring Rain', which was sung by Ji Kim (Kim Seung-hee) as the only song included in this album, offers a lighter playing and a sense of space than Lee Jung-hwa and Park In-soo's versions. KC & The Sunshine Band's “Shake Your Booty” was a popular disco number that was the latest repertoire that the band played at the time.
The album is considered to be the most important feed for Korean bands, probably because of the two shank numbers 'Pick Up The Pieces' (original song: Average White Band) and 'Funky Stuff' (original song: Kool And The Gang) Groove's rhythm section, which can only be thought of as the mainland, is the only quintessence of funk grammar in Korean band history. 'Funky Stuff', which perfectly handles the clavnet's exquisite operation and the dynamics of the brass section with five members, is already known as a huge discovery among overseas DJs / collectors.
The essence of the performance in this album is Drum Drum, a drummer whose performance is well known by Kim (Kim Eun Sook). This number, which cannot be carried on a single track without any confidence in production, is also a very important moment for this album. Accurate timekeeping, intensity control, and ever-changing rhythms and developments will be remembered as legendary moments, with tales of taegeuk on the bass drums at this time.
Since the album was at a different concept and level of performance than those of the Korean pop music market at the time, the value of this record to be reexamined can be summed up by the following review from producer Yoo Chilwang: “I'm sure no one can make these records with a five-member girl group.” If this is not enough, try visiting the Museum of Canadian Music. It's one of the rarest Canadian Music albums ranked in the Top 1000 Canadian Albums of All Time.
credits : 김명옥 KIM MYONG-OK (OGIE, KIM): Guitar, Banjo, Vocals 김승희 KIM SEUNG-HEE (JEE, KIM): Guitar, Saxophone, Vocals 김승미 KIM SEUNG-MI (JOO, KIM): Guitar, Trombone, Vocals 이종숙 LEE JONG-SOOK (SOOK, LEE): Bass, Vocals 김은숙 KIM EUN-SOOK (BOONIE, KIM): Drums, Percussion Produced by C.W.Y. Production (Yu Chil-wang) Recorded & Mixed by Russel Brannon Recorded & Mixed at Solar Studio, NS, Canada Remastered by Masao Maruyama (production dessinee) at Studio Djoke, Japan Liner notes: Park Min-jun (DJ Soulsacpe/360 Sounds) English translation: Bae Ki-joon Reissue design: Baek Ji-hoon (Beatball Design Lab.) Reissue producer: Lee Bong-soo Photos courtesy by Yu Chil-wang Originally released on SOLAR RECORDS *C.W.Y. Productions) as SAR 2012(WRC-226) in 1978 ⓟ 1978, 2013 C.W.Y. Productions ⓒ 2013 BEATBALL MUSIC GROUP Released by COBRA ROSE Records, a division of BEATBALL MUSIC GROUP. Made under license from CHIL WANG YU(C.W.Y. Productions.
가수 나미가 재적했던 5인조 펑크/소울 밴드이면서 모든 멤버가 보컬과 악기를 동시에 소화했던 걸그룹 해피돌스가 캐나다에서 제작한 유일한 앨범 (1978년 발표작) 파랑/ 검정색 LP 두 가지로 제작되었으며 디제이 소울스케이프의 해설이 담겨 있다.
"앨범의 전반적인 레코딩 품질이라던지 프로덕션의 일관성, 연주의 디테일과 다이나믹은 그 어떤 한국 밴드의 앨범에 비했을 때도 최상의 순간들을 보여주고 있다. (중략) 이 앨범이 가장 중요한 한국 밴드사의 사료로 여겨지는 이유는 아마도 두 곡의 훵크 넘버인 'Pick Up The Pieces'(원곡: 애버리지화이트밴드 Average White Band)와 'Funky Stuff'(원곡: 쿨앤더갱 Kool And The Gang) 때문이 아닐까 한다. 본토의 것이라고밖에 생각할 수 없는 그루브의 리듬섹션은 실로 한국 밴드 역사에서 유일하게 훵크(funk)문법의 정수에 닿아 있다. 클라비넷의 절묘한 운영과 5명의 멤버로 브라스섹션의 다이나믹까지 완벽하게 소화해 내는 'Funky Stuff'는 이미 해외 디제이/컬렉터들 사이에서는 엄청난 발견으로 전해지고 있기도 하다. 이 앨범에서 연주의 정수를 보여주는 부분은 드러머인 분이 김(김은숙)의 절정 기량이 돋보이는 드럼 솔로 트랙 'Drum Solo'이다. 웬만한 프로덕션에서의 자신감이 아니고서는 단독 트랙으로 실을 수 없는 이 넘버는 역시 이 앨범이 가지고 있는 매우 중요한 순간이다. 정확한 타임키핑과 강약조절, 변화무쌍한 리듬과 전개는 이 당시 드럼에 태극기를 붙이고 공연에 임했다는 일화와 함께 전설적인 순간으로 기억될 것이다." (디제이 소울스케이프)
DJ Soulscape produced a five-member pop/ soul band where singer Nami was enrolled and the girl group Happy Dolls, whose members played both vocals and instruments at the same time.
"The album's overall recording quality, production consistency, performance details and dynamics show the best moments of any Korean band album." Perhaps this is due to the two shank numbers 'Pick Up The Pieces' (original song: Average White Band) and 'Funky Stuff' (original song: Kool And The Gang). Groovy rhythm section is the only one in Korean band history that touches the essence of funk grammar: 'Funky Stuff', which perfectly handles the dynamics of brass section with exquisite operation of clarinet and five members, is already It is said to be a tremendous discovery among overseas DJs / collectors. This is the drum solo track 'Brum Solo', which shows off Kim's climax, and this number, which can't be a solo track without any confidence in production, is also a very important moment for this album. "Keeping, controlling the intensity, and changing rhythms and developments will be remembered as legendary moments along with anecdotes of the taegukgi on the drums." (DJ Soulscape)
*박민준(DJ SOULSCAPE/360 SOUNDS) 해설 *1978년 발매된 음반(솔라레코즈) 쟈켓과 라벨을 재현 *4페이지 인서트 (미공개 사진과 한, 영 해설 수록) *140그램 블루/블랙 바이닐(유럽 제작) *헤비 팁온 슬리브(heavy tip-on sleeve) 방식의 커버(일본 제작)
