V.A. - DOMIDO label (omnibus)






I very much enjoyed and spent a lot of time with this luxury edition of 5 CD’s with mini-book (notes in Korean only), showing an overview of some of the artists on the Korean Domido Label (see links in the tracklist below).

I have also spent a lot of time looking for the original covers over the artists involved, but also included some later albums of these artists (and some YouTube tracks) so that you get an idea who exactly was involved and how they look.

I still realised that what had started somewhere in the 30s and had evolved throughout a large section of the 60s had certain specific qualities I think that were still unique in Korea. Although the starting point (30s/40s band combos, strings and brass instruments included, accompanying songs) had been the same in several places in the world, you can hear a certain honesty in expression and the Korean flavours that still is unlike anywhere else.

If you would compare the old music from for instance Taiwan of Shanghai, you come up with 1 out of 10 or perhaps 20 songs that stand up in time well. In this compilation every track is good. Especially the first CD is most successful for it’s compositions, it’s arrangements and choice of songs. This is the section that has been dedicated to Liberation and War songs, which probably are the oldest songs to date as well (the war started around 1950, and lasted for at least three years). Here there has been given more time for individual instruments to add sections of accents to the compositions (with flute, accordion, electric guitar, organ, Hawaiian guitar), while brass and string section have an equal share, its rhythms are in chachacha or marching time, in tango and other old dances styles. From the favourites of CD 1, "Liberation and War", I take out track 1 by Hahn Bok-Nam, a happy marching song with interesting arrangements, trumpets and guitar accents, keyboards in eastern style and a bit of laughing included in the singing. Track 2 by Hwang Keum-Sim is a chachacha, again with brass/strings in balance, with interesting exotic rhythms, flute and trumpet solo’s and some electric guitar accent. The singing technique in Korean style from Hwang Keum-Sim is interesting to hear. In the third track by Ko Bok-Soo, lifted out from the orchestra is an organ, together with its arrangements/tuning, this give me this association with 70s Ethiopian jazz. We also have some Hawaiian guitar. A female voice responds to the male voice. Also on the fourth track by Kim, Jeong-Goo, I get this 70s Ethiopian-jazz organ association. More solo accentuations can be heard on sax, to which the orchestra responds again. The fifth track by Jangsejeong is a slower (foxtrot?) track, old time jazz with a female singer. The 6th track by Hakuho (?) is a tango with male singer. Very different is the 7th track by Won Hui-Ok because of its odd, almost comical originally sounding female voice. Solo accents here are provided by clarinet and accordion. Still amongst the favourite is the 9th track by Keum Sa-Hyang, (another odd voice), where the orchestra has this sort of Hollywood ballroom flavour. Accents in here are provided by some kind of eastern banjo. I would also like to take out the 15th track by Sin Se-Young, where I recognise the first musical theme melody from somewhere (-from klezmer or from classical origin?, I cannot tell-), showing a nice melody which at times is led by clarinet. Last two tracks are instrumentals. The first instrumental is led by organ and accordion with orchestra. The last organ-led track has a very attractive swinging melody, (organ, and old-time combo). CD2 has the theme “Perfume”. Again we have waltzes, chachacha’s, mambo’s, tangos, and tracks like that. A first oddity is the track by Myeong Kook-Hwan, which has a cowboy song-like flavour. It uses electric guitar with the orchestra. Nice to mention is the fourth track by Hwang Jung-Ja, a track that has a kind of boogie swing, with solos on some eastern or Korean sort of clarinet. A second pick or favourite is by Heo Min, a track that starts again with a recognisable (classical?) tune, a nice melody, with a male singer. Very different is the 6th track, an exceptional setting for the album: an acoustic guitar-led track. It is unclear from who this could be (although the booklet clearly shows the cover of an album by Ha Kee Song). This is followed by a mambo track with 60s pop flavours, performed by the later pop/rock singer Kim Sang-Hee. The track after that features Hawaiian guitar. I also would like to pick out the 10th track, again because of its great old Hollywood ballroom band sound. It is accompanied by female voice. Another favourite is the 16th track, by Oh Jeong-Sim, a mixture of what sounds like tango/mambo, led by piano, then answered by the jazz combo orchestra, with a great singer. On the 17th track I get this old-time Ethio-jazz flavour again, in the singing as well. This is a melancholic song by Jeong-Moo. The two conclusive instrumentals again are winners as well. The first one features instruments like mandolin and accordion. Its rhythm has something of a cowboy song. In the end we hear vibraphone as well. The last instrumental on this second CD is an attractive waltz, featuring instruments like vibraphone, mandolin, acoustic guitar, organ and flute, which can all be distinguished in the arrangement besides the orchestra with its strings section. The third CD is called “Westernisation”. I am not sure what they mean by the title. Often the arrangements are more commonly arranged and the solo instruments have little place of their own. Everything is fine but we do not have too many surprises. Of course electric guitar and Hawaiian guitar are used here too, besides we still have the kind of small Hollywood ballroom orchestra, playing tango’s, mambo’s and such. Pick-out’s/favourites for me are the rather funny chachacha-boogie by Kim Jeong-Goo, track 3, the rather eastern/Ethiopean-like 7th track by Nam Baek-Song, the track by Park Jae-Ran which features Hawaiian guitar and orchestra, the odd chachacha of track 12, by Kim Yong-Man, which features the strange inclusive adaptation of the “here comes the bride” theme. Also rewarding, in a light and slightly funny way is the moog-like keyboards with guitar and sax solo’s and light rhythm, the first of two instrumentals, a medley from over 7 minutes. This could be from early Kim Yung-Hyung and his Top Combo / Coins, but there had been a few other guitarists at the time who were in this area too. From the Korean writing I can’t figure out their names. The fourth CD is called “Music: Variety.” According to the use of ‘variety combo’s’, funnily enough, here can be found the least variety compared to a more originating ballroom music. I have only two favourite picks from this album, firstly the 8th track, a track, which is associated with “eastern erotica”, played by studio musicians, showing a good arrangement with piano, orchestra and separate percussive/violin workouts. The 16th track by Cho Mi-Mi has some use of twist electric guitar. I have the impression that the last CD also featured some more newer styles like the ‘Twist’, and I guess this is also from a bit later period. The combo sounds still a bit more standardised while at the same time, thoroughly, also a few extra new styles/elements are tried and adapted. One of the most interesting new elements to be worked out further are the harmony singers. The twist track 4 by Choi Hee-Joon is noteworthy, for it has one English word in it, “girlfriend”, with odd accents, which makes it more special and entertaining. The first track that renewed itself with beautifully arranged harmony singers, while also showing a touch of Twist, is track 8, by Blue Bells, featuring a bit of relaxed electric guitar and hand claps to the rhythm. Fitting with that is the ninth track with the sweeter harmony vocals of the Lee Sisters (be like the Andrew Sisters). Another favourite track and a true winner is the beautiful song and arrangement (string combo, organ, electric guitar, vibraphone, sax), a Waltz sung by Nam In-Soo. Also mentionable is the over 7 minute instrumental with electric guitar, showing also some kitschy synth sounds, klezmer-like clarinet and silly, almost programmed up-tempo drum & bass rhythms, a whole combination which is charming and rather funny in it’s lightness of being. Domido, I was told (-by Keewong-) was one of the most important Korean labels from the 50s. It was run by Hahn Bok-Nam (1919-1991) who was a famous singer himself (also listed on the compilation). All tracks were perfectly digitally remastered from the original tapes. That means that the whole collection delivers a unique opportunity to go back to these songs via a collection, which is worth discovering, in a sound quality, which is probably even better than the original records. It must be said that most contributors/singers survived personally the music business for 30-40 years while the business industry gladly accepted these greats-from-the-past, while providing them often less and less with a creative background/composers, with the orchestras that really were not improving with a thoughtful sound over the years. When one would check the newest and even remix versions of the artists one could almost forget that the 50s were truly worth checking out. It still is. After-remark: I didn’t mention before, but it must be clear that the early days must have been influenced by the Korean film movie business too, which flourished and for which people spent a lot of time and money. Like in Hollywood, songs like these were more often incorporated in such movies. The music gradually changed in the 60s partly because of the change of settings towards television medium and bringing shows and podium-based, separate entertainment business to television, something that didn’t always improve the musical workouts either.


You know how they thoroughly incorporated firstly other elements like English/American folk and songwriting styles, the electric guitar and later the psychedelic group sound.


Censorship in the 80s thoroughly brought back the old singers to the main focus up until today, in the most save setting. Oddley enough, the most unique setting, of purity and innocence in expression, became more and more part of the new basis of North Korea, under enforced conditions, while South-Korea became spoiled by the opposite, a further commercialisation, keeping more the left overs of memory intact with it.


Even though some groups tried a few new rock and pop styles later on, people in general became already more influenced by conditioning circumstances, while honest expression had become less important than a way to convince in principles of styles.


One Korean online wrote how hey today returned to the mentality of the 50s, which means towards the production of standardisation, with a music business led by economy more than by creativity. In all these years the old singers listed here in this new area therefore were continuously invited on stage.


covers 50s ; covers 60s

accoustic guitar ; electric guitar

Shon In-Ho ; Park Jae-Ran ; Kim Jeong-Go ; Hwang Keum-Sim

Hahn Bok-Nam ; Hwang Jung-Ja ; Han Myung-Sook ; Ko Bok-Soo

Choi Hee-Joon ; Jang Se-Jeong ; Park Jae-Hong ; Keum Sa-Hyang ; An Dae-Song

Sim Youn-Ok ; Heo Min ; Sin Se-Young ; Myeong Kook-Hwan ; Na Ae-Sim

Kim Jung-Ae ; Jung Hyang ; Choi Sook-Ja ; Hyun In ; Song Min-Do

Nam Baek-Son ; Kim Yong-Man ; Hyeon Mi ; Baek Il-Hee ; Yun Il-Ro

Nam In-Soo ; Baek Ya-Sung ; Hwang In-Ja ; Cho Mi-Mi ; Kim Sang-Hee

Sim Soo-Kyung ; Hahn Jung-Ho ; Nam Il-Hae ; Han Jeong-Mo ; Yig Yeon-Gran= Lee Erisu

boy harmony groups ; Bluebells ; Lee Sisters ; sister groups ; + children voices

CD LISTING (with links to images & seperate pages, -first appearance: names in capitals-) :

- CD1,1: HAHN BOK-NAM; 2: HWANG KEUM-SIM; 3: KO BOK-SOO; 4: KIM JEONG-GOO;

5: JANG SE-JEONG; 8: PARK JAE-HONG; 9: KEUM SA_HYUANG; 10: AN DAE-SEONG;

11: SIM YOUN-OK; 12: HEO MIN; 13: YIG YEON-GRAN; 14: Park, Jae-Hong;

15: SIN SE-YOUNG; 16: MYEONG KOOK-HWAN; 18: Hahn, Bok-Nam;

19: (Instrumental); 20: (Instrumental)

- CD2,1: PARK JAE-RAN; 2: Myeong, Kook-Hwan; 3: Park, Jae-Hong;

4: HWANG JUNG-JA; 6 (ACOUSTIC GUITAR) ; 5: Heo, Min; 7: KIM SANG-HEE;

9: Myeong, Kook-Hwan; 12: NA AE-SIM; 13: Hahn, Bok-Nam; 14: KIM JUNG-AE;

15: JUNG-HYAN; 17: HAN JEONG-MOO; 18: Hwang, Jung-Ja;

19: instrumental; 20: instrumental

- CD3,1: SON IN-HO; 2: Na, Ae-Sim; 3: Kim, Jeong-Goo; 4: Sim, Youn-Ok;

5: HYUN-IN; 6: SONG MIN-DO; 7: NAM BAEK-SONG; 8: Park, Jae-Ran;

9: Hwang, Keum-Sim; 10: Son, In-Ho; 11: Song, Min-Do; 12: KIM YONG-MAN;

13: Na, Ae-Sim; 14: Nam, Baek-Song; 15: Hwang, Jung-Ja; 16: Hyun, In;

17: Nam, Baek-Song & Sim, Youn-Ok; 18: Kim, Jeong-Goo; 19: INSTRUMENTAL;

20 : medley (instrumental).

- CD4,1: Park, Jae-Ran; 2: YUN IL-RO; 3: Song, Min-Do; 4: Son, In-Ho;

5: CHOI SOOK-JA; 6: Yun, Il-Ro; 9: NAM IN-SO; 10: Choi, Sook-Ja;

11: BAEK YA-SUNG; 12: HWANG IN-JA; 13: Park, Jae-Hong; 14: Park, Jae-Ran;

15: CHOI HEE-JOON; 16: CHO MI-MI; 17: HAN MYUNG-SOOK

- CD5,1: Han, Myung-Sook; 2: NAM IL-HAE; 3: Hwang, Keum-Sim;

4: Choi, Hee-Joon; 5: Kim, Sang-Hee; 6: Nam, Il-Hae; 7: SIM SOO-KYUNG;

8: BLUEBELLS; 9: LEE SISTERS; 10: Kim, Yong-Man; 11: Sim, Soo-Kyung;

14: Nam, In-So; 15: Han, Myung-Sook; 16: Kim, Sang-Hee;

17: HAHN JUNG-HO; 18: HYEON-MI.

see also from the same era : BAEK IL-HEE and the page with more covers from 50s


About the Korean war music :

http://www.authentichistory.com/1946-1960/2-korea/3-music/

& http://www.allmusic.com/album/music-from-the-korean-war-years-vol-1-mw0000173469

http://newsplus.chosun.com/site/data/html_dir/2013/08/06/2013080602531.html?to_inside:

일제강점기의 음반제작(1920~1945년)

우리나라에 처음 음반이 도입된 것은 1920년대였다. 당시 권번 기생들이나 국악을 하는 여성들이 현해탄을 건너 일본에 가서 축음기(유성기) 음반을 취입했는데 주류가 국악이었다. 1930년대 들어서면서 일반 대중에게 쉽게 이해되고 따라 부를 수 있는 대중음악이 민중의 마음을 사로잡기 시작한다. 손목인, 김해송 등이 일본에서 대중음악 작곡법을 공부하고 돌아와 대중가수를 발굴하게 된다. 남인수, 이난영, 장세정, 김정구, 고복수, 이화자, 이은파 등이 주류였는데 나라 없는 설움에 힘겨웠던 우리 민중에게 쉽게 공감되고 쉽게 따라 부를수있는 대중음악이 그 자리를 독차지하게 된다. 1940년대 초반에 들어서면서 일본은 태평양전쟁을 일으키면서 우리 대중음악인들에게 그들의 침략을 미화 하거나 정당화시키는 가요를 작곡하거나 이를 부르게 하여 대중음악의 암흑기를 도래하게 만들었다.

국내초창기 음반제작(1945~1955년)

1945년 해방 이후 국내에 남아 있는 대중음악의 시설은 전무했다. 일본의 자본이 물러간 후에 국내에서 유일하게 할 수 있는 음반 사업은 일본이 남기고간일본 축음기 음반에 재생의 덧씌우기를한 음반을 이름도 없는 군소업체가 제작하는 것이었다. 대중음악인들은 음반을 제작하기보다는 전국을 순회하는 악극단으로 그 명맥을 이어갔다. 1950년 휴전 직후 미국의 원조물자와 경제지원으로 대중음악계는 비로소 기지개를 켜게 된다. 1950년 초반부터 중후반까지 제작된 우리나라 순수자본의 축음기음반제작이 우리나라 초기 대중음악사에 많은 기여를 했다. 미도파, 신신, 신세기, 오아시스, 킹스타, 유니버셜레코드에서는 손목인, 박시춘, 나화랑, 김부해, 김교성 등 작곡가들의 곡을 장세정, 금사향, 백설희, 남인수, 명국환, 진방남, 황정자, 현인, 손인호, 이인권 등의 취입곡에 힘입어 우수한 품질의 음반을 제작발매하게 되면서 많은 대중음악 애호가들의 사랑을 받게 된다.

http://blog.naver.com/PostView.nhn?blogId=oopldh&logNo=10148107582# :

반가운 음반 발매 소식 알려드립니다. 지난 여름부터 몰두했던 작업이 여럿 있습니다. 그 중엔 해방이후부터 50년대의 한국대중음악 복원작업이 포함되어 있는데 이미 전체 분량은 무크지 대중음악 sound 5호를 통해 결실을 보았습니다. 이제 또다른 결실이 눈 앞에 다가왔습니다. 그러니까 100년의 한국대중음악역사에서 황무지처럼 방치되어 있는 50년대의 훼손된 음악역사의 작은 부분을 복원하는 작업인 도미도레코드 걸작 베스트 콜렉션 박스cd가 10월 초쯤에 발매될 예정입니다. 레이블은 뮤직리서치입니다.

중요한 것은 50-60년대 음원을 음반복각이 아닌 마스터테이프로 복원했다는 사실입니다. 70-80년대 한국대중가요들도 숱하게 마스터음원이 보존되어 있지 못하고 망실된 현실에서 유성기 시절의 음원이 원형 그대로 발굴되어 새 생명을 부여했다는 점에서 감개무량합니다. <도미도 베스트 콜렉션> 박스는 5장의 음반과 해설지로 구성될 예정인데 이번에 발굴된 오리지널 악보들 중 중요 노래들도 수록될 예정입니다. 도미도레코드의 오리지널 음원이 cd 즉 디지털화되는 것은 이번이 처음이라 들었습니다. 유명 노래들은 후에 녹음한 cd가 있긴하지만 다른 음원이더군요.



이 작업은 저와 더불어 '오빠는 풍각쟁이야'의 저자 단국대 장유정교수가 재평가 작업을 공동으로 맡았습니다. 저는 1950년대 한국대중음악 현황과 도미도레코드에 대한 해설과 하기송선생님과의 인터뷰를 담당했고 장유정교수는 수록곡들에 대한 작품 경향 분석과 해설을 담당했습니다. 총 100곡이 수록된 노래들 중 26곡에 대한 흥미로운 곡 설명은 저와 장유정교수가 공동으로 작업을 했습니다. 이 박스 앨범의 탄생이 가능했던 것은 도미도레코드의 창립자인 '빈대떡 신사'로 유명하신 한복남선생님의 아드님이 작곡가 하기송선생님이 그동안 보존해온 마스터테이프 음원과 악보가 있었기에 가능했습니다.

50-60년대 노래들은 사실 몇 년도에 발표가 되었는지 조차 모르는 경우가 허다합니다. 그런 점에서 정확하게 노래의 창작 년월일까지 기록된 오리지널 악보발견은 실로 감격스러울 정도였습니다. 이 앨범은 vol.1이고 앞으로 2번 정도 더 제작이 가능한 350곡 정도의 오리지날 마스터테이프가 발견되었기에 모든 음원이 새 생명을 부여받는다면 이 시기의 중요 음반사인 도미도레코드의 부활은 물론이고 황폐화된 50년대 한국대중음악역사 복원에도 작은 밀알이 될 것으로 기대됩니다. 많은 기대와 응원 기대합니다^.^



도미도레코드 베스트 걸작 콜렉션 박승음반은 이미 조선일보, 연합뉴스, KBS 9시 뉴스를 통해 보도가 되었습니다.참조하시란 의미에서 기사 첨부해 드립니다. 한국 대중음악을 사랑하는 모든 분들께 즐거운 추석 선물이 될 수 있다면 보람일 것 같습니다~

'홍콩아가씨' '페르샤 왕자' 첫 녹음 목소리 찾았다-조선일보 정지섭 기자

1950년대 가요 음원·악보 무더기 발굴… '섬처녀' 등 신곡도

금사향의‘홍콩아가씨’가 처음 실린 음반. /최규성씨 제공

한국 대중음악사에서 1950년대는 '암흑기'로 통한다. 6·25전쟁으로 사회도 혼란했고, 전쟁통에 당시

음악 경향을 알 수 있는 음반 등 자료도 남아있는 것이 거의 없기 때문이다. 그 시기를 새롭게 재조명할 수

있는 중요 자료들이 반세기 만에 나타났다. 50년대 대표 음반사 '도미도레코드' 소장 음원을 CD로 만든 '도미도 베스트 컬렉션' 제작 과정에서

50년대에 활동했던 가수들의 생생한 목소리가 담긴 마스터 음원 200여개, SP(유성기) 음원 600여개, 악보 500여점이 발견된 것. 이달 말 발매 예정인 '도미도 베스트 컬렉션'(총 100곡)에는 43곡이 우선 수록됐다. 이 가운데 이경란의 '이별의 밤열차'(1950년대 초반 추정), 문성남의 '황혼의 바다'(1954년), 청자·등자의 '섬처녀'(1950년대 초반 추정) 등은 가수·노래 모두 알려지지 않은 상태에서 발굴된 '신곡'들이다. '꿈에 본 내 고향'으로 유명한 가수 한정무의 '미국 간 딸 소식'(1955년)도 새로 발견됐다. 지금까지도 애창되고 있는 50년대 발표 가요들의 오리지널 음원도 처음 발굴됐다. 금사향의 '홍콩 아가씨'(1952년), 허민의 '페르샤 왕자'(1954년), 김용만의 '정열의 차차차'(1958년) 등이다. 이 자료들은 '빈대떡 신사'의 가수이자 도미도레코드 설립자인 한복남(1919~91)의 아들 하기송(72·작곡가)씨가 보관해오다 최근 한 음반사가 이를 구입하면서 빛을 보게 됐다. 대 중음악평론가 최규성씨는 "해방과 60년대 사이 공백기로 여겨지던 50년대 대중음악계를 짐작할 수 있는 결정적인 사료"라고 했고, 평론가 장유정씨는 "해방 이전보다도 자료가 빈약한 50년대의 마스터음원과 악보들이 온전히 보관됐다는 것 자체가 놀랄만한 일"이라고 했다.

도미도레코드 걸작 시리즈 내달 출시 | 기사입력 2012-09-19 13:14
* 손인호 - 남원땅에 잠들었네 / 황금심 - 양산도 맘보 [7" LP][블랙 컬러 한정반] MRC
도미노 유성기 시리즈 / 45RPM 2016-11-08 Cat.No MRCD1610

Son In-ho-Sleeping in Namwon Land / Golden Heart

Yangsan-do Mambo [7 "LP] [Black Color Limited Edition] MRC Domino's Meteorology Series / 45RPM

2016-11-08 Cat.No MRCD1610

LP 한정무 신라의 칼 DOMIDO RECORD 7인치 45RPM /..
Music Research Korea V.A. Domido Best Collection 100 Vol. 2 Yoo Sung Gi Album (5CD)

Release Date:2019-03-12

I had some bit difficulties describing in a short way what’s on this second volume of the Domido label. I browsing the titles I have noticed that most tracks date from a very short period between 1958 and 1961 mostly with some exceptions and peaks to 1948 up until 1971, if not just being the LP-compilation date. I don’t know if there’s a reason for this while compiling the album, but this gives a certain range in style. In these days the songs continue to express something that is rooted on one hand in ballroom music from 40s and 50s, respects the remains of early trot music that thoroughly comes to a generalized new style of nostalgia and recognition. It also accepts the American influences of songs and styles ranging from mambo, boogie, tango, samba and jazz-blues to early forms of the area of twist, but not too off the edge. In general, it is save, warm and gentle music. It does not know too many many surprises but is still vivid overall. In tradition to the previous cd-bow the last 2 tracks are instrumentals of which the first tracks is more acoustic guitar based and the second with a small combo of instruments. If there are people who can't order it, I accidentally ordered two copies. You can contact me to do some trade or so.

도미도 베스트 컬렉션 100 VOL. 2 유성기앨범 (5CD) /

Best Collection 100 vol.2 Domido (=Meteor) albums CD1

1 빈대떡신사 [한복남] / Bindae Tteok Shrine (1943) [Han Bok Nam] 2 에레나가 된 순희 [한정무] / Soon-hee becomes an Elena (1953) -tango- [Han Jung-moo] 3 날라리고개 [김정애] / flying dogs (1963) -samba- [Kim Jung Ae] 4 여수 [박재홍] / Yeosu [Park Jae Hong] 5 꽃 파는 처녀 [김선영] / Flower Girl (1961) [Kim Sun-young] 6 꿈에 본 내고향 [한정무] / My Hometown I Seen in Dreams (1954) [Han Jeong-Mu] 7 물벼락 아가씨 [황정자] / Water Thunder Lady (1957) [Hwang Jeon-Ya] 8 팔일오수첩 [문성남] / Days Notebook [Moon Sungnam] 9 시집사리 [김정애] / Poems (1959) [Kim Jung-Ae] 10 단간방 사랑 [남백송] / Danbang Love (1959) [Nambaeksong] 11 능금파는 아가씨 [차은희] / ?? lady (1963) [Chan Eun-Hee] 12 마도로스 부르스 [윤일로] / Madorus Blues (1972 on LP) [Yun-Il-O] 13 남녀회상곡 [남백송 김정애] / Reunion Songs (1962) [Nam Baek-Song & Kim Jung-ae] 14 화류일기 [원방현] / Flower Diary [Wonbanghyun] 15 부모은공 [한복남] / Parent Eun Gong [Han Bok Nam] 16 나그네꿈 [한정무] / traveler dream [Han Yeong-Mu] 17 인생은 물레방아 [김용만] / Life Is A Watermill (1970?) [Kim Yong-Man] 18 성황당마부 [한복남] / 18 Seonghwangdangmabu (1961) [Han Bok-Nam] 19 빈대떡 신사 [경음악] / 19 Bindae Tteok Shrine [Light / Instrumental Music] 20 꿈에본 내고향 [경음악] / 20 Dream Home My Hometown [Light / Instrumental Music]

CD2 1 회상의 부르스 [송민도] / Someday Blues (1962) [Song Mindo] 2 그리워서 못살겠네 [고봉산] / I can't live because I miss [Gobongsan] 3 그날밤 부르스 [신세영] / That Night Blues (1963) [Shin Se Young] 4 봄바람 님바람 [황정자] / Spring Breeze (1958) [Hwang Jeon-Ya] 5 십리포구 [문성남] / Silipo-gu (1955) [Moonseongnam] 6 비나리는 밤 [동방성애] / Rainy Nights (1962) [Dong Bangseong-Ae="Oriental Love"] 7 키타줄 사랑 [황남수] / Kitajul Love (1960) [Hwang Nam-su] (no link) 8 사랑의 지루박 [박정심] / Boredom of Love -twist- [Park Jung-Shim] 9 나는 취했소 [고봉산] / I'm Drunk [Gobongsan] 10 수양버들 [심연옥] / Weeping Willow (1957) [Sim-Yeon-Og] 11 헤이차차차 [윤일로] / Hi chachacha (1959) [Yunilro] 12 그대는 가고 [김유경] / You Go [Kim Yu-kyung] 13 아리랑 처녀 [김정애] / Arirang Virgin (1955) [Kim Jung Ae] 14 알뜰한 마누라 [황금심] / Frugal Wife (1955) [Hwang-Keum-Sim] = "Golden Heart"] 15 아리랑 순정 [박일희] / Arirang Soon Jung [Park Il Hee] (no link) 16 그대와 꿈나라로 [최정] / With You and the Dream [Cho Yong] (no link) 17 해당화 사랑 [송민도] / Gonghwa Love (1960) [Song Mindo] 18 사랑의 편지 [이경란] / Love Letter [Lee Kyung Ran] 19 님(창살없는 감옥) [경음악] / '(Grimless Prison) [Instrumental] 20 짝사랑 [경음악] / 20 Crush -acoustic guitars- [Instrumental]

CD3

1 하샤바이 [현인] / Hashabai (1959) (Hyeon-in=”Sage”]

2 죽도록 사랑하여Sinno me moro(보이헌트 중) [송민도] / In Love To Die / Sinno me moro (1959) (Song Min-Do)

3 아이러브유 [서창남] / I Love You (1962) (Seo Changnam)

4 이사벨라 공주마차 [백조] / Isabella Princess Carriage (1960) [Baeho=Swan] -no link-

5 다이나(Danah) [현인] / Danah (1961) (Hyeon-In)

6 유유아이러브유 [한아랑] / You You Love Love (1960) [Han Arang]

7 아리랑 럭키쎄븐 [김정애] / Arirang Lucky Seven (1962) (Kim Jung Ae)

8 TOO YOUNG(보이헌트 중) [박경원] / TOO YOUNG (Boys Hunt) (Park Kyung Won)

9 서부의 사랑마차 [유난옥] / Western Love Wagon (1960) (Yoon Ok)

10 아리아 [허민] / Aria (Heo Min)

11 삼손과 데리라 [송민도] / Samson and Delilah (Songmindo)

12 서부의 사나히 [서창남] / Wild West (Seo Changnam)

13 삘딩의 탱고 [나애심] / Boiling Tango (1960) (Na Ae-Sim)

14 꿈은 사라지고(보이헌트 중) [현인] / Dreams Disappear (during Boyhunt) (Hyeon-In)

15 마도로스 여인선장 [최란] / Captain Madorus [Choe-Lan = "The Woman”

16 청춘폴카 [서창남,동방성애] / Youth Polka (1963) (Seo Chang-Nam

& Dongbangseong-ae/ Oriental Love)

17 내사랑 어느곳에(Where the boys are) [이종순] / Where The Boys Are [Lee Jong Soon] no link

18 새파란리봉 [심연옥] / Sapphire Libong (instrumental)

19 홍콩아가씨 [경음악] / Hong Kong Girl [Light Music/instr.]

20 봄바람 님바람 [경음악] / Spring Breeze Nimwind [Instrumental]

CD4

1 카이로 야곡 [장세정] / Cairo Yagok -tango- [Jang Se-jung] 2 파리의 다리밑에서 [현인] / Under the Bridge of Paris (Sous les pout de Paris) (1959) [Hyeon-In="Sage"] 3 비내리는 서귀포 [남신] / Seogwipo Raining (1954) (S-501) [Nam-Sin="Male God"] 4 송도의 밤 [송민도] / Songdo Night (1958) [Songmindo] 5 서울간 김서방 [남백송] / Kim Seobang between Seoul (1958) [Nambaeksong] 6 사막의 여로 [남성봉] / Desert Journey (1960) [Nam Seong-Bong=Men's Highlight] 7 무지개 금강산 [황정자] / Rainbow Mount Kumgang (1960) [Hwang Jeong-Ja=The Prince] 8 비오는 정거장 [남인수] / Rainy Stops (1958) [Nam In So] 9 주막없는 박달재 [박재홍] / without the curtain (1948) (Park Dal-jae) 10 향항(홍콩)의 안나 [최란] / Anna of Hyanghang -chachacha- (Choe-Lan=Hong Kong) no link 11 남원땅에 잠들었네 [손인호] / Sleeping in Namwon Land (1960) [Son-In-Ho] 12 꽃서울 아가씨 [이갑돈] / Flower Seoul Lady -chachacha- [Lee Gadon] no link 13 이강산 좋을시구 [박종수] / Mt. Igangsan [Park Jong-Soo] 14 남양의 모나리자 [김홍길] / Mona Lisa of Namyang [Kim Hong-gil] 15 정든 내고향 [백봉] / sweet hometown [Baekbong] no link 16 아라비아 공주 [원방현] / Arabian Princess (D-2008-B) (1955) [Won Banghyun] 17 남원의 봄사건 [황정자] / Spring Event in Namwon (1957) [Hwang Yeong-Ja=The Prince] 18 엽전 열닷냥 [한복남] / Yeonjeon Hanna [Hanboknam] 19 진주는 천리길 [경음악] / Jinju-gil [Instrumental] 20 저무는 충무로 [경음악] / Jeommuro [Light Music] CD5

1 여름날의 로맨스 [정마리아] / Summer Romance (LS-113) (1961) [Jung Maria] no link 2 순정 아가씨 [원방현] / Genuine lady (1961) [Won Banghyun] no link 3 흘러간 꿈 [김유경] / Dreams That Passed (LD-146) (1963) [Kim Yoo-Kyung] 4 추억의 에레지 [신설남] / Ereji of Memories (1962) [Sin Seol-Nam="New Man"] 5 호수가의 연정 [황인자] / Lake Coalition [hwang-in-Ja=Yellow Man] 6 나홀로 가네 [김홍길] / Going Alone [Kim Hong-gil] 7 그늘의 피운꽃 [박정심] / Shaded Bloom [Park Jung-Shim] 8 꽃은 피건만 [황국원] / Flowers are only plants [Hwang Kuk Won] no link 9 즐거운 하이킹 [최정] / enjoyable hike [Choe-Jong=final] no link 10 허트러진 인생선 [백남식] / Shattered Lifeline [Nambaeksik] no link 11 야속한 님 [이경란] / Yahan-san [Lee Kyung Ran] no link 12 그대만이 그리워 [우성일] / Miss only you [Woo Sung Il] no link 13 꼬불꼬불 열두고개 [이혜정] / Twelve Windswept -boogie?- [Lee Hye Jung] no link 14 생각해 무엇하리 [한영수] / What Do You Think [Han Yeong-su] no link 15 박달나무 고개길 [이국진] / irch Tree Pass [Look Kuk-jin] no link 16 님없는 강언덕 [이경란] / gang eundeok [Lee Kyung Ran] no link 17 들장미 사랑 [하영숙] / Wild Rose Love [Ha Young Sook] no link 18 추억의 밤거리 [황국성] / Night of Memories (1959) [Huangseong] no link 19 물새야 왜 우느냐 [경음악] / Why Are Water Birds Crying? -acoustic guitar duo- [instr/light music] 20 해당화 사랑 [경음악] / Appreciation Love [instrumental]

V.A. / 도미도 베스트컬렉션100 Vol. 2 유성기앨범 (5CD BOX SET)

한국 히스토릭 레코딩의 중요 레이블인 ‘도미도레코드’의 마스터 발굴로 화제를 모은 ‘도미도베스트 컬렉션100 Vol.1’(2012년)에 이어 희귀 레퍼토리인 유성기 음원들로 구성된 ‘도미도베스트 컬렉션100 Vol.2, 유성기앨범’은 당시의 레코딩을 엿볼수 있는 귀한 자료의 모음이라는 측면에서 대중가요의 힘겨웠던 시기를 어느 정도 이해할 수 있다. 대부분 50-60년대 유성기로 발표된 음반의 마스터테이프를 확보하엿고 일부 유성기 디지털 복권으로 되살아난 오디오파일은 당시의 사운드를 적나라하게 감상할 수 있다.

The Domi Dovest Collection 100, which consists of rare repertoires of Domido sound sources, followed by the Domido Collection 100 Vol.1 (2012), which was gathered with the discovery of the master of 'Domi Do Record', an important label of Korean historical recording.

Vol.2, Yuseong Ki Album 'can understand to some extent the difficult times of popular songs in terms of the collection of precious materials that can give a glimpse of the recording of the time. Most have secured the master tapes of records released in the 50s and 60s, and some of the audio files revived by the digital remastering make us able to enjoy the sound of the time. * 40페이지 희귀사진들이 첨부된 북클릿. * Booklet with 40 pages of rare photos attached. * 라이너노트 _최규성(한국대중음악연구소장)_장유정(단국대교수) * Liner Note _ Choi Kyu-Sung (Director of the Korean Music Research Institute) _ Jang You-Jung (Professor Dankook University) * MRC SOUND Lab. 리마스터.* MRC SOUND Lab. Remastered.

#oldtime #Trot #60s #50s #history #VA