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채규엽 - Chae Yug-Yeop / Chae Gyu-Yeop

Early radioshow-related description of the tracks: "The first 4 tracks show guitar/violin plus voice only in early trot style, with a warm voice and on track 3, with a small combo as well for some rhythmic accompaniment. The 5th track has a more jazz flavoured accompaniment, jazzy piano part, strings plus horns. On the 6th unusual track we seem to hear a self-built banjo-like picking and close gypsy violin sounds. This is much more like a local country folk blues track, but still has some trot/new folk associations. The instrumental parts in the 7th track is led by violin and accordion and violin, smoothly walzing harmony melodies, the song itself is accompanied by violin, picking guitar, flutes. The next few tracks hold mostly the middle between trot and cabaret, with more still less original song melodies or arrangements. Track 8 is different for its arrangements, which are also colourful with its rhythmical workout. It has a certain jazz influence too. Track 9 and ten have no real distinctive qualities to the 30s trot style. Track 11 and 12 have guitar and violin as lead accompaniment. Track 13 shows a marching band rhythm and more jazz, could fit into a movie. Track 15 has something oriental-exotic in the clarinet arrangements of the small combo with singer."

This CD is part of a 23CD-box. The track listing is as follows:

유성기로 듣던 불멸의 명가수 - 유성기로 듣던 불멸의 명가수 Vol. 12 채규엽 편 [compilation] (1996)

Immortal singers heard during the Meteor Period Vol. 12: Chae Kyu-yeop

1. 술은 눈물이랄까 한숨이랄까 / Would tears be like tears or sighs?

2. 님 자최 차자서 / Self Controlled Nim (?)

3. 비오는 포구 / Rainy muzzle

4. 처량한 밤 / Desolate night

* 5. 홍등야곡 / Hongdeung Yagok

6. 방랑의 노래 / Song of Wandering

7. 봉자의 노래 / Song of the Bong

8. 홍루원 / Hongruwon-Chaegyuyeop

9. 시들은 청춘 / Poems are youth

10. 눈물의 부두 / Pier of Tears

11. 아득한 천리길 / Faraway Cheonri-gil

12. 외로운 길손 / Lonely Gilson (?)

13. 마라손 제패가 / Marason won the game (?)

14. 만주의 달 / Manchurian Moon

15. 광야의 황혼 - Twilight in the Wilderness

Tracks with * I consider essential listens or classics, or tracks not to miss to check out. They are of course also very suitable for western radioshow airplay.

유성기로 듣던 여명의 한국동요 / Korean Songs of Dawn (= lullabies)

* CD2 6 오양간 송아지 / (Song of) The Calf (40323 A)

This is a children song’s Lullaby accompanied by acoustic pickings only. The guitar picking is nicely interpreted in a somewhat bluesy way. A bit further on accordion is added as well. There has been given a large part of the track full attention to the instrumental part. The song has something timeless, so it is hard to say from which date it is.

유성기로 듣던 일제시대 풍자 해학송 /

The satire of Japanese imperialists heard during the Meteor period

3 꼴불견 주제가 / Unpopular theme song (1932)

This is a clearly jazz driven cabaret song with duo singers.

유성기로 듣던 가요사 / Songs that I heard during the musical period from (1925~1945) [Disc 1]

9 봄노래 부르자 / Let's sing a song of spring (1929)

This is a rather funny sounding or pretty much waltzing violin/brass driven song which remind me of the songs from the "Pork Song" compilation. It is old music styled and very cabaret-like.

유성기로 듣던 가요사 / Songs that I heard during the musical period from (1925~1945) [Disc 2]

13 서울노래 / Seoul Song (1934)

This is a more sad waltz with an early trot or Japanese-like song associations. It is led by voice and wining violin (with some solo of acoustic “Hawaiian”-like guitar and a few subtle accents or instrumentation by a more instruments).

유성기로 듣던 가요사 / Songs that I heard during the musical period from (1925~1945) [Disc 7]

10 기타에 울음 실어 / Crying guitar (1939)

11 북국(北國) 오천(五千)키로 / Northern Kingdoms Five Rivers (1939) -charriot rhythm-

“Crying guitar” is a truly fine old Japanese styled guitar trot song with acoustic guitar, which is, like it is supposed to be, sad and contemplative. It is professionally sung but perhaps not necessarily exceptional. The second track is with a driving-a chariot-like marching rhythm with very heavy power accents in these arrangements at some chosen moments. It is a trot song with a pleasant tone and through its arrangements with cabaret-like effects.

유성기로 듣던 북(北)으로 간 가수들 / Singers that went to North Korea (CD 1994)

1 희망의 종이 운다 / Paper bell of hope

2 저녁의 바닷가 / Evening beach

3 시들은 청춘 / Wilting youth

The first song, “Paper bell of hope” has a marching rhythm and jazz-like arrangements. I assume a paper bell does not sound very resonating, so in combination with its frolic vibe it must have been a cynical song. The song “Evening beach” accompanied by piano and violin perfectly describes a desolate walk on the beach. It is almost classical as a song. “Wilting Youth” is a Japanese-like trot song.



Rough translation of the Korean Wikipedia page :

°1905-1911 (probably 1906 / Hamhung, South Korea) - December 1949. Singer. Category : trot. Active from 1930-1949, mainly during the Japanese colonial period.

He studied at the Central Music School in Tokyo and vocal music from the mid 1920s to in Japan, participating in the trend wave art movement that was fashionable at the time. He became a music teacher in a girls' school in 1930, where he had been asked before to perform baritone recitals in Seoul, in 1928.

He debuted as a pop singer in 1930 too on Columbia Records in Japan, showing a chance to perform in Japanese during the festivities. He recorded some records since then. In 1935, "Samchully" was topped the most succesful track in the male singer category.

He convinced Columbia Records head office to go to Japan for three years. He kept a connection with Japanese as the first Korean singer ("Ichiro") in Japan. But the increasing costs of traveling didn’t add advantage to his popularity around 1937. Chaegyuyeop tried to adapt several enka styled songs. At some stage he was accused to have an affair with a 16 year old, a story which headed the newspaper and which forced him to his retirement. The Japanese and Japanese Army however protected his career, also during the late 1943's Pacific War. After the war he continued to perform, mostly for the US military. The enka style however could no longer be performed and he was quickly reported to be a fraud suspect. Not much is know what happened to the singer since 1949.


Wikipedia: Before the 1920s, there was little information about popular Western music. In the 1920s, some recordings with a vague resemblance to Trot were heard around Korea, but these were likely forms of Western popular music. To detail Trot music's beginnings, the following songs are presented as 'forerunners':

"Pupil Song" (Korean: 학도가), first recorded in May 1921 and sung by Korean Christian youth group, became popular.[33] This song belongs to marching songs. The melody of "Pupil song" was borrowed from "Railway Song" (鉄道唱歌), which Japanese composer Oono Umekawa had composed in 1900.[34] Who wrote lyrics of "Pupil song" is unknown. Several singers, e.g. Chae Gyu-yeop (Korean: 채규엽), Go Un-bong (Korean: 고운봉), recorded this song. The song became popular because the encouraging mood, evoqued by a beat typical of marching songs, was appealing to the those oppressed by Japanese rule. On the other hand, the Japanese "Railway Song" was later adapted to fit North Korean communist ideals, titled "Revolutionary Song Against Japan" (Korean: 반일 혁명가) and "Rise Proletariat" (Korean: 일어나라 무산대중).

In the period of colonial rule, pop culture in Korea was clearly influenced by Japan, and Western culture (primarily from Christian missionaries).[nb 5] Many musicians, such as Yun Sim-deok, Chae Gyu-yeop, and Park Hyang-lim, were educated in Japan or by institutions founded by missionaries. They imitated songs from Japan, or hymns and melodies from the West. In the 1920s there were few Korean composers who wrote original popular music. In the 1930s, Korean songwriters began composing original popular songs whose unhemitonic pentatonic scale were typical for Trot as well as for enka.

Lee Aerisu (Korean: 이 애리수) recorded "Traces Of Castle Ruins" (Korean: 황성의 적) in 1931(released 1932), later remade under the title "황성 옛터" by many Trot singers. This song marked a milestone in Trot music. In 1931 the first countrywide competition for the new singers took place, in which Go Bok-su (Korean: 고복수) was chosen and became one of the most prominent Trot singers: his debut song, "Away From Home" (Korean: 타향, later titled 타향살이) became a hit. In 1933 Okeh records company was founded, which promoted the development of Trot and produced a lot of hit songs.


Yongwoo Lee (Embedded voices in between empires) :

"Recorded in 1934, Sarangeui Yureiti (ong of Love) of Chae Gyu-Yeop was the first Korean yodeling song, a remake of the famous German folk song ―Alpine Milkman by Franzl Lang. This song was made by British singer songwriter, Leslie Sarony (1897.1.22-1985.2.12), a famous artist and radio celebrity in 1920s to 1930s and was remade in 1933 as Nakano Tadaharu‘s ―Yamano Ninkimono (山の人気者, lyrics by Honmaro Jirou) in Japan. It is interesting to see the cultural concurrency by juxtaposing these two versions of ―Alpine Milkman in both Imperial Japan and colonial Korea."

"The idea of indigenous jazz songs was complex in several respects. First, the Korean singers‘ vocalization is reminiscent of Japanese singers‘ mimicking American jazz singers such as Rudy Vallée, Bing Crosby and Frank Sinatra; these were filtered through Japanese performers such as the Calua Mamainasu Band and Columbia Nagano rizumu boyz, who in turn influenced the jazz vocal styles of Korean singers such as Nam In-Soo, Chae Gyu-Yeop and Kim Hae-Song. Secondly, the majority of the song lyrics were also overflowing with expressions of emotion, using excessive exclamation (Oh! Ah!) to express self-indulgent tendencies. Thirdly, the jazz songs often overused ―modernEnglish as buzzwords, particularly in songs such as ―Sarangui rangdebu‖ (Rendezvous of Love, performed by Chae Gyu-Yeop), ―Dinah (Diana, performed by Kang Hong-Sik and Ahn Myeong- Ock), „Sarangeui Yoreitie" (Yodel Song of Love, the first yodeling song in Korea, sung by Chae Gyu-Yeop) and Neonui Paradaisu (Paradise of Neon sign, performed by Yu Jong-Sup). Korean jazz songs and Yuhaengga had to be modeled on westernized Japanese music, with its notation, composers, compositions and instrumental arrangements. Notably, many Japanese arrangers were engaged in the production and arrangement of many Korean jazz songs, such as ―Okuyama Teikichi‖ (奧山貞吉) of ―Sarangeui Yoreitie‖ (Yodel song of Love, performed by Chae Gyu-Yeop), ―Jeulgeun naesalim‖ (Happy Housekeeping, performed by Kwon Young-Geol), ―Seoul Myeonmul‖ (Special Products from Seoul, performed by Kang Hong-Sik), ―Sugita Ryozo‖ (衫田良造) of ―Sarangeui Rangdebu‖ (Rendezvous of Love, performed by Chae Gyu-Yeop),..." Lee Young-Woo

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(1절)이 풍진 세상을 만났으니 너의 희망이 무엇이냐

부귀와 영화를 누렸으면 희망이 족할까

푸른 하늘 밝은 달 아래 곰곰히 생각하니

세상만사가 춘몽 중에 또 다시 꿈같다

(2절)이 풍진 세상을 만났으니 너의 희망이 무엇이냐

부귀와 영화를 누렸으면 희망이 족할까

담소화락에 엄벙덤벙 주색잡기에 침몰하랴

세상만사를 잊었으면 희망이 족할까

2009년 새해가 밝았다. 묵은해를 뒤로 하고 희망의 신년을 맞은 것이다. 매년 그랬듯 우리는 새해도 잘 풀리길 저마다 기원하며 ‘희망가’를 부른다. 건강, 돈, 명예, 벼슬, 가족행복 등 소망하는 건 대부분 비슷하다. 새해는 첫출발, 희망, 꿈과도 통한다.

그래서 대중가요 <희망가>는 새해에 맞은 노래다. 4분의 3박자 왈츠 풍으로 부르기가 쉽다. 노랫말엔 ‘희망’이란 말이 여러 번 나와 연초분위기와 맞아떨어진다. 희망이 담긴 노랫말이 의미를 더해준다.

게다가 2006년 11월 문화재청이 근대문화재 보존관리를 위한 대국민홍보차원서 벌였던 ‘근대문화 1호 찾기’ 캠페인 때 부각, 눈길을 끈 대중가요이기도 하다.

첫 대중가요…외국곡에 가사 붙여

<희망가>는 노래를 부른 가수와 관련된 재미난 사연들이 많다. 국내 최초 레코드취입가수가 불렀다는 점과 일제강점기 때 백성들이 자연스럽게 불렀던 외국 곡을 번안해 탄생된 노래란 점이 특이하다.

우리 노래로 알고 있는 건 곡조와 노랫말이 한국인 정서에 맞게 바뀌어 불린 까닭이다. 흐름이 대체로 부드럽고 멜로디가 쉽다. 1919년 3·1만세운동 물결이 지나간 뒤인 1923년 무렵부터 대중 속에 빠르게 퍼져나갔다.

민족염원이 물거품으로 돌아간 뒤 대중들 마음은 좌절과 허탈감에 빠졌다. 소위 문화정치를 내세운 일본의 통치방식이 다소 누그러져 조선사회가 활기를 띄는 듯 했지만 민중들 일상은 그렇잖았다. 이런 시대상황에서 애조 띤 노래(창가)가 유행하기 시작했고 사람들은 이 노래를 ‘희망가’라 불렀다. 일제강점기 억압에 시달린 민초들의 바람이 <희망가>란 노래를 낳은 셈이다. 모진 겨울바람에 시달리며 봄을 기다리는 꽃봉오리 같은 백성들 소망의 외침이 <희망가>로 나타났다.

아쉽게도 <희망가>의 바탕이 된 외국 곡을 번안한 사람과 편곡자 역시 밝혀지지 않고 있다. 다만 토마스 가튼의 <夢の外>가 원곡으로 가요계에 알려져 있을 뿐이다.

우리나라 대중가요로는 1925년 발매된 ‘조선소리판’에 실린 노래를 드는 사람들이 많다.

도월색의 <시들은 방초>, 김산월의 <장한몽>과 1926년 윤심덕이 불러 히트한 <사의 찬미> 등으로 알고 있으나 사실은 <희망가>가 이보다 훨씬 전에 나왔다.

1922년에 나온 노래집엔 <청년경계가>란 제목으로 실려 있다. 이어 전국적 유행에 힘입어 일축(일본축음기상회)에서 음반으로도 발매됐다. 음반이 처음 나왔을 땐 다시 제목이 바뀌어 <이 풍진 세월>로 나왔다. 명확하진 않으나 1925년 전에 나온 노래가 틀림없다. 음반으로 취입된 우리나라 유행가 중 가장 오랜 작품으로 기록된다. 문화재청의 대중가요 1호 찾기 목록에 오른 것도 이 때문이다.

문화재청 ‘1호 찾기’로 부각돼

<희망가>는 83년의 세월이 지난 지금에도 불리고 있다. 김종서, 시나위, 최영철, 장사익, 한 대수 등 후배가수들이 리메이커 해서 취입했고 전국 노래방에도 반주가 깔려있어 이 노래를 찾아 부르는 이들이 적잖다.

특히 1980년 언론인들이 이 노래를 자주 불렀던 적이 있다. ‘전두환 정권’의 언론통폐합 방침 속에 그해 가을 새마을연수원에 강제 입소해 5공 새 정부의 이념교육을 받았던 언론인들이 신아일보, TBC(동양방송), DBS(동아방송) 등 언론사가 문 닫는다는 소식을 전해 듣고 강의실에서 이 노래를 합창했다. 한국경제신문 정경부 기자였던 본인도 그 현장에서 선배들과 <희망가>를 목청 높여 불렀던 기억이 난다.

<희망가>의 작사가, 작곡가는 누구인지 모르지만 1925년 우리나라 최초의 레코드취입가수 채규엽(蔡奎燁)이 불러 히트한 것만은 사실이다. 채규엽은 일본서 음악공부를 한 사람으로 <봄노래> <방랑자의 노래> 등을 불러 인기가 높았다. 그는 국내 직업가수 1호이자 최초의 포크가수다.

일본 와세다대학 만돌린부에서 활동했던 한국유학생이 채규엽의 노래반주를 맡았던 것으로 알려져 있다.

만돌린부 학생들은 만돌린은 물론 통기타도 연주하곤 했다. 통기타반주가 위주이고 아코디언이 간주부분에서 받쳐준다.

그 때의 기타 줄은 섬유로 만들어져 언뜻 들으면 소리가 이상하지만 당시로선 최고로 좋은 악기 줄이었다. 가느다란 실을 여러 개 엮어 꼬아 만든 줄로 되풀이해 들을수록 담백하고 듣기도 좋다는 느낌을 준다.

1907년 함경남도 원산에서 태어난 채규엽은 신명학교를 졸업, 일본 동양음악학교에서 정식 가수수업을 받은 우리나라 최초의 유행가가수다. 1930년 콜롬비아레코드사의 전속가수가 돼 <봄노래 부르자>를 출반했다. 이어 <명사십리> <시들은 청춘> 등 히트곡들을 남기기도 했다. 일본 최고 인기작곡가 고가마사오(古賀政男)의 히트곡 <사케와 나미타까 타메이키까(酒淚溜息)>를 번안한 <술은 눈물이냐 한숨이냐>를 우리말로 취입, 대단한 인기를 끌기도 했다. 일제강점기 땐 한국 대중음악계 최고가수로 꼽혔다. 잡지사(삼천리)의 인기가수투표에서 1위를 차지했을 정도다.

채규엽, 친일활동하다 월북

호스티스의 염세자살을 주제로 한 <봉자의 노래>를 널리 유행시켰으나 1939년 이후 행방을 감췄다. 8·15광복 뒤 다시 연예계에 나타나 활동했던 그는 1947년 연예단체를 운영했으나 사업부진으로 어려움을 겪었다. 특히 일제 말 적극적인 친일활동과 해방 후 월북으로 우리들의 관심에서 멀어진 사람이 돼버렸다.

채규엽은 가수 전영록의 고모부다. 별세한 배우 황해 씨(전영록 부친)의 여동생과 결혼, 딸을 하나 뒀다.

‘어른이 부른 동요’라 할 수 있는 <외양간 송아지>를 취입, 국내에 처음 포크음악을 선보였다.


Rough translation (with mistakes):

(1) What is your hope because you have met this rich world?

Would there be enough hope if I enjoyed riches and movies?

Thinking under the bright moon of the blue sky

The world is like a dream again during the spring

(2) What is your hope because you have met this rich world?

Would there be enough hope if I enjoyed riches and movies?

Will you sink into the chattering noise?

Would there be hope if I forgot everything?

In 2009 there was a bright new year. A New Year of Hope after the old year. As every year, we wish each other to be well and call ‘Hope. ' Health, money, honor, shackles, and family happiness are mostly similar wishes. New Year also connects with first start, hope and dream.

The popular song <Hope> is a song for the new year. It's easy to call it a three-quarter time waltz. At the end of the song, the word 'hope" comes out several times, which matches the atmosphere of the beginning of the year. Words of hope add meaning to it.

In addition, it is also a popular pop song which was celebrated in November 2006 when the Cultural Heritage Administration conducted the “Finding Modern Culture No. 1” campaign, wheld as a public relations campaign for the preservation and management of modern cultural assets.

It is the first pop song with Korean lyrics added to a foreign song.

<Hope> has many interesting stories related to the singer who sang it. It is unusual in that it was the first true song record in Korea, and it was a song that was created by revising a foreign song that the people naturally sang during the Japanese colonial rule.

What we know as a song is because the tune and the song were changed to suit Korean emotion. The flow is usually soft and easy to melody. It spread rapidly in the public around 1923, after the wave of the March 1st Movement in 1919.

After the national aspiration returned to its bubble, the hearts of the public fell into frustration and deprivation. The so-called Japanese government's mode of governance, which had so-called cultural politics, had softened a little, but the Korean society seemed to live up because the people's daily life was. In this time of age, a favorite song began to become popular, where people called it a song of hope. The winds of folk grasses under oppression during the Japanese occupation gave birth to the song <Hope. " The hope of the people like buds waiting for spring, suffering from high winter breezes, appeared as Hope.

Unfortunately, the person and arranger who wrote the foreign song that underpinned Hope is unknown. However, Thomas Garten's <夢 の 外> is only known in the music industry as being the original song.

Many Korean pop songs listen to songs on the Chosun Soundboard, released in 1925.

Dowol-color's poems are known by Bangcho, Kim San-wol's Jang Han-mong, and Yoon Shim-deok's hits in 1926.

The songbook, published in 1922, has the title <Youth Boundaries>. Following the national trend, it was also released as a record at Japan Univ. When the album first came out, the title changed again into <The Rubella Year>. It's not clear, but it must have been a song before 1925. It is recorded as the longest living work of Korean fashion artists that turned into records. This is why it is listed on the Cultural Heritage Administration's list of popular songs.

Highlighted by the Cultural Heritage Administration ‘Find No. 1’ Hope is still being called for after 83 years. Junior singers such as Kim Jong-seo, Shinawi, Choi Young-cheol, Jang Sa-ik and Han Dae-soo sang remakes of it.

In 1980, journalists sang this song often. In the fall of the Chun Doo-hwan regime, the journalists who were forced to enter the Saemaul Training Institute in the fall and received the ideological education of the new five-government government were informed that the media such as Shin-A Ilbo, TBC (Dongyang Broadcasting) and DBS (Dong-A Broadcasting) were closing. I heard this song and choir this song in the classroom. I am a journalist from Kyung Kyong-bu, the Korean economic newspaper, and I remembered that seniors sang <Hope> on the scene.

I don't know who the writer of <Hope> is, but it is true that in 1925, Korea's first record-taking singer Chae Gyu-yeop (蔡 奎 燁) called and hit.

Chae Gyu-yeop was a person who studied music in Japan. He sang spring songs and wanderer songs. He is the first domestic professional singer and the first folk singer.

It is known that a Korean student who worked at the Mandolin Department of Waseda University in Japan performed the song accompaniment of Chae Kyu-yeop. Mandolin students used to play not only mandolin but also acoustic guitars. Acoustic guitar accompaniment is mainly supported by accordion. At that time, the guitar strings were made of fiber and sounded strange at first glance, but it was the best instrument string at the time. Repeatedly twisted strings of thin threads give the impression that it is lighter and easier to hear.


Born in Wonsan, Hamgyongnam-do in 1907, Chae Gyu-yeop is a graduate of Shinmyung School and received a formal singer class training at the Japanese Oriental Music School. In 1930, he became a singer of Columbia Records, and released "Spring Song". He also wrote hits such as <Myeongsae-ri> and <Psalms Youth>. He released a big hit with the Japanese song ``Sake is a tear or a sigh?'', Which is a hit song by Saga and Namitaka Tamekika, the most popular songwriter of Japan. During the Japanese occupation, he was considered the best singer in the Korean pop music industry. He ranks on the top of the list in the popular singer's vote of the magazine (Samchully).

He also popularized "The Song of the Bones", the theme of the pessimistic suicide of a Hostess. He disappeared from the scene in 1939. After returning to the entertainment industry after the liberation of August 15, he ran an entertainment group in 1947, but suffered from a sluggish business. In particular, after active pro-Japanese activities and liberation from the end of Japan, North Korea took him away from our attention.

Chae Kyu-yeop is the uncle of singer Jeon Young-rok. He married a young actor Hwang Hae (father Jeon Young-rok) and left a daughter. He introduced the folk music for the first time in Korea by injecting <???>, which is called 'Agitation sang by an adult.'



이 음반은 최초의 싱어송라이터 음반이기도 하다. 채규엽은 이 음반에 앞서 ‘채동원’이라는 이름으로 <아리랑>과 <세동무>가 수록된 음반을 발표해 데뷔 음반에 대한 논란의 여지는 있다. 또한 채규엽은 1927년 일본 도쿄 중앙음악학교 성악과에서 정식으로 음악을 공부한 최초의 학사 가수이다. 배우 황해의 여동생과 결혼한 그는 가수 전영록의 고모부이기도 하다. 최초평가

유행가 태동기에 가수를 직업으로 삼기에는 경제적 측면이 빈약했다. 또한 당시에는 대중 앞에서 노래 부르는 것을 최하층민인 광대의 일로 생각하는 사회적 분위기가 있었다. 최초의 직업 가수로 평가받는 채규엽은 1930년 직접 작사 작곡한 <봄노래 부르자>, <유랑인의 노래>를 발표하여 데뷔했다. 출처 : 컨슈머포스트(


Chae Gyu-yeop made the first singer-songwriter album. It contains <Arirang> and <Sedongmu> under the name of Chae Dong-won. Chae Gyu-yeop was also the first bachelor to study music in 1927 at the Musical and Music Department of the Central Music School in Tokyo, Japan. He was married to actress Hwang Hae's younger sister, he is also the uncle of singer Jeon Young-rok.

In the early days of the occupation, the economic aspects were poor to find a job as a singer. There was also a social atmosphere at that time that singing in public was considered the work of the lowest level. Chae Gyu-yeop, which is considered to be the first professional singer, made his debut in 1930 with the release of <Let's Sing Spring> and <Wanderer's Song>.

Source: Consumer Post (


봉자의 노래(1934) 이야기|

'봉자의 노래'는 김봉자라는 실존 인물을 모델로 해서 만들어져 1930년대 사회상의 단면을 가감없이 보여 주고 있는 독특한 유행가입니다.

노래의 주인공 김봉자는 종로에 있는 어느 카페에서 여급으로 일하고 있었는데, 경성제대 의학부를 졸업한 의사 노병운과 만나 서로 사랑을 하게 되었습니다. 하지만, 당시에는 카페 여급을 거의 서양판 기생 정도로 보고 있었으므로, 두 사람의 사랑이 이루어지기에는 환경의 차이가 너무나 컸습니다. 게다가 노병운은 이미 처자식이 있는 유부남이기도 했습니다. 몰래 엮어 온 안타까운 사랑은 결국 노병운의 아내가 사실을 알고 경찰서에 진정을 하면서 파국을 맞게 되었습니다. 이룰 수 없는 사랑에 대한 절망과 죄책감을 견디지 못한 김봉자는 한강에 몸을 던져 자살을 했고, 이 사실을 전해 들은 노병운 역시 김봉자가 투신한 바로 그 장소에서 김봉자의 뒤를 따르고 말았습니다. 이 사건은 1933년 9월에 일어났는데, 거의 한 달 동안이나 신문 지면을 장식할 정도로 세상을 떠들썩하게 했습니다.

'봉자의 노래'는 사건이 일어난 지 석 달 남짓만에 1934년 1월 신보로 콜롬비아레코드에서 발표되었으며(음반번호 40488), 유도순 작사, 이면상 작곡으로 당대 최고의 가수로 꼽히던 채규엽이 노래했습니다.

사랑의 애닯흠을 죽음에두리

모든것 잇고잇고 내홀로가리

사러서 당신안해 못될것이면

죽어서 당신안해 되여지리다

당신의 그일홈을 목메여찻고

또한번 당신일홈 불르고가네

당신의 구든마음 내알지마는

괴로운 사랑속에 어이살리요

내사랑 한강물에 두고가오니

천만년 한강물에 흘너살리다

짤막하게 5절까지 이어지는 가사는 비극적인 사랑의 애처로움을 절절하게 말하고 있습니다. '봉자의 노래'에 이어 다음 달에는 역시 콜롬비아레코드에서 '병운의 노래'도 발매가 되어, 두 사람 사랑이 노래로나마 완성이 되었습니다.

영겁에 흘으는 한강의푸른물

봉자야 네뒤따라 내여게왓노라

오 님이어 그대여 나의천사여

나홀로 남게두고 어데로갓나

수면에 날아드는 물새도쌍쌍

아름다운 한양의 가을을읊것만

애끗는 하소연 어데다사뢰리

나의천사 봉자야 어데로갓노

그대를위하야서 피까지주엇거든

피보다도더붉은 우리의사랑

한강깁흔물속에 님뒤를따르니

천만년영원히 그품에 안어주

'병운의 노래'는 김동진 작사, 고하정남 작곡으로 지은이는 '봉자의 노래'와 다르지만, 노래는 역시 채규엽이 불렀습니다(음반번호 40490).

'봉자의 노래'는 몇 해 전에 나온 복각음반에도 실려 있는 것으로 되어 있으나, 이는 사실 '병운의 노래'입니다.아마도 제목을 표기하는 과정에서 착오가 있었던 것으로 보입니다.


Google translation with mistakes: Song of the Bones (1934)

The Song of the Bones is a unique track that is modeled after a real person named Kim Bongja and shows the social aspects of the 1930s.

Kim Bong-ja, the protagonist of the song, was working at a café in Jongno. Roh Byung-un was also a married man who had a wife. The unfortunate love that we sneaked up was finally catastrophic when Roh's wife learned the truth about his affair and had to be calmed down at the police station. Kim Bong-ja, who could not endure despair and guilt for its unfulfilled love, threw himself into the Han River and committed suicide. This incident took place in September 1933, making the world lively enough to decorate newspaper pages for almost a month.

The Song of the Bones was released in Columbia Records in January 1934, only three months after the incident (record number 40488).

Song of Bones

Put love blemish on death

I keep everything together and go alone

If you can't afford to buy

I'll die and not be you

I'm hanging around your home

I'm calling you home again

I don't know your old heart

I live in painful love

I leave my love in the Han River

Live in the river of ten million years

The short passage of verse 5 utters the tragedy of tragic love. Following 'Song of the Bones', next month, the song 'Byeongwoon' was also released at Columbia Records, and the love of the two was completed.

Byeongwoon's Song

The blue water of the Han River

Bonja, follow me.

Oh my God, my angel

Leave me alone

Pair of Waterfowl Flying in Water

Just looking at the beautiful autumn

Hae-yeon, Hae-yeon

My angel Bongja Aderogatno

I gave you blood for you.

Our love is redder than blood

I'm following Nim in Han River Gibbon

For ten million years

'Byung Woon Song' is composed by Kim Dong-jin and Go Ha Jung-nam. ` Bongja's Song'' appears to be on a reprint of a few years ago, but it's actually ` Byeongwoon's Song''.


한국 가요사에서 최초의 유행가 가수는 누구일까요? 이런 궁금증에 대한 분명한 해답으로 떠오르는 사람이 바로 채규엽(蔡奎燁)입니다. 식민지라는 우울한 시대사를 배경으로 가요계의 위상이 점차 구체적 형상을 이루어 가던 1930년, 채규엽은 두 곡의 노래를 발표했습니다. 콜럼비아레코드사에서 발매한 '유랑인의 노래'(채규엽 작사, 작곡)와 '봄노래 부르자'(서수미례 작사, 김영환 작곡)가 바로 그것입니다. 이 한 장의 음반으로 채규엽은 노래에 대한 갈증을 갖고 있던 식민지 대중들에게 최초 직업가수로서의 강렬한 이미지를 심어주었습니다. 이 음반의 라벨을 자세히 살펴보면 가수의 이름 앞에 '성악가'란 표시가 붙어 있습니다. 왜 그럴까요? 그것은 당시 대중가요와 성악의 구분이 아직 명확히 구분되어 있지 않았던 시절이었기 때문입니다.

채규엽은 1906년 함흥 출생으로 원산중학을 다녔는데 재학시절 독일인 교사에게 음악을 배웠습니다. 1927년 일본으로 건너가 음악을 공부하고 1년 뒤에 돌아와 귀국독창회를 열었습니다. 이때 채규엽은 바리톤으로 무대에 섰습니다. 그로부터 본격적 가수로 활동을 시작하여 극단 토월회와 취성좌의 공연에서 막간가수로 출연하기도 했습니다.

강한 억양의 함경도 사투리에 완강한 이미지로 느껴지는 용모. 신장은 비교적 작은 편이었습니다. 누구나 부러워하던 일본 유학을 다녀왔고, 음악학교 교사의 경력을 가졌으며, 가창력 또한 뛰어나 많은 사람들에게 찬탄을 받았습니다. 그리고 채규엽에게는 무엇보다도 흥행사로서의 남다른 자질이 있었던 듯합니다. 하지만 그는 자신의 출생담과 관련된 이야기를 결코 화제로 삼지 않았습니다. 이것은 차마 말하기 어려운 개인사적 열등감 때문으로 짐작됩니다.

당시 조선 민중들은 식민치하에서 하고 싶은 말도 제대로 하지 못하고 날이며 날마다 괴롭고 숨 막히는 심정을 가슴속에 안은 채 대책 없이 살아가고 있었습니다. 이럴 때 채규엽이 불렀던 '봄노래 부르자'는 빼앗긴 강산에 봄이 오는 것을 꿈에 가만히 그려보는 설렘과 아련함을 담고 있었습니다.

오너라 동무야 강산에 다시 때 돌아 꽃은 피고/ 새 우는 이 봄을 노래하자 강산에 동무들아/ 모두 다 몰려라 춤을 추며 봄노래 부르자

이 밖에도 채규엽은 '서울노래' '눈물의 부두' '북국 오천키로' 등의 대표곡을 비롯하여 80여 곡이 넘는 작품을 발표했습니다. 당대 최고의 작사가가 노랫말을 쓴 '서울노래'(조명암 작사, 안일파 작곡)는 지금 읽어도 유구한 민족사에 대한 자부심과 그것이 직면하고 있는 고통, 번민이 잔잔하게 깔려 있음을 느끼게 합니다.

ⅰ)한양성 옛 터에 종소리 스며들어/ 나그네 가슴에도 노래가 서립니다./ 한강물 푸른 줄기 말없이 흘러가네/ 천만 년 두고 흐를 서울의 꿈이런가

ⅱ)눈길은 오천 킬로 청노새는 달린다/ 이국의 하늘가엔 임자도 없이 흐드겨 우는 칸데라/ 페치카 둘러싸고 울고 갈린 사람아/ 잊어야 옳으냐 잊어야 옳으냐/ 꿈도 슬픈 타국 길

영남대 국문학과 교수



Google Translation:

Who is the first trendy singer in Korean song? Chae Gyu-yeop (蔡 奎 燁) is the one who emerges as a clear answer to this question. Chae Gyu-yeop released two songs in 1930, when the status of the music scene was gradually shaped in the background of the gloomy times of colonisation. It is the 'Wanderer's song' (written by Chae Gyu-yeop) and 'Let's sing spring song' (composed by Seo-mi Mi-ry and Kim Young-hwan) released by Columbia Records. With this record, Chae Gyu-yeop provided a strong image as the first professional singer for the colonial public who had a thirst for singing. If you look closely at the label of this album, you'll see the singer's name preceded by the song. Why? That's because there was no clear distinction between popular songs and vocal music.

Chae Gyu-yeop was born in Hamheung in 1906 and attended Wonsan Middle School. I went to Japan in 1927 and studied music. At this time, Chae Yeop was on the stage as a baritone. Since then, she has been a full-time singer and has appeared as an interlude singer in theater troupes and bridal seats.

The strong accent of Hamgyong is felt in a stubborn image. The height was relatively small. I went to study in Japan, which everyone was envious of, studied as a music school teacher, and sang well. And Chae-Yeop seems to have a special quality as a showman. But he never talked about stories related to his birth. This is probably due to his personal inferiority complex.

At that time, the Korean people were unable to say what they wanted to do under colonialism, and they lived without measures, with painful and choking feelings in their hearts. In this case, Chae Gyu-yeop's 'Let's Sing Spring Song' contained the excitement and ambiguity of the spring coming to the stolen river.

Come back to Dongsan, let's go back to the mountain and blossom. Sing this spring when the birds are weeping.

In addition, Chae has published more than 80 works including representative songs such as 'Seoul Song', 'Wharf of the Tears' and 'Okkuki Ocheon Kiro'. The song `` Seoul Song '' written by sung by the best writer of the time (composed by Myung-am Cho and An-il) compels you to feel proud of the eternal national history, the pain and the agony you face.

Ⅰ) Bells infiltrate Hanyangseong's ancient ruins / Songs in the heart of strangers flow / Silent streams of the Han River / Words of Seoul will flow for ten million years

II) A snowy road runs five thousand kilos, a blue-eyed mule / a canary that creeps without a person in the sky of foreign countries / a man crying and grinds around Peccika / forgetful right? Forgetful right?

Professor, Department of Korean Literature, Yeungnam University, Daily newspaper


Google Translation:

1930s savory pop song announcement…

The main character of the first four titles of Korea's first career singer, singer-songwriter, academic professor, and plagiarism/cover singer.

Choi Kyu-Sung Critic

Records have appeared in Korea for over 100 years.

In 1895, missionary and doctor Allen took the performances of 10 Korean voices to the World Expo in Chicago, USA. One of the party's records recorded by Gyeonggi Myung-bak Park Choon-jae is said to be the first record in Korea. Until the 1910s, domestic records were produced by Americans.

Since then, it was mainly made in Japan. The earliest phonograph company, Nimbo-no-heung, which released the Hopeist, drew a taeguk on the label. It is probably because Japanese colors are seeping into popular music at that time.

Who is the first singer-songwriter written and composed by Koreans? In any genre, there are many debates and hypotheses in the initial debate, but the answer is surprisingly clear.

The main character is Chae Kyu-yeop, a vocal singer who studies old music songs as Lee Gu-dong.

Lee Jung-sook, who published the notation of Sasa, published in August 1926, Yoon Sim-deok of 'Rejoice in Revival', and April 2005, which was the first creative popular song notarized. There are some singers who released popular songs before Chae Kyu-yeop, such as Bok Hye-sook, who took jazz songs such as "Jongno March."

However, it is not easy to define Yun Shim-duk, a singer who is not known as a singer on the domestic stage, and Bok Hye-sook, who has a clear record of actors and actresses. It is no wonder that Chae Kyu-yeop, who released many popular songs in the 1930s, was formulated as the first professional pop singer.

Chae Kyu-yeop is an important musician who was given the first title laurel in four categories in the history of popular music. He was the first singer-songwriter, the first academic singer, and the first to be plagiarized in Korea.

In 1927, he studied music for a year at the Central Music School of Tokyo, Japan. He was a baritone singer who held a solo concert after returning home. After that, he started to work as a singer and appeared as an interlude singer at the Towolhoe and brittle seats.

The strong accent Hamgyeong is also a small body with a dialect and stubborn appearance. The story of his birth is not told very much. Born in Hamheung, Hamgyeong-do, he is not accurate enough to have a staggered beginning in the year 1905, 1906, 1907, and 1911.

Marked in 1906, he is also a veiled veil of his school days.