top of page

박향림 - Park Hyang-Rim

This is a CD from the 23CD box:

유성기로 듣던 불멸의 명가수: 박향림 편 /

Immortal Singer Heard during the Meteor period: Park Hyang Lim

* 1 연지 찍고 곤지 찍고 / Take a roll of paper (..8331)

* 2 전화 일기(日記) / Telephone Diary (COLUMBIA 40800) -"telehone song"-

3 그늘에 우는 천사(天使) / Crying angle in the shade (COLUMBIA 40803)

4 부서진 정(情)이나마 / Broken mind (COLUMBIA 40812)

5 사랑 주고 병(病) 샀소 / I gave you love and bought a bottle (COLUMBIA 40801)

6 지상(地上)의 어머니 / Mother Earth (COLUMBIA 40815)

7 꿈꾸는 행주치마 / Don't wash away your dreams (COLUMBIA 40817)

8 시큰둥 야시(夜市) / Night Market (COLUMBIA 40820)

9 애연송(愛戀頌) / Ae-yeon Song (?) (COLUMBIA 40829)

10 타국(他國)의 여인숙(旅人宿) / Foreign Inns (COLUMBIA 40822)

11 눈물의 금강환(金剛丸) / Geumganghwan of Tears (COLUMBIA 40822)

12 항구에서 항구로 / From port to port (COLUMBIA 40834)

13 이국(異國)의 등(燈)불 / The Lanterns of Foreign Countries (COLUMBIA 40835)

* 14 오빠는 풍각(風角)쟁이 / My Brother is a busker (COLUMBIA 40837)

15 고향우편(故鄕郵便) / Post from my Hometown (COLUMBIA 40850)

16 코스모스 탄식(嘆息) / (eternal) Sigh (OKEH 20003)

17 무정고백(無情告白) / Heartless confession (OKEH 20004)

18 아! 모란봉(牡丹峰) / Ah! Moranbong (OKEH K5010)

19 해저문 황포강(黃浦江) / Undersea Gate of the Huangpu River (OKEH K5034)

Park Hyang Rim had been a very popular singer from the 20s to the 40s unfortunately died at a very young age from a disease.

This is the area of cabaret, broadway and film music songs, rooted more often slightly into the early Korean Trot music, but also adapting elements of American small combo broadway jazz. A few tracks still are rooted in Korean folk, which use dialogues from male to female singers. The basics for the accompaniment are accordion, clarinet, some flutes and banjo as usual, and some guitar; Hawaiian guitar appears here and there too, adding extra expression and colour, and here and there a trumpet solo, and some piano or a wooden block rhythm accent.

For the radio show I would like to take out a few exceptional tracks.

- The first track already shows how an expressive voice, also with ability or with certain emotionality in the singing and also a possibility to be rather funny and entertaining in a theatrical way.

- The second track starts with what sounds like a school bell, and we hear the English “hello”, with male/female voice, this could fit in a film musical.

- The sixth track, even though in early-trot style, sung with high voice, accompanied by accordion and clarinet lead and some banjo has a strange break swift in the musical theme, only to after a small sigh continue its singing.

- On the 7th track we hear elements like a castanets rhythm, a flute solo and a Hawaiian guitar solo amongst other things.

- The 8th track sounds more like being inspired by Korean folk music and percussion, also here is incorporated the male singer/female singer response element. Also the 10th track, with handclap rhythm, while remaining rooted in new folk/trot has male/female response singing.

- On the 12th track, the jazz influence is a little bigger. Also the 14th track has this grotesque jazz influence, an accordion solo, a rather funny song, which is also a must to check out. Also on the last track jazz/cabaret/trot are all mixed together in a pleasant fresh mixture.

Tracks with * I consider essential listens, tracks suitable for a western radio show as well.

Other tracks can be found on:

유성기로 듣던 가요사 / song that I heard on Meteor (1925~1945) [Disc 4]

* 12 연지 찍고 곤지 찍고 / Take a roll of paper (1937)

* 13 고향(故鄕)의 녹야(錄野) / Hometown green field (1937) -birds sounds-

* 14 써커스 껄 (걸) / Circus girl (1937)

"Take a Roll of Paper" has this very attractive walking wooden block rhythm and great rich emotionally of a cabaret-like singing and attractive sensual subtle laughs. The second track, "Hometown Green Field" has an imitating bird sounds used in the song. It is a beautiful song close the the Japanese song traditions. You can also hear a banjo like guitar rhythm, a nice flute solo and nice small arrangements by violin and accordion and such (glockenspiel). The last track has again surprising sounds of new instruments introductions. It has a faster rhythm. Its up tempo (in Japanese-flavored style and with a certain jazz influence) sounds fresh and inspired.

유성기로 듣던 가요사 / song that I heard on Meteor (1925~1945) (Disc 5)

* 16 봄사건 / Spring event (1938)

with 김해송 / Kim Hae-Song

* 17 흘러간 목가(牧歌) / Runway

* 18 찻집 아가씨 / Tea house lady

19 사랑주고 병(病)샀소 / I loved you and bought a bottle

This is a happy rather jazzy song with duo harmony singing on a marching rhythm. Very uplifting. The basics of melody are trot but the effect is that of a celebrating Korean folk song. I think they imitate the pounding of a heart in the lyrics here too, associating a promising beginning of spring time.​"Runway" is also an original interpretation while being rooted in a few standardizations of song and arrangements. While its fundamental rhythm is there flutes and banjo add variations of their own and also the song interprets as if it's totally her own song. A small part is with spoken word as it was done in Japanese way too, an element I always liked much. “Tea House Lady" is much more 30s cabaret styled, with of course the jazz and honky tonk element. The last song is a Japanese trot-styled song as you can find easily in those days. Here it keeps close to the style, while being nicely interpreted.

유성기로 듣던 가요사 / song that I heard on Meteor (1925~1945) (Disc 6)

3 희망(希望)의 부르스 / Blues of Hope (1938)

15 막간(幕間)아가씨 / Interlude baby (1939)

16 왜 이럴까요 / Why? (1939)

"Blues of Hope" has a tragic rhythm with a smooth jazz mood while the singing adds drama in a cabaret-like way, with a rich emotional voice. Once more this is the real thing without compromise. "Interlude Baby" is more up tempo, has original fresh arrangements. In Japanese tradition of flavours this shows more action as usual, with variety and tempo change and vividness. "Why" starts like a sad Japanese song but again the singer performs an unusual richness to it and seemingly a bit more open directions as one would expect to hear, something that makes her as singer unusual. I already contributed compliments to the band as well. Even so, this remains fundamentally a rather traditional song in that Japanese tradition.

유성기로 듣던 가요사 / song that I heard on Meteor (1925~1945) (Disc 7)

13 코스모스 탄식(嘆息) / Eternal Sighs (1939)

* 14 순정 특급 / Pure express (1939)

This trot track was also listed on the first compilation I have reviewed above. It is a fast trot song sung with high pitched voice and with a piano rhythm as foundation. It also features a trumpet, sax and accordion led solo. It has a lot of background hiss. "Pure express" is a much faster than usual song with high pitched voice, another piano rhythm and great jazzy at times filmic arrangements with wooden xylophone and train whistle imitation sounds. It is one of these many great train songs.

유성기로 듣던 가요사 / song that I heard on Meteor (1925~1945) (Disc 9)

* 17 해저문 황포강 / Undersea Gate at the Huangpu River (1941)

Also this track has a kind of train rhythm with piano and accordion in which the song and some of the musical themes and arrangements are build upon.

유성기로 듣던 일제시대 풍자 해학송 /

The satire of Japanese imperialists heard during the Meteor period

* 6 오빠는 풍각쟁이 / Brother (1938)

9 별일이 많아 / Many things (1939)

The first song clearly is cabaret, satire style. The song is an absolute classic and the singing alone already is fun. Also the rhythm is difficult to withstand its attractive nature. "Many Things" belongs to the satirical songs too. Like every track performed by Park Hyang Rim (ad her accompanying band) it is pretty enjoyable. I love her.



Roughly translated from the Korean Wikipedia page:

°1921-1946. Professional singer in Category : Trot, active from 1937-1946 .Hits/Highlights: “Youth Theatre” 1937, “Circus Girl” 1937, “Ridden brother punggak” 1938, “Telephone recording“ 1938, “Cosmic sigh” 1939 Shortly Park Hhyang-Rim had also used the stage name Park Jung-Rim.Park Hhyang-Rim had been born in North Hamgyong Province from a wealthy family. Her mother ran a restaurant. She came to perform music from popular composers since 1937. After her debuts and some cover albums she gained a lot of popularity for Columbia records. She showed an excellent technique with a unique character and an element of blues. She was able to express the lively atmosphere of the city centre. She also wrote and performed a song commission to mobilise people for the Pacific War. She quickly died in 1946 after a postpartum disease. The Oriental Theatre held a memorial concert in July of that year.

"A new contemporary music style, called manyo (Korean: 만요), appeared in the 1930s. Its origins can be traced to Japanese mandan (漫談). This genre is characterised by satirical storytelling; hence its songs were also known as 'comic' songs. Some analyze the genesis and the circulation of this genre in the Japanese colonial era from a socially critical point of view. Whether this music actually had the educational function and had an effect on the catharsis of desire in society remains but open. One of manyo's most popular songs was "My Older Brother Is A Busker" (Korean: 오빠는 풍각쟁이), recorded in 1938 by Park Hyang-lim (Korean: 박향림)."

내가 좋아하는 다방 아가씨의 매력은? '찻집 아가씨'

박향림이 부른 '찻집 아가씨'는 비록 못생겼지만 순박하고도 마음씨가 예쁜 찻집의 아가씨를 묘사한 노래인데요.

비록 추녀에 가까운 용모이나 비단결 같은 마음씨를 가지고 있는 그녀를 좋아하는 화자의 모습이 인상 깊습니다.

한편, 이 노래를 통해서 당시 다방걸과 카페걸을 향한 사람들의 시선을 알 수 있는데요.

다방걸의 이미지가 직접적으로 '에로'를 제공하는 카페걸의 이미지와 달랐음을 말해줍니다.

What is my favorite coffee shop girl charm? The 'Tea house lady'

Park Hyang-lim's 'teahouse lady' is a song that portrays a young lady who is ugly but still attractive. Although she is close to be an ugly woman, she is impressed by the speaker who likes her.

On the other hand, through this song, you can see people's eyes toward the coffee shop and cafe girl at that time. It tells us that the image of the coffee shop is different from the image of the cafe girl who directly provides an 'erotic' association.

오빠는 풍각쟁이야, 머 오빠는 심술쟁이야, 머 난 몰라이 난 몰라이 내 반찬 다 뺏어 먹는 거 난 몰라 불고기 떡볶이는 혼자만 먹고 오이지 콩나물만 나한테 주구 오빠는 욕심쟁이 오빠는 심술쟁이 오빠는 깍쟁이야

가수 박향림(朴響林 1921-1946)이 부른 <옵빠는 風角쟁이>다. 레코드 황금시대였던 1938년 콜럼비아레코드에 취입한 노래로 일제시대 대표적인 만요(漫謠), 즉 코믹송이다. ‘박억별’이 본명인 그녀는 함경도 경성출신으로 태평레코드를 통해 가수로 데뷔했다. 그 뒤 당대 메이저급 레코드사인 콜럼비아에 스카웃되었다.

노래 속의 오빠는 풍각쟁이다. 풍각쟁이는 시장같은 곳을 돌아다니며 노래를 부르거나 악기를 연주하여 돈을 구걸하는 사람을 얕잡아 일컫는 말이다. 여기서는 풍류를 아는 모던 보이(modern boy)를 의미하는 듯하다. 어쩌면 룸펜이거나 백수인지도 모르겠다. 게다가 오빠는 욕심쟁이에, 심술쟁이고, 깍쟁이다. 나아가 트집쟁이에다, 핑계쟁이요, 대포쟁이기도 하다. 요새도 이런 오빠 참 많다.

그런데 이 오빠가 어떤 오빠인지는 알 수 없다. 친오빠일 수도 있고, 옆집 오빠일 수도 있고, 아는 오빠일 수도 있다. 그렇지만 이 오빠가 “비단구두 사가지고” 온다던 그 오빠나 “기도하는!” 용필이 오빠가 아닌 것만큼은 분명해 보인다. 그럼에도, 여동생은 그런 오빠가 영 싫지 않은 모양새다. 아니, 싫기는커녕 좋아서 안달이 다 날 지경이다. 요새도 이런 여동생 없지 않다.

Google Translate (with mistakes) :

"My brother is a hunk, my brother is a hunk, I don't know, I don't know that I'm eating my side dishes.

Singer Park Hyang-rim (朴 響 林 1921-1946) sang <Oppa is a windbreaker>. It is a song taken in the Columbia Records in 1938, which was a golden age of records. It is a representative song of Japanese era, a comic song. Born under the title of 'Park Ek-byul', she made her debut as a singer through Taepyung Records from Kyungsung, Hamgyeong-do. He was then scouted by Columbia, a major record company.

The brother in the song is a quarrel. A slapstick is a scorn of people who roam the market and sing or play instruments to beg for money. It seems to mean a modern boy who knows the wind. Maybe he's homeless or unemployed. Besides, my brother is greedy, hunks, and miserable. Furthermore, it is a twister, an excuse, and a great struggler. There are so many brothers in the fortress. But I do not know who this brother is. It can be your own brother, your brother next door, or someone else's brother. However, it seems as if her brother, who is "bringing the silk shoes" or "Pray!" Nevertheless, my sister does not like that brother. No, she don't like him. Fortress is not without this sister."

yrics: 오빠는 풍각쟁이야



오빠는 풍각쟁이야~ 뭐

오빠는 심술쟁이야~ 뭐

난 몰라 난 몰라 내 반찬 다 뺏어 먹는거 난 몰라

불고기 떡볶이는 혼자만 먹구

오이지 콩나물만 나한테 주구

오빠는 욕심쟁이 오빠는 심술쟁이

오빠는 깍쟁이야


오빠는 트집쟁이야~ 뭐

오빠는 심술쟁이야~ 뭐

난 싫어 난 싫어 내 편지 남 몰래 보는 것 난 싫어

명치좌 구경갈 땐 혼자만 가구

심부름 시킬 때면 엄벙땡하구

오빠는 핑계쟁이 오빠는 안달뱅이

오빠는 트집쟁이야


오빠는 주정뱅이야~ 뭐

오빠는 모주꾼이야~ 뭐

난 몰라 난 몰라 밤늦게 술취해 오는 것 난 몰라

날마다 회사에선 지각만하구

월급만 안 오른다구 짜증만 내구

오빠는 짜증쟁이 오빠는 모두쟁이

오빠는 대포쟁이야

Google Translation (with mistakes !!!):

Lyrics: Brother is a carpenter

Hyang Lim Park

This brother is a skater (=going from house to house) ~

this Brother is a hunk ~

I don't know I don't know I will take my side dishes

Bulgogi Tteokbokki is eating alone

Give me only cucumber sprouts

Brother is greedy brother he is grumpy

he's a misery

(Ganju ~~ ♬)

this Brother is a naughty boy ~

this Brother is a hunk ~

I hate I hate my letter M

the Furniture stands alone

When you run errands,

My brother is an excuse

he's a naughty boy

(Ganju ~~ ♬)

this brother is a drunk ~

this brother is a motivator ~

I don't know I don't know I'm drunk late at night

I'm late at work every day.

he just doesn't pay my salary.

My Brother is annoying

he's a cannon (= a bluffing person)

* Skater/ Windsurfer = A person who walks around the market or from house to house, playing songs or musical instruments and begging. Ponds are the words that lead to music.

* Myeongchija (明治 座) = Theater opened in Myeong-dong, Seoul in 1934 during Japanese colonial rule. In 1948, after liberation as the predecessor of the Myeong-dong National Theatre, it was transformed into a Seoul City Hall.

* Umbrella = to deceive others by making things dry

* Motivator = someone who always drinks a lot.

* Cannon = a bluff or a liar.



Park Hyang Rim is an essential collectable artist from the 30s with a style typical for the times, mixing always a bit of jazz and cabaret flavours in every track. Every track is in fact rewarding.



bottom of page