현인 - Hyun In / Hyun-In



성인 / 트로트 [50년대~80년대]


I have already listened to this double album a few times before but never came to review it. It is a double CD in the best possible Trot-based music. Hyun In not only has a good voice. The arrangements and songs give a certain highly pleasant, even frolic atmosphere. The singing is ageless with a certain vibration. The arrangements on the first CD are perfectly produced and arranged, fresh and enjoyable to a high degree, making me realise best why I like this period of entertainment too, and why it can addict to like more. In this style are surprising arrangements too, like an oriental rhythm (CD1-3: strings/brass, electric guitar), or Hawaiian slide guitar arrangement (CD1-5), or surprising swing or greatly arranged jazzy moods (CD1-11,12). Of course, some songs have a mainstream pop association, but even those, in its perfection they uplift it very much, always successful in its execution. The second CD continues in the same vein, with a bit more strings and old tangos and such. All these tracks are clearly perfectly re-mastered with optimal sound. Last track is an instrumental led by acoustic guitars. Recommended from this period.


http://egloos.zum.com/ballad/v/4926349



현인 골든

* CD 1 01 신라의 달밤 / 신라의 달밤 / Silla Moonlight

02 꿈속의 사랑 / Dream Love

* 3 고향만리 / Hometown Great Wall

04 럭키서울 / Lucky Seoul

* 05 잘 있거라 고모령 / Good night Gomoryeong

06 추풍령 / Churyeongryeong

07 해운대 엘레지 / Haeundae Elegy

08 나의 줄리엣 / My Juliet

09 내 사랑 니나 / My lovely Nina

* 10 눈물 젖은 내 고향 / Tears my home

* 11 애수의 맘보 / Mambo of sorrow

* 12 신라의 달밤 (경음악) / Silla Moonlight (Instrumental)


I assume compared to the oldest recordings I have reviewed below these might be re-recordings, however of excellent quality. "Silla Moonlight" is not like the earlier version. "Dream Love" has electric guitar too, revealing it certainly is from the late 60s at earliest or later, a ballroom ballad. Also "Hometown Great Wall" got an update. It is wonderfully arranged and had dynamics in its arrangements, brass strings and electric guitar, but clearly is different from its original version, both are worth putting next to each other for comparison. It kept the exotic middle eastern feel, the new version is more orchestral. On "Good Night Gomoryeong" there's much attention to detail in the orchestration, which includes an attractive modern keyboard based analogue synthesizer-sound and electric Hawaiian guitar. "Haeundae Elegy" is new trot with a light mambo-like rhythm. A great take-out is "Tears My Home", a well-arranged trot with light happiness. Also great to take out is the "Mambo of Sorrow" with its effective full orchestral power. Also great to hear is the instrumental version of "Silla Moonlight" with a smooth fat sax solo replacing the voice of Hyun In.

CD 2 01 비 내리는 고모령 / Rain Gomoryeong

* 02 굳세어라 금순아 / Be strong Kum Soon Ah

* 03 서울야곡 / Seoul Yagok

* 04 그대는 바람같이 / You are like the wind

05 낙엽 / fallen leaves

06 그 사람 / the man

07 사랑의 이야기 / Love Story

08 서울이여 안녕 / Hello Seoul

* 09 동백 아가씨 / camellia babes

10 그리운 노래 / nostalgic songs

* 11 사랑은 가고 / love is going

12 비 내리는 고모령 (경음악) / Rain Gomoryeong (Instrumental)


After another listen, I will pick out a few favorites of CD2. The singing on "Be Strong Kum Soon Ah" has power in dynamics, arrangements and singing, which I personally find very effective. "Seoul Gages" is a classic tango with violin, acoustic guitar and well-arranged lush strings. Hyun In's voice is warm and well pronounced-expressive. "You are like the wind" has similar dynamics and tango-like variations. "The Man" is arranged in an exotic way too, with Spanish guitar, tango-features, a background female vocalists and great strings. "Camelia Babes" got a succesful update too with orchestra but subtle Yahweh guitar too and uptempo rhythmic arrangements. "Nostalgic Songs" and "Love is Going" directs towards more tango, of which the last song sounds almost Argentine in its arrangements. The last track is a guitar trot instrumental based upon the old style but with an update to a stylish two acoustic guitars version with some subtle drumming rhythmic textures and additional electric bass.

얼마 전 애증 많은 지구레코드에서 현인의 『골든』앨범을 염가판으로 출시했다. 지구반답게 하드커버에 부클릿은 없다. 하나 특이한 건 하드커버 뒷면의 곡 소개 글씨가 크게 인쇄됐다. 아마 나이 드신 분들의 노안을 위한 배려 같다. 기왕 더 배려하려면 그 양반들 따라 부를 수 있게 가사를 수록했으면 어땠을까. 욕심 그만 부리자. 이마저도 감사할 뿐이다.

우리나라 가요 1세대 중 남인수보다도 현인을 더 좋아한다. 스타카토처럼 끊어 부르는 그의 창법은 묘한 매력이 있다. 우리 대중음악 가수 중 현인같은 개성은 손에 꼽힌다.

일제와 50년대 활동했던 가수들의 최대 미덕은 노래를 노래답게 부른다는 점이다. 지극 당연하지만 이게 힘들다. 기교나 감정의 과잉 없이 자신의 어법으로 노래 부른다는 건 그리 쉽지 않다.

가요 1세대는 자신의 노래에 대한 깊은 애정과 자기 확신이 있었다. 그만큼 곡 해석력도 뛰어났다. 이들 중 현인은 독특한 이력을 가지고 있다. 도쿄예술대학 성악과를 졸업했고, 애초 대중가요에는 관심이 없었다.

하지만 박시춘의 권유로 「신라의 달밤」을 발표하게 된다. 그 다음은 알고 있는 대로다. 현인은 전인권도 인정한 대단한 가수다.

“세계적이었다. 예를 들면 당대의 트로트 가수 현인 선생님의 개성만큼 분명히 엄청난 어떤 블루스 장르였다.(확신하는데 현인 선생님은 우리나라에서 세계로 갈 수 있는 유일한 분이었다.)” ―, 전인권, 『걱정말아요 그대』(청년사, 2005), 30쪽.

현인을 들으니 이 땅의 현실이 저주스럽다. 고전은 물론 지금까지 우리 가요에 대한 정리와 축적이 없다. 그나마 우리 옛노래를 체계적으로 들을 수 있는 방법은 2000년 신나라레코드에서 발매한 『유성기로 듣던 가요사』가 유일하다. 작가별, 작곡가별, 가수별 앨범이 필요하다. LP가 됐든, CD가 됐든 이제는 되짚어야 하지 않을까.

문광부는 음악산업 진흥을 위해 “미국 빌보드 차트와 같은 K-POP 공인 차트 신설, 한국의 그래미상 추진, 대중음악 전문공연장 확충, 예술의 전당에 견줄 수 있는 대중문화의 전당 건립 추진” 등을 한다고 했는데, 그도 좋지만 우리 고전에 대한 정리 먼저 해주었으면 한다.

현재의 힘은 역사로부터 비롯된다. 문광부에서 대중음악을 위해 쓴다는 1275억원 중 3%만 써도 어느 정도 정리가 가능하다.

회한을 뒤로 하고 현인의 「꿈속의 사랑」, 「추풍령」, 「서울야곡」을 끊임없이 듣고 있다. 좋다. 기가 막히게 좋다. 보물은 먼 곳에 있는 게 아니다.


translation :


" A long time ago, Hyun's In 's Golden Album was released at a cheap price. There is no booklet in the hard cover. One unusual thing is that the introduction of the song on the back of the hard cover was printed largely. Perhaps caring for older people's presbyopia. If you want to be more considerate, how would you have recorded the lyrics so that you could sing along with them? Let's stop complaining. I'm just thankful.


He prefers wise men more than Nam In-soo among the first generation of Korean pop songs. His method of cutting off like staccato has a mysterious charm. Among the pop singers in Korea, the personality of the singer is counted.


The greatest virtue of singers who worked in Japan and the 50s is that they can sing songs. Of course, this is hard. It is not easy to sing in your own words without overkill or overexertion.


The first generation of songs had deep affection and self-confidence for their songs. The song interpretation was also excellent. Of these, the sage has a unique history. He graduated from the Department of Vocal Music, the University of Tokyo, and was not interested in popular songs.


However, Park Si Chun's invitation to announce the Silla Moonlight. Next is what you know. Hyun-in is a great singer who also recognized Jeon In-kwon.


“It was worldwide. For example, it was a certain blues genre that was clearly as immense as the personality of the contemporary trot singer (Hyun-sung. 2005), 30).


Listening to the singers, the reality of this land sounds cursed. Classics, of course, have no theorem and accumulation of our songs so far. By the way, the only way to listen to our old songs systematically is via "Yosong-gi Song" which was released by Shin Nara Records in 2000. We need albums by artist, composer, and singer. Whether it's an LP or a CD, shouldn't we just think about it now?


In order to promote the music industry, Moon said, “The establishment of K-POP accredited charts such as the US billboard chart, promotion of Korea's Grammy Award, expansion of professional concert hall for pop music, and construction of a hall of pop culture that can be comparable to the Seoul Arts Center” He is good, but I want you to organize my classics first.


The power of the present comes from history.


Beyond repentance, one is constantly listening to the sage's "Love in Dream", "Church Spirit", and "Seoul Night Song". good. It's amazing. Treasures are not far away. "


12 more songs can be found on 유성기로 듣던 가요사 두번째 (1945~1960) [Disc 5], which is reviewed on next page->


In the past I have said there the following about the Hyun In tracks:


"The first one is happy early styled Trot with banjo leads and reed solo. This is followed by mambos and tangos and such styles, which are all entertaining the listener well. Some recordings, taken directly from LP’s are in a rather bad shape, but are still enjoyable. Luckily, one of the best songs I have in a re-mastered condition elsewhere. Track 8 is performed like guitar enko. Track 9 sounds a bit like a Hawaiian beach song (accompanied by slide or Hawaiian guitar and accordion lead)."


유성기로 듣던 가요사 두번째 (1945~1960) [Disc 5]

1 굳세어라 금순(今順)아 / Be strong, Keum Soon

2 이태리 정거장(伊太利停車場) / Italy Station

3 나포리 맘보 / Napoli Mambo

* 4 신라(新羅)의 달밤 / Silla moonlight

5 즐거운 여름 / Happy summer

6 럭키서울 / Lucky Seoul

7 그대는 가고 / You go

8 흘러간 로맨스 / Flowing romance

* 9 능금나무 밑에서 / Under the cypress

10 비내리는 고모령(顧母嶺) / It's Raining in Gomoryeong (?)

11 고향만리(故鄕萬里) / Hometown Great Wall

12 파리쟌느 / Parisienne

"Be Strong, Keum Soon" is a fine humpapa song with banjo or is it mandoline accents. Unfortunately there's quite some surface noise on this one. "Italy Station" has all the charm of a ballroom ballad. Also "Napoli Mambo" for some reason refers to same region. It's a very uplifting mambo with accordion lead, colorful percussion and brass. "Silla Moonlight" is a Middle Eastern exotic desert caravan song fantasy for romantic purposes as well (1001 nights). The above 2CD compilation contained an instrumental version of it. "Happy Summer" is an, of course happy sounding waltz, led by accordion. "Lucky Seoul" is also not so perfectly preserved, which in this case disturbs me a bit. "You Go" is even worse and hard to listen to. "Flowing Romance" is old styled guitar trot. It is a warm but introvert song of voice and picking guitar only. "Under The Cypress" is led by Hawaiian guitar and also played in (30s) Hawaiian style, a song accompanied by some extra acoustic guitar rhythm and accordion too. I assume it is a cover of some Hawaiian song of which some English lyrics were also kept in English (I hear something about an apple tree??). "It's Raining.." is a second old styled guitar trot song. "Hometown Great Wall" is a kind of waltz ? mixed with bolero. It gives the track something exotic. It is a fine track, but I only wish it would have been preserved better. It sounds slightly warped too which spoils it a bit. "Parisienne" is another (fine) waltz led by accordion and chamber orchestra and later on some electric picking guitar.

유성기로 듣던 가요사 두번째(1945~1960) [Disc 11]

CD11 5 사랑은 흘러가도 / Even if love flows

"Even if love flows" fundamentally is an accordion-based sad composition and song. Like so many Hyun In songs it is very effective.

Best Collection 100 vol.1 Domido

* CD3 5 모나리자 눈동자 / Mona Lisa Pupils

* CD3 16 불국사의 밤 / Night of Bulguksa Temple

"Mona Lisa Pupils" sounds like a slow tango (led by accordion and some strings) and is very entertaining in a light, happy and entertaining way. "Night of The Bulguksa Temple" is with more full band range of musical colours. It has positive vibe & cabaret qualities and is nicely arranged. Both tracks are winners.

Best Collection 100 vol.2 Domido

* CD3-1 하샤바이 / Hashabai

* CD3-5 다이나(Danah) / Danah

* CD3-14 꿈은 사라지고(보이헌트 중) [현인] / Dreams Disappear (during hunts of boys)

* CD4-2 파리의 다리밑에서 / Under the Bridge of Paris


“Hashabai“ is another unusual and original song, both for its gypsy-like elements, melody and rhythmic vibe. It certainly has a ring in the ear. I am not sure if this is a cover. Similar in attraction is “Danah”, showing an almost Elvis Presley-like flavor of association. “Dreams Disappear” shows great singing qualities, and is tango-like in its core. All these tracks are winners for a whole variety of qualities. “Sous les Ponts de Paris” is a great waltz led by banjo and accordion with piano, a great memorable tune. All these tracks are essential listens.


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BIOGRAPHIES:

"Hyun-In, whose real name was Hyun Dong-Ju, is a reknowned diasporic popular singer repatriated after a long sojourn in Tokyo and several Chinese cities. He created many influential popular songs that were inspired by trendy western chords and melodies, such as ―Sillaui Dalbam‖ (Moonlight of Shilla, 1949), ―Gohyangmalli” (Nostalgia for my Hometown, 1946) and ―Binarinun gomoryeong” (Rainy Gomoryeong, 1949). He was born in 1912 and graduated from Tokyo‘s Ueno Music institute. As he looked back on his motivation to becoming a singer, he said ―I went to a Chaliapin 211 concert when I was in Tokyo. I was so moved by this performance, that I dreamt of becoming a singer. 212 If we accommodate Hannerz‘s insights on cosmopolitanism, which he elaborates as ―entail[ing] relationships to a plurity of cultures understood as distinct entities,‖ (Hannerz 1990), then Hyun-In, as an expatriate, was a person who had chosen to live abroad since his father, the Japanese Mainichi Newspaper journalist, moved to Tokyo. His transnational life began during his childhood. After entering the Ueno Music institute to learn classical music, in 1935 he auditioned for the NHK chorus, since he preferred American Jazz and French Chanson over German music theory, and he was an NHK member until 1942 (Choi 2003).


Tokyo, as a colonial metropolis and a core Naichi (內地 inner), was a melting pot of transnational cultures, so Hyun-In (1919-2002) was living in a cosmopolitan social and cultural sphere. Since he was heavily influenced by various western popular music genres in metropolitan Tokyo, he commemorated his affection for them by adopting the stage name, Hyun-In (玄仁), which united his Korean name, Hyun Dong-Joo (玄東柱), and his Japanese name, Goto Hitoshi (後藤仁). However, when the Japanese empire strictly imposed its Total War scheme in mainland Tokyo and other colonial territories after the outbreak of Sino-Japanese War, Hyun escaped to China since he did not want to be conscripted into the Japanese army (Park 2009). He organized vaudeville shows with other musicians including Park Dan-Ma, performing many foreign popular songs during tours of Tianjin, Hangzhou and Shanghai. After the liberation, Hyun came back to Korea and performed many exotic songs intermixed with reproductions of foreign songs such as ―Besame Mucho,213 and ―Under the Apple Tree‖ onstage with the Hawaiian Tango Band (figure 4-7). Hyun-In pioneered a series of new music genres in postwar Korea, such as the Tango, Cha Cha and Mambo as well as Jazz, Chanson and Canzone.


211 Feodor Ivanovich Chaliapin (1873-1938) is famous Russian opera singer with a bass voice. Hyun-In saw his performance when he toured in Tokyo, Hibia goukaidou when he was 5 year old.

212 Choi Gyu-Sung (2003), Hyun-In, Weekly Hankook, 2006.6.25

213 ―Bésame Mucho‖ is a Mexican popular song, written in 1940 by Consuelo Velázquez. Although the meaning of the song title is in Spanish, meaning ―Kiss me much,‖ many Koreans as well as Hyun-In himself thought that ―Besame Mucho‖ was an exotic (beautiful) female name as in the Korean adapted song lyric like, ―Besame mucho! You‘re a cute little girl like a lilac flowers / Besame mucho! You‘re a lonely Santa Maria.


His most famous song, ―Shillaui Dalbam, with a Bolero rhythm, was originally written by Cho Myeong-Am, a renowned poet and lyricist who moved to North Korea; the original bore the title ―Indoui Dalbam‖ (Moonlight of India). Cho was furious after recognizing the song lyrics were changed to ―Sillaui Dalbam‖ by Yoo-Ho,214 who became a musical partner of Hyun-In. In between the post-liberation era and Korean War, Hyun-In recorded many phonograph albums, collaborating with lyricist Yoo-Ho and composer Park Si-Choon. ―Gohyangmalli‖ (Nostalgia for my hometown) was one of them.


―Constellation in southern country is my mother‘s face /That familiar face in my dream / Over the sea, where flowers bloom and birds chirp /I can clearly see the way to my home (1st verse)

214 Park (2009) recounted to Hwang Mun-Pyeong the story behind ―Shillaui Dalbam,‖ saying that the song was originally made as ―Taegukui ggum‖ (Dream of Thailand) for the vaudeville show singer, Gye Soo-Nam. According to Lee Young-Mee‘s interview with Yoo-Ho, he denied the plagiarism of the ―Moonlight of India.


The bird, crying in the deep night in Borneo /

Do you know my lonely circumstance deserted in this alien land /

My heart‘s throbbing for yearning (2nd verse)

Gohyangmalli (Nostalgia for my Hometown)

Written by Yoo-Ho, composed by Park Si-Choon, performed by Hyun-In

Lucky Record, LUCKY L-7709, 1946215

Among his many ―exotic‖ popular songs, ―Gohyangmalli‖ (Nostalgia for my Hometown, 1946) displayed an interesting postwar melancholia and reflected the Nambang desire (for Japanese southern territory). In these lyrics, which suggest the impossibility of escaping from the colonial past, he croons to represent a lingering melancholia by describing the Japanese southern territory of Borneo. The subject of the song‘s lyrics is situated in the southern island of Japanese occupation territory as a volunteer soldier. Pro-Japanese lyrist Yoo-Ho,216 wished to rewrite the colonial past in Japan‘s wartime southern territories, as he recollects:


Yoo-Ho: Why (did I write) Borneo? Well south, to the southern part, I would like to write somewhere in southern part. Then I thought Borneo, probably that‘s the reason why I wrote Borneo. Well as you know, during the Japanese wartime, they occupied Borneo, as you know. (Transcribed by Lee Young-Mee, Archives of Oral History)

Postwar Korea‘s desires for American material wealth made it more difficult to achieve a proper liquidation of Japanese colonial experiences during the post-liberation era. Indeed, Hyun-In‘s nostalgiac reminiscing about the exotic ‗southern territory‘ with a Tango rhythm is very similar in tune to Kim Hae-song‘s nihilistic popular song entitled ―Pungchadonun Gohyang‖ (Hometown where the Windmill Revolves, Columbia, 1938), which was composed in the early Total War period. In Chogwang magazine‘s special critical review of wartime Korean popular music in 1940,217 the contributors concluded that the ―Jazzified‖ (jazzuhwa) Japanese music business, influenced by western popular music, subsequently adopted serious ―Argentine Tango‖ styles and ―exotic rumba‖ rhythms during wartime, while increasing the production of military popular songs. Considering how the wartime situation gradually evolved in colonial Korea, various exotic rhythms and melodies preoccupied Korean minds as a means of imagining the tropical South of Japanese occupation territories through a sentimental Tango beat. As Said has said, an ―imaginative geography and history help the mind to intensify its own sense of itself by dramatizing the distance between what is close to it and what is far away."..."


Yongwoo Lee, Embedded Voices In Between Empires


"The wartime phonograph industry between 1950 and 1953 was not simply the ―declining era of phonograph,‖ as inferred by some scholars (Academy of Korean studies, 1998). The Korean War phase of the phonograph industry conveys the atmosphere of Korean wartime sentiment through the release of many popular hit songs such as ―Jeonseonyagok” (Nocturne of the War Front, performed by Sin Se-Young, Orient Records, record number R815, 1950), ―Aneuinore” (Song of Wife, performed by Shim Yeon-Ock, Orient Record, record number R815, 1952) and ―Gutseora Geumsuna” (Be strong, Geumsun, performed by Hyun-In, Orient Record, record number T4286 R8025 A, 1953). For the phonograph industry, it was also a time of survival, when local phonograph companies in Daegu and Busan produced only a few phonograph records, since refugees including musicians and producers gathered for temporary protection away from the battlefield. The Korean War was not responsible for disconnecting pre- and postwar Korean popular music production, nor did it leave as a vacuum in Korean popular music history. In two major southern cities, Daegu, where Orient records was based and Busan, the home of Doremi records, the popular music industry continued to grow amidst the rubble of the national conflict. The Korean War created an opportunity for local refugees in cities such as Daegu and Busan, Masan and Jinhae to take part in popular music and film-making projects. Numerous hit records were produced under the Orient record label in Daegu, established in 1947 by Lee Byeong-Joo.200 During the eight years of its business, from 1947 to1955, the Orient record company released 80-90 phonograph records, including “Gwigukseon” (Homecoming Cruise, performed by Lee In-Kwon), ―Gutseora Geumsuna,” (Be strong, Geumsun, performed by Hyun-In) and many other Korean War-themed military popular songs such as ―6.25ui nore” (Song of 6.25, Martial Orchestra Band), and “Nimgesin Jeonsun” (The War Frontier Line where my Lover Is, performed by Geum Sa-Hyang). "


Yongwoo Lee, Embedded Voices In Between Empires


"The Korean War thus influenced the business expansion of the Orient record company by means of breaking with old conventions, minor restructuring and ineffective management. By promoting Korean War-themed popular songs, the Orient Record Company became a center of popular music production by harnessing resources including refugee musicians and performers from Seoul such as songwriters Kang Sa-Rang, Son Ro-Won, Lee Jae-Ho and singers like Hyun-In, Nam In-Soo and Baek Nyun-Seol.


According to the research of Kim Jeom-Do (2001), the most frequently performed Korean popular songs on the Gayomudae program were created between 1940 and the 1950s, as follows:

Rank Song Title Year Performer Record Label

1 Jjilleggot (Wild Rose Flower) 1942 Baek Nan-A Taepyeong

Kumebon Naegohyang (I saw my hometown in my dream) 1953 Han Jeong-Mu Domino

2 Binarinun gomoryeong (Rainy Gomoryeong) 1947 Hyun-In Lucky


Hyun-In, whose real name was Hyun Dong-Ju, is a reknowned diasporic popular singer repatriated after a long sojourn in Tokyo and several Chinese cities. He created many influential popular songs that were inspired by trendy western chords and melodies, such as ―Sillaui Dalbam‖ (Moonlight of Shilla, 1949), ―Gohyangmalli” (Nostalgia for my Hometown, 1946) and ―Binarinun gomoryeong” (Rainy Gomoryeong, 1949). He was born in 1912 and graduated from Tokyo‘s Ueno Music institute. As he looked back on his motivation to becoming a singer, he said ―I went to a Chaliapin211 concert when I was in Tokyo. I was so moved by this performance, that I dreamt of becoming a singer.‖212 If we accommodate Hannerz‘s insights on cosmopolitanism, which he elaborates as ―entail[ing] relationships to a plurity of cultures understood as distinct entities,‖ (Hannerz 1990), then Hyun-In, as an expatriate, was a person who had chosen to live abroad since his father, the Japanese Mainichi Newspaper journalist, moved to Tokyo. His transnational life began during his childhood. After entering the Ueno Music institute to learn classical music, in 1935 he auditioned for the NHK chorus, since he preferred American Jazz and French Chanson over German music theory, and he was an NHK member until 1942 (Choi 2003).


Tokyo, as a colonial metropolis and a core Naichi (內地 inner), was a melting pot of transnational cultures, so Hyun-In (1919-2002) was living in a cosmopolitan social and cultural sphere. Since he was heavily influenced by various western popular music genres in metropolitan Tokyo, he commemorated his affection for them by adopting the stage name, Hyun-In (玄仁), which united his Korean name, Hyun Dong-Joo (玄東柱), and his Japanese name, Goto Hitoshi (後藤仁). However, when the Japanese empire strictly imposed its Total War scheme in mainland Tokyo and other colonial territories after the outbreak of Sino-Japanese War, Hyun escaped to China since he did not want to be conscripted into the Japanese army (Park 2009). He organized vaudeville shows with other musicians including Park Dan-Ma, performing many foreign popular songs during tours of Tianjin, Hangzhou and Shanghai. After the liberation, Hyun came back to Korea and performed many exotic songs intermixed with reproductions of foreign songs such as ―Besame Mucho,‖213 and ―Under the Apple Tree‖ onstage with the Hawaiian Tango Band (figure 4-7). Hyun-In pioneered a series of new music genres in postwar Korea, such as the Tango, Cha Cha and Mambo as well as Jazz, Chanson and Canzone.


211 Feodor Ivanovich Chaliapin (1873-1938) is famous Russian opera singer with a bass voice. Hyun-In saw his performance when he toured in Tokyo, Hibia goukaidou when he was 5 year old.

212 Choi Gyu-Sung (2003), Hyun-In, Weekly Hankook, 2006.6.25

213 ―Bésame Mucho‖ is a Mexican popular song, written in 1940 by Consuelo Velázquez. Although the meaning of the song title is in Spanish, meaning ―Kiss me much,‖ many Koreans as well as Hyun-In himself thought that ―Besame Mucho‖ was an exotic (beautiful) female name as in the Korean adapted song lyric like, ―Besame mucho! You‘re a cute little girl like a lilac flowers / Besame mucho! You‘re a lonely Santa Maria.‖


His most famous song, ―Shillaui Dalbam,‖ with a Bolero rhythm, was originally written by Cho Myeong-Am, a renowned poet and lyricist who moved to North Korea; the original bore the title ―Indoui Dalbam‖ (Moonlight of India). Cho was furious after recognizing the song lyrics were changed to ―Sillaui Dalbam‖ by Yoo-Ho,214 who became a musical partner of Hyun-In. In between the post-liberation era and Korean War, Hyun-In recorded many phonograph albums, collaborating with lyricist Yoo-Ho and composer Park Si-Choon. ―Gohyangmalli‖ (Nostalgia for my hometown) was one of them.


Gohyangmalli (Nostalgia for my Hometown)


Constellation in southern country is my mother‘s face /

That familiar face in my dream /

Over the sea, where flowers bloom and birds chirp /

I can clearly see the way to my home

The bird, crying in the deep night in Borneo /

Do you know my lonely circumstance deserted in this alien land /

My heart‘s throbbing for yearning

Written by Yoo-Ho, composed by Park Si-Choon, performed by Hyun-In

Lucky Record, LUCKY L-7709, 19462


214 Park (2009) recounted to Hwang Mun-Pyeong the story behind ―Shillaui Dalbam,‖ saying that the song was originally made as ―Taegukui ggum‖ (Dream of Thailand) for the vaudeville show singer, Gye Soo-Nam. According to Lee Young-Mee‘s interview with Yoo-Ho, he denied the plagiarism of the ―Moonlight of India.‖ "


Yongwoo Lee, Embedded Voices In Between Empires


"Postwar Korea‘s desires for American material wealth made it more difficult to achieve a proper liquidation of Japanese colonial experiences during the post-liberation era. Indeed, Hyun-In‘s nostalgiac reminiscing about the exotic ‗southern territory‘ with a Tango rhythm is very similar in tune to Kim Hae-song‘s nihilistic popular song entitled ―Pungchadonun Gohyang‖ (Hometown where the Windmill Revolves, Columbia, 1938), which was composed in the early Total War period. In Chogwang magazine‘s special critical review of wartime Korean popular music in 1940,217 the contributors concluded that the ―Jazzified‖ (jazzuhwa) Japanese music business, influenced by western popular music, subsequently adopted serious ―Argentine Tango‖ styles and ―exotic rumba‖ rhythms during wartime, while increasing the production of military popular songs. Considering how the wartime situation gradually evolved in colonial Korea, various exotic rhythms and melodies preoccupied Korean minds as a means of imagining the tropical South of Japanese occupation territories through a sentimental Tango beat. As Said has said, an ―imaginative geography and history help the mind to intensify its own sense of itself by dramatizing the distance between what is close to it and what is far away."


....


Remember the Korean War hit song, "Be stronger, Geumsoon!" (Gutseora Geumsoona), with Hyun-In‘s crooning voice reverberating throughout the entire hall, I was situated in front of the war orphan stretching his hand out to me with a sullen face, his begging for a chocolate echoing the narrative of the song:


"At the port of Hungnam in the middle of fluttering snowstorm,

"I was desperately calling and searching for you."


Yongwoo Lee, Embedded Voices In Between Empires

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http://m.newsmaker.or.kr/news/articleView.html?idxno=3664


[박성서 평론] 한국이 낳은 불멸의 歌人, 가수 현인 기사승인 2012.11.05 17:32:48

- 작게+ 크게 공유 - 싱어송라이터이자 우리나라 최초의 월드뮤직 전령사

개방적 사고, 모던한 분위기의 앞선 감각이 그러했듯 싱어송라이터로, 배우로 그리고 우리나라 최초의 ‘월드뮤직 전령사’라는 수식어가 따라붙는 가수 현인.

독특한 바이브레이션과 스타카토 창법을 자유자재로 구사하는 ‘그만의 창법’으로, ‘해방 전 남인수, 해방 후 현인’으로 일컬어지는 가수, 아울러 가수 현인의 업적을 기리는 ‘현인가요제‘가 지난 2005년을 시작으로 매년 항도 부산, 송도해수욕장에서 성대히 펼쳐진다. 만능 엔터테이너 현인의 발자취룰 따라가본다.

글l박성서 (대중음악평론가, 저널리스트)

싱어송라이터, 영화배우로도 활동한 만능 엔터테이너

독특한 바이브레이션과 스타카토 창법을 자유자재로 구사하는 ‘독특한 창법’으로, ‘해방 전 남인수, 해방 후 현인’으로 일컬어지는 가수, 아울러 가수 현인의 업적을 기리는 ‘현인가요제‘가 지난 2005년을 시작으로 매년 8월, 항도 부산의 송도해수욕장에서 성대히 펼쳐지고 있다. 이곳에는 가수 현인의 업적을 기리는 현인공원도 조성되었다.

또한 부산 영도다리 입구에는 부산을 배경으로 피난시절의 애환을 그린 '굳세어라 금순아' 노래비와 가수 현인의 동상이 세워져 있다. 가로 세로 각 4미터, 높이 3미터로 바다와 항구가 어우러진 배의 모습, 음표와 갈매기가 형상화되어있다. 잿더미 속에서도 희망의 불씨를 심어 삶에 대한 의지를 심어주기도 했던 노래 ‘굳세어라 금순아’. 턱을 떠는 듯 탁탁 끊기는 창법, 그 절제미가 오히려 슬픔을 더해주는 기묘한 아이러니를 불러온 이 노래의 노래비는 지난 해 조성된 현인공원에도 동상과 함께 노래비가 세워졌다.

본명 현동주(玄東柱, 1919.2.14~2002.4.13). 일제 강점기였던 1919년 2월 14일, 영국 스탠더스 석유회사와 일본신문사 한국지사에서 근무했던 인텔리, 부친 현명근씨와 일신여학교를 졸업한 신여성인 모친 오봉식씨 사이의 2남 1녀 중 장남으로 부산시 영선동 183번지에서 출생했다.

유년기의 현인은 구포에서 할머니와 할아버지 손에 의해 자라났다. 구포보통공립학교에 입학, 3학년 때 영주소학교로 전학한 뒤 다시 5학년 때 부친과 함께 상경, 38년 경성 제2고보(경복고의 전신)에 입학한다.

“고등학교 시절 배구선수로도 활동했어요. 운동장에서 매일 배구하던 모습이 생각 나...“ 고교 1년 후배이자 현인의 대표곡 ‘신라의 달밤’, ‘비 내리는 고모령’ 등의 작사가 유호 선생은 학창시절 그의 모습을 공부와 음악, 운동실력이 매우 뛰어난 다재다능한 학생으로 기억했다.

이 무렵 모친이 동생을 낳다 타계한 후 부친이 일본 여인과 재혼하자, 크게 상심했던 현인은 음악으로 돌파구를 모색한다. 학교의 추천으로 육군사관학교에 합격하지만 일본인 계모에 대한 반발로 일본군이 되기를 거부, 대신 부친의 극심한 반대 속에 일본 우에노음악학원에 입학, 성악과 클라리넷을 전공한다.

1942년, 음악 공부를 마치고 귀국했지만 스스로 원했던 음악교수 자리의 기회가 주어지지 않자 성보악극단에서 음악을 지도하다가 일제로부터 징용을 피해 악극단 '신태양'을 결성, 박단마, 황해, 진방일 등과 함께 중국 천진으로 건너간다.

천진과 상하이 등지에서 악극단 활동을 시작하며 클럽에서는 주로 샹송 등 외국곡을 불렀고 일본군 복장을 한 한국인 징용병들이나 조선인들 앞에서는 ‘봉선화’ 등을 자주 불렀다고 전해진다. 특히 이 ‘봉선화’는 국내에서는 일제에 의해 금지되었지만 이역 타국에서는 그 단속이 미치지 않았기에 가능한 일이었다.

이어 중국 항주에서 해방을 맞은 그는 단원 31명과 함께 귀국을 꿈꾸지만 일본군 앞에서 공연을 했다는 이유로 중국 관헌, 즉 천진경비사령부에 의해 전범으로 체포되어 북경비밀감호소에 수감된다.

이곳에서 6개월 동안 복역하며 몽당연필과 종이를 구해 동요 70~80곡을 만들었다. 6개월간의 수감생활 끝에 46년, 16차 송환선을 통해 귀국하던 중 일행 중 누군가가 아편을 가지고 나온다는 허위 밀고가 들어가 악보를 비롯해 지니고 있던 물건 모두를 압수당했다.

서울로 돌아온 뒤 황해, 계수남씨 등과 함께 ‘19번가’라는 악극단을 조직해 활동, 국내 최초의 나이트클럽인 ‘뉴스맨스클럽’에도 출연했다. 김광수 악단을 주축으로 노명석, 엄토미씨 등과 함께 고향경음악단을 조직해 활동하기도 한다.

주로 팝송, 샹송 등을 부르던 현인이 대중가요 가수로 본격적인 활동을 시작한 것은 1947년. 당시 명동 명치좌(이후 시공관, 국립극장 등으로 개명)에서 영화 ‘자유부인’ 상영 당시 ‘신라의 달밤’을 열창, 고음으로 올라가면 목청을 심하게 떠는 바이브레이션으로 폭발적인 인기를 끌었다. 당시 28세.

당시 이 공연을 관람했던 작사가 유호 선생은 관객들이 '앙코르‘를 연발해 그 자리에서 아홉 번이나 불러야했던 유명한 일화를 증언한다.

아울러 가수 현인은 스크린에도 진출, ‘우리나라 최초의 음악 영화’라는 타이틀을 달고 제작된 영화 ‘푸른 언덕’에 출연, 주제가 또한 직접 불렀다.

가수 현인의 등장 이전까지는 고복수, 남인수, 백년설 등 주로 미성의 가수들이 가요계를 주도했다. 그러나 독특한 창법을 구사하는 현인의 등장을 시작으로 이후 50~60년대 우리 가요계는 이른바 개성시대를 맞게 된다. 송민도, 한명숙, 최희준, 현미로 이어지는 개성가수 계보가 그것.

‘신라의 달밤’의 빅 히트를 계기로 럭키레코드가 출발, ‘유호-박시춘-현인’ 콤비 시대를 열며 이어 ‘비 나리는 고모령’, ‘고향 만리’, ‘럭키 서울’ 등을 잇달아 발표했다.

한국전쟁 중 군예대에서 ‘총 안든 용사’로 활동

1950년, 한국전쟁 중에 발표되는 ‘전우야 잘자라’ 또한 군의 사기를 한껏 북돋아주었던 노래, 이 노래 역시 유호- 박시춘-현인 콤비의 작품이다. 이 무렵 그는 155마일 전선을 27차례나 오가며 ‘군번 없는 용사’로 전쟁터를 누비는데 도중에 차가 굴러 허리를 크게 다쳤다. 그 후유증으로 만년에는 피아노에 기대거나 의자에 앉아 노래를 해야 했다. 때문에 ‘건방지다’는 일부 오해를 받기도 했다.

이 무렵 발표한 ‘굳세어라 금순아’ 역시 전쟁의 아픔과 피난민의 애환을 생생히 그린 노래. 당시 이 노래를 발매한 대구 오리엔트 레코드사 사장이었던 이병주 선생은 ‘취입 당시 폭격으로 한쪽 벽이 무너진 대구방송국에서 가마니로 무너진 벽을 막고 방음장치를 해 이 노래를 녹음했다.’고 회고한다.

아울러 ‘꿈속의 사랑‘, ‘베사메무초’, ‘그루미 선데이’ 같은 외국의 새로운 음악을 국내에 소개하는 전령사이기도 했고 국내 최초의 샹송이라 일컬어지는 ’세월이 가면‘과 ’서울의 샹송‘ 등을 발표한 이후 싱어 송 라이터로 ‘서울야곡’을 비롯해 ‘런던야곡’ '카네이션' 등의 노래를 직접 작곡해 발표하기도 했다.

현인의 노래들은 시대를 건너 60, 70년대 가요에 까지 영향력을 발휘했다. 60년대 번안곡 열풍이 그렇고 또한 70년대 통기타세대에 들어서도 ‘세월이 가면’을 비롯해 ’서울야곡’, ‘즐거운 여름’, 그리고 번안곡 ‘꿈속의 사랑’, ‘베사메무초’ 등이 속속 리바이벌되어 당시 젊은이들로부터도 사랑을 받았다.

아울러 영화 ‘푸른 언덕’ ‘성벽을 뚫고’의 연기자로, 52년 신청년극단의 가극 ‘성웅 이순신’, 65년 악극 ‘춘향전’에서 이도령 역 등을 맡는 등 가수로서 뿐 아니라 만능 엔터테이너로 전성기를 누리며 가요계에서 주도적인 역할을 했다.

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Translation:

Korea's Immortal Singer, Singer Hyun-in

(article by Park Sung-seo, Nov 5, 2012)


Singer-songwriter and Korea's first world music messenger. He's the modifier of Korea's first “world music messenger.” With his own unique method of vibrating and creating the staccato method, as known as Nam In Soo before the liberation.


Park Seong-seo (pop critic, journalist)Singer-songwriter, an all-round entertainer who also worked as an actress It is a unique method that uses the unique vibration and staccato method freely, and it is known as `` Nam In Soo before and after the occupation'', and `` Hyun-ae-je '' which celebrates the achievements of singer sage every year since 2005. In August, it is spreading out at Songdo Beach in Busan, Hangdo. A park was also created in honor of the singer's work .Also, at the entrance of Busan Youngdo Bridge, there is a statue of singer Hyun-in and singer 'Goodbye Geum-sun-a', which depicts the love of refugees in Busan. At 4 meters wide and 3 meters high, the sea and the port combine with the ship, the musical notes and the seagulls. Even in the ashes, the song “Hope, Geum Soon-ah,” which planted an ember of hope and planted a will for life. The song of the song has a jaw-dropping rhythm and the absurdity of the song contains strange irony to adds sorrow.


His real name is Hyun Dong-ju (玄 東 柱, 1919.2.14 ~ 2002.4.13). On February 14, 1919, during the Japanese colonial period, he was the eldest of two sons and daughters of Intelli, who worked for the British Standards Oil Company and the Korean branch of Japan Newspaper, and his mother, Oh Bong-sik, a new woman who graduated from Ilshin Girls' School. Born in 183. Childhood sage was raised by grandmother and grandfather hands in Gupo.


He enters Gupo Normal Public School, transfers to Yeongju School in 3rd grade, and enters Gyeongsang, Gyeonggi Second Gobo in 38 years with his father in 5th grade. “I also worked as a volleyball player in high school. I remember playing volleyball on the playground every day ... ”Yoo Ho, a junior high school junior and writer of the representative songs like, 'Silla's Moonlit Night' and 'Raining Gomoryeong'. He studied music, and sports. I remembered him as a very versatile student. At this time, when his father passed away after his birth, his father remarried to a Japanese woman. He passes the military academy on the recommendation of the school, but refuses to join the Japanese army due to a backlash against his Japanese stepmother. Instead, he enters the Ueno Music Academy in Japan, majoring in vocal music and clarinet.


In 1942, he returned home after studying music, but he was not given the opportunity to become a professor of music. He led the music at the Sungbo orchestra, and formed a troupe called 'Shin Sun' of Japanese imperialism. It is said that the club started with singers from Tianjin, Shanghai, etc., and the club sang foreign songs such as chansons, and frequently called “Bong-hwa” in front of Korean soldiers and Japanese who wore Japanese military costumes. In particular, the “bongbonghwa” was banned by Japanese imperialism in Korea, but it was possible because the crackdown was not reached in other countries.


After being liberated from Hangzhou, China, he dreams of returning home with 31 members, but he was arrested as a war criminal by the Chinese government, on Tianjin Guard Command, because he performed in front of Japanese troops. After serving six months jail, he obtained Mongdang pencils and paper and made 70-80 songs. After six months of imprisonment, it was 1946, while returning to the 16th repatriation ship, a group of false troops reported that someone was bringing opium, and they were confiscated it all with all the music and other things they had.


After returning to Seoul, he organized a troupe called '19th Street' with Hwanghae and Sue Seongnam, and appeared in the news club, the first nightclub in Korea. He also organized his hometown music group with Roh Myung-seok and Umto-mi.


In 1947, the artist, who mainly sang songs and pop songs, began to work as a pop singer. At the time, Myeong-dong Myeongchija (later renamed as Construction Hall, National Theater, etc.) showed explosive popularity due to the vibrating vibrating voices. 28 years old at the time. Yoo-ho, who wrote the show at the time, testifies to the famous anecdote that the audience had to sing 'Encore' nine times. In addition, the singer also appeared on the screen, appeared in the movie "Blue Hill," which was produced under the title of "The First Music Film of Our Country," and sang the theme song directly.


Until the emergence of singer Hyun-in, the singers, mostly Go-soo, Nam-soo and Hundred Years-old, led the music industry. However, with the emergence of an artist who uses a unique creation method, our song industry in the 50's and 60's came to be called the individuality era. Its Gaeseong singer genealogy leads to Song Min-do, Han Myeong-sook, Choi Hee-jun, and Hyun-mi.


With the big hit of Silla's Moonlight, Lucky Record started the 'Huho-Pak Si-Chun-Hyeon-in' combi era, followed by Rain Nari, Gomoryeong, Hometown Manri, and Lucky Seoul.


During the Korean War, he worked as a military warrior without being a military


In the 1950s, `` Jeonwoo Good Night '', which was released during the Korean War, was also a song that encouraged the morale of the military. By this time, he traveled 27 times on the 155 mile front and went through the battlefield as an army soldier. In later years, he had to lean on the piano or sit in a chair and sing. For this reason, 'gun-damage' was misunderstood. The song ``Goodbye Geum Soon Ah'' released at this time is also a vivid song about the pain of war and the mourning of refugees. Lee Byung-ju, the president of Daegu Orient Records, who released the song at the time, recalls, 'We recorded this song by blocking the wall collapsed by bales at Daegu broadcasting station where one wall collapsed during the bombing.' In addition, he was a messenger who introduced new foreign music such as 'Love in dream', 'Besamemucho' and 'Grummy Sunday' to Korea, and also called 'Chance of the Year' and 'Champong of Seoul' Since then, he has written and released songs such as 'Seoul Yagok', 'London Yagok' and 'Carnation' as a singer-songwriter.


The singer's songs have been influential throughout the 60s and 70s. In the 60's, it was revived one after another in the 70's, and even in the 70's other generations, the 'time goes by', 'Seoul night music', 'happy summer', and 'the love of dream', 'besame mucho', etc. Loved by In addition, as a performer of the movie 'Blue Hill' and 'Through the Wall', he played a leading role as a singer as well as an all-round entertainer. He played a leading role in the music industry."


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https://yohantomo.tistory.com/9 :


(#1/2) 신라의 달밤에 빛난 풍운앚거 삶의 편린

故현인 선생의 노래들은 50, 60년대 서민의 슬픔과 향수를 달래 준 희망의 가락이었다. 시원하게 내지르고 부르르 떠는 그의 창법은 압권이었다.

그는 한국전쟁이 끝난 50년대 초 탱고, 맘보, 샹송, 칸초네 등을 본격적으로 도입해 삶의 고단함에 지친 국민들에게 흥겹고 경쾌한 서구 리듬을 전파했던 ‘최초의 월드 뮤직’ 가수였다. 해방의 기쁨이 채 가시지 않은 당시, 국민들은 그의 새로운 노래에 마음을 빼앗겼다.

본명이 현동주인 현인은 노래만큼이나 유쾌한 풍류 남아였다. 그는 1919년 12월 14일 부산 영도에서 영국의 스탠더드 석유회사 직원이었던 부친 현명근씨와 일신 여학교를 나온 신여성이었던 모친 오봉식씨의 2남 1녀 중 맏이로 태어났다.

어린 시절 부친 회사의 사원 주택이 있던 영도와 할머니댁이 있는 동래군 구포면을 오가며 성장했다. 그의 부친은 석유 회사를 다니다 일본 마이니치 신문의 동경 지사 기자가 되어 일본으로 떠났던 엘리트였다. 5살 때 부친을 만나기 위해 동경으로 간 그는 히비야 공회당에서 열린 러시아의 베이스 가수 샬리아핀의 독창회 때 처음으로 음악을 접했다.

뒷날 그는 “큰 감명을 받고 이때부터 가수의 꿈을 키우게 되었다"고 말했다. 총명했지만 장난꾸러기였던 그는 동래의 구포 소학교에 입학, 2학년 때 초량에 있던 영주 소학교로 옮겼다. 5학년 때 부친이 경성 지국으로 전근을 오면서 서울 서대문 죽첨 소학교로 전학을 와 1931년 경성 제2 고보(현 경복 중고등학교 전신)에 진학했다.

영어와 일어 그리고 음악에 재능을 보였던 그는 학교의 배구 대표 선수였을 만큼 운동도 잘했다. 방과후에는 밴드부에서 일본의 대중 가요나 미국의 포크 송을 트럼펫으로 즐겨 불렀다. 3학년 때 장티푸스에 걸려 죽을 고비를 넘겼던 그는 어머니가 동생을 낳다가 세상을 떠나는 아픔도 겪었다.

1935년 어린 시절의 꿈인 파일럿이 되기 위해 일본 육사 시험을 치르려 동경으로 갔다. 하지만 일본 군인이 되기 싫다는 생각이 들자 반항심으로 우에노 음악 학교 성악과에 입학 했다. 화가 난 부친 때문에 그는 학비를 벌기 위해 마이니치 신문의 보급소에서 1년 간 신문을 포장하는 중노동을 해 생활비를 벌어야 했다.

1년 뒤 우연히 NHK에서 합창단원을 모집하는 광고를 보고 오디션을 통과해 합창단원이 되었다. 그는 우에노 음악 학교에서 가르쳐 주는 독일 음악 이론 보다는 미국의 재즈나 프랑스의 샹송이 더 좋았다.

당시 일본에는 세계 각국의 대중 가요가 크게 유행했다. 그는 방송국에 드나들며 각국의 최신 음악 정보나 악보를 구해 열심히 익혔다. 1939년 창시개명령이 내려지자 일본신문사에 근무했던 부친의 명에 따라 고토 징(後藤仁)이라는 일본 이름을 얻었다. 해방 후 그가 현인이라는 예명을 갖게 된 것도 이때 붙인 이름을 따랐기 때문이다.

일본 유학 시절 그는 황족 출신의 마리코와 교제를 하기도 했지만 본과 3학년 때 귀국해 소학교 교사였던 조창길과 첫 결혼을 했다.

1942년 우에노 음악 학교를 졸업하고 귀국을 해 성악 교수가 되려 했지만 여의치 않자, 성보 악극단의 음악 교사로 들어 갔다. 1943년 2차 대전이 치열해지자 징용을 피하기 위해 박단마, 황해, 진방일 등과 악극단을 구성해 중국 천진으로 떠났다.

이때부터 그는 천진의 클럽 신태양의 무대에 올라 샹송 등 외국 가요를 본격적으로 부르기 시작했다. 이후 북경, 항주 등 중국의 주요 도시 순회 공연을 다니다 상해에 정착했다. 비교적 자유로운 도시였던 상해의 국제 클럽에 취직한 현인은 영국인과 포크투갈인의 혼혈 처녀였던 마리아라는 여가수와 사랑에 빠져 1년 반 동안 동거했다.

1945년 12월 일본이 패망을 하자 귀국길에 올랐지만 일본군을 위한 위문 공연을 했다는 이유로 북경 비밀 형수소에 수감이 되어 갖은 고초를 겪었다. 동요 70여 곡과 훗날의 대히트작 '서울야곡'이 바로 이때 작곡됐다.

6개월 후 그는 석방이 되었지만 애써 적어둔 악보와 가사들이 비밀 문서로 오인돼 빼앗겨 버렸다. 천신만고 끝에 서울로 돌아 왔다. 수소문 끝에 부친은 부산일보 편집국장으로 재직중이고 아내는 이천에서 교사로 있다는 사실을 알게 되었지만, 그는 당시 가족들로부터 철저하게 외면 당한 존재였다.

이후 홀로서기를 시작한 그는 벌이가 좋은 미군 위문 공연에 뛰어 들었다. 당시는 탱고가 크게 유행하던 시기. 바이올린 연주가인 이장백, 김광수씨와 탱고를 전문으로 하는 고향경음악단을 조직, 1947년 최초의 나이트클럽인 충무로 신문회관의 뉴스맨스 클럽 무대에 섰다.

이때 '서울야곡'을 슬쩍 불러보았다. 외국 곡이 아닌 우리말로 불리어지는 탱고 풍의 가요에 관객들은 신기한 반응을 보였다. 비슷한 무렵 마도파 옆 골목에 국내 최초로 300여명을 동시에 수용하는 최고급 극장식 맥주홀 은성살롱이 생겨났다. 현인은 이곳에서 김광수악단과 엄토미 악단의 반주로 번안 곡을 위주로 활동을 했다.

제법 밤무대에서 이름이 알려지자 작곡가 박시춘씨가 자신의 신곡을 불러보겠냐는 제의를 해왔다. 음악 학교를 나온 현인은 '샹송과 탱고 등 외국 곡이 아닌 가요는 부르지 않겠다'는 고집을 가지고 있었다.

하지만 유명 작곡가인 박시춘의 제의를 거절하기 힘들어 악보를 받아 불러 보니 취향에 어울리는 곡이었다. 박시춘은 이 노래를 통해 해방의 감격을 표현하고자 했다. 이 노래가 바로 그의 대표곡이 된 '신라의 달밤'이다. 며칠간의 고민 끝에 가요 가수로 나설 결심을 내렸다. '신라의 달밤'은 스페인 춤곡 볼레로 리듬이었다.

최규성 가요 칼럼니스트 kschoi@hk.co.kr

(#2/2) 해방 후 국민가수로 우뚝 한 시대 풍미한 무대의 삶

1947년 고려영화협회는 해방 후 최초의 영화 '자유만세'를 명동 시공관에 올렸다. 현인이 소속된 악단을 초청한 것은 관객 끌기 수법이었다. 바로 여기서 불후의 '신라의 달밤'이 발표됐던 것이다. 민족 해방을 감동적으로 그렸던 영화가 끝나자 현인의 노래 순서가 왔다.

시원한 마스크와 독특한 바이브레이션 창법을 접한 관객들은 눈이 휘둥그레졌다. 이내 관객들의 기립 박수가 터지며 시공관은 열광의 도가니가 되었다. 이날 현인은 무려 아홉 번의 앵콜을 받았다. 공연은 열흘 이상 계속되었고 시공관은 '자유만세'를 보고 '신라의 달밤'을 들으려는 인파로 대성황을 이뤘다.

이전의 가요와는 전혀 새로운 스타일의 멜로디와 독특한 창법은 장안의 화제가 되었다. 그는 하루 아침에 대 스타로 떠올랐다.

감격한 작곡가 박시춘은 명동 럭키레코드의 녹음실에서 '신라의 달밤' SP음반의 취입을 서둘렀다. 당시엔 가수뿐 아니라 세션맨 누구라도 실수가 용납되지 않는 동시 녹음 시대였다. 음반을 찍어낼 프레스가 없어 기름 짜는 기계를 개조해 사용했고 고물상들이 가져오는 고물 레코드를 녹여 하루 50장 정도의 레코드를 겨우 만들던 시기였다.

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Google translation (with mistakes) :

(# 1/2) Silla's moonlight shining on the moonlight


Songs of Ms. Hyun's teacher were a rhythm of hope that healed the sadness and nostalgia of the common people in the 50s and 60s. Cool and screaming his creation was the best part.


He was the first "world music" singer to introduce tango, mambo, chanson, and cansone in earnest and lively western rhythms to the people who were tired of their lives. When the joy of liberation had not lingered, the people were fascinated by his new song.


His real name, Hyun Dong-joo, was as pleasant as the song. He was born on December 14, 1919 in Yeongdo, Busan, the first of two sons and daughters of his father, Hyun Myung-geun, an employee of the UK's standard oil company, and his mother, O Bong-sik, a new woman from Ilshin Girls' School.


As a child, he grew up to and from Dongpo-gun Gupo-myeon where Youngdo and grandmother's house where the father's company was located. His father was an elite who went to Japan as a reporter for the Tokyo branch of the Mainichi Shimbun in Japan. When he was 5 years old, he went to Tokyo to meet his father. He first heard music during a solo concert by Russian bass singer Shaliapin at the Hibiya Basilica.


Later on, he said, “I was very impressed and started to dream of a singer from this time.” Although he was smart but mischievous, he entered Dong-gu's Gupo Elementary School and moved to Yeongju Elementary School in second grade. He moved to Seoul Seodaemun Jukum Elementary School and moved to Kyungsung 2nd Gobo (predecessor of Gyeongbok Secondary School) in 1931.


Talented in English, Japanese and music, he was athletic enough to be a school volleyball player. After school, the band sang popular Japanese songs and American folk songs as trumpets. In third grade, he suffered typhoid fever and died when his mother gave birth to a younger brother.


In 1935, he went to Tokyo to take a Japanese training to become a pilot, a childhood dream. However, when I felt that I did not want to be a Japanese soldier, I entered the Ueno Conservatoire of Music at Ueno Conservatory. Because of his angry father, he had to work hard for a year at the distribution center of the Mainichi Shimbun, where he earned his living.


A year later, I accidentally saw an advertisement recruiting choirs at NHK and passed an audition to become a choir. He preferred American jazz or French chanson than German music theory taught at Ueno Conservatoire.


At that time, popular songs from all over the world were very popular in Japan. He traveled to stations to get the latest music information and scores from each country. When the founding order was issued in 1939, he was given the Japanese name of Goto Jing (後 藤 仁) by the name of his father who worked for the Japanese newspaper. After liberation, he was given the sage name because he followed his name.


While studying in Japan, he had a relationship with Mariko from the royal family, but when he returned to Bonn in his third year, he first married Jo Chang-gil, a elementary school teacher.


After graduating from the Ueno School of Music in 1942, he returned home to become a professor of vocal music. In 1943, after World War II became fierce, they formed a troupe with Park Dan-ma, the Yellow Sea, and Jinil-il to leave for Tianjin, China.


Since then, he has been on the stage of the club Shin Sun in Tianjin and began to sing foreign songs such as chansons in earnest. Since then, he settled in Shanghai, attending tours of major cities in China such as Beijing and Hangzhou. The sage, who was hired by the international club in Shanghai, a relatively free city, lived in love for a year and a half, falling in love with a singer named Maria, a mixed-blooded British and Folk Portuguese virgin.


In December 1945, when he was defeated, he returned to Japan, but suffered all the troubles of being imprisoned in Beijing's secret prison for performing a consolation performance for the Japanese military. More than 70 nursery rhymes and later hits 'Seoul Yagok' were composed at this time.


Six months later he was released, but his notes and lyrics were misrepresented as secret documents and stolen. After a long period of time, I returned to Seoul. At the end of the gate, he found that his father was the editor-in-chief of the Busan Ilbo, and his wife was a teacher in Icheon, but he was completely neglected by his family at that time.


Since then, he has started to play alone, and he jumped into a lucrative US military performance. At that time, Tango was a big hit. The violinist Lee Jang-baek, Kim Kwang-su and his hometown music group specializing in tango were organized and in 1947, they staged the newsman's club at Chungmuro ​​Newspaper Center.


At this time, I sang 'Seoul Yagok'. The audience responded with a strange response to the tango style song, which is not called a foreign song but Korean. Around the same time, a first-class theater beer hall, Eunseong Salon, which houses about 300 people at the same time, was created in the alley next to Maddopa. The sage has been working mainly on the rafting song as an accompaniment of the Kim Kwang Soo and Ummomi bands.


When the name became known on the night stage, composer Park Si-chun offered to sing his new song. The sage who left the music school had the insistence that he would not sing songs other than foreign songs such as chanson and tango.


However, it was hard to reject the offer of famous composer Park Si-chun, and it was a song that suited his taste. Park Si-chun tried to express the emotion of liberation through this song. This song is Silla's moonlit night. After a few days of thinking, I decided to go as a singer. Silla's Moonlit Night was a Spanish dance bolero rhythm.


Choi Kyu-sung columnist kschoi@hk.co.kr


(# 2/2) After the Liberation, the performer lives as a Singer


In 1947, the Korea Film Association posted the first movie, Free Live, to Myeong-dong. It was the technique of attracting the audience that the sage invited the band. This is where the immortal 'Silla Moonlight Night' was announced. After the film that drew the nation's liberation, the sage's order came.


Audiences faced with cool masks and unique vibrating methods turned their eyes wide. Soon the applause of the audience burst, and the construction hall became a crucible of enthusiasm. On this day, the sage received nine encores. The performance lasted more than ten days, and the construction hall made a big success with the crowds who wanted to watch 'Free Hail' and listen to 'Silla Moonlit Night'.


A completely new style of melody and unique creation were the subjects of Chang'an. He emerged as a big star in the morning.


The compelling composer Park Si-chun hastened to blow the SP album in the recording studio of Myeong-dong Lucky Records. At the time, not only the singer but also the session man was in an era of simultaneous recording where mistakes were not tolerated. Since there was no press to record the record, the oil-making machine was remodeled and used. It was a time when the antiques melted the old records they made only 50 records a day.


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최규성 가요칼럼니스트 kschoi@hk.co.kr 출처: https://yohantomo.tisto​ry.com/9 [space clearing]

판도 쉽게 닳아 몇 십 번 듣다 보면 거덜날 지경이었고, 난데없이 일본 노래가 튀어 나오기도 했다. '신라의 달밤' SP는 대단한 반응을 보였다. 충무로 입구의 본정 악기점에 몰려 든 시민들은 노래를 따라 부르고 배우느라 북적거렸다. 이에 럭키레코드 강운용사장은 또 다른 신곡 취입을 재촉했다.

두 번째 곡은 '고향만리'. 일제시대 학병이나 징용으로 끌려갔던 사람들의 고향 그리는 마음을 노래한 이 노래 역시 대히트를 터뜨렸다. 첫 트롯 취입곡인 '비 내리는 고모령'은 부르기가 쉬워 '신라의 달밤'을 능가하는 공전의 히트를 기록, 이름도 없던 작은 고개 고모령을 명소로 탈바꿈 시켰다.

1991년 10월 대구 수성구의회 개원기념으로 노래비까지 건립된 명곡이다. 당시 노래비 건립 사실을 현장 취재하던 한국일보 사진부 김문호기자가 열차에 치어 순직하는 안타까움이 간직된 노래 비이기도 하다. 이후 '서울야곡', '꿈속의 사랑' 등 그의 노래는 발표하는대로 히트 퍼레이드를 벌였다.

혜성과 같이 나타나 최고 인기 가수로 떠오른 현인은 1948년 해방 후 최초의 음악영화 '푸른 언덕'에 주연 배우로 발탁되었다. 상대역이었던 신인여가수 김은희와 사랑에 빠져 동거에 들어갔던 현인은 전쟁 와중에 헤어졌다.

1949년 부친이 세상을 떴다. 귀국해서도 한번도 뵙지 못했던 부친에 대한 불효에 오열했던 그는 장례식 후 한동안 노래를 접고 살았다. 그러던 어느 날 KPK 악단장 김해송씨의 제의로 무대에 다시 섰다.

1950년 6월 27일 아침. 한국전이 터진 후 그는 경기도 광주의 산골과 집안 다락방에서 숨어 지내며 인민군의 눈을 피했다. 9ㆍ28서울 수복 후 잠시 박춘석 악단과 함께 부평 미 제 1해병사단의 무대에 올랐지만, 1.4후퇴 때 또다시 부산으로 피난을 떠났다.

당시 오리엔트 레코드사의 이병주 사장은 현인에게 박시춘 작곡ㆍ강사랑 작사의 '굳세어라 금순아' 취입을 제의해왔다. 한쪽 벽이 무너진 대구 KBS에서 가마니로 방음장치를 해 녹음을 했다. 부산에 온 수많은 피난민은 물론, 전쟁의 아픔을 겪고 있던 국민들은 그의 노래에 큰 위안을 얻었다.

피난 시절에도 현인은 자유극장, 대구극장 무대와 군부대 위문으로 바쁜 나날을 보냈다. 가끔 부산으로 원정 공연을 가 '굳세어라 금순아'를 부르면 객석은 매번 눈물 바다를 이루곤 했다. 악극단 '호화선'은 동명의 악극으로 거듭나기도 했다.

1953년 대구에서 현인은 전쟁으로 폐허가 된 서울을 재건하자는 노래 '럭키 서울'을 취입해 한줄기 희망의 빛을 선사했다. 서울로 돌아와서는 한국은행 뒤에 '다리봉' 다방을 열며 노래를 잠시 접었지만 실패하고 박시춘의 '은방울쇼단'에 합류했다. 당시 '남인수 대 현인-가요 대합전 15회전' 무대는 장안의 최고 인기 무대로, 현인은 남인수의 인기에 버금가는 라이벌로 재등장했다.

1957년 명창 박녹주의 질녀인 박정혜와 두 번째 결혼 후 삼남매를 두었지만 5년을 넘기지 못했다. 이후 1959년 봉봉쇼단을 만들어 전국 극장들을 돌았지만 사업수완이 신통치 않았던 그는 6개월만에 파산했다.

그는 1960년 한국일보주최로 시민회관에서 열린 프랑스 샹송가수 이베트 지로의 내한공연에 게스트로 출연해 여전한 노래실력을 과시했지만 1962년 경쟁자였던 남인수의 사망 이후 내리막길을 걸었다. 40대 중반이 된 그는 퇴역 가수 취급을 받았다. 의기소침해 있던 현인은 1968년 15년 연하의 팬이었던 임소연과의 동거에 실패, 1974년엔 미국 뉴욕으로 이민을 떠났다.

1978년 3대 미스코리아 출신 김미정과 세 번째 결혼 후 클럽 가스라이트 등의 사업 부진을 거듭하다 81년 귀국을 했다. 귀국 후 배삼룡, 남진등과 함께 98년부터 악극 '그때 그 쑈를 아십니까'에 참여하며 노익장을 과시했던 현인은 2002년 4월 13일 지병인 당뇨병으로 83세의 나이로 세상을 등졌다.

국민 가요가 된 '신라의 달밤'은 최근 동명의 영화에서 리메이크 되어 젊은 사람들에게 크게 어필했다. 클래식을 전공하고도 대중가수가 된 그의 음악 여정은 시대를 앞서 간 개방적 사고 방식 덕분이었다. 풍류객 현인은 격동의 한국 현대사와 더불어 민족의 애환을 어루만지는 대중가요는 물론 각 국의 월드 뮤직을 최초로 이 땅에 수혈했던 국민가수로 기억될 것이다.

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Translated with Google Translate help:


"The board was also worn out easily, and after listening to it for tens of times, it seemed to be overwhelming, and Japanese songs popped out of nowhere. 'Silla's Moonlight' SP has a great response. Citizens gathered at the main musical instrument store at the entrance of Chungmuro ​​crowded with singing and learning. Lucky Records President Kang Un-yong urged another new song.


The second song is 'Hometown Great'. The song, which sang the heart of the people who had been taken to school during the Japanese colonial period or conscription, also made a big hit. The first track, `` Raining Gomoryeong, '' which is easy to sing, recorded an all-time hit that surpassed `` Silla Moonlight '', transforming a small hill called Gomoryeong, which had no name, into a tourist attraction.


In October 1991, it was built as a song to commemorate the opening of Daegu Suseong-gu Council. It is also a song of the sadness of Kim Moon-ho, a photographer at the Hankook Ilbo, who reported on the construction of the song at the time. Since then, his songs such as 'Seoul Yagok' and 'Love in Dreams' have been hit parades.


Hyun-jae, who appeared as the most popular singer with a comet, was selected as the leading actor in the first music film 'Blue Hill' after liberation in 1948. Hyun-in, who fell in love with her new female singer Kim Eun-hee, broke up during the war.


In 1949 his father died. He was eager for his father's failure to return to Korea, and he lived for a while after the funeral. Then one day, he rejoined the stage with the proposal of KPK Orchestra's Kim Hae Song.


Morning, June 27, 1950. After the Korean War broke out, he hid himself from the valleys and attic houses of Gwangju, Gyeonggi-do, avoiding the eyes of the People's Army. After the restoration of Seoul on Sept. 28, he was on the stage of the 1st Marine Division of Bupyeong with the Park Choon-seok orchestra, but again fled to Busan at the retreat of 1.4.


Lee Byung-ju, president of Orient Records, has offered to sage Park Si-chun and Kang Sa-rang. In Daegu KBS where one wall collapsed, soundproofing was performed with a bale to record. Numerous refugees, as well as those who were suffering from war, were greatly comforted by his song.


Even during the evacuation, the sage had a busy day at the Free Theater, Daegu Theater Stage, and the military. Occasionally, when they performed an expedition to Busan and sang 'Kum Soon-ah', the audience would form a sea of ​​tears every time. The troupe 'Hwa Hwa-sun' has been reborn as a drama of the same name.


In 1953, in Daegu, Hyun-Ji introduced the song 'Lucky Seoul' to rebuild Seoul, which was devastated by the war, and gave a light of hope. After returning to Seoul, he opened the 'Daribong' cafe behind the Bank of Korea and ended the song for a while, but failed and joined Park Si-chun's 'Double Drop Shodan'. At that time, the stage of the 15th round of Nam In-soo vs. Sage-Koyo was reborn as the most popular stage in Jangan, and Sage reappeared as a rival comparable to Nam's popularity.


In 1957, Park Jung-hye, of prominent actress Park Nok-joo, had three sons and daughters after her second marriage, that not lasted more than five years. Later, in 1959, he made a Bonbong Shodan and went to theaters around the country, but he was not good at business. He went bankrupt in six months.


He appeared as a guest at the Korean concert of French Chanson singer Yvette Giro in 1960, hosted by the Hankook Ilbo and showed his singing skills. In his mid forties, he was treated as a retired singer. The depressed sage failed to live with 15 years younger Lim So-yeon in 1968, and immigrated to New York in 1974.


In 1978, Kim Mi-jung from the third Miss Korea returned to Korea after his third marriage. After returning to Korea with Bae Sam-ryong and Nam-jin, he participated in the drama “Do You Know That Time?” From 1998.


Silla's moon night, which became a national song, recently remakeed in a movie of the same name and appealed to young people. His music journey, which he studied in classical music and became a popular singer, was due to the open mindedness that preceded the era. Pungyu artist will be remembered as a pop singer who touches the hearts of the nation with turbulent Korean modern history, as well as the national singer who has transfused the world music of each country to the land for the first time."


Choi Kyu Sung Musical columnist kschoi@hk.co.kr


#oldtime #Trot #jazz #50s #40s #H #mambo #tango