김민기 - Kim Min-Ki (金敏基) (Kim Min-Gi)
All the works of Kim Min-Gi were compiled onto this beautifully crafted heavy LP-sized box with 3D imprints on special paper, containing two booklets with Korean info and lyrics, both in unusual formats (LP-format and a long sleeve insert).
The box alone is impressive, but the music is also worth checking out.
When the singer released an album in 1971, mostly guitar and voice only with sparse arrangements, his words were so powerful, the Park Chung-Gee regime took his album from the market and destroyed what was left. Although his words were metaphorical and highly poetic, a kind of writing that might not even be understood here so easily in the West, in Korea they were as clear as statements.
He continued to write for others like Yang Hee-Eun, The song “Morning Dew” however could not even be covered any more. It became a symbol of awareness of the oppression and predated the steps towards a renewed system of democracy.
Another song, called “Morning Dew”, was about two fishes in a pond. When one fish died it spoiled the pond, an allegory for the split country. This song became popular in North Korea revealing a secret inner wish for change, it took a while before the government understood the impact, until they also banned it there in 1998.
For Kim Min Gi it took also until 1993 (!) until he could release his work again. Almost having given up music, having worked on a farm for a while, Kim Min Gi from then on started to cooperate heavily with theatre, creating several sorts of musicals, some music appeared in some movies too.
Several CD’s reveal the songwriter with guitar and sparse arrangements, with a deep warm and penetrating voice. Elsewhere are the references to the musicals, often sung by children, with beautiful vocal harmonies and sensibilities, also with here and there a Korean folk reference that is worth taking out. A few tracks are played with keyboards.
I assume that the first CD (of 10 tracks) contains the early LP. This is the first songwriting album. Here and there are sensible rhythms, I also heard piano, flute arrangement and sparse chamber arrangements.
The second CD is led by a child’s voice, spoken word and singing, accompanied by synthesizer and organ, flutes, child choir and acoustic pickings. Some fragments really show themselves as if a movie is happening; I assume this could be the soundtrack of a movie too. Then we hear the family talking together and singing together. I loved the track with mother and daughter, with streaming water in the background and some beautiful parts of vocal harmony driven singing.
The next two CD’s are voice and guitar mostly, with some very crafty fingerpickings here and there, and some duet guitars. The last, probably bonus track on it I think must come from his German spoken (!) musical. Also this track shows talent to arrange vocal harmonies.
The fourth CD continues in the songwriting vein. Here’s also use of mouth harmonica a few times. I very much loved the fourth song that has a Korean folk sensibility. Further on there’s some use of harmony voices, a bit of keyboards and female voice too.
The fifth CD continues with more acoustic songs, other instruments for the arrangements appear as well. The last two tracks must have come from one of his other musical projects. They sound pretty unique, because they mix the Korean folk percussion and folk harmony and singing styles with modern singer/songwriting, the vocal harmonies again brilliantly arranged. The second track I think comes from a real 'pans’ori' traditional, sung by female voice with great emotion and tension.
Also the last CD contains more tracks with children led musical concepts of arrangements, and some keyboard instrumental.
There’s much to experience on this album, and the songs themselves and Kim Min Gi’s voice remains extremely attractive also for a foreigner it takes no effort at all to listen, you get easily hooked onto it and keep on listening. Kim Min Gi’s is amongst the most rewarding acoustic song voices. The box isn’t really too expensive, so very recommended.
Discography :
Kim Min'Gi (1971), My Daddy's Pretty Face (1987), Mommy, My Mommy (1988),
Kim Min-Gi 1,2,3,4 (1992/1993)
and also : Factory Lights: Musical Original Soundtrack [OST] (1978)
Gaettong'i: Musical Original Soundtrack [OST] (1987)
Daddy's Face is Pretty: Musical Original Soundtrack [OST] (1987)
Kim Min-Gi, with Symphony Orchestra of Russia (2003)
Factory Lights (2004)
http://askakorean.blogspot.be/2011/03/50-most-influential-k-pop-artists-31.html :
- In 15 words or less: "Korea's Bob Dylan."
- Maybe he should have been ranked higher because... His songs were the spirit of Korea's democratization movement. Korea is now a democracy.
- Maybe he should have been ranked lower because... Through no fault of his own, his music was totally cut off from the mainstream of K-pop.
- Why is this artist important? The world is fascinated by North Korea and its terroristic dictatorship. But it ought to focus more on South Korea, which had no less of a dictatorship at the end of Korean War. There have been many dictatorships in the past, and there will surely be more in the future. But there are not many that transitioned from a dictatorship to a thriving democracy, and there is only one that did so in just 40 years. And Kim Min-Gi wrote the defining hymn of that unprecedented change.
Kim Min-Gi's discography says it all. Kim began his music career as a member of an amateur band at the prestigious Seoul National University in 1969. His talent became obvious to those around him, who urged him to make an album. In 1971, Kim Min-Gi would record his only regular solo album in just one day. The musical value of this album is significant, as it added a layer of sophistication to the "folk rock" of Korea. On top of the simple guitar sound that was the only staple of the folk rock of the time, Kim's album added elements of jazz and classical music. But of course, the real story is the album's social value. Within a year of its release, the authoritarian Park Chung-Hee regime banned the album. The entire available stock of the album was recalled and incinerated. Kim could not release albums or appear on television or radio anymore, and had to rely on his musical soul mate Yang Hee-Eun to sing his songs instead. A few years later, Kim's song Morning Dew was specifically banned, and even covering the song was not allowed. South Korea's dictatorship correctly assessed the danger of Kim's gifted songwriting. On top of his elegantly simple tunes, Kim Min-Gi added lyrical poems that were at once hauntingly beautiful and deadly sharp. Morning Dew is the prime example of his ability to metaphorically urge a struggle against oppression. The morning dew is the tears collecting on every blade of grass, every person. When morning dews collect, "I" must go into the barren desert like a messianic hero, toward the glory of the sun that rises over the graves of the fallen. Another beautiful example of Kim Min-Gi's lyric-writing ability is the song A Little Pond. The pond used to have two beautiful goldfish, who fought each other. One of them died, and as the body of the dead fish rotted away, so did the pond water, and nothing could live in the pond anymore -- a beautiful allegory to the injustice of the divided Koreas. Here is the song, covered by Yang Hee-Eun. (A Little Pond, a movie about the Nogeun-ri Massacre, was named after the song.) South Korea's authoritarian regime succeeded in some respects -- Kim Min-Gi was driven out of the larger pop culture, and was relegated to composing musicals that were barely played in some colleges. For stretches of time, Kim totally gave up on music and turned to farming for years. But in a more important way, the authoritarian regime failed utterly. The few surviving copies of Kim Min-Gi's first album were secretly copied and distributed like a badge of honor among the democratization activists. The democratization activists would first sing Morning Dew quietly among themselves, and then loudly during their protests. Over time, Morning Dew would be the de facto anthem of the pro-democracy protesters. A song about a fragile natural phenomenon became a roaring call for freedom sung by thousands and thousands of people, beaten down by police clubs and covered in tear gas. South Korea would fully democratize, and Kim Min-Gi's albums were finally unbanned in 1993. The ultimate testament to the power of the song is the fact that North Korea banned this song also. Because North Korea saw the democratization protesters as its allies (both because the protesters were generally leftist and because enemy of the enemy was a friend,) initially North Korea used Morning Dew as a part of the propaganda. But as the song spread, there was no mistaking the message of Morning Dew -- the song became wildly popular in North Korea, sung by the people who wished to rebel against the regime in their hearts. Finally, North Korea banned the song in 1998. Interesting trivia: Kim Min-Gi continued his rebellion by writing musicals with heavily social messages. His musical Factory Lights, describing the fate of the union members at a factory, was also banned. In 1994 Kim directed a musical Line One, which was originally a German musical adjusted to take on a Korean narrative, again describing the downtrodden people in the ghettos of Seoul. It became the most successful musical in Korean history, running for 13 years in the same theater.
Michael Fuhr:
"Tongkit'a (box guitar) marks a different strand of American-Influenced pop music: a new style of Korean folksong largely modeled from the American folksong movement and of singers like Bob Dylan, Pete Seeger and Joan Boaz. However, most songs added Korean lyrics and were imbued with the critical awareness and social idealism of their singers surrounding South Korea's political situation under the oppressive Park Chun-Hee's regime. T'Ongkit'a prospered in the same (counter)cultural atmosphere of the early 1970s as group sound did, but it derived not from the context of the US military basies but instead from that of music cafes in downtown Seoul., which had become a meeting place for college and university students. Kim Min-Gi (born 1951) a former student from Seoul National University, South Korea's most prestigious university began his career as a t'ongkit'a player in the Green Frog. Hall, a music cafe, and became a major figure in the new song movement and eventually a cultural icon. Many of hs songs, such as "A child growing a flower" (1971) or Morning Dew (1971) sung by Yang Hui-Un were banned by the government. However, they were circulated widely among students and intellectuals and became anthems in Korea's rotes culture in the following decades. In general, t'ongkit'a songs were appreciated by young people as a fresh alternative to t'trot'u and rock music. Characterised by the use of acoustic guitar and simple melodies, t'ongkit'a songs were easy to sing and thus put an emphasis on the singer's vocal delivery, the lyricism in song texts and aspects of individuality and authencity embodied in the singer's stage performance. In order to circumvent governmental censorship, many t'ongkit'a songs were devoid of inflammatory political messages and instead focused on sebtimental and joyful aspects of love and youth. Numerous t'ongkit'a songs such as sung by Cho Yong-Nam, Song Chang-Sik, Yun Hyong-Ju, Kim Se-Hwan en Lee Jang-hee made their way into radio and TV programs ad gained high record sales. Tongkita became one of the most dominant forces in popular music in Korea., as Ikon Hwang wrote "The sudden growth and polarity and the related paraphernalia with blue jeans, draft beer and hippie-like long hair becoming symbols of urban youth led to the phrase 'Tong Kit'a Boom" (Hwang 2006,39).
The historical significance of T'ongkit'a lies in the politisation of pop music, as Hwang argued (2006) in the light of Kim Min-Ki and the song movement. ..."
Of course the identity recognition vanished as soon as the government started to suppress these voices. This happened since 1972 with the yusin or revitalizing reform program which granted dictatorship and unlimited constitutional power with a right to fight against "foreign decadent culture" of which Americanized songs and group sound but also t'ongkit'a were part of. In 1975 there had been a huge marijuana crackdown, arrests and blacklisting (and censorship) of many musicians.
P.S. Tongkit'a is also called T'ong guitar. Wikipedia: T'ong guitar (or tong guitar) was a form of Korean music developed in the early 1970s. It was heavily influenced by American pop music, and artists in the genre were considered Korean versions of American folk singers, such as Joan Baez and Bob Dylan.The musical form originally started as a solo singer-songwriter performing with an acoustic guitar. It was allied with student movements of the 1970s in song clubs such as "Maeari" at Seoul National University and in Norae Undong ("Song Movement"), caused the embracing of popular genres by Korean intellectuals. Serious academic inquiries in Korean popular music started in 1984, and continue today. However, in the 1980s, t'ong became a form of soft rock ballad that earned critical scorn, being described as a 'mindless love affair with American culture'. Norae Udong separated from t'ong guitar, becoming a more rock-based genre.
Past Life Of 김민기 6CD 2004.10.21
(CD-1/김민기 / Kim Min Gi 1971)
* 01 친구 / A Friend * 02 아하 누가 그렇게… / Ah - who does that… * 03 바람과 나 (한대수 작사 작곡) / Wind and Me
(composed by Han Dae-soo) * 04 저 부는 바람 / That Blowing Wind * 05 꽃 피우는 아이 / Flower Child 06 길 / The Road 07 아침 이슬 / Morning dew 08 그날 / That day * 09 종이연(혼혈아)) / Mixed Blood Child 10 눈길(경음악) / Snowy road (instrumental music)
(CD-2/노래일기 '연이의 일기' / Song Diary 'Yeonyi's Diary') 1984 & 1986-1987
* 01 '엄마, 우리 엄마' - 엄마 생일날 / 'Mom, My Mom'-Mother's Birthday * 02 '엄마, 우리 엄마' - 어젯밤 꿈에 엄마가 / 'Mom, My Mom'-My mom last night in my dream 03 '엄마, 우리 엄마' - 엄마구름 애기구름 / 'Mom, My Mom'-Mom's Cloud * 04 '엄마, 우리 엄마' - 학교 가는 길 / 'Mom, my mom'-on the way to school 05 '아빠 얼굴 예쁘네요' - 첫눈 / 'Daddy's face is pretty'-first sight of snow * 06 '아빠 얼굴 예쁘네요' - 미술시간 / 'Daddy's face is pretty'-Art class time 07 '아빠 얼굴 예쁘네요' - 아버지가 안 계신 순이 / 'Daddy's face is pretty'-My father is not
(Soony does not have a Father) * 08 '아빠 얼굴 예쁘네요' - 꿈1 / 'Daddy's face is pretty'-Dream 1 09 '아빠 얼굴 예쁘네요' - 사고 / 'Daddy's face is pretty'-accident 10 '아빠 얼굴 예쁘네요' - 기도 / 'Daddy's Face Pretty'-Prayer 11 '아빠 얼굴 예쁘네요' - 방학 / 'Daddy's face is pretty'-Vacation * 12 '아빠 얼굴 예쁘네요' - 병원 / 'Daddy's face is pretty'-hospital * 13 '아빠 얼굴 예쁘네요' - 빨래 / 'Daddy's face is pretty'-laundry 14 '아빠 얼굴 예쁘네요' - 읍내 / 'Daddy's Face Pretty'-Town 15 '아빠 얼굴 예쁘네요' - 아빠 오실 때 / 'Daddy's face is pretty'-When Dad comes home 16 '아빠 얼굴 예쁘네요' - 잔치 / 'Daddy's face is pretty'-feast 17 '아빠 얼굴 예쁘네요' - 꿈2 / 'Daddy's face is pretty'-Dream 2 18 '아빠 얼굴 예쁘네요' - 에필로그 / 'Daddy's Face Pretty'-Epilogue
(CD-3/'김민기 하나' / 'Kim Min Gi')
01 가을편지 / Autumn Letter 02 내 나라 내 겨레 / My country my people 03 두리번거린다 / Drifted * 04 꽃피우는 아이 / Flowering Child 05 아침 이슬 (연주곡) / Morning Dew (live) * 06 아침 이슬 / Morning Dew 07 잃어버린 말 / Lost Words 08 아름다운 사람 / Beautiful Man 09 그날 / That day 10 친구 / Friends 11 잘 가오 / Good night 12 Morgentau (아침 이슬 독일어 버전) / Morgentau
(Morning dew German version)
(CD-4/김민기 둘 / Kim Min Gi 2)
* 01 새벽길 / (A street at) Dawn * 02 나비 / Butterflies 03 길 / The Road * 04 혼혈아 / Mixed Blood (child) * 05 그 사이 / In the Meanwhile (that place in between) * 06 고향가는 길 / (the Road to my) Hometown 07 철망 앞에서 / In front of a barbed wire fence * 08 눈산 / Snow mountain 09 차돌 이내몸 / Firmly inside * 10 아무도 아무데도 / Nobody anywhere 11 바다 / The Sea 12 눈길(연주곡) / Snowy Road (instrumental)
(CD-5/김민기 셋 / Kim Min-ki 3)
01 상록수 / Evergreen Tree 02 기지촌 / Foreign Base Town * 03 가뭄 / Drought 04 식구생각 / Thoughts of one's Family 05 서울로 가는 길 / Road to Seoul 06 늙은 군인의 노래 / Old Soldier's Song 07 강변에서 / At the riverside 08 주여, 이제는 여기에 / Oh Lord, here and now 09 소금땀 흘리흘리 - 땀흘려 거둔 음식 / Tolling in Salt and sweat - the food of labour 10 밤뱃놀이 / Night boating
(CD-6/김민기 넷 Kim Min-Gi 4)
01 봉우리 / The Peak 02 아하, 누가 그렇게 / / Ah, if only someone would * 03 백구 / White Dog Paekku (child's voice) 04 작은 연못(연주곡) / Small Pond (instrumental) 05 날개만 있다면 / If Only Wings 06 작은 연못 / Small Pond 07 인형 / Doll (duet) 08 고무줄놀이 / Rubber band playing 09 천리길 / Cheonnigil 10 아침(연주곡) / Morning (instrumental)
2004년 10월 김 민 기 그의 지나온 삶을 만난다. 김민기 음반패키지 [past life of KIM MINGI "…that beautiful one is human being.." ]은 총 6장의 CD와 함께 노래 가사집, 책자로 구성되어 있다. 1971년 발매된 후 곧 판매금지 되었던 김민기의 데뷔 앨범이자 유일한 정규 앨범인 [김민기] LP의 복각 CD, 1984년 작업한 노래일기 [엄마 우리 엄마]와 1987년 작업한 [아빠얼굴 예쁘네요] LP를 하나로 묶은 노래일기 [연이의 일기] 복각CD, 그리고 1993년 발매되었던 [김민기] 1,2,3,4를 다시 마스터링하고 거기에 '밤뱃놀이', '눈길', '아침', 독일어 버전 아침이슬 - 'Morgentau' 네 곡을 추가한 4장의 CD가 한데 묶였다. 책자에는 1971년 LP 쟈켓에 실렸던 경음악 평론가 최경식의 '김민기론'을 비롯 시인 김지하, 김창남 성공회대 교수 등의 평론과 김민기 연보, 노래일지, 디스코그래피가 한글, 영어, 일어로 실려 있다. LP를 연상시키는 독특한 디자인의 노래 가사집에는 음반패키지에 수록된 전곡의 가사가 역시 영어와 일어 번역본과 함께 담겨져 있다. 내용적인 측면 뿐만 아니라 김민기 음반 패키지의 디자인 역시 주목할 만한 부분이다. 1970년 김민기와 함께 '도비두'의 멤버로 듀엣 활동을 했던 김영세가 대표로 있는 이노 디자인에서 디자인 작업을 진행, 기존 음반들과는 확연히 차별화된 수준 높은 디자인의 패키지를 선보였다. 이노 디자인에서는 디자인을 시작하면서 이 패키지가 김민기의 지나온 삶을 담은 만큼 일회성이 아니라 오랫동안 보존될 수 있는 소장본으로서 남을 수 있기를 바랬고, 해외 유수 뮤지션들의 전집 음반이나 패키지처럼 음반의 내용 뿐만 아니라 그를 담는 그릇인 패키지도 그 자체만으로 소장가치를 지닌 특별한 것으로 만들기 위해 심혈을 기울였다. 20대 젊은 시절 듀엣'도비두'로 음악활동을 같이 했던 두 사람이 이제 각자의 영역에서 새롭게 만나 또 하나의 듀엣을 이루어 낸 것이다. 33년만의 복원 김민기 1971 "이 앨범의 노래들은 입에서 입으로, 투박한 등사기법으로 복제된 가사 모음들을 통해 요원의 불길처럼 사람들의 가슴을 울리고 지나갔다. 그것의 원동력은 탄압이 분만한 단순한 반작용 때문이 아니라 그의 노래 자체가 품고 있는 젊은 한국어와 그것의 음악적 울림 때문이다. 자신이 데뷔 앨범을 발표하고 72년 봄 서울대 문리대 신입생 환영회에 초대되어 노래 부르기를 지도하다 이튿날 새벽 동대문서로 연행되고 시중의 그의 음반이 전량 압수되었을 때, 이 역사적인 앨범을 관통하는 하나의 정신은 노래에 대한 반성적 사유이다. 이 앨범은 두 곡('바람과 나'와 '저 부는 바람')을 제외하고는 모두 그의 작품이다. 그는 또한 단 한 장의 앨범으로 록음악의 신중현과 함께 본격적인 대중 음악가, 곧 싱어송라이터(Singer-songwriter)의 시대를 열어 젖힌 것이다." 강헌(대중음악평론가) '김민기'의 데뷔 앨범이자 유일한 정규 앨범인 이 음반은 1971년 첫 출시 이후 33년 만에야 정식으로 선보이는 것으로 아마도 이번 음반패키지 중 가장 많은 관심이 집중되는 부분 중 하나일 것이다. 1971년 LP로 500매가 제작되었던 이 음반은 그러나 출시 후 곧 판매금지 되었고, 그 후로 오랫동안 이 음반에 담긴 김민기의 노래는 가사모음이나 LP판에서 부분 녹음, 편집된 카세트 테이프로만 접할 수 있을 뿐이었다. 때문에 이 음반은 지금까지도 수십 배의 고가로 암거래되어 왔다. 16년 만인 1987년 민주항쟁 이후에야 복권되었으나 저작권자의 동의 없이 건전가요 '아! 대한민국'을 함께 담은 복원반으로 잠시 나왔다 곧 사라졌다. 서사적 음악극 형식의 실험 - 노래일기 [연이의 일기] [엄마, 우리 엄마 ] + [아빠 얼굴 예쁘네요] 1980년대는 김민기에게 있어 단형의 노래들의 한계를 뛰어넘는 서사적 음악극형식을 실험하는 모색기였는데 [연이의 일기]는 그 산물이라 할 수 있다. 연이라는 아이의 일기 형식을 취하고 있는 이 작품은 [엄마, 우리 엄마]가 농촌에 사는 연이의 일기라면 [아빠 얼굴 예쁘네요]는 탄광촌 아이 연이의 일기이다. 오랫동안 '김민기'라는 이름을 밝히고 하는 활동이 금지되어 있었던 그는 1987년 6월 항쟁으로 비로소 자신의 이름을 걸고 음반을 낼 수 있게 되는데 [아빠 얼굴 예쁘네요]는 9월에 카세트 테이프와 그림책을 묶은 패키지로 발매되었고, [엄마, 우리 엄마]는 [개똥이]의 수록곡들과 함께 그 해 12월 음반화 되었다. - 엄마, 우리 엄마 (1984) 이 작품은 84년에 창작되어 87년 뮤지컬 [개똥이] 수록곡들과 함께 음반화되었다. 민통선에서 농사를 짓던 김민기가 다시 서울로 올라와 활동을 재개했을 때 그의 관심은 아동용 뮤지컬의 창작에 있었다. [엄마, 우리 엄마]는 그 일환으로 나온 작고 아름다운 소품이다. 노래일기라는 형식을 띤 이 작품에는 네 편의 노래가 담겨 있고 노래 사이 사이에 대사가 삽입되면서 일기 형식의 작은 이야기를 구성한다. 일기 속의 이야기에는 특별한 갈등이나 극적인 긴장이 존재하지 않는다. 엄마 없이 할아버지와 함께 사는 옥이가 일 때문에 학교에 가지 못하다 연이 엄마의 도움으로 다시 학교에 가게 되었다는 단순한 이야기일 뿐이다. 그러나 이 노래일기를 구성하는 네 편의 빼어난 동요는 이 단순한 이야기를 놀랍도록 아름다운 한 폭의 풍경화로 만들어 준다. - 아빠 얼굴 예쁘네요(1986-1987) 86-87년에 걸쳐 창작된 이 작품은 [엄마, 우리 엄마]에서 선보인 오디오용 노래일기 포맷을 다시 한번 확장한 시도라 할 수 있다. 탄광촌 어린이들의 글을 토대로 구성한 이 노래일기에는 탄광촌의 삶과 풍경, 그 속에서 따뜻하게 피어나는 인간애가 진하게 묻어 있다. 이 작품은 멀티 슬라이드 프로젝션 방식으로 소극장에서 공연되었고 오디오 테입과 그림책을 패키지로 묶어 출간되었다. 김민기가 이 작품을 통해 시도한 멀티 슬라이드 프로젝션은 이후 한동안 많은 진보적 문화 공연에서 다양하게 차용되면서 80년대 운동권 문화의 내용과 형식을 진일보 시키는데 기여하기도 했다. [아빠 얼굴 예쁘네요]는 어린이용이었음에도 탄광촌이라는 다소 예민한 소재를 다룬 탓에 심의 과정에서 적지 않은 우여곡절을 겪어야 했다. 민주화의 대세 속에서도 심의 당국의 가위질 콤플렉스는 여전히 집요해서 이 작품에 자주 등장하는 '검다'는 표현까지 문제 삼을 정도였다." - 김창남 (성공회대 신문방송학과 교수) 김민기 1 + Morgentau - 김민기 하나 불혹의 목소리로 다시 부른 70년대 청년문화의 풍경 해금되고 난 후에도 김민기는 많은 작업을 진행하였지만 정작 그의 목소리는 들을 수 없었다. 고작해야 [겨레의 노래] 순회 공연에서 부른 '아침 이슬'정도 였을까? 1993년 김민기는 네 장의 CD를 통해 기나긴 노래의 연대기를 일차적으로 정리한다. 아마도 우리는 동숭동 골목의 작은 소극장에 대해 고마워해야 할 것이다. 왜냐하면 노래 부르는 것을 극히 꺼렸던 그가 이렇게나마 음반을 발표하게 된 것이 바로 91년에 동숭동에 연 소극장 학전의 설립 및 운영 자금 때문이었다. 그는 [아구]와 [공장의 불빛], 그리고 80년대 노래극 속의 노래를 제외한 거개의 곡을 조동익을 위시한 숱한 뮤지션들의 지원을 받으며 이미 불혹을 넘은 떨리는 목소리로 다시 불렀다. 어쩌면 저 71년의 단아한 청년의 자취는 이 전집에서 발견할 수 없을 것이다. 하지만 이 전집은 그의 소중한 시편들을 불멸의 기록으로 남겨 놓았다. 전집 1권은 60년대에 샹송을 즐겨 불렀던 최양숙에게 준 [가을 편지](고은 작시)의 더할 나위 없이 고즈넉한 이병우의 통기타 서주로 문을 연다. [내 나라 내 겨레] [두리번거린다] [아름다운 사람] [친구] [그날] 같은 70년대 전반의 초기 노래를 담고 있는 1권은 주로 김민기 자신에 의한 통기타의 여음으로 매듭지어져 있어 70년대 캠퍼스 청년 문화의 풍경을우리에게 펼쳐 보인다. 주목할 만한 트랙은 송창식의 데뷔 앨범에 실렸다가 삭제되었던 [내 나라 내 겨레]의 오리지널 낭송 대목. 김민기2 + 눈길 - 김민기 둘 수난의 '길'에서 얻은 통찰력의 발원 양희은이 더 바랄 것 없는 절창을 보여주었던 '새벽길'의 역동적인 리듬으로 시작하는 전집 2권은 1권을 주도했던 정적감이 서서히 걷히고 아연 역동감을 분만하기 시작한다. 김광석의 하모니카 연주를 지원 받으며 직접 기타를 치며 부르는 그의 고전 '길'에서 김민기는 71년 녹음과는 다른 기백을 표명한다. 그가 걸어온 수많은 수난의 '길'에 대한 통찰력에서 발원하는 것이 아니었을까? '종이연'은 비로소 '혼혈아'라는 원래 제목을 되찾았고 어느 누구에 의해서도 불려지지 않았던 '눈산'이 처음으로 녹음되었다. 4권의 CD 중에서 이 두 번째 권을 가장 빛나는 백미로 만들어주는 트랙은 단일 노래로서는 그의 유일한 90년대 작품이자 한국 포크 록의 최대 걸작인 '철망 앞에서'이다. 분단의 모순과 고통을 자연과 인간의 친화력으로 풀어낸 탁월한 주제의식, 그리고 '아침 이슬'을 떠올리게 하는 세 개의 서정적이고 극적인 선율 주제, 그리고 김민기-장필순-한동준으로 이어지는 트리오 보컬과 조동익, 손진태, 박용준이 펼치는 단정한 세션은 90년대 한국 대중음악의 알려지지 않은 위대한 성과중의 하나일 것이다. 이외에도 70년대 투코리언즈가 터프하게 해석했던 '고향 가는 길'의 민요적 5음계와 포크의 반복적이고 흥겨운 패시지를 만끽하게 하는 '차돌 이내 몸', 그리고 상승과 하강의 선율교차를 통해 70년대의 어두운 시대상을 우울하게 은유하는 '나비' 역시 주목의 대상이다. 김민기3 + 밤뱃놀이 - 김민기 셋 현실주의적 미의식으로 아롱진 우리 대중음악의 걸작 사진작가 김수남이 찍은, 동해의 겨울 바다를 배경으로 무표정하게 선 세 번째 권의 모노크롬 재킷은 어딘가 을씨년스러워 보인다. 그러나 이 을씨년스러운 아우라야말로 군사정권 이십 년 동안 이 땅의 청춘들의 자화상이 아니었을까? 이 3권은 유신정권의 폭정이 극점을 형성했던 70년대 중반의 김민기의 변모한 현실주의적 미의식이 아롱지고 있다. 공장 생활 때 동료들의 합동 결혼식에 축가로 불러준 '상록수'는 김광민의 정결한 피아노로 다시 태어나고, 거의 유일무이하게 사용했던 블루 노트의 적막함이 전편을 감도는 '기지촌'은 한영애의 스캣으로 더욱 열기를 불러일으킨다. 다양하게 노래말이 바뀌어 80년대의 거리와 농성장을 뒤흔들었던 '늙은 군인의 노래'와 제대로 된 제목과 가사를 비로소 되찾은 '주여, 이제는 여기에'가 사색적인 톤으로 불려지고 조동익의 베이스 기타가 아름답게 노래하는 '강변에서' 역시 놓칠 수 없는 트랙이다. 우리 전통음악의 내음이 통기타에 스며들어간 '가뭄'과 '식구 생각'은 80년대 초반 대학 세대에겐 위안의 방언. 마지막에 자리한 '소금땀 흘리흘리'와 [개똥이]의 삽입곡 '땀흘려 거둔 음식'은 장고의 명인 김덕수와 듀오를 이루었다. 이 세 번째 권은 선율을 빚어내는 작곡가로서의 김민기가 우리의 대중음악을 얼마나 풍요롭게 만드는 데에 기여했는지를 단적으로 알려주는 텍스트이다. 다만 정당함을 상실한 권력만이 그것을 승인하지 않았을 뿐이다. 김민기4 + 아침 - 김민기 넷 시인 김민기가 부르는 인간주의적 아포리즘 마지막을 장식하는 4권은 80년대의 작업과 70년대 초반의 작품들이 엇갈려 배치되어 있다. 그 서장을 열어 젖히는 노래는 85년 양희은의 컴백 앨범에 실리기도 했던, 시인으로서의 김민기의 인간주의적인 아포리즘이 비등점을 이루는 '봉우리'이다. 84년 LA 올림픽의 입상 탈락자들의 모습을 담은 다큐멘터리의 주제곡으로도 사용되었던 이 노래는 고난 속에서도 좌절하거나 소리 높여 과장되게 몸부림치지 않고 묵묵히 자신의 역사적 임무를 감내한 그의 생애의 초상이나 진배없다. '하여 친구여, 우리가 오를 봉우리는 바로 지금 여긴지도 몰라/우리 땀 흘리며 가는 여기 숲 속의 좁게 난 길/높은 곳엔봉우리는 없는 지도 몰라….' 이 앨범엔 어린이와 같이 듀오를 이룬 곡이 네 곡 있다. 바로 72년 양희은이 불렀던 '백구'와 '인형', 그리고 [개똥이]의 주제곡 '날개만 있다면'과 대미를 장식하는 '천리길'. 그의 예술의 궁극은 바로 가장 고귀한 순수로서의 어린이의 투명한 눈이라는 것일까? 그래서 '늙은' 그가 부르는 자신의 동요 '고무줄 놀이'는 더욱 아련하게 우리의 가슴을 파고 들어온다. - 대중음악 평론가 강 헌. [김민기 디스코그래피] 중 1993+2004 새롭게 선보이는 곡들 - Morgentau, 눈길, 밤뱃놀이, 아침 김민기 음반패키지에는 2004년 새롭게 녹음한 2곡을 포함 총 4곡이 추가로 수록되었다. 이중 특히 눈길을 끄는 것은 '아침 이슬'의 독일어 버전인 'Morgentau'. 그가 그간 주력해온 뮤지컬 작업의 대표작인 록뮤지컬[지하철 1호선]의 원작 공연팀인 독일 그립스 극장의 단원들이 2003년 11월, 이 작품의 2000회 공연을 축하하기 위해 내한했을 당시 우정을 담아 선물한 노래이다. 원작자 폴커 루드비히(Volker Ludwig)가 직접 독일어로 가사를 번역하고 독일 그립스 배우들이 독일 전통 성가곡식으로 편성하여 부른 이 노래는 신선함과 더불어 깊은 울림을 선사한다. 김민기가 1978년 만들었던 '밤뱃놀이'는 대금, 태평소, 북, 장고, 징, 꽹과리 등 국악기로만 반주가 이루어져 있는 곡으로 양희은의 음반 [거치른 들판에 푸르른 솔잎처럼]에 발표되었던 곡이다. 2004년 새롭게 이루어진 녹음에서는 당시 후반부에서만 양희은과 함께 노래를 했던 명창 김소희의 수양딸 김소연이 전통 창법으로 충실히 소화해 내어 곡 자체의 색깔을 더욱 명확히 하였다. 2004년 [공장의 불빛] 리메이크 작업을 진두지휘한 정재일이 피아노 곡으로 편곡, 직접 연주한 '눈길'은 1971년 [김민기] LP에 김민기의 휘파람 연주와 복기호 악단의 연주로 담겼던 곡을 새롭게 해석하여 녹음했다. '아침'은 김민기가 총감독을 맡았던 [겨레의 노래] 음반에 수록되었던 곡으로 전래동요 '새야 새야 파랑새야'를 편곡, 연주곡으로 선보였던 것을 리마스터링 했다.
October 2004 Kim Min Ki: Meet his past life.
Kim Min-ki's album package [past life of KIM MINGI "… that beautiful one is human being .."] is composed of 6 CDs with lyrics.
Kim Min-ki's debut album, which was banned soon after it was released in 1971, and the only regular album was a reprinted CD of [Kim Min-ki] LP, Song Diary [Mom My Mom] worked in 1984, and [My Dad's Face] LP, in 1987. Song Diary [Yeonyi's Diary] was reprinted on CD, and [Kim Min-gi] released in 1993, mastering 1,2,3,4 again, there are 'night boating', 'eyes', 'morning', German version morning Dew-4 CDs with four songs from 'Morgentau' tied together.
The book contains articles such as "Kim Min Gi Theory"' by Choi Kyung-sik, a light music critic which appeared on the LP jacket in 1971, by Kim Ji-ha and Kim Chang-nam's Anglican Professor, and Kim Min-ki's annual report, song journal, and discography in Korean, English and Japanese. The lyrics of the uniquely designed song reminiscent of LP also contain the lyrics of all the songs in the music package, along with English and Japanese translations.
Not only the contents but also the design of Kim Min-ki's album package is notable.
In 1970, Kim Young-se, who worked as a member of 'Dobi Doo' as a member of 'Dobi Doo', performed design work at Inno Design, and presented a package of high-quality design that is distinct from existing records. At Inno Design, we hoped that this package could remain as a collection that can be preserved for a long time, as well as a one-time collection as it captures Kim's past life. In package itself was devoted to make something special that has a collectible value. The two young men in their twenties who used to do music as a duet, 'Dobi Doo', now meet in their respective fields to form another duet.
Restoration after 33 years
"The songs in this album rang people's hearts through the collection of lyrics copied from mouth to mouth and clunky isomorphism. Its driving force is not because of the simple reactions of repression, but because of the songs themself. Because of his young Korean language and its musical ear, he released his debut album and was invited to the Seoul National University Liberal Arts Welcome Party in the spring of 72 and when he sung this as a Dongdae document the next morning his entire record edition was confiscated. One spirit that penetrates this historic album is the reflective reason for the song, which is his own work except for two pieces ('Wind and Me' and 'The Blowing Wind'). The album opened up the era of the full-fledged pop musician, the singer-songwriter, along with rock music's Shin Ji-hyun. " Kang Heon (Pop Music Critic)
The first album, which is Kim's debut album and the only regular album, was only officially released 33 years after its first release in 1971, and is probably one of the most attention-packed parts of the album. The album, which was produced in 1971 with 500 LPs, was banned soon after its release, and since then, Kim Min-ki's songs have long been available only on cassette tapes that were partly recorded and edited on lyrics or LP. Because of this, the record has been black-and-traded up to tens of times now. Only after 16 years of democracy in 1987, the album was rehabilitated, but still without the consent of the copyright holder. It came out for a while as a reinforcement group containing 'Korea' and soon disappeared again.
An epic musical drama of an experimental Song Diary [Yeon's Diary]
[Mom, my mom] + [Daddy's face is pretty]
The 1980s was a quest for Kim Min-ki to experiment with narrative musical drama forms that transcended the limits of short songs. [Yeon's Diary] is the product of that. This work, which takes the form of a diary of a child named Yan, is a diary of a child in a coal mine, [Mom, my mother] as a diary of a yeon living in a rural area. For a long time, he was banned from making anything under the name 'Kim Min-ki'. He was able to release his album under his name in June 1987. [Daddy's face is pretty] was packaged with cassette tape and picture book in September. [Mom, My Mom] was dubbed in December of that year along with the songs from [Dung-Tong].
-Mom, my mom (1984)
The work was created in 1984 and was recorded in 1987 with the songs included in the musical [Dung Dung]. When Kim Min-ki, who was farming on Mintong Line, returned to Seoul and resumed his activities, his interest was in the creation of children's musicals. [Mom, My Mom] is a small and beautiful accessory that came out as part of that. This work, in the form of a song diary, contains four songs, with lines inserted between them, forming a small story in the form of a diary. There are no special conflicts or dramatic tensions in the stories in the journal.
Jade, who lives with his grandfather without his mother, cannot go to school because of his work. The four outstanding songs of this song diary make this simple story a stunningly beautiful landscape.
-Dad's face is pretty (1986-1987)
This work, which was created in 86-87 years, is an attempt to expand the audio diary format introduced by [Mom, My Mom]. The song diary, based on the children's writings of the coal mine village, contains the life and scenery of the coal mine village and the human love that blooms warmly in it. The work was performed in a small theater with a multi-slide projection, and the audio tapes and picture books were packaged. The multi-slide projection that Kim Min-ki attempted through this work has contributed to further the contents and form of the culture of the 1980s movement by borrowing variously from many progressive cultural performances for a while. [Daddy's face is pretty] was a kid's face, but because it dealt with a rather sensitive material called coal mine, I had to go through a lot of twists and turns during the deliberation process. Even in the midst of democratization, the censoring complex of the deliberation authorities was still persistent, and the expression of 'black', which appears frequently in this work, was problematic.
-Chang-Nam Kim (Professor, Dept. of Journalism, Korea University)
Kim Minki 1 + Morgentau-Kim Mingi Hana, Scenes of youth culture in the 70s
Even after being lifted of the ban, Kim Min-ki did a lot of work, but not in his voice. Was it just 'morning dew' that was sung in the [song of the winter] tour? In 1993, Kim Min-ki summarizes the chronicles of long songs through four CDs. Perhaps we should be grateful for the small theater in Dongsong-dong Alley. Because he was extremely reluctant to sing, it was because of the funding for the establishment and operation of a small theater school opened in Dongsong-dong in 1991. He sang songs other than [Agu], [The Light of the Factory], and songs from the 80's song drama with a trembling voice that was already overwhelming with the support of many musicians including Cho Dong-ik. Perhaps the traces of that 71-year-old young man might not be found in this collection. This collection, however, has left his precious psalms an immortal record. The first volume of the book is opened with Lee Byung-woo's autistic guitar owner of [Autumn Letter], which was given to Choi Yang-sook who sang Chanson in the 60s. [Competition in My Country] [Rolling Around] [Beautiful People] [Friends] [Day] The first volume of the early 70's, such as the 70's, was mostly tied up by the sound of a guitar by Kim Min-ki. The landscape of us unfolds. A noteworthy track is the original recitation of [My Country My Country], which was removed from Song Chang-sik's debut album.
Kim Minki 2 + Snow Road-Kim Minki 2
Origin of Insight from the Passion of Passion
Volume 2, which begins with the dynamic rhythm of 'Early Trail' which Yang Hee-eun showed no hope for, begins to slowly release the static and zinc dynamics. Kim Min-ki expresses a different spirit from his 71 year old recording in his classical "road'', which he sings while playing guitar while supporting Kim's harmonica. Isn't he originating from the insights of the many 'paths' of his suffering? 'Paek Yeon' finally regained the original title of 'Blood Half-Blood' and the first recorded 'Eunsan' which was not called by anyone. Of the four CDs, the track that makes this second book the most brilliant "white rice" is his single 90's work, in front of wire mesh, his only 90s piece and the greatest masterpiece of Korean folk rock. With Trio vocals of Cho Dong-ik, Son Jin-tae, Park Yong-jun this neat session will be one of the great unknowns of Korean popular music in the 90s. In addition, through the vocal five scales of the 'going home', which Tucurians roughly interpreted in the '70s, the' body within the core 'to enjoy the repeated and exciting passage of the folk style, and the melody crossing of the 70s 'Butterfly', with its gloomy metaphor of dark times, is also worthy the focus of attention.
Kim Min Ki 3 + Night Boating-Kim Min Ki 3
Masterpiece of our popular music, Along Jin with realistic aesthetics
The third black-and-white monochrome jacket, taken by photographer Kim Soo-nam, against the backdrop of the winter seas of the East Sea, looks to be taken somewhere in autumn. But wasn't this eternity aura a self-portrait of the youth of this land for twenty years of the military regime? In these three books, Kim Min-ki's transformed realistic sense of beauty in the mid-70s, when the tyranny of the Yushin regime, became to culmination. Sangnoksu, who sung a tribute to the colleagues' wedding ceremony during the factory life, was reborn through Kim Kwang-min's pure piano playing. The song was changed in various ways, and the song of 'old soldiers' who shook the streets and agricultural growth of the' 80s, and 'Lord, Now Here', which regained the right title and lyrics, is called in speculative tone, and Cho Dong-ik's bass guitar sings beautifully. 'On the river' is another track you can't miss. 'Drought' and 'Family Thought', in which the smell of our traditional music penetrated the guitar, is a comforting dialect for the college generation in the early 80's. Lastly, 'Salt Sweat-shedding' and 'Dog-Doggy' inserted song 'Sweated Food' made a duo with Django's famous Kim Deok-soo. This third volume is a text that tells just how Kim Min-gi, as a composer, has contributed to enriching our popular music. Only power that lost its legitimacy did not approve it.
Kim Min Ki 4+ Morning-Kim Min Ki 4
Poetry Kim Min-ki's call for humanistic aphorism
The last four albums are a mix of works from the 80's and early 70's. The song that opens the letter is 'peaks' where Kim Min-ki's humanistic aphorism, which appeared in Yang Hee Eun's comeback album in 1985, boils. The song was also used as a documentary theme song of the winners of the Los Angeles Olympics in 1984. It is a portrait of his life, which, despite suffering, has not frustrated or exaggeratedly struggled and has endured his historical mission silently. 'My friend, the peaks we climb may be right now / the narrow path in our sweaty forest / the peaks may not be high. . ' There are four songs in this album that are duo-like with the children. In the 72 years, Yang Hee-eun sang Baek-gu and Doll, and the 'dog song', 'If Only Wings' and 'Chili-ri-gil' describing the Americas. Is the ultimate of his art the transparent eyes of a child as the most noble pure vision? So his old song 'Rubber Play', which he calls 'old', digs into our heart even more.
-Popular music critic Kang Hun. [Kim Min Ki Disco]
1993 + 2004 New Songs
-Morgentau, Snow, Night Boat, Morning
Kim Min-ki's album collection included four additional songs, including two newly recorded songs in 2004. Of particular note is Morgentau, the German version of the morning dew. Members of the German Grips Theater, the original performance team of rock musical [Subway Line 1], a major musical work he has focused on in the past, visited Korea in November 2003 to celebrate the 2000 performances of this piece. It is a song. Originally translated by German author Volker Ludwig and sung by German Grips actors into traditional German choirs, this song is both fresh and deep.
Kim Min-gi's `` Bamboat Play '' was made in 1978. It is an accompaniment made only by Korean musical instruments such as Daegeum, Taepyeongso, Drum, Janggo, Gong, and Gongwari. In the newly recorded recording in 2004, Kim So-yeon's foster daughter Kim So-hee, who sang with Yang Hee-eun in the latter part of the song, faithfully digested it with the traditional method, making the color of the song itself more clear.
In 2004, Jung Jae-il, who led the remake of the project, made a piano song and played it directly, and `` Eyegil, '' a new song that was made by Kim Min-gi's whistle and the Bok-gi-ho band in 1971 Interpreted and recorded it. 'Morning' was a song that was recorded on Kim Min-gi's [Great of Songs] album, which remastered the song 'Saya Saya Blue Saeya'.
http://www.kookje.co.kr/news2011/asp/newsbody.asp?code=0500&key=20161122.22023185752
김형찬의 대중음악 이야기 <43> 김민기, 한국 통기타 음악의 자아를 만들다(상)
- 대학생들이 '팝송 경연'을 하던
- 세시봉 통기타 시대가 저물었다
- 직접 만든 곡에 자아를 담아
- 저항과 성찰을 노래하는
- 김민기가 홀연히 나타났다
비록 밥 딜런은 "선약이 있다"는 이유로 다음 달 10일 노벨문학상 시상식에는 참가하지 못한다고 밝혔지만, 그는 음악인으로서 최초로 노벨문학상을 받는 사람이다. 음악인 밥 딜런이 노벨문학상을 받게 된 것은 그가 평생 추구한 음악의 중심이 포크음악이었기 때문이다. 포크음악이란 자신의 내면과 세상에 대한 얘기를 간단한 어쿠스틱 악기 반주로 표현하는 음악 장르를 말한다. 그러다 보니 포크음악은 가사를 쓰는 태도가 무척 중요하고, 결국 포크음악에서 가사는 문학 못지않은 중요한 의미를 가진다.
1970년대 초반의 김민기. 불만에 가득찬 듯한 특유의 눈매가 인상 깊다. 김형찬 제공
밥 딜런은 1960년대부터 미국의 민속음악인 포크를 현대화하는 과정에 기여했다. 모던포크라는 새로운 음악과 그의 탁월한 가사가 만나 변화와 개혁의 시대였던 1960년대 미국 사회를 표현했다. 밥 딜런 이전까지 오락과 위안에 그쳤던 대중음악은 성찰과 비판의 새로운 영역으로 나아갔다. 이런 밥 딜런의 음악은 한국에서 1960년대 후반에 통기타음악이 형성될 무렵 도입됐지만, 그것의 의미를 주목하고 음악으로 만들어낸 한국 음악인은 드물었다.
한국에서 통기타음악은 1960년대 중반부터 청년 대학생들이 기성세대 음악과 구분되는 대중음악인 팝송을 통기타를 들고 부르면서 시작됐다. 그런 대학생 가운데 재간꾼들이 서울의 음악감상실 '세시봉'에 모여들어 저마다 솜씨를 자랑하기 시작하던 때가 1964년부터다. 이때는 비틀즈 음악, 컨트리, 스탠다드팝, 포크 등 통기타로 반주할 수 있는 음악은 전부 동원되는 상황이었다.
밥 딜런의 음악이 이미 한국 음악인들에게 인지되고 불렸다는 증거는 여럿 있다. 한국 최초 록그룹 키보이스는 1966년 두 번째 음반에서 밥 딜런의 명곡 'Blowin' in the Wind'를 번안한 '바람아 너는 아느냐'를 수록했다.(키보이스는 사랑의 노래로 가사를 바꾸어버렸다) 이 곡은 1969년 트윈폴리오의 첫 음반에서도 '바람 속에'라는 제목으로 수록됐다. 이런 사실은 밥 딜런의 음악이 팝송의 일부분으로 수용되었음을 보여준다.
밥 딜런의 음악은 아니었지만 밥 딜런과 같은 태도로 직접 작사 작곡하여 1969년 9월 19일 발표회를 했던 한대수의 등장은 아마도 통기타 음악계에 큰 충격이었을 것이다. '세시봉'에서 인기 있다고 하는 통기타 음악인들이 모두 모여 한대수의 공연을 보고 자기들의 음악은 외국 음악의 어설픈 모방에 불과함을 깨달았을 것이다.
1971년 청평페스티벌 때 모습. 앞줄 왼쪽부터 양희은, 임문일 DJ, 김민기, 이백천 PD. 뒷줄 검은 안경 쓴 가수가 이용복.
그러나 김민기는 달랐다. 그는 밥 딜런의 음악을 키보이스나 트윈폴리오처럼 팝송의 일부분으로 수용하지도 않았다. 한대수처럼 미국에서 배우지도 않았다. 한국 사회에 사는 한 젊은이에 불과했지만, 그는 이미 내적 성찰의 태도로 음악을 만들고 있었다. 김민기가 처음 작곡한 때는 고등학교 2학년이던 1967년이다. '가세'란 노래의 가사는 "비가 내리누나 나 혼자 가고프나 함께 어울려 같이 간들 어떠하리 가세 산 너머로 비 개인 그곳에 저 군중들의 함성소리 들리잖나"라는 놀라운 수준이었다. 한국의 밥 딜런은 이미 1967년에 탄생한 셈이다.
김민기의 곡 중 널리 불리는 '친구'는 그가 고교 3학년 때 작곡했다. 보이스카우트 대원들과 동해안에 야영 갔다가 한 사람이 익사하는 바람에 즉시 서울로 돌아오던 야간열차에서 참혹한 심정을 가사에 담았다. 이 곡은 1970, 80년대 학원사태(학생운동)로 대학을 떠나야 했던 동료들을 생각하며 부르는 노래로 대학생의 사랑을 받았다. 곡의 화성과 가사의 수준은 고등학생이 지었다고 할 수 없을 정도의 놀라운 수준인데, 천재라 할 수밖에 없다.
김민기는 1969년 서울대 서양화과에 입학한다. 틀에 박힌 미술수업이 마음에 들지 않아 1년 낙제하는데 1970년 봄에 고교 동창 김영세가 찾아와 같이 노래하자고 해서 '도비두'란 이름의 듀엣을 결성한다. 그런데 무슨 이유인지 본인이 작곡한 곡은 부르지 않고 외국곡을 부르고 다녔다. 도비두가 불렀던 곡은 다음과 같다. 밥 딜런의 'Blowin' in the Wind' 'Don't Think Twice It's All Right', 피터 폴 앤 메리의 'Weep for Jamie' 'Three Wavens' 'Old Coat' 'It's Raining', 존 바에즈의 'Portland Town'.
김민기는 미국의 모던포크 중에서도 '프로테스트(protest·저항) 포크'의 핵심이라 할 음악인들의 곡을 택해왔던 것이다. 고교 2학년 때부터 이런 수준의 곡을 작곡한 김민기로서는 당연한 선택이었을 것이다. 그런 점에서 김민기는 여느 통기타 음악인들과 출발부터 달랐다.
대학생이 팝송 부르기 경쟁을 했던 '세시봉'이 1969년 5월 문을 닫은 뒤 1년이 지난 1970년 6월, YWCA에 '청개구리'라는 문화공간이 문을 연다. 여기 모인 대학생들은 '세시봉'에서와 달리 직접 작사 작곡한 음악을 선보이며 경쟁했다. 한국의 통기타음악이 몇 년 세월을 거치며 포크음악으로서 정체성을 인식한 것이다. 여기서 김민기의 진가가 드러나기 시작하였다. 대중음악저술가
※이 기사는 지역신문발전기금을 지원받아 취재했습니다.
" Kim Hyung-chan's Story of Popular Music
-The college students used their own pop song contest
-The Sesibong Acoustic Guitar era is over
-You can put your self in your own songs
-Singing resistance and reflection
-Kim Min-ki appeared suddenly
Although Bob Dylan said he couldn't attend the Nobel Prize for Literature on the 10th of next month because of "a commitment," he was the first to receive a Nobel Prize for literature. Musician Bob Dylan won the Nobel Prize for literature because folk music was the centerpiece of his lifelong pursuit. Folk music is a genre of music that expresses a story about one's inner world and the world through simple accompaniment. As a result, the attitude of writing lyrics is very important in folk music, and as a result, lyrics in folk music have as an important meaning as for literature.
Kim Min-ki in the early 1970s.
The unique eyes that seem to be filled with dissatisfaction were impressive.
Provided by Hyung Chan Kim
Bob Dylan has been instrumental in modernizing American folk music since the 1960s. The new music, Modern Folk, and his outstanding lyrics came together to express themselves in American society in the 1960s, in a time of change and reform. Prior to Bob Dylan, popular music, which had only been in entertainment and comfort, moved into a new realm of reflection and criticism. Bob Dylan's music was introduced in Korea in the late 1960's when guitar music was formed there, but few Korean musicians paid attention to its meaning and adapted this into music.
In Korea, guitar guitar music began in the mid-1960s when young college students sang pop songs. These pop music were distinctive from older generation music. Since 1964, some of the college students gathered in Seoul's music room, Se-sibong, showed off their skills. At this time, all the music that could be accompanied by the Beatles, by Country music, Standard Pop, Folk, etc. was mobilized there.
There is plenty of evidence that Bob Dylan's music has already been recognized and sung by Korean musicians. Korea's first rock group, Key Boys, sang on the second album in 1966, "Wind, Do You Know'' which rewrote Bob Dylan's song 'Blowin' in the Wind '. The song was also included in the first album of the 1969 of Twin Folio under the title 'In the Wind.' This shows that Bob Dylan's music was accepted as being part of the pop song.
Although it wasn't Bob Dylan's music, Han Dae-soo, who wrote on September 19, 1969, was probably a bigger shock to the guitarist music world. All the musicians and musicians who are said to be popular at 'Seshibong' gathered there to see one performance and realized that their music was just a flimsy copy of foreign music.
In 1971 there was the Cheongpyeong Festival.
From the left side of the front row we had Yang Hee Eun, Lim Moon Il DJ, Kim Min Ki, PD Lee Baek. In the Back row the singers were wearing black glasses.
But Kim was different. He didn't even accept Bob Dylan's music as part of a pop song like with a keyboard or performed like Twin Folio. He also didn't study in America like Han did. Although still being a youngster and newbie in Korean society, from the start he was already making music with an internal reflection. Kim Min-ki's first composition was in 1967, when he was a sophomore in high school. The lyrics to the song "Kase" were astounding: "I can hear the shouts of those crowds in the rain." It was like Korea's Bob Dylan was born in 1967.
Kim Min-ki's song 'Friends' was mostly composed when he was in his third year of high school. Camping on the East Coast with the Boy Scouts, the lyrics were about a terrible feeling on a night train that returned to Seoul immediately after someone drowned (translation?). This song was loved by college students as it sang in consideration of colleagues who had to leave the university in the 1970s and 1980s. The level of harmony and lyrics is so amazing that high school students can't say that it is not by a genius.
In 1969, Kim entered the Western Painting Department at Seoul National University. He didn't like the routine art class, so failed in the first year. In the spring of 1970, high school colleague Kim Young-se asked him to sing with him under the form a duet named 'Dobi Doo'. But for some reason, he still sang foreign songs without singing songs he wrote himself. Dobidu sang these songs: Bob Dylan's' Blowin 'in the Wind' 'Don't Think Twice It's All Right', Peter Paul & Mary's' Weep for Jamie '' Three Wavens' 'Old Coat' 'It's Raining', John Baez's' Portland Town ' '.
Kim Min-ki has chosen the songs of musicians that are at the core of the 'protest folk' among modern folks in America. It would have been a natural choice for Kim Min-ki to compose this level of music since his sophomore year. In that sense, Kim Min-ki differed from other musicians from the start.
A year later, in June 1970, 'Seshibong', where college students competed to sing pop songs, opened in YWCA, at a cultural space called 'Blue Frog'. The university students who gathered here competed with the music they wrote themselves, unlike in 'Se Sibong'. Korean guitar music has been recognized for many years as a folk music. Kim Min-ki's true value began to be revealed here. Pop Music Writer
※ This article is supported by the local newspaper development fund.
Other tracks can be found here:
맷돌 (밝은 노래모음) [한정판] / Millstone (Bright Song Collection) [Limited Edition] (1972)
9 새벽길 / Dawn
Nice live version of this classic song of voice plus pickings on this unique concert album
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CONCLUSION:
Kim Min Gi with no doubt was not only was important to be the first full time singer/songwriter, and for starting a conscious movement and voice. The sort of dark nature of some of his songs is nothing but an honest expression which can be felt internationally by anyone's heart and ears. The box should be collected by western collectors too. The style is folk guitar and voice but there are surprising creative theatrical poetry-like experiments too.
