남인수 - Nam In-Soo
CD1 of 12 CD BOX: Compilation with 13 songs by Nam In-Soo
1 휴전선(休戰線) 엘레지 / Arms Elegy
2 달도 하나 해도 하나 / Just one moon
3 향수(鄕愁) / Perfume
4 나는 사람이 아니외다 / I'm not a person
5 무정열차(無情列車) / Infinite Train
6 다정(多情)도 병(病)이런가 / Tenderness can be a disease
7 고향의 그림자 / Shadow of home (Wave Of Nostalgia) (1954)
* 8 밤비는 온다 / Bambi ? comes
9 기다리겠어요 / I will wait
10 청춘무성(靑春茂盛) / Youth Museong (?)
11 가거라 삼팔선 / Go to the Sampalm (1948)
12 고향은 내 사랑 / Hometown is my love "Beloved Home") (1954)
* 13 가을인가 가을 / Autumn Fall
* are all (the most) essential listens to check out. These tracks show a unique form of inspiration and performance that is hard to compare. These tracks also fit equally well on a western radio show.It does not mean that the rest is not good at all. Nam In Soo is with no doubt amongst the best artists to collect. This collection suffers a bit from surface noise which makes the tracks a bit less collectible..
The first album of this second volume and series (volume 1 was 1925-1945) starts off with a 13-track compilation of Nam In-Soo songs. This collection takes off with old Trot styled music with in just the early tracks a small influence still coming from Japanese styles of that period in some songs, but mostly shows more independent styled songs that are arranged by a small combo (which feature some strings, brass, reeds, accordion, and now and then some wooden block). One song is accompanied by just plain acoustic pickings (track 2). The 8th track is, I think, a rumba, the 9th track a tango. Nam In-Soo has a slightly vibrating and charming voice. Sadly I never found a re-mastered compilation of his songs, but I became interested in hearing more after this. The charming song “Beloved Home” (track 12) has a gay and slightly jazzy accompaniment. Track 13 is classical music alike and waltz-like features and shows its orchestral strings with piano attraction that way. It is really nice song with an original to the song emotional quality.
- These tracks are followed by two tracks by Bang Tae-Won, which are accompanied by Hawaiian guitar, accordion, flute, percussion.
Also added is a typical and more Japanese-styled old Trot-styled song by Yu-Seong-Jin with Yun Il-Ro, with some spoken word and clarinet/accordion/acoustic guitar lead.
Also the tracks by Choi-Sook Ja are rather typical pattern-pasted songs in old Trot style (electric picking guitar, flute, accordion, ..).
The last song is a nice closer of a happy Trot song sung by Jo Min-Woo (accordion lead, with clarinet, bass mostly). -
Other tracks can be found here:
유성기로듣던 불멸의 명가수 남인수 / Immortal singer Nam In-soo vol 1
* 1 범벅 서울 / Boombuck Seoul (OKEH 1934)
2 항구(港口)의 하소 / Calcination of the harbor (1937) (OKEH 1943)
* 3 물방아 사랑 / Watermill Love (1937) (OKEH 1961)
4 애수(哀愁)의 제물포 / Yemulsu Cheonpo (?) (1937) (OKEH 1961)
5 천리타향(千里他鄕) / Cheonita Town (1937) (OKEH 1976)
* 6 유랑마차(流浪馬車) / Wandering horses (1937) (OKEH 1984) -like Austrialn folk-
* 7 유랑선(流浪船) / Driftboat (1937) (OKEH 1984)
8 애수(哀愁)의 소야곡(小夜曲) / Soya Gok's Song (1937) (OKEH 12043)
9 장전(長箭) 바닷가 / Changhai Beach (1938) (OKEH 12080)
* 10 꼬집힌 풋사랑 / Twisted Foot Love (1938) (OKEH 12103)
* 11 사랑이 천만근(千萬斤) / Love has Ten Million Roots (1938) (OKEH 12110)
* 12 청노새 탄식(歎息) / Blue mule groan (1938) (OKEH 12113)
* 13 세월(歲月)을 등지고 / Holding back the time (1938) (OKEH 12122)
* 14 울리는 만주선(滿州線) / Ringing for the Manju Line (1938) (OKEH 12139)
15 기로(岐露)의 황혼(黃昏) / Twilight of the Crossroads (1938) (OKEH 12164)
16 인생간주곡(人生間奏曲) / Life interlude (1939) (OKEH 12175)
17 방랑극단(放浪劇團) / Wandering Troupe (1969) (OKEH 12205)
18 청춘야곡(靑春夜曲) / Youth Night Song (1939) (OKEH 12222)
19 오로라의 눈썰매 / Aurora's Sledding (1939) (OKEH 12222)
I will shortly review the outlifted tracks that I consider essential listens. "Boombuck Seoul" is very cabaret-like with entertaining trombone solos, in a humpapa fun rhythm, and is a very uplifting original track. "Watermill Love" is one of those Japanese styled guitar trot tracks which is beautifully and rather subtly expressed, it becomes exceptional that way as well or at least is a very good example of the genre. "Wandering Horses" is a jazzy up tempo track with accordion leads with an instrumental musical theme that reminds me of Austrian or Bavarian folkloristic music. The song melody still is trot related, with nice tempo changes in the melody. The musical themes on "Driftboat" are pretty original too, the flavours are a mixture of jazz, old time music and less dominant also trot. Besides that its small and repeated clarinet solo sounds rather oriental. "Twisted Foot Love" is a nicely orchestrated, sad old-trot track, gently sung with beautiful voice. It has a small contribution with spoken word by a female voice. "Love has Ten Million Roots" has an attractive marching rhythm, some dialogue and second voice (voice?) and nice arrangements. "Blue mule groan" is also a happy making song. It's arrangements are greatly alternated, its voice very convincing. "Holding back the time" is guitar trot with extra accordion. It's beautifully sung, taking the time for the expression. "Ringing for the Manju Line" is a very original song, also for its imitations of train sounds: the fast train rhythm, the sounds of a train whistle and the harmonies in sound, and so on. It is rather jazzy and contains a vivid energy.
* are all essential listens & tracks. These tracks fit equally well on a western radio show.
유성기로듣던 불멸의 명가수 남인수 / Immortal singer Nam In-soo vol 2
* 1 꿈인가 추억(追憶)인가 / Dream or Memories (OKEH 12229)
2 감격시대(感激時代) / Impressive Days (OKEH 12237)
* 3 째즈의 꼿거리 / Flower Street Jazz (OKEH 12242)
4 항구일기(港口日記) / Harbor Diary (OKEH 12273)
5 청춘일기(靑春日記) / Youth Diary (OKEH 12285)
* 6 안개낀 상해(上海) / Misty Shanghai 안개낀 상해(上海) / Misty Shanghai (OKEH 20004)
* 7 울며 헤진 부산항(釜山港) / Weeping Busan Port (OKEH 20006)
8 꼿업는 화병(花甁) / Flowerless Vase (OKEH 20017)
9 무정천리(無情千里) / Longing for Home (1955) (OKEH 31039)
10 청춘(靑春) 항구(港口) / Youth Harbor (OKEH 31039)
11 집없는 천사(天使) / Homeless Angel (OKEH 31052)
12 인생(人生) / Life (OKEH 31053)
13 포구(浦口)의 인사(人事) Gunmen's Greetings (OKEH 31065)
14 비오는 상삼봉(上三峯) / Rainy Sangsambong (OKEH 31072)
15 낭자일기(娘字日記) / Nanji Diary (OKEH 31127)
16 일자상서(一字上書) / Dated Letter (OKEH 31135)
17 인생선(人生船) / Life Line (OKEH 31136)
18 청년(靑年) 고향(故鄕) / Youth Hometown (OKEH 31136)
"Dream or Memories" is fast trot music with jazz settings, mixed with small original spoken word intermezzos, and the inclusion of the whistle of an American old time music song. "Flower Street Jazz" is a trot song, has of course jazz influences and harmonies, a happy old time feel, almost cabaret-like, including a part of laughter in the lyrics. "Misty Shanghai" is jazzy old time music with directing references to Shanghai also via the incorporation of Chinese music flavored musical themes and arrangements. "Weeping Busan Port " is guitar trot for which Nam In Soo's voice fits and adapts to its style perfectly, making it a really fine expression and example of the genre. It also features a clarinet solo. I have also included "Life" in the list despite its slowly progressing, sparsely arranged and sad mode.
* are all essential listens & tracks. These tracks fit equally well on a western radio show. Underlined tracks are preferred tracks for repeated listens and airplay.
유성기로 듣던 가요사 (1925~1945) [Disc 4]
1 물방아 사랑 / Water Mill Love (1937)
2 인생극장(人生劇場) / Life Theater (1937)
3 북국(北國)의 외론손 / North Korea's Loon Son (1937)
"Water Mill Love" is a beautiful example of Japanese-inspired (acoustic picking) guitar trot (with a certain extra instrument like a resonating bell effect). Nam In Soo was one of the most succesful and most convincing voices of this kind. This particular song for its great interpretation surely stands out. "Life Theatre" is clarinet led old trot (with some soft background rhythmic arrangement). "North Korea's Loon Son" is a bit faster.
유성기로 듣던 가요사 (1925~1945) [Disc 5] (1938)
* 3 울리는 만주선 / Ringing Manju Line (1938) -train whistle!-
4 항구마다 괄세드라 / Gwalsedra (??) port (1938)
6 애수(哀愁)의 소야곡(小夜曲) / Soya Gok's (??) Song (1938)
7 꼬집힌 풋사랑 / Twisted Foot Love (1938)
* 10 청노새 탄식(嘆息) / Blue mule sigh (1938)
Another outstanding song is "Ringing Manju Line" It has a jazzy sound of a whistle arrangement and general rhythm that imitates a running train. The song is completely adapted to this running train context. It is a brilliant track of its times. "Gwalsedra Port" starts with a dramatic introduction but basically is old styled guitar trot. Also "Soyagok's Song" is guitar trot. It reveals gentle and warm singing. Musically the song itself has no specific surprises but it is a somewhat average but because of Nam In Soo's voice still a very nice example of its genre. "Twisted Foot Love" is a really nice smooth rhythmical trot song with a few instrumental solos. Also this is a still fine example because of its general qualitative timbre and rich sound of its voice even when not providing any surprises to the genre. "Blue Mule Sigh" is a bit jazzier in its drive, and is a more cabaret-like song expanding the underlying (trot) genre.
유성기로 듣던 가요사 (1925~1945) [Disc 6] (1938-39)
8 감격시대(感激時代) / Emotional period (inspiring times) (1939)
This is a lighter and happier song. The extra arrangements in this song are lying into the brass area. I am not sure into which genre this lies, but the jazz element certainly is present. Also we have a happy whistling solo in it.
유성기로 듣던 가요사 (1925~1945) [Disc 7] (1938-39)
15 울며 헤진 부산항(釜山港) / Weeping Busan Port (1939)
This track was also listed at the first compilation series I mentioned. It is a guitar trot styled with singing to it.
유성기로 듣던 가요사 (1925~1945) [Disc 8] (1938-39)
3 눈오는 네온가 / Neon Snow (1940)
Also this is a guitar trot song with two acoustic picking guitars and voice and a rather distant violin. Of course, Nam In Soo's voice is always convincing in what he does, even in addition to a style repetition which this song musically almost is, with its fixed patterns, rhythm and melody for almost each song in this genre. We also hear a sax solo.
유성기로 듣던 가요사 (1925~1945) [Disc 9] (1938-39)
10 무정천리 / Mujeongcheon (1941)
11 인생출발 / Start of life (1941)
The first song listed here is a pleasant trot song with rather jazzy arrangements. The second one is guitar-based trot mixed with some additional clarinet. As solo instrument we have accordion. Most of the song has a sparse atmosphere intended to rest into a more powerful expression.
유성기로 듣던 가요사 (1925~1945) [Disc 10] (1938-39)
4 낙화유수 / Falling water (1942)
5 남매 / Siblings (1942)
6 인생선 / Lifeline (1942)
7 어머님 안심하소서 / Please rest assured (1942)
18 서귀포 칠십리 / Seogwipo Chilsimni (1943)
"Falling Water" is a simple bluesy acoustic guitar picking trot song (with some accordion). "Siblings" is a simple mainstream trot song with a sort of humming warmth. The acoustic guitar trot track "Lifeline" was also listed in the first compilation I have mentioned. “Please Rest assured" is a slowly hopping trot song with accordion base and sparse combo arrangements. At first hearing, these tracks are fine but don’t particularly stand out much. The last track is a light and somewhat celebrative sounding trot song.
도미도 베스트 컬렉션 100 VOL.1 / 50-60 Domido
CD 4 9 나는 떠난다 / I am leaving
This (mainstream) trot song is arranged with a slightly bigger band and with leads on electric guitar, evolving with the times and discovering new instruments while keeping the general style of rhythm and melody and a certain importance of the accordion, even when in the background exactly the same. It is rather mainstream compared to earlier examples but still succeeds to keep your attention and sensitivity to make you enjoy it.
* CD5 14 별만이 아는 세상 / Only a star knows the world
This later track with "romantic" or nostalgic feel (small orchestra and electric guitar) is convincing enough because of its sad melodic themes on top of the song by electric guitar and some other arrangements of it.
도미도 베스트 컬렉션 100 VOL.2 / 50-60 Domido
CD4-8 비오는 정거장 / Rainy Stops (1958)
This is another orchestrated trot song with a bit echo on the voice. It's good but not particularly outstanding or different.
가요(歌謠) 박물관 / Music Museum: 220 Best
CD2-2 무너진 사랑탑 / Shattered love ("Collapsed Love Tower") (1958)
CD2-12 기타소릴 듣나요 / They heard that you said.. (1959)
CD2-18 눈 감아 드리오리 / Close your eyes (1961)
The first is a light, common hum papa trot song with accordion and strings and a whole set of small arrangements. Nam In Soo's voice puts extra power in the singing here and there adding a bit more rhythm to it that way. "They heard what you said" is another mainstream trot song. The same counts for "Close your Eyes". Still it is relatively easy to enjoy these songs with it slight eastern touch in the singing, its predictable rhythm and tasteful arrangements.
CD9-8 수일의 노래 / songs of several days (1959)
This song is a bit more driven like a slow waltz. Its singing is loud and passionate while its core remains trot once again. A small spoken word part is filtered in as if the song illustrates a film fragment.
------------------------------------------------------------------------------
CONCLUSION:
Nam in Soo is one of the most rewarding voices of old time trot music. He succeeds to bring over a warm calm atmosphere rich of a emphatic emotion. His voice suits greatly to trot music and uplifts the genre to something original. The extra jazzy arrangements in several tracks makes these performances even more rewarding.
------------------------------------------------------------------------------
BIOGRAPHIES:
경상남도 진주 출생으로, 원래 이름은 최창수(崔昌洙)였으나 개가한 어머니를 따라 진주 강씨 문중에 들어가면서 강문수(姜文秀)로 바뀌었다. 남인수는 가수로 데뷔하면서 작사가 강사랑이 지어준 예명이다.
남인수의 형이었던 최창도의 딸, 그러니까 남인수에게는 조카가 되는 최삼숙은 북한의 인민배우로, 무대 공연 2600회를 한 인기 가수라고 한다. 2016년 5월, 최삼숙의 딸이 탈북하였다고 보도 되었다.
학력 사항에 대한 내용은 잘 알려지지 않았다. 가수 데뷔 전 경력 역시 일본에서 노동자로 일했다는 설과 중국어를 배우다가 경성부로 올라왔다는 설 등 여러 설이 분분하다. 다소 불우한 유년 시절과 청소년 시절을 보냈다는 정도로 알려져 있다.
1936년 김상화 시인의 시에 곡을 붙인〈눈물의 해협〉으로 가요계에 데뷔하였고, 1938년 데뷔곡을 이부풍이 개사한 〈애수의 소야곡〉이 공전의 히트를 기록한 이후 약 20여 년간 타고난 미성으로 최고의 인기를 누리며 〈물방아 사랑〉, 〈꼬집힌 풋사랑〉, 〈감격시대〉, 〈항구의 청춘시(靑春詩)〉, 〈울며 헤진 부산항〉, 〈서귀포 칠십리〉, 〈청노새 탄식〉, 〈낙화유수〉, 〈남아일생〉, 〈일가 친척〉, 〈가거라 삼팔선〉, 〈달도 하나 해도 하나〉, 〈청춘 무성〉, 〈고향의 그림자〉, 〈고향은 내 사랑〉, 〈이별의 부산정거장〉, 〈청춘 고백〉, 〈추억의 소야곡〉, 〈산유화〉, 〈울리는 경부선〉, 〈무너진 사랑탑〉등 많은 히트곡을 남겼다. 약 1천곡 가까운 노래를 불렀고, "가요 황제"라는 별명으로 불릴 만큼 대중적인 인기를 얻었다. 대개 청춘의 애틋한 사랑과 인생의 애달픔, 유랑의 슬픔 등을 그린 노래였다.
"운다고 옛사랑이 오리오마는"이라는 가사로 시작하는 대표곡 〈애수의 소야곡〉은 시에론레코드에서 취입한 데뷔곡으로 큰 반응을 얻지 못했던 〈눈물의 해협〉의 가사를 바꿔 다시 부른 노래였다. 남인수는 시에라레코드의 박영호, 박시춘을 통해 가수로 데뷔했다가 오케레코드에서 스타가 되었다. 이 당시 남인수의 등장은 '백년에 한번 나올까 말까한 미성의 가수 탄생'으로 크게 선전되었다.
남인수는 음역이 넓고 감정 표현도 풍부하여 가수로서의 천부적인 재질을 갖고 있었다. 목소리가 옹골찬 미성인데다 음높이와 발음이 정확하여 고음 처리에 강점을 보였다. 남인수의 등장으로 채규엽, 고복수,강홍식 등 이전 세대 인기 가수의 시대가 저물고 가요계의 새로운 판도를 열었다고 평가될 정도로 큰 영향을 끼쳤다.
동료 가수 이난영과의 로맨스가 유명하다. 이난영은 원래 작곡가 김해송의 부인이었으나 한국 전쟁 때 남편이 실종되면서 남인수의 도움으로 김해송이 운영하던 악단을 운영했다. 1962년 남인수가 폐결핵으로 사망할 때까지도 이난영이 간호해 주었다. 남인수와 전처 김은하의 이혼 사유가 이난영 과의 불륜 때문이었는데, 김은하는 이난영의 남편이었던 김해송의 불륜 상대 였기도 했다.
사망 전 한국연예인협회 부이사장, 대한가수협회 회장 등을 지냈고, 장례식은 연예협회장으로 치러졌다. 진주의 생가가 문화재로 지정 되어 있고, 동상과 노래비도 세워져 있다.
------------------------------------------------------------------------------
Rough translation :
' Born in Gyeongsangnam-do, he was originally named “Cho Chang-su”, but changed his name to “Kangmunsu” following his mother. Nam In-soo debuts as a singer and is the name given by the lyrics.
His career before singer knows theories that he worked as a worker in Japan and that he came to Kyungsung after learning Chinese. It is known that he had spent some of his childhood and youth in need. In 1936, Kim Sang-hwa debuted in the pop music world with the known poem
``Sea of Water '', and in 1938, the debut song `` Soo So-go Song, '' by Lee Fu-feng, followed by `` Love Watermill '', `` Pink Love '', `` Inspirational Times '', ` Chungchun City of Ports'', ``Crowd Busan Port'', ``Seogwipo Seventies-ri'', ``Blue mule lamentation'' , 〈South Asia Life〉, 〈House Relatives〉, 〈Going Sampalseon〉, 〈One Moon Even One〉, 〈Youth Unsung〉, 〈Shadow of Hometown〉, 〈Hometown is My Love〉, 〈Busan Station of Parting
He wrote many hits such as `` Confession of Youth '', `` Soya Music of Memories '', `` Oil Oil Painting '', `` Ring Gyeongbu Line '', and `` Crushed Love Tower. '' He sang about 1,000 songs and became popular enough to be nicknamed "Kingo Emperor". It was a song about youth's tender love, life's anguish, and wandering sadness.
The representative song `` A Soya's Soya '', begins with the lyrics, "Oh, my old love is Orioma," was a debut song taken from the Siron record. . Nam In-soo made his debut as a singer through Sierra Park's Park Park Young-ho and Park Park-chun and became a star in the record record. At this time, Nam In-soo's appearance was greatly promoted as 'the birth of a beautiful singer who might come out once a hundred years'.
Nam In-soo had a natural range as a singer with a wide range of transliteration and abundant emotional expressions. His voice was full of aesthetics, and his pitch and pronunciation were accurate, showing his strength in processing high-pitched sounds. With the appearance of Nam In-soo, the era of popular singers of the previous generation, such as Chae Kyu-yeop, Gogo Vengeance, and Kang Hong-sik, had a great influence.
His romance with fellow singer Lee Nan-young is famous. Originally married to the composer, Kim Hae-song, but when her husband disappeared during the Korean War, Nam In-Soo ran a band operated by Kim Hae-song with the help of Nam In-soo. In 1962, Lee Nam-young took care of him until he died of tuberculosis. The reason for the divorce between Nam In-soo and ex-wife Kim Eun-ha was due to the affair with Lee Nan-young. Prior to his death, he served as Vice-President of the Korean Celebrity Association and Chairman of the Korea Singer Association. The funeral was held as chairman of the Entertainment Association. The birthplace of Jinju has been designated as a cultural property, and statues and song monuments are also built.
------------------------------------------------------------------------------
Fragment from "Embedded Voices In Between Empires": Yongwoo Lee:
Given the local cultural mood, Japanese administrators tacitly permitted American movie and Jazz performances, although they were still prohibited by law. However, the Japanese governor‘s systematic regulation of commercial local popular music compositions, performances and extra-musical activities gradually changed the form of local popular music consumption. This shifted from primarily individual ownership and consumption of popular music commodities on phonographs, to active participation and engagement with a musical drama and operetta performance called Akgeuk after the prohibition on record production after 1943. Akgeuk (樂劇; literally meaning musical drama) was a unique cultural form that blended various kinds of cultural performance including comedies, popular military songs and allegorical theatrical plays, and it was the sole entertainment platform permitted by the Japanese governor. The format of the show usually commenced with performances by popular Jazz singers, broken up by comical interludes and a drama intermezzo. The Okeh Grand Show in 1937 (predecessor of the Joseon Group of Musical Drama), the Group of Victor Musical Drama in 1938, the Je-Il Group of Musical Drama in 1938 and the Columbia Group of Musical Drama in 1940 (predecessor of the Ramira Group of Musical Drama) were organized during this period and gained considerable popularity. Akgeuk shows in Korea featured many famous musicians, including Nam In-Soo, Lee Nan Young, Baek Nyeon-Seol and Kim Hye-Song, who ambivalently embraced military songs and military-themed theatrical plays in order to perform what they wanted, namely Jazz and other foreign music genres. Although the shows mainly focused on showcasing colonial popular music stars, Akgeuk shows aimed to please the Japanese occupiers and performers who ingratiated themselves by performing Naniwabushi.160 The popularity of Akgeuk musical drama during the prohibition of American culture highlights the double bind faced by Japanese cultural policymakers in colonial Korea, where the aesthetic hegemony of American culture was still dominant among the colonial populace and not easily controlled by Japanese censhorship. Japanese governors had to reorganize colonial subjects into the matrix of surveillance by accommodating American Jazz while battling the Americans in World War II. By utilizing various popular music genres to mobilize colonial subjects, the Japanese administrators localized Western Jazz as a sub-genre of ‗light, Japanese background music.‘
Naniwabushi (浪花節) is a genre of Japanese traditional music, both name form originating in Osaka (Naniwa is an old name for Osaka) in the middle of Tokugawa period (it then spread to Edo, currently Tokyo). Naniwabushi consists of mixtures of emotional sentiments. Therefore, it has a narrative within the song accompanied by Japanese traditional Samisen instruments. The genre is usually known as a form of melancholy melodrama, concerned with morality and self-sacrifice and very similar to Korean the traditional Pansori. During the 1940s, Korean musician Choi Palgeun tried to diffuse Naniwabushi by making a request to Jiro Minami, the Governor-General of Korea (and chief representative of the Japanese government in Korea). He released Naniwabushi phonograph records such as ―Chilbokui Chulse‖ (Chilbok‘s Success) and ―Jangyeul Yiinsuk Sangdeungbyeong‖ (Heroic Corporal Yiinsuk), as a way to promote Japanese militarism by making sycophantic songs in a traditional Japanese music genre (Lee 2007, Park 2009).
In the cultural context of this partial acceptance of Western music and its cultural implications, these global flows of American culture during and after the War suggest how Western music operated as an idealized musical form. The American SP (Standard Play) record series (also called the V-Discs) played an influential role in diffusing American popular songs and propagating their musical forms and Americanism in local music. Between 1932 and 1948, the only viable retail phonograph format was a 10-inch, 78-rpm record, bearing one song per side. However, special record labels, known as V (the V stands for Victory) Discs and consisting of a 12-inch, 78-rpm recording, were ushered onto the market by several record companies between 1943 and 1949. These included musical genres ranging from Jazz to Classical, since ―this larger size with smaller grooves on the Vinylite surface increased the time available per side, usually about six minutes instead of the customary three to four minutes‖ (Young 2008). They were produced at the American government‘s request, to be used to console dispatched American soldiers abroad (Hackett & Haggard 2005, Jones 2006). During World War II, professional American songwriters produced more than 370 ―saying goodbye‖-themed songs for servicemen, narrating the voice of mothers, wives and children back home (Jones 2006). For the GIs overseas and the women back home, popular, Tin Pan Alley songs and country music produced the same emotional responses. Production of the V-Disc as a morale booster began when Captain Howard Bronson was assigned to the Army‘s Recreation and Welfare section as musical advisor. The demand for these 12-inch, 78 rpm phonograph recordings was triggered by a strike between 1942 and 1944 by members of the American Federation of Musicians protesting against the four major record companies. This event culminated in the dissemination of American popular music as a globally influential pop music genre, with releases by artists affiliated with the four major record companies including Tommy Dorsey, Glenn Miller and Count Basie.
Since the first Japanese Jazz song, ―Blue Sky (Ao sora 青空), was released in Showa 3 (1929), Japanese popular musicians had consistently followed American popular music genres and tried to localize them for Japanese musical tastes. To construct a collective Japanese popular music style able to transgress traditional cultural boundaries and political issues, prewar Japanese popular culture adapted Jazz to Enka, mimicking western cultural forms but imbuing them with nationalist and militarist narratives to echo Korean ideology. Colonial bodies suffered in between, identifying with the Japanese Imperial body and desiring a genuinely modern Western corporeality. The legacy of the Asia-Pacific War demanded that Korean nationals address issues of responsibility for their role as part of the Emperor‘s nation. With the reinscription of a heroic narrative of self-sacrifice during the Asia-Pacific War, Korean popular musicians sought to overcome this crisis and the ideological battle against the Japanese enemy, America, by rehabilitating their ironic desire for the West under colonial conditions. ..."
and
Akgeuk (樂劇; literally meaning musical drama) was a unique cultural form that blended various kinds of cultural performance including comedies, popular military songs and allegorical theatrical plays, and it was the sole entertainment platform permitted by the Japanese governor. The format of the show usually commenced with performances by popular Jazz singers, broken up by comical interludes and a drama intermezzo. The Okeh Grand Show in 1937 (predecessor of the Joseon Group of Musical Drama), the Group of Victor Musical Drama in 1938, the Je-Il Group of Musical Drama in 1938 and the Columbia Group of Musical Drama in 1940 (predecessor of the Ramira Group of Musical Drama) were organized during this period and gained considerable popularity. Akgeuk shows in Korea featured many famous musicians, including Nam In-Soo, Lee Nan Young, Baek Nyeon-Seol and Kim Hye-Song, who ambivalently embraced military songs and military-themed theatrical plays in order to perform what they wanted, namely Jazz and other foreign music genres. Although the shows mainly focused on showcasing colonial popular music stars, Akgeuk shows aimed to please the Japanese occupiers and performers who ingratiated themselves by performing Naniwabushi
Naniwabushi (浪花節) is a genre of Japanese traditional music, both name form originating in Osaka (Naniwa is an old name for Osaka) in the middle of Tokugawa period (it then spread to Edo, currently Tokyo). Naniwabushi consists of mixtures of emotional sentiments. Therefore, it has a narrative within the song accompanied by Japanese traditional Samisen instruments. The genre is usually known as a form of melancholy melodrama, concerned with morality and self-sacrifice and very similar to Korean the traditional Pansori. During the 1940s, Korean musician Choi Palgeun tried to diffuse Naniwabushi by making a request to Jiro Minami, the Governor-General of Korea (and chief representative of the Japanese government in Korea). He released Naniwabushi phonograph records such as ―Chilbokui Chulse‖ (Chilbok‘s Success) and ―Jangyeul Yiinsuk Sangdeungbyeong‖ (Heroic Corporal Yiinsuk), as a way to promote Japanese militarism by making sycophantic songs in a traditional Japanese music genre (Lee 2007, Park 2009).
Newspaper advertisement of Nam Insoo‘s hit record, Kageora Sampalsun (Farewell to the 38 parallel line, 1947, Goryeo record, No. 1007, Top) Courtesy of Goryeo Record. Wartime Newspaper advertisement of Hyun-In‘s Manghyangui Soyagok (Serenade of Nostalgia) and Cheongchun Station (Station of Youth), 1951,6.20, Yeongnam Ilbo Daily Newspaper), left side photo is the founder of Orient Record, Lee Byeong-Joo, Courtesy of Yeongnam Ilbo Daily Newspaper Archive.
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. "
"Many popular songs voicing the experience of mothers or wives can be found during Korean War era, such as ―Ilsunui Oppa‖ (My Brother on the Frontline, performed by Cha Eun-Hee, Sin Sin Records), ―Neadeulsosik‖ (My Son‘s News, performed by Kwon Jeong-Ae, Orient Records), ―Weosingteon Burusu‖ (Washington Blues, performed by Lee Mee-Ja, King Star Records), ―Danjangui miarigoge‖ (Heartbreaking Miari Valley, performed by Lee Hae-Yeon, Oasis Records), ―Sarangui Gil‖ (Path of Love, performed by Kwon Hye-Gyeong, Oasis Records) and ―Anaeui Nore‖ (Song of Wife, performed by Shim Yeon-Ock, Orient Records). Meanwhile, male singers describing the Korean War ethos, also often represented the miserable circumstances of the women left behind in the wartime Korea, in tunes such as ―Ggutseora Geumsuna (Be stong, Geumsun, performed by Hyun-In, Orient Records, T-4286), ―Gyeongsangdo Agassi‖ (Lady from Gyeongsangdo Province, performed by Park Jae-Hong, Midopa Records, M-502) and ―Hujeonseon Elegy (Elegy for the Truce Line, performed by Nam In-Soo, Universal Records P1043). "
"The idea of indigenous jazz songs was complex in several respects. First, the Korean singers‘ vocalization is reminiscent of Japanese singers‘ mimicking American jazz singers such as Rudy Vallée, Bing Crosby and Frank Sinatra; these were filtered through Japanese performers such as the Calua Mamainasu Band and Columbia Nagano rizumu boyz, who in turn influenced the jazz vocal styles of Korean singers such as Nam In-Soo,..." Yongwoo Lee
Lee Young-Woo about the idea of Korean indigenous jazz:
"First the Korean's vocalization is reminiscent of Japanese singers' mimicking American jazz singers such as Rudy Valée, Bing Crosby and Frank Sinatra; these were filtered through Japanese performers such as the Calua Mamainasu Band and Columbia Nagano rizimu Boyz, who in turn influenced the jazz vocal styles of Korean singers such as Nam In-Soo, Chae Gyu-Yeop and Kim Have-Song. Secondly, the majority of the song lyrics were also overflowing with expressions of emotion, using excessive exclamation (Oh! Ah!) to express self-indulgent tendencies. Thirdly, the jazz songs often overused "modern" English as buzzwords, particularly in songs such as "sarangui ragdebu" (Rendevouz of Love, performed by Chae Gyu-Yeop), Dinah (Diana, performed by Kang Hong-Sik and Ahn Myeong-Ock), Sarangeui Yoreitie (Yodel Song of Love, the first yodeling song in Korean sung by Chae Gyu-Yeop) and Neonui Paradise (Paradise of Neon Sign, performed by Yu Jong-Sup). (Lee, 2010n,75)
---------------------------------------
1935 년, 우리 가요 사상 불멸의 기린아(麒麟兒)가 등장했으니,
그가 곧 가수 '남인수(南仁樹)'였답니다.
경남 진주 태생으로 본명이 강문수(姜文洙)인 남인수는 그 무렵 흔히 가수 지망생들이 그랬듯이
무작정 상경하여 문을 두드린 곳이 바로 작곡가 박시춘이 있던 시에론레코드였다고 합니다.
1936 년 말, 강사랑의 후원으로 OK 레코드에 입사하여 예명을 남인수(南仁樹)로 하여
OK 레코드 전속 제 1 탄인 <범벅서울>, <돈도 싫소 사랑도 싫소>를 취입하여
본격적인 가수생활을 시작합니다.
그리고 박시춘에게 목소리 테스트를 받고 소위 '쯔메에리(つめえり- 학생복으로
사용된 목을 두르는 옷깃이 있는 양복 상의)' 차림의 이 떠꺼머리 총각이 OK 레코드사로 옮기기 전,
1935 년 시에론레코드에서 처음으로 취입, 발표된 노래가 바로 '애수의 소야곡'의 원곡인
'눈물의 해협(海峽)'이었는데 당시 남인수의 나이 18세 때의 일이었답니다.
그러나 기대와 달리 반응이 신통치 않아, 1938 년에 가사만 개작(改作 ; 李扶風 作詞)하여
OK 레코드에서 다시 취입한 것이 바로 남인수의 최초의 히트곡인 '애수의 소야곡'으로
달콤한 그의 목소리는 비로소 대중의 환호를 받았고 그는 일약 톱가수로 자리매김하였답니다.
베토벤이 '기타는 작은 오케스트라'라고도 했다지만 기타 반주 하나만으로도
전혀 부자연스럽지 않은데, 녹음 당시 기타 반주는 작곡가인 박시춘씨가
직접 했다는 얘기를 어디선가 들은 것도 같습니다.
이로부터 박시춘, 남인수는 명콤비가 되었고, OK레코드와 태평레코드가
쌍벽으로 각축전을 벌이던 당시 가요계의 황금시대 이래 근 30 년 동안
우리 가요계에 구비치는 커다란 산맥이었다고 합니다
---------------------------------------
In 1935, Nam In-soo appeared.
Nam In-su was born in Jinju, South Gyeongsang Province. His real name is Kang Mun-su,
He first recorded at the composer Park Si-choon place (?).
At the end of 1936, he joined OK Record under the auspices of an instructor. Introduced was the 1st record of OK records exclusively <Bump Seoul>, <I hate money, I hate love>
after which he started a full-fledged singer life.
He first did the Park Si-chun's voice test, the so-called Tsumeri. Before this pigtail bachelor's attire with a used neckband he was transferred to OK Records. In 1935, the first song was recorded and released in the Sierra record. It was a sad song. It was recorded when Nam In-soo was 18 years old. Contrary to expectations, however, the reaction was not so good. In 1938, only the lyrics of the song were revised. It was re-introduced from the OK record and became Nam In-soo's first hit, ``A Soya's Soya''. His sweet voice was hailed by the public and he became a top singer.
Like Beethoven said "the guitar is a small orchestra," just guitar accompaniment alone
Iwas unusual.
Since then, Park Si-chun and Nam In-soo did more famous combinations.
---------------------------------------
------------------------------------------------------------------------------
TRANSLATIONS OF LYRICS
(with Google Translate help, so with mistakes)
임의 통곡
해 지는 백사장에 내일을 언약하며 청춘을 노래 하던 그 추억만 남겨두고 머나먼 그 길을 님만 어이 홀로 갔소 인생은 세월에 속아 살지만 봄비는 추억인양 옷깃을 적십니다 하늘도 캄캄하고 바다도 캄캄하네 불러도 소리쳐도 대답 없는 그 님아 이 모진 세상 길에 눈바람 몰아쳐와도 뼈 저린 그 고생을 참으며 살자더니 그 맹세 어데 두고 쓸쓸히 갔단 말요 세월도 날 속이고 인정도 날 속이고 서리는 향불 속에 대답 없는 그 님아 달 뜨는 백사장에 청춘만 꽃피워 놓고 한 줌의 흙이 되어 영원히 가시다니 산천도 서럽구나 봄 비도 서럽구나
Random Wailing (03:18)
On the white sandy beach, the promises of tomorrow and the left behind memories of my youth. Even when calling or shouting, you won't answer, it will be snowing upon this path of the world, where I endured the pain of bones. Youth only blooms on the floating white sand where it becomes a handful of soil.
------------------------------------------------------------------------------
남인수 산유화 산에 산에 꽃이 피네 들에 들에 꽃이 피네 봄이 오면 새가 울면 님이 잠든 무덤가에 너는 다시 피련마는 님은 어이 못 오시는고 산유화야 산유화야 너를 잡고 내가 운다 산에 산에 꽃이 지네 들에 들에 꽃이 지네. 꽃은 지면 피련마는 내 마음은 언제 피나 가는 봄이 무심하랴 지는 꽃이 무심하더냐 산유화야 산유화야 너를 잡고 내가 운다
Painting
Flowers in the mountains bloom. When spring comes, and birds sing out.
You can't come come back to it no more.
An oil painting of the mountain shown to you as a cry out.
Flowers in the mountains and in the fields.
When the flowers run out, are you going to be careless of spring?
It is a oil painting of a mountain that I hold you and I cry out.
산유화 가사 산에 산에 꽃이 피네 들에 들에 꽃이 피네 봄이 오면 새가 울면 님이 잠든 무덤가에 너는 다시 피련마는 님은 어이 못 오시는가 산유화야 산유화야 너를 잡고 내가 운다. 2.산에 산에 꽃이 피네 들에 들에 꽃이 지네 꽃은 지면 피련마는 내 마음은 언제 피나 가는 봄이 무심하냐 지는 꽃이 무심하려뇨 산유화야 산유화야 너를 잡고 내가 운다.
Oil Painting
Flowers in the mountains Flowers in the fields. When spring comes, birds will start to sing.
When you fall asleep. In the tomb you are sleeping. You will not be coming again.
Flowers in the mountains Flowers in the mountains Flowers in the fields.
When the flowers run out, the heart is blooming. When will spring be coming?
------------------------------------------------------------------------------
남인수 작 별 그대 멀리 떠나가시던 밤 달도 별도 울고 나도 울었~네 잡아~도 소용없고 몸부~림쳐~도 오실~날 기약없~~~이 떠나가신 그대여~ 작별이란 이렇게도 쓰라린 것이든~가 다시 한 번 못오시나이까 그대 멀리 멀리 떠나가실~때 어두~운 내 가슴에~ 상처만 남기~고 이 봄이 저물~도~~~록 소식없는 그대여~ 작별이란 이렇게도 무심한 것이든~가
Goodbye
In the night you were far away, the moon was crying and I was too ~ Hold on to me~ It's useless when you're going away far away when is so dark ~ Oh lucky heart~ It's only just a scar.
------------------------------------------------------------------------------
"청춘야곡" (靑春夜曲 1939)
조명암 작사/ 박시춘 작곡/ 남인수 노래
우연히 情이 들어 얽혀진 사랑을 네가 먼저 끊을 줄은 꿈에도 몰랐다 가려무나 未練 없이 ~~~ 가거라
차라리 내 사랑에 혼자 미치마 으응 ~
世上을 바친대도 시들한 사람아 情이 식어 가는 너를 내 어이 할쏘냐? 가려무나 속 시원히 ~~~ 가거라
已往에 속은 사랑 나도 버리마 으응 ~
못 믿을 그 사랑에 내 눈이 어두워 애를 태운 내 가슴에 눈물만 남었다 가려무나 너 갈 데로~~~ 가거라
애 當初 속은 나만 웃음거리다 으응 ~
< 반야월 개사곡 >
우연히 정이 들어 얽혀진 사랑을. 네가 먼저 끊을 줄은 꿈에도 몰랐다. 가려므나 네 갈데로 ~ 가거라
밤거리 사랑이란 이런 것이냐 음~
울리고 울던 때가 행복한 때련만. 정이 없어 가는 너를 내 어이 할소냐. 가려므나 속 시원히 ~ 가거라
거리에 핀 꽃에도 절개는 있다 음~
한 잔 술 취하면은 잊어질 사랑을. 어리석은 그 미련에 왜 내가 우느냐. 가려므나 네 갈데로 ~ 가거라
미치는 네온불도 탄식에 운다 음~
(반야월 개사곡)
<靑春夜曲>은 가수 南仁樹님이 1939년 4월에 오케레코드에서 발표한 노래입니다. <오로라의 눈썰매; OK-12222/ 南仁樹 노래>와 같이 발매된 이 노래는, 趙鳴岩 作詩/ 朴是春 作編曲의 작품으로,"제2의 哀愁의 小夜曲"으로 불리며, 발매 당시 상당히 호평을 받았다고 합니다. 월북작가 작품이라, 50년대 말에, 半夜月님이 개사하여, 1960년대 초반에 재취입하기도 했는데, 비슷한 시기에 나온 <感激時代>와 같이 많이 불려진 곡입니다. <雲水衲子>
------------------------------------------------------------------------------
"Youth Night Song" (靑 春 夜曲 1939)
I became involved with a tangled love
I didn't know that you would quit at first
Let's go without any cover
I'd rather be mad at my own love
Even though I offered you the world, you withered
Are you going to let my feelings cool down?
I'm going to go cool ~~~
Love deceived by myself
I can't believe my love is darkened
Only tears are left in my heart
Go to wherever you go
I myself am the only laughter left in my heart
(second version:) Second Sakura
Accidentally intertwined love
I didn't know that you would quit first
I go to your place ~
Is night love like this?
Happy times when I called and cried
Will you be my friend
It is going to cover you, but it will cool down ~
There are incisions in flowers that bloom on the street
If you get drunk, you will forget the love
Why am I crying for that stupid fool?
I go to your place ~
The crazy neon lights also cry out in sighs
Written by Kwang-am lyrics / Park Si-chun Composition (1939)
(Banyawol individual piece)
<靑 春 夜曲> is a song released by the singer 南 仁 樹 in October 1939 by O'Record. This song, which was released along with OK-12222 / 南 仁 樹 song, is the work of 趙 鳴 岩 作詩 / 朴 是 春 作 編曲, and is called "Second Sakura". It is a work of a wolbuk artist, and it was rewritten in the early 1960s by 半夜 月 in the late fifties. <雲 水 衲 子>