산울림 - San Ul Rim / Sanullim / SanUlim / San Ul Lim (= "Forest")
Short Biography :
Folkie Jin : "San Ul Rim are the most famous hobby band (“naughty rock band”) in South-Korea. Most Korean rock specialists say that San Ul Rim’s music is not connected with previous Korean rock groups. One day they just appeared on the Korean rock scene. They are brothers, Kim Chang Wan is the group leader (Lead vocals and guitar) and eldest brother, Kim Chang Hun is the second eldest, a bass guitar player, youngest bother is a Kim Chang Ik and he is a drummer. They were born out of a rich family in Seoul. Thanks to that they could buy the necessary rock instruments. At first Kim Chang Wan bought an ‘acoustic guitar and Classical guitar guide book’ when he was a university freshman. Thanks to that the other brothers could learn the guitar. Their parents said that they were going to buy a piano as an entrance gift, if Chang Hun entered the university. But they didn’t like it because it was too feminine. And they asked to their parents to give me a set of rock band musical instruments instead. Therefore they could get a drum set, two amps, and two guitars. After that they often played their own rock songs weekly. I believe they just enjoyed the brother gem for about four years!!
In 1977 there was held the first University student song contest. They were interested in the contest and joined in the preliminary hearing of it and their song came to the first class in the preliminary hearing but fell off at the main contest because Kim Chang Wan graduated at the time. Although they fell off at the main contest, they discovered their self confidence.
Before they participated in the contest, their band name was A Mu-Lee (meaning that “Be not different”). The band name called San Ul Rim (means “That Mountain echo”) was made by Kim Chang Wan, impromptu, when their first album was released."
01집/새노래 모음 (아니 벌써) / Ah! Already? / "Ani-Beol-Sseo"-
SRB Records SR 0090 original LP 1977
Jigu Inc. JCDS-0639 CD Mar 24, 1999, Jigu Records
World Psychedelia Ltd. WPC6-8482 2005 CD
Granadilla Music GM 206C3 2014 CD
* 1 아니 벌써 / Already
* 2 아마 늦은 여름이었을 거야 / Perhaps it was late Summer
3 골목길 / An Alley
4 안타까운 마음 / Frustrated
5 그 얼굴 그 모습 / That face, that look
6 불꽃놀이 / Fireworks
* 7 문 좀 열어줘 / Please open the door
* 8 소녀 / A Girl
9 청자(아리랑) / Blue Porcelain (Arirang)
Tracks with * I consider essential listens or classics, or tracks to check out for sure because for some reason they seem to stand out as unique moments, which makes them also very suitable for western radioshow airplay. Tracks that are only underlined can be considered fine tracks you better check out as well, but I am not sure how essential they are. In this case the whole album is fine.
"So after that they recorded their demo tape on a JVC portable recorder and went to the SRB record company. Finally they finished their first recording (in just one day). They just would like to have their own album. Songs were recorded in just one take without dubbing. These recordings were to be divided afterwards into several songs by the producer).
At first they recorded their demo tape by a JVC portable recorder and went to the SRB record company, because the SRB record company was the nearest place to their home. They had already over one hundred songs written by themselves before they debuted. They wanted heavy guitar sounds like AC/DC but it was impossible to make a sound like them because of insufficient technological know-how. So they only depended on psychedelic ad lib or fuzz guitar. But ironically this made their first album sound unique. After their first album release, many Korean young people were surprised by their music!!
Their music was very unique and fresh and it distinguished them from previous Korean pop music.
Anyway their first album became a million seller in the Korean 1970s pop scene over the time. The record sold immediately over five hundred thousands copies! But band members were in confusion. They didn’t know their music would be that good. So they said that “After our first album release, we are just left with our musical instruments and lost our music.” "
Weirdo Rec. description vol.1 :
"San Ul Lim (translated as 'That Mountain Echo', alternate spellings include 'Sanulim', 'Sanullim' and 'San Ul Rim') was formed by three brothers born of privilege in Seoul, South Korea. With confidence gained from endless practicing and competing in a university student song contest, they approached record label SRB (because it was near their house!) and recorded their first album in just one day. Upon its release in 1977, the LP sold over a half-million copies and paved the way for many further volumes. The songs are full of fuzz guitar, tinny keyboards and simple production, reminding one of the American garage and pop-psychedelic groups from the sixties, but with an Asian flavor. For this new reissue World Psychedelia have included two pages of English liner notes, explaining the significance of the final track, a cover of the traditional Korean folk song 'Arirang'."
vol.2 also listed as "Silk Road in My Heart"
After five months, their second album was released. They tried to define their musical genre on this album. They had added organ sounds by their sister Kim Nan Suk. Especially the most important thing is that not only Korean music fans but also Korean music mania outside Korea had been wildly excited by their music. Their music became more psychedelic and interomptu.
산울림 – 제2집
SRB records – SR-0104. LP 10 May 1978
CD Jan 01, 1996, Jigu Records JCDS-0640
SRB RecordsWPC6-8488 CD 2005
CD/LP Granadilla Music GM 209C3 / GM 209CC4 2015
1 내 마음에 주단을 깔고 산울림 / I put a dagger in my heart
2 노래 불러요 산울림 / sing a song
3 안개속에 핀 꽃 산울림 / Flower forest in the fog 4 둘이서 산울림 / Mountain forest
5 기대어 잠든 아이처럼 산울림 / Reclining like a sleeping child
6 어느날 피었네 산울림 / Flourishing one day * 7 나 어떡해 산울림 / What should I do?
8 이 기쁨 산울림 / The Joy Hedge
9 정말 그런 것 같애 산울림 / I think so
10 떠나는 우리님 / We leave
It was not easy to grade this album. I guess I just advice to simply check it out.
Psychefolk Radio show comments : "San Ul Rim's two earliest early albums have a certain primitive but honest rock sound, in essence like a kind of garage psych but with some refinement in recording. We hear simple chords but with best effect and most effective arrangements. The second album also has folk ballads, like track 4, 5. For Korea this more simple straight forwardness of the group with great effect was new. For the Western listener who grew in appreciating creativity with simplicity (with 2/3 chords) it was a recognition of talent. Without knowing San Ul Lim here created a new approach to rock for Korea. (Otherwise Magma would never had sounded like they were)....You can hear there was an attempt to sound more international prog & hardrock. The voice on first track of vol.2 has a punk-like attitude. Of course it has the undeliberate sophistication too in the rock feel. The long track might be the best "progressive" as "psychrock" effort San Ul Rim ever did. With great electric fuzz guitar and repetitive but effective drums (and bass), with some high-flute like keyboards."
Merlin Nose Rec.:
"It does not usually happen that I get to listen to some gentle garage psyche with a dreamy west coast flair and tons of awesome fuzzed out guitars with lyrics in Korean language. And it does not often happen that the music has not been recorded and issued before 1977 when it clearly sounds like the best psychedelic power pop and garage stuff you could get in the UK and USA ten years earlier. In this case, SAN UL LIM, one of the most popular acts on the Korean scene has exactly this typical 1966 garage sound with fuzzy axes and some thin but sympathetic Farfisa organs. They released this debut album back in 1977 while the compositions actually have been conceived from 1971 to 1975. They heavily remind me of THE ZOMBIES, even though SAN UL LIM play in a way more direct fashion but they do have these heartwarming vocal melodies and are all in all gifted players. Their music presents the step from early beat to the heavier and darker garage rock which finally transcended into psychedelic rock and fans of this proto garage beat with psychedelic tinges that came out from 1965 to 1967 should go wild about this album. Other acts I could take as references are THE FLIES (UK, Pre T 2) and THE PETARDS (Germany). A lovely flashback to the golden age of music."
Dusty Groove on vol.2 :
"The middle child in the mighty Seoul combo San Ul Lim's trio successive garage/psych masterpieces of the late 70s -- and San Ul Lim 2 might be the best and most adventurous of the lot -- full of spacey, more experimental passages! If San Ul Lim 1 was the most sunshine rock oriented set, and San Ul Lim 3 flirted with hard rock, album 2 splits the difference with a little bit of groovy prog elements and lots of spacey organ! The tunes have some more languorous, moody bits that are rich with atmosphere and some really sweet work on bass, fuzzy guitars and the swirling organ -- but the group's excellent ear for melody and a catchy groove are still very much intact! 10 tracks in all. (The booklet includes a an essay translated into English, but no English tracklist.) "
Weirdo Rec. on vol.2 :
"Sizzling second album, which according to the liner notes, was released just five months after the bands first album; despite the fact that these early San Ul Lim records were made as late as 1977, they sound as if they could have been cut in the late 60's. San Ul Lim were ostensibly a trio-with the eldest brother on guitar, the youngest on drums and the middle playing bass; they also have their sister Kim Nan Suk playing keyboards-a small oversight maybe for her never to get any credit on the records , as she has as big a role as her eldest brother when it comes to carrying the solos for the group, using a broad array of synths (a harpsichord farfisa patch being popular) and electric pianos. The bass playing of the middle brother is also spirited. Not content to merely playing his role in the rhythm section and keeping harmony going, he has a tendency to keep busy with fast moving scale fragments and melodies. A tougher sounding album than their rightly-lauded debut-the music became more psychedelic and impromptu; and as the notes tell us, "Definitely the second album San Ul Lim made them rock stars in Korea." Korean rock specialists called the first three San Ul Lim albums "the demo tape triple collection". These are regarded as the bands best recordings "because they made most songs on these albums between 1971 and 1975 (before their debut). Therefore the songs had their early originality and creativity."
On http://waxidermy.com/sam-ui-lin-2/ about vol.2 (with audio track) :
This is top notch psychedelia from a Korean trio who gets the job done: fuzzed out guitar, deep bass, tight drums, organ that never goes wrong, and singing that is absolutely off the chain. The whole thing has a sparse groove with the bass and drums chugging along underneath some pretty mental guitar, and the opening track is seriously worth the price of admission alone. While South America psychedelia has gotten its due, this album reminds you that there is still so much out there to be discovered. Highly recommended. (edited by hcrink)
Vol 3, also listed as "My Heart"
LP SRB RecordsSR-0130 1978
CD Jigu Inc.JCDS-0641 Mar 20, 1998
CD World Psychedelia Ltd. WPC6-8498 2006
1 내마음 / My heart (is a wasteland) 4:23
2 아무말 안해도 / Even when nothing is Sad 4:12
3 한마리 새되어 / Becoming a bird 3:16
4 아무도 없는 밤에 / In an empty Night 8:58
5 그대는 이미 나 / You are like me 18:38
Also this album I did not find easy to grade it. I guess I simply still advice to check it out.
Dusty Groove on vol.3 :
"Super fuzzed out, trippy 70s psych rock from Korea's San Ul Lim -- an album recorded by the Seoul rockers in the power trio format of guitar, bass and drums -- but with such a fuzzy, dense tone that it's hard to fathom how on Earth they got the sound! The opening track starts in wonderfully eye-opening fashion with the buzzing guitar sound and raspy vocals -- but the follow up tracks have a softer vocal tone and more of a spacey effect -- kind of evocative of "Sister Ray" in the relentless buzz sounds, but with a more lilting overall vibe! Includes notes in English, but the titles are Korean -- 5 tracks in all, including a mammoth 18 minute closer! (Apologies for the lack of track titles -- the booklet includes an English language essay, but not a translation for the song titles!) "
Description Vinyl Kiosk :
"The liner notes say, they wanted to make this album as Western top class Hard-Rock music. This time they didnt use organ and used only guitars, drums and bass as a power rock trio, and also made songs in a Hard rock style (songs which were not ballad style or popular). But, of course, the result is not a Hard Rock record at all. True, the record starts out with throat-shredding vocals and a guitar sound that is suddenly fuzzed-out and ominous sounding; but by track two, we already have dreamy melodies; but all's well that end's well, thanks to the almost 19-minute track that was the entire side two of the original LPdroning fuzz guitar psychedelia at its maniacal best, with a "White Light, White Heat" groove, and imaginative fuzz guitar soloing. Korean rock specialists called the first three San Ul Lim albums the demo tape triple collection. These are regarded as the bands best recordings because they made most songs on these albums between 1971 and 1975 (before their debut). Therefore the songs had their early originality and creativity.
Weirdo records :
"Korean psych with nightmare fuzz & shitcan organ, plus slightly clueless rhythm section & impressively wrongheaded blues guitar solos. Although you'd swear they were made circa '67 or '68, they really didn't start recording until the mid-70s. This is their 3rd lp, and was their last foray into stoned nonsense before they tried to go prog/fusion."
Time Machine :
"Anyway definitely their second album made 1970s rock stars in Korea. So they tried to experiment more music after success of these albums. They considered the musical originality of their 1st and 2nd albums, but were conscious of USA and UK Hard rock style at the time of the 3rd album. They wanted to make this album as Western top class Hard rock music. Firstly they didn’t use organ and used only guitars, drums and bass as a power rock trio and also made songs in a Hard rock style,( songs which were not ballad style or popular).
So their 3rd album is the most rocky album of their albums. But they failed both commercially and musically, because they did not have the ability to play the complete songs in performance.
However we had to value this as positive. They produced the best rock and now were the best rock band. The reason is that their music had creativity and rash braveness, scary frankness even though they did not have sufficient ability as musical performers they had just creativity and rash braveness. Therefore many Korean rock specialists called this album half a success or an exciting failure.
After then they made many albums and Kim Chang Wan, who was a leader of San Ul Rim, released solo albums and Children’s songs collections. But their creativity was dried up and the music became more popular, so they focused on commerciality."
first CDbox reissue : August 12, 2014
SANULLIM - 1 2 3 Trilogy (Box Set Limited Edition) [3 CD + 3 DVD]
산울림 - 1, 2, 3집 트릴로지 [3CD+3Audio DVD 500세트 넘버링 Sail Music | 2014년 02월 26일 한정반]
[CD-1 + DVD-1]
01. 아니 벌써 02. 아마 늦은 여름이었을꺼야 03. 골목길 04. 안타까운 마음 05. 그 얼굴 그 모습 06. 불꽃놀이 07. 문 좀 열어줘 08. 소녀 09. 청자
[CD-2 + DVD-2]
01. 내 마음에 주단을 깔고 02. 노래 불러요 03. 안개 속에 핀 꽃 04. 둘이서 05. 기대어 잠든 아이처럼 06. 어느 날 피었네 07. 나 어떡해 08. 이 기쁨 09. 정말 그런 것 같애 10.떠나는 우리님
[CD-3 + DVD-3]
01. 내 마음 02. 아무말 안해도 03. 한 마리 새 되어 04. 아무도 없는 밤에 05. 그대는 이미 나
Rhythm-On San Ul Lim: Sanullim Trilogy Box Set 1977-1978 Friends and Family
24bit96kHz remastered edition
180gram heavy weight color vinyl (gold, white, green)
4 page insert with extensive liner notes & rare photos
Limited 300 set
A box set containing long awaited official reissues of the first 3 albums as well as an ultra-rare 1978 7inch single from Sanullim, unparalleled genuines of Korean psychedelic rock.
A1Already Now ; A2Likely Late Summer ; A3Alleyway ; A4Remorse ; A5Fireworks ; A6Please Open The Door
A7Girl ; A8Celadon [ - Arirang] ; A9Spread Silk On My Heart ; A10Let's Sing ; A11A Flower Blooming In The Haze ; A12Just The Two Of Us ; A13Like A Sleepy Child ; A14Blossomo Someday ; A15What Will Happen To Me ; A16This Happiness ; A17Truly Likely So ; A18Leaving My Love ; A19My Heart ; A20Without A Word ; A21Becoming A Bird ; A22Empty Night ; A23You Are Already Me ; A24? Express Train - The Ride Inside ; A25Can't Tell Anyone ; A26Chorus Of Innocents ; A27Will You Arrive In Autumn? ; A28Giant's Forest ; A29Longing ; A30? Glass Doll - Instrumental ; A31Our Country ; A32Afterglow ; A33Chameleon ; A34Where Shall I Go ; A35The Next Day And The Next ; A36The Windy Hill By The River - Instrumental ; A37Daytime Hourglass ; A38Pathway ; A39Spring ; A40Let's Go To The Vineyard ; A41A Portrait Of A Lady Shaman ; A42Suddenly Like This ; A43Flying Kite; A44! Why Are You Leaving Me?
A45White Porcelain ; A46Wait A Little Longer ; A47Unforgettable ; A48Before This Song Ends ; A49Longing To Be Your Earth ; A50Midnight ; A51? White Lily - Instrumental ; A52One Rainy Day ; A53Long Lost Memories Loom Beyond The Window ; A54Red Balloon ; A55Sketch A Sunflower ; A56Teacup ; A57? Afternoon - Instrumental ; A58Spread Silk On My Heart ; A59Let's Sing ; A60A Flower Blooming In The Haze ; A61Blossomo Someday ; A62The Next Day And The Next ; A63The Windy Hill By The River - Instrumental ; A64Can't Tell Anyone ; A65The Next Day And The Next - Instrumental
"In the late 1970s, Sanullim seemingly arrived out of nowhere to take Korea by storm. By the 1990s, Sanullim’s earlier records had attained textbook – even bible-like – status for the Korean rock musicians who came later. Depending on the speaker, Sanullim were hailed as everything from heavy metal originators, punk founders, and even alternative rock pioneers. The fact is that Sanullim’s music is much broader than any such simple descriptions. The first three albums were released within a 2-year period.
Because they were recorded within such short intervals of each other, the 3 albums’ tracks are deeply interconnected. The debut album kicked off with a resounding bang which became an instant nationwide hit.
Suddenly in 1977, What, Already? was everywhere. The phrase What, Already? itself took on a life of its own as a catchphrase. Comedians inserted the phrase in their skits, and kids would imitate them. The sound of the tune’s guitar riff, with its fuzz effect, grainy like crumbled biscuits, was unmistakably rock ‘n roll – a delight to listeners who had waited so long since Beautiful Woman by Shin Joong-hyun and the Yupjuns.
It was Likely Late Summer, Fireworks, and Please Open the Door also got radio airplay. The uncanny and sexy tempo shift in It was Likely Late Summer, the toned-down groove of Remorse, and the sombre lyricism of That Face, That Look set Sanullim’s songs apart from those of their contemporaries. Also, the sheer rocking loudness of Fireworks and the quirky playfulness of Please Open the Door were enough to pique the interest of even the diehard rock & pop listeners.
While musically, Sanullim’s sound was unmistakably rock ’n roll, the matter-of-fact realism of their lyrics and awkward vocals came together to brew up an original edge that made them instantly recognizable even to the general population. A legend had just been born.
Sanullim’s second album came in 1978, a year after their debut. As with What, Already? from the first album, the second album opens with another shocker, Laying Silks and Satin on my Heart – the track that would go on to let Sanullim function as a long-run unit. Unlike What, Already? that dives straight into the first verse after a brief intro riff, Laying Silks and Satin on my Heart opens with an extended free-form psychedelic intro, with a fuzz guitar drifting over a droning bass groove. That Sanullim were able to get away with such an experimental (and long – running 6+ minutes) opening track, and that it also ended up becoming a massive hit, attests to just how huge – and unexpected – a success the first album was. Aside from Laying Silks and Satin on my Heart, other notable experimental numbers on the second album include A Flower Blooming in the Haze, Blossomed Someday, and This Joy. The second album has no weak spots. There’s the Sanullim version of What Am I Going to Do? as well as My Beloved Departs, which embodies a distinctly Korean feel reminiscent of a traditional funeral procession.
The third album has generally been hailed as Sanullim’s greatest work ever. First of all, there’s the experimentalism of the magnum opus, You Are Already Me, that takes up the entirety of the record’s b-side, as well as Kim Chang-hoon’s My Soul (is a Barren Wasteland) that was only recognized belatedly. Also, the third album did not have an obvious ‘hit single’ comparable to What, Already? from the debut or Laying Silks… from the second album. The third album reveals some sonic departures from the previous two albums. First of all, there’s the absence of organ or piano parts (aside from a smattering of effects inserted into You Are Already Me). There are no session musicians on this record – it was recorded entirely with the bare-bones trio lineup.
A nice facet of the Sanullim sound is that the guitar tone shifts from clean to fuzz along with the tune’s tempo changes. This is on prominent display in songs like My Soul (is a Barren Wasteland), and Without a Word. The clean tone is used throughout Becoming a Bird, and presages the sound of Sanullim’s later ‘children’s music’ phase. Of all the tunes on the third album, Becoming… got the heaviest airplay. The track Lonesome Night is a departure in that it’s a full-on blues number. Running upwards of 8 minutes, the track focuses on instrumentation rather than vocals. It’s a peculiar track that doesn’t have many parallels, even in Sanullim’s later work. You Are Already Me motivated many a record collector to purchase the third album. Its running time of 18+ minutes, taking up the entire b-side of the LP (all records were LPs back then), was simply unheard of until then.
By the time the third album came out, Sanullim had reached peak popularity; rather than milking this further, they’d chosen to tighten their focus as a band in favor of experimentalism.However, the albums that came later had little to show for in terms of ‘tightness’.
While the fourth, fifth, and sixth albums are all decent works, the fourth was more of a compilation of the songs Sanullim had contributed to films and TV series, while the fifth and sixth were recorded while all members save Kim Chang-hwan were in their military services.
Of course, all 13 of Sanullim’s regular albums are satisfying in terms of their individuality. And of these, the first three albums are absolute masterworks, indispensable for an understanding of Sanullim’s music and the historical context that gave rise to it."
"A trio of amazing records from this legendary Korean Group – packaged together in a limited box, with a booklet and bonus 7" single too! First up is San Ul Lim 1 – one of the coolest Korean records you'll ever hope to hear – a set recorded in the mid 70s, but done with the same sort of psychedelic blend of jazz and funk elements you'd hear in Japanese albums from the early part of the decade! These guys use lots of fuzz on their guitars – a tone that's freaky, but a style that's nicely direct – especially when mixed with the strong basslines at the bottom – which almost always set up some sort of groove before the Korean language lyrics come into the mix! Lots of these tunes are the epitome of slow funk at its best – and sound even better with the trippy inflections on guitar, and the unfamiliar language – which really keeps things interesting. Next is San Ul Lim 2 – the middle child in the mighty Seoul combo San Ul Lim's trio of albums – full of spacey, more experimental passages! If San Ul Lim 1 was the most sunshine rock oriented set, and San Ul Lim 3 flirted with hard rock, album 2 splits the difference with a little bit of groovy prog elements and lots of spacey organ! The tunes have some more languorous, moody bits that are rich with atmosphere and some really sweet work on bass, fuzzy guitars and the swirling organ – but the group's excellent ear for melody and a catchy groove are still very much intact! Last up is San Ul Lim 3 – super fuzzed out, trippy 70s psych rock from Korea's San Ul Lim – an album recorded by the Seoul rockers in the power trio format of guitar, bass and drums – but with such a fuzzy, dense tone that it's hard to fathom how on Earth they got the sound! The opening track starts in wonderfully eye-opening fashion with the buzzing guitar sound and raspy vocals – but the follow up tracks have a softer vocal tone and more of a spacey effect – kind of evocative of "Sister Ray" in the relentless buzz sounds, but with a more lilting overall vibe! Includes notes in English, but the titles are Korean – 5 tracks in all, including a mammoth 18 minute closer! Box set includes a bonus 4 track 7" EP – complete with pic sleeve replica – and a bonus book with notes in English." © 1996-2018, Dusty Groove, Inc.
"As influential as Sanullim has been to Korean rock and perhaps even Korean music culture, there are frequently times when you can't find their sequential albums on disc anywhere. For a few years, Sanullim had a box set available collecting their complete studio recordings, but I had failed to pick it up and when it was out of print, Korean copies of Sanullim's various albums, but particularly the first three albums, were hard to find.
Interestingly enough, I did spot the first two albums in an American release, but I was even more intrigued by a limited edition box set I spotted that collected the first three albums and then paired them with a DVD-audio version of that same album as well. Wanting to dig deeper into Sanullim's music beyond the lengthy, but somewhat disappointingly sequenced compilation I had, I figured this would be the most premium way I could listen to the music of this influential band in sequence by album and picked it up.
The exterior box is a simple cardboard box, but inside are three mini-LP sleeves in somewhat alternate color schemes of the original vinyl sleeves with a little side strip for additional information. It's a nice little touch that seems to be popular with fancier box sets these days and the main album disc even is colored to look like a replica vinyl on top complete with little sticker towards its center. Also included is the promised DVD audio disc, which doesn't receive quite as fancy a production, but it does at least get its own sleeve and both sleeves fit into the greater cardboard sleeve without issue.
The CDs themselves, aside from their cute face art appear to be what you might expect from earlier CD releases, except for the second album containing a pair of bonus instrumental tracks. There might be some measure of remastering, but without comparing them to the original CD pressing or vinyls, I couldn't tell you if it added or removed much. However, I can say that the DVD-audio discs are not especially impressive after having played them on my home theater system. While they do use the extra channels, the original mix and masters were admittedly a bit thin and also programmed for stereo so the use of the extra channels doesn't really add anything. What's more, because the original recordings and mixes are quite dated even when they were committed to master, even if they were remastered, I'm not sure how much more could be gained by remastering for DVD-audio even with restoration work.
But at the same time, if you want CDs of the original three albums, this trilogy was (while it was still available), the only way to get a hold of them without venturing into the world of Korean internet auctions or searching through used book or record stores in Korea and the presentation is nice, even if it was a bit of a premium price you paid for them. And these three original albums are so good that I think that ultimately justifies the price for me, gimmicky DVD-audio or no. 7/10"
In the middle of the 1980s, dance music was introduced to Korean people and it had a strong hold on them in Korea like other countries, so they had to change their originality and music style to survive in the music business.
But they tried to get back to the early powerful sound on their 9th album (1983). They could not accept that the public taste in the Korean 1980’s music market had changed to dance music. From this time, practically the three brothers band San Ul Rim ended. After failure of this album, they had to go their own way. They had little live concerts, so they were not able to have music as their main business. It was to take over ten years until we meet a San Ul Rim as three brothers in a band again.
So their 10th to 12th albums were Kim Chang Wan’s project band and the musical style was his singer-songwriter music.
Group leader Kim chang Wan became a Radio DJ and famous TV talent, while Kim Chang Hun and Kim Chang Ik became employees of big Korean corporations.
In 1997, they were united as a three brothers band again and as a result their 13th album was released.
Three questions about San Ul Rim.
1.What’s the position of San Ul Rim’s music in 1970s Korea?
1970s Korean music scene
The 1970s Korean music scene was divided into two parts. One is the Group sound (Rock band style) based on the US army stage circuit and the other is the folk sound base on Myung-Dong club. The goal of the former is a superb performance (technical skill and accurate copying ability of western classic rock numbers) while the latter had much more importance in personal expression. But both of them had the common point that the craftsmans mind was strictly trained.
But San Ul Rim’s music style didn’t belong anywhere (in these 2 parts). Their music was band music, a free expression style / philosophy that everybody can play music if somebody picks up a guitar. Therefore their music style was improvisational and amateurish. I think it was similar to 1960’s USA and UK garage rock band music and punk rock. Nevertheless, San Ul Rim members never have listened to the garage rock music and punk music at those times. Also their stage was a Gajungjip* (home) and not garage. <=Gajungjip means that Koreanized house structure between Korean traditional house and Apartment>
Their unique music style was completed while having a music game in their house. And they weren’t based on any existing musical background in Korea. So many Korean rock specialists say that “they seem to have fallen from the sky.” Because of it, San Ul Rim is the most unique band in Korea.
I think their music is a unique naughty boys rock sound.
2. How was the political situation of Korea at those times?
Politically the Park Jung Hee(Korean 5th-9th president) military dictatorship regime governed in these times. He governed for 16 years (1963-1979).
So before a song was released on an album, all lyrics had to be censored by a government organization.
There was a pre-censorship institution in Korea. So San Ul Rim had to write their lyrics wholesomely. ex. They changed a song name from wolf to girl on their first album. As this political situation, most of their lyrics are wholesome and simple. But their sound was exceptional.
3. How can a group be born like San Ul Rim these days?
From birth until into the university age, in the 1970s, they could freely and usually enjoy western pop music in Korea. And the university student was in a position in which he could enjoy it freely. As a result they had the benefit of the early stages, making it possible to expresses their originality in their brother’s music game. I think it made the basis that led to San Ul Rim in those times.
(most of the text written by Folkie Jin)
Further radio comments used after vol.3 tracks :
Because the group was unable to play the complex structures of their music live and people didn't understand the longer tracks too well, the group was forced to change style in more mainstream directions. Only the 9th album was a renewed, but failed attempt to represent a "progressive" style.
Volume 4 (1979)***° 산울림– 제4집
SRB records – SR-0148 15 Apr 1979
A1 특급열차 (속에서) / Express Train - the ride inside
A2 아무에게도 말할 수 없소 / I can't tell anyone
A3 풋내기들의 사랑 / Chorus of innocents
A4 가을에 오시나요 / Are you coming in Autumn?
A5 거인의 숲 / Giant's Forest
A6 그리움 / Longing
A7 유리인형 / Glass Doll
* B1 / 8 우리 강산 / Our strong mountain
B2 / 9 여운 / Afterglow
B3 / 10 카멜레온 / Chameleon
B4 / 11 어디로 갈까 / Where to go
B5 / 12 내일 또 내일 / The next day and the next one after that
B6 / 13 바람부는 강 언덕 / Windy River Hills
Sometimes a band just has it, a good energy, a perfect formula, a perfect attitude,.. all that leads to that whatever they do changes to gold. Although I was told the first three were supposed to be the best albums, they also told me more good material is spread over most volumes and most of this is recorded around the same time anyhow. To my surprise every album I heard so far is a great discovery. I cannot specify real highlights, but every track on this album still is a winner: from going from slower and softer ballads to harsher and heavier stuff, it all works convincingly well.
The first track shows heavy fuzz, with an almost screaming-high girlish voice, primitive rhythms and bass. This changes to acoustic rhythms then returns to the fuzz guitars again, showing its full groovy mode and then becoming more psychedelic. Also in the softer tracks, with strumming rhythms in combination with bass/drums and fuzz guitar, there’s always found some effect or element that turns this into a more psychedelic form. For me this really still shows the best of independent rock in the 60s/70s (while reaching the 80s, for Korea) could mean, musically. There are heard some harmony vocals here and there too.
The last track is an instrumental with calm acoustic strums, bass and drums and a fine emotionally driven electric fuzz solo improvisation combined with keyboard chords, which is of course a perfect closer to another San Ul Lim album worth tracing.
Volume 5 (1979)**°'
SRB Records – SR-0171 released 1980
A1 한낮의 모래시계 / Midday hourglass
A2 오솔길 / Path
A3 봄 / Springtime
A4 포도밭으로 가요 / Go to the vineyard
A5 무녀도 / Shaman
B1 / 6 이렇게 갑자기 / So suddenly
B2 / 7 연 띄워라 / Launching a kite
B3 / 8 왜가 / Why
B4 / 9 백자 / White Porcelain
The next volume sounds more like a sort of bonus material album starting off with two tracks that have a lot more easy-going or straight forward rhythms even though the psych-rock association is kept underneath. The attraction is still there, at the same time such track shows more something of a more commercialised form of style. This is followed by a few more relaxed tracks, speeding up a bit, showing electric piano and a bit of funky effect in the guitars, followed by a more hard-rock flavoured track with more screaming vocals, and some good fuzz solos. We also have a bluesier rocker, improvising a bit too in this style and using fuzz as well. After a lighter-happier ballad, with their original attractive primitive flavour in it, improvising in a relaxed way with keyboards. The last track returns to a funky bass element and some wa-wa guitar effect, and vibrating fuzz solos on top, once more showing their trademark well. This album is less essential but is still is enjoyable and recognisable.
Volume 6 (1980)**°°
조금만 기다려요/못잊어/어느 비 내리던 날 6 SRB Records – SR-0201
1 조금만 기다려요 / Wait a minute
2 못 잊어 / I can't forget
3 이 노래가 끝나기 전에 / Before the song ends
4 나 그대의 넓은 대지가 되고져/ Longing to be your earth
5 한 밤에 / At Night
6 백합 (연주곡) / Lilies (Performance)
7 어느 비 내리던 날 / A rainy day
8 창문 너머 어렴풋이 옛 생각이 나겠지요 / I might think of a dim old window
* 9 빨간 풍선 / Red balloons
10 해바라기가 있는 정물 / Still life with sunflowers
11 찬잔 / Cup
12 오후 (연주곡) / Afternoon (Performance)
This volume contains rather melancholic songs from the start. They are played more often acoustically. A different element is the use of flute improvisation on the second track. More and more electric fuzz guitar adds also its layer of melancholy up until the 6th tracks, a lullaby with easy pickings, electric piano and violin.
The 8th track is a change in mood, into a more country folk style (mouth harmonica, lighter rhythms). A sweet song follows this moment, showing in it some organ playing moodily in the background.
After another acoustic ballad/lullaby with electric piano playing on it, and also one more acoustic ballad with various picking/strummed guitars, the album closes, traditionally, with an instrumental. Here, electric and acoustic pickings and electric piano are mixed. Clearly this is a moody moment of a rehearsing improvisation, making a good ending for this album.
산울림 - 4, 5, 6집 트릴로지 2 [3CD+3Audio DVD 550세트 넘버링 Sail Music | 2014년 07월한정반]
CD box release date: Jul 29, 2014 on Rhythm On ; Limited to 500 copies.
Disc. 1 [4집 CD] 1 특급열차 (속에서) 2 아무에게도 말할 수 없이 3 풋내기들의 합창 4 가을에 오시나요 5 거인의 숲
6 그리움 7 유리인형 8 우리 강산 9 여운
10 카멜레온 11 어디로 갈까 12 내일 또 내일 (영화주제가) 13 바람부는 강언덕 (연주곡) Disc. 2 [4집 Audio DVD] 1 특급열차 (속에서) 2 아무에게도 말할 수 없이 3 풋내기들의 합창 4 가을에 오시나요
5 거인의 숲 6 그리움 7 유리인형 8 우리 강산 9 여운 10 카멜레온
11 어디로 갈까 12 내일 또 내일 (영화주제가) 13 바람부는 강언덕 (연주곡) Disc. 3 [5집 CD] 1 한낮의 모래시계 2 오솔길 3 봄 4 포도밭으로 가요 5 무녀도
6 이렇게 갑자기 7 연 띄워라 8 왜！가 9 백자 Disc. 4 [5집 Audio DVD] 1 한낮의 모래시계 2 오솔길 3 봄 4 포도밭으로 가요 5 무녀도
6 이렇게 갑자기 7 연 띄워라 8 왜！가 9 백자 Disc. 5 [6집 CD] 1 조금만 기다려요 2 못 잊어 3 이 노래가 끝나기 전에 4 나 그대의 넓은 대지가 되고져 5 한 밤에
6 백합 (연주곡) 7 어느 비 내리던 날 8 창문 너머 어렴풋이 옛 생각이 나겠지요 9 빨간 풍선 10 해바라기가 있는 정물
11 찬잔 12 오후 (연주곡) Disc. 6 [6집 Audio DVD] 1 조금만 기다려요 2 못 잊어 3 이 노래가 끝나기 전에
4 나 그대의 넓은 대지가 되고져 5 한 밤에 6 백합 (연주곡) 7 어느 비 내리던 날
8 창문 너머 어렴풋이 옛 생각이 나겠지요 9 빨간 풍선 10 해바라기가 있는 정물 11 찬잔 12 오후 (연주곡)
산울림 - 초록색대문 산울림 노래 | EnE Media | 1998년 05월 01일
1 개구장이 / Mischief
02 산울림 행진곡 / Soulwool March
03 운동회날 / Athletic Day
04 뱅뱅굴러 / Bang Bang Roller
05 저녁바람 / Evening Wind
* 06 별아 / Star
07 예쁜맘 예쁜꿈 / Pretty Heart Beautiful Dreams
08 내사랑 / My Love
09 친구야 / My friend
10 이게 웬 긴 꼬리냐 / What is this long tail?
* 11 밤길 / Night road
12 집에 갈래 / I want to go home
* 13 귀뚜라미 / Cricket
14 바람 그리기 / Drawing Wind
15 봄 여름 가을 겨울 / Spring Summer Autumn Winter
16 뭉게 구름 / Clouds
17 무지개 / Rainbow
18 꼬마 인형에 날개를 달자 / Let's Wing a Little Doll
19 외계인 이티 / Alien Itty
I have already explained on this page that after the success of the first two/three albums, from all the later releases being released it is difficult to find out what has been recorded in the same early days, and what is from a later date, because they did a lot of recording session in the beginning.
In reality, it means that good tracks can be found on several of their albums, in which they had found a good formula, which worked.
This album is another compilation of 20-tracks, where it is indicated this was all performed in 1977. The songs themselves are often rather simple, almost simplistic like children songs, something that makes these happy and cheerful, performed together with a few and mostly acoustic ballads.
Some of the early tracks on this album have something garage-like, mixed with lightness, a rock element and occasionally some blues riffs. Many tracks have well-played fuzz guitar solo’s, occasionally a clarinet solo, a few tracks are only with keyboards, which makes these sound a bit lighter and mainstream while each track still seems to work well within the compilation.
A few tracks have additional arrangements of mixed vocal harmonies. Occasionally, a piano is mixed with the student band-like acid core. The last track features celebrative handclaps from the backing singers.
Also this seems to be a very enjoyable album, which you can find cheaply more often.
also titled as "Flower Vase"
산울림 - 하늘색꽃병 EnE Media | 1998년 05월 01일 / May 04, 1998
01 산할아버지 / Grandfather
02 끼리끼리 / With each other
03 행복의 나라 / Country of happiness
04내 별은 어느 걸까 / What's my star?
05 매미 / Cicada
06 큰나무 / Large Tree
07 민들레 / Dandelion
08 거울 / Mirror
09 꽃과 소년 / The Flower and the Boy
10 새봄 / New Spring
11 제비 / Swallows
12 엄마품 / Mom
13 먼길 / A Long way
14 종소리 / Bells
15 등산 / Mountaineering
16 별밭 / Stars
17 백합 / Lily
18 눈은 하얀 고양이 / Eyes are like white cats
19 군밤먹기 / Nights
20 숲속에는 / In the forest
In a way, I remain still amazed the general quality of all of the San Ul Lim albums I have heard so far, a quality which means that the band knows how to make from simple elements something positive and attractive with it. For this album, it can at times become a bit too much, hearing the same simplicity. But giving it an effort to listen to the 19 songs by dividing it into a couple of listening sessions helps me to distinguish different moments and approaches.
The first 4 songs for instance, are almost like children songs, short and with simple rhythms and catchy melodies, all still very effective in, such a way you can never hate the band at any moment. The second track has something simplistic, folkloristic, with the slightly cheap easiness of a marching fun-rhythm, even with use of such elements, this isn’t bad at all. The same sort of children-song like fun you can hear in the third track, in which you can say there is used a cowboyish electric guitar solo.
From there it becomes a bit more serious in mode, more like a student rock style, as how they are known for it. Very direct also. Such songs can be rockier too. And they pick out catchy melodies for it as well. The most surprising of them is perhaps track 11, which shows more more fuzz and a good bass rhythm and some weird electronic sounds. Track 8 somewhere in the middle is a nice acoustic ballad. The last track uses a vocoder part (deformed voice), has something more of a late 70s/early 80s feel, still keeps somewhere a same foundation of elements.
One more is also worth mentioning as a Korean folk-rock interpretation.
1975년의 가요정화운동과 대마초 파동으로 황폐화된 음악계에 한 줄기 서광을 비쳐 준 것은 삼 형제로 구성된 산울림이었다. 10대 중반부터 작곡을 시작했던 이 형제들은 김창완의 대학 졸업 기념으로 만든 데뷔 앨범으로 한 순간에 가요계를 전복시켰고 우리 모두를 충격으로 몰아넣었다. 섹스 피스톨즈(Sex Pistols)의 역사적인 데뷔 음반과 동시대성을 획득한 이들의 데뷔 음반은 끝없는 창작욕을 발현한 첫 번째 단추가 되었으며, 신중현이 열어 놓은 록의 세계를 아마추어의 경지에서 마음껏 조리한 역사적인 음반이 되었다. 둘째 김창훈의 곡인 ‘나 어떡해’를 부른 샌드페블즈가 대상을 받은 제1회 MBC 대학가요제에 ‘문 좀 열어 줘’란 곡으로 출전했지만, 김창완이 졸업생 이여서 자격미달로 실격한 이들은 자신들의 기념 음반을 가지고 싶었던 나머지 친척들을 졸라 앨범 제작비를 구걸했고 그간 만들어 놓았던 150곡 중 몇 곡을 추려 데모 테이프를 만들었다. 그리곤 가장 가까운 레코드 회사인 서라벌을 찾아가 자신들의 소원을 얘기했다. 이들의 데모 테이프를 들어 본 사장은 아무 조건 없이 음반을 만들어 주겠다며 손수 팔을 걷어 부치고 나섰고 이들의 이름을 산울림으로 지어 주었다. 하지만 이들이 가져온 악기는 연주를 하고 나면 줄이 풀려 끝까지 마칠 수가 없었다. 고민 끝에 평론가 이백천에게서 팬더사의 스트라토 기타와 암페그에서 만든 베이스를 빌려온 이들은 하루만에 녹음을 끝마쳤으며 음반의 성공을 예상하지 못한 채 본격적인 사회인이 되기 위한 준비에 들어갔다. 하지만 그렇게 탄생한 이들의 데뷔 음반은 상상을 초월하는 성공을 거두며 삽시간에 팔려 나갔다. 그리고 명반으로 꼽히는 2집을 4개월만에 내놓았으며 역시 파격과 혁신의 메아리로 소리를 내지르며 커다랗게 산울림을 자아냈다. 이것은 2집이 나온 지 6개월만에 발매된 3집의 ‘그대는 이미 나’로까지 이어진다. 동생들이 군대에 가자 산울림은 제대로 활동을 할 수가 없었다. 4집은 각종 드라마와 영화, 연극 등에 쓰였던 주제곡들을 모아 편집한 음반으로 발매했고 5집은 동생들이 휴가 나온 사이 녹음을 끝내야 했다. 데뷔 음반의 폭발적인 반응에서 멀어진 듯한 이들의 인기는 6집의 ‘창문 너머 어렴풋이 옛 생각이 나겠지요’, 동생들이 제대하고 같이 만든 7집의 ‘청춘’, 8집의 ‘내게 사랑은 너무 써’와 같은 스탠더드 류의 히트곡으로 계속 이어지며 초창기의 실험정신이 가득했던 곡들보다는 대중성이 뛰어난 곡들로 꾸며지며 계속 전성기를 누린다. 하지만 3인 밴드 최상의 사운드를 들려주며 우리 나라 헤비메탈 사운드의 포문을 열었다고 평가되는 9집이 상업적으로 실패하자 이들은 뿔뿔이 흩어졌고 혼자 남은 김창완은 < 기타가 있는 수필 >이란 솔로 앨범에서 ‘어머니와 고등어’를 히트시키며 이후 계속 되는 솔로 여정의 첫 삽을 뜬다. 그는 이어 본인이 혼자 만든 산울림 10집에서 감상적 발라드 ‘너의 의미’를 히트시킨다. 그는 또한 가능성 있는 신인들을 모아 포크 그룹 꾸러기들을 만들어 활동에 들어갔으며 ‘아주 옛날에는 사람이 안 살았다는데’라는 긴 제목의 곡으로 100일간의 장기 공연을 치뤄 냈다. 밴드 음악의 감독으로 산울림을 지휘한 김창완의 한편에는 동요라는 장르가 있다. 처음의 기획의도는 기존의 동요를 재해석하는 것이었지만, 대부분의 곡들이 외국 곡이라는 한계를 알게 된 그는 직접 동심의 세계를 표현한 곡들로 시장을 두들겼고 ‘개구장이’, ‘산할아버지’, ‘안녕’ 등과 같이 정규 앨범의 히트곡 못지 않은 인기곡들을 양산한다. 그의 동요 앨범들은 그의 천진무구한 창작적인 감수성이 뽑아낸 새로운 시도였다. 9집 이후 김창완 혼자서 작업했던 산울림은 과거의 뮤지션들에 대한 재평가가 이루어지면서 다시 합체식을 가졌다. 국내에서 트리뷰트를 받은 몇 안 되는 아티스트의 반열에 오른 이들은 ‘기타로 오토바이를 타자’로 노익장을 과시했으며 ‘내 마음’에서 보여준 김창훈의 메탈성 보컬로 오랜만에 원초적인 삼 형제의 힘을 발휘하며 그 동안 잊고 있었던 음악 자체의 순수성을 엮어낸다. 그리고 폭풍 속의 댄스씬을 빠져 나온 우리는 깨닫게 되었다. 우리에게는 산울림이 있었다는 것을.
It was the Forest of three brothers that shed a light on the music world devastated by the 1975 song movement and the cannabis wave. The brothers, who began composing in their mid-teens, debuted the music industry in a moment with their debut album, commemorating Kim Chang-wan's graduation from college, and shocked us all.
Like the historic debut album of the Sex Pistols and their debut album it became the first release to express an endless series of their own creative desires, as the historic record that prepared the world of rock once opened by Shin Hyun Hyun which is now open road to the fullest of amateurs.
Sandpebles, which sang Kim Chang-hoon's song 'What should I do', appeared in the 1st MBC College Song Festival, had received the grand prize as 'Open the Door'. Kim begged his relatives to cover for the cost of making the album and made some demo tapes out of some of the 150 songs he made. Then he went to the nearest record company, Seorabul, to talk about their wishes. Listening to their demo tapes, the president rolled his arms in an effort to create a record without any condition, and gave them their names as Forests. However, the instruments they brought were loose after they played, and the album could not be finished. After a long time ago, critic Lee Baek-chun borrowed a bass made from Panda's strato guitar and amp pegs and they finished the recording in a day.
Their debut albums were sold out quickly, with unimaginable success. In addition, they released their second LP in four months, and they also made a great sound by making a sound as an echo of breakthrough and innovation. This leads to the third album 'You're Already Me' released six months after the second album was released.
When his brothers went to the army, Forest was not able to work properly. The 4th album was released as a compilation of compilations of thematic songs used in various dramas, movies, and plays, and the 5th album had to be finished while the brothers were on vacation.
Those who seemed to be separated from the explosive reaction of their debut albums were the sixth album 'Looks Beyond the Window,' and the younger brothers' seventh album, 'Youth' which continued to the same standard hits, decorating it with more popular songs than those that were filled with the experimental spirit of the early days, and continuing to enjoy the heyday.
After nine commercials failing to commercialize the three-band band's best sound they had opened the doors to a more heavy metal sound in Korea, after which they were scattered. The band hit with the sentimental ballad “Your Meaning” in the 10th Sanwoolim LP that theye made. They also gathered potential rookies to make folk groups and took part in a 100-day long performance with a long-titled song titled "No Long Lives."
Kim Chang-wan, who directed Sanwoolim as a director of band music, makes a genre of nursery rhymes. The original plan was to reinterpret the existing nursery rhymes, but when he realized the limitation that most songs were foreign songs, he beat the market with songs expressing the world of concentricity.
The mass production of popular songs were no less than the regular album hits. Their nursery albums were a new attempt by his inexhaustible creative sensitivity.
After their ninth album, Sanwoolim, who worked alone with Kim Chang-wan, reunited with musicians as he reevaluated past musicians. Among the few artists who received a tributary in Korea, they showed off their old field as 'Let's ride a motorcycle with others'. They combine the purity of the music itself. And that when we just came out of the stormy dance scene. We still had Forest.
The story of Sanullim: Complete Studio Recordings
11월 25일 최초 발매된 산울림의 박스세트는 『9집』과 『13집』을 제외한 15장의 앨범에 “볼륨 레벨 불균형”이 생겨 모두 회수, 교환됐다. 그리고 다시 교환된 박수세트에서 문제가 발생했다. 두 번씩이나 문제가 생긴 것이다.
실망하고 실망한 소비자는 문제가 더 일어날 거라 우려하고 있고, 산울림의 박스를 제작한 로엔은 양치기 소년으로 변해버렸다. 철저히 신용을 잃어버린 것이다.
야심차게 준비한 산울림 박스세트 『The Story Of Sanullim:Complete Studio Recordings』는 음질뿐만 아니라 디자인까지 모두 팬들에게 환영받지 못한 실패작으로 전락하고 말았다. 그러나 음반이 죄지, 음악이 무슨 잘못이겠는가. 다만 기대만큼 실망이 컸다. 너무나 아쉬울 뿐이다.
1. 먼저 음질 부분
애초 발매된 음반들의 음질이 들쑥날쑥하다는 지적을 받고 모든 박스세가 회수되고 이미 구입한 소비자들의 박스는 알판을 교환하는 형태로 리콜이 진행됐다.
하지만 교환된 CD는 또 다시 문제를 일으켰다. 『1집』 8번 트랙 「소녀」의 끝부분에서는 원반에는 없는 잡음이 발생했고, 『10집』의 10번 트랙 「지금 나보다」는 4번 트랙 「동화의 성」이 다시 이어 나왔다.
문제가 된 박스세트를 수정했지만 또 다시 문제가 생긴 것이다. 박스세트의 출시는 내년 1월로 연기됐고, 이미 잘못된 박스세트를 받은 사람들은 한숨을 내쉬고 있다.
이번 박스세트의 음반을 차례로 듣고 있지만 97년 발매된 지구반보다도 더 우수하다는 생각이 들지 않는다. 2008년 버전은 지구반에 비해 잔영이 없고, 음이 깊어졌지만 오히려 음폭이나 음은 지구반이 더욱 크고 터프했다. 산울림의 음악을 생각할 때, 터프한 지구반의 음질이 더 어울리는 아이러니가 발생했다.
2. 한숨 나는 디자인
음질뿐만 아니라 이번 박스세트에서 문제되는 또 하나는 제작의 질이다. 김창완이 직접 그린 그림은 더할 나위 없이 훌륭하다. 금장과 은장으로 나눈 행위는 그리 예쁘지 않지만 웃어넘겼다.
하지만 외장 박스의 마감부분은 심각하다. 모서리 부분이 터져있거나 찌그러져 있고, 내부는 깔끔하게 붙인 티가 나지 않는다. 박스의 아귀도 잘 맞지 않아 찢어진다는 원성들도 여기저기서 터져 나오고 있다.
애초 산울림 박스세트 제작 총책임을 맡은 김경진이 웹진 〈보다〉와의 인터뷰에서 “미니어처로 제작을 하면서 사실 제일 걱정을 했던 게 일본에서 나오는 미니어처 앨범들과 비교가 되지 않을까 하는 것이었다. 일본은 워낙 미니어처 시디들이 많이 나오고 퀄리티도 좋다 보니까 그 정도 수준으론 가야한다는 생각으로 디자이너가 고생을 많이 했다.”고 말했지만 CD 프린팅을 제외한 나머지는 답답하다.
미니어처를 재현한 종이 커버는 비닐을 벗겨내면 벌어지고, 접착부분 또한 성급하게 붙인 티가 난다. 한마디로 견고함과 무게감이 느껴지지 않는다. 낱장으로 판매한다는 가정 하에 만들었다면 이렇게까지 만들지는 않았으리라.
원작 재현도 좋았지만 신중현의 그것처럼 게이트 폴더로 만들었거나 라이너노트를 한권의 두꺼운 책으로 묶기 보다는 앨범별로 수록했으면 더욱 좋았을 것이다. 시간과 비용 절약 때문에 그랬겠지만 이런 점들이 아쉽다. OBI는 바라지도 않는다.
Sanwoolim's box set, which was released on November 25, recovered and replaced 15 albums but left out "9 Collection" and "13 Collection". You have things double and again miss other things.
Disappointed consumers worry that the problem will happen more often. I have lost my credit thoroughly in these boxes.
The story of Sanullim: Complete Studio Recordings, which was ambitiously prepared, was not only for the sound quality but also made for the design. But what is wrong with music itself? It was just as disappointing as expected. Too bad.
1. First, the sound quality part
The sound quality of the first released albums was noticeable, they were recovered, from boxes of consumers who purchased already.
But the exchanged CDs again caused problems. At the end of `` Vol.1 '' Track 8, `` Girl '', there was a noise that was not in the original disc.
The launch of the boxset has been postponed to January next year, and those who have already received the wrong boxset are sighing.
I'm listening to the boxsets as comparison, but I don't think it's any better than the Earth's 1997 release. The 2008 version had no afterglow and deeper sound than the Earth one, but rather the louder and tougher the Earth. When we think of the music of the forest, there is an irony that the sound quality of the tough earth class is more appropriate.
2. sighing design
In addition to the sound quality, another problem with this boxset is the quality of production. Kim Chang-wan's paintings are excellent. The act of dividing the gold and silver is not very pretty, but laughable.
But the finish of the outer box is seriously wrong. The edges are ruptured or crushed, and the inside is not teeing off neatly. The edges of the box don't fit well and damages are popping up all over the place.
Kim Kyung-jin, who was in charge of the production of Sanwoolim Boxset, interviewed Webzine Boda in an interview. In Japan, there are a lot of miniature CDs and the quality is good, so the designers suffered a lot because they thought they had to go to that level. But except for CD printing, it was frustrating.
The paper cover, which reproduces the miniature, opens when the vinyl is peeled off, and the adhesive part has a tee that hastily attached. In short, it doesn't feel firm or heavy. If it was made on the assumption that it sells in sheets, it would not have been made so far.
The original reproduction was also good, but it would have been better if it was made as a gate folder like Shin Ji-hyun's, or if it was recorded by album rather than tying a liner note into a thick book. That's because of time and money savings, but it's a pity. OBI doesn't want to."
3. 로엔과 김창완 이게 다 시간 때문이다. 너무 급하게 만들었다. 장인정신까지 운운하지 않더라도 시간을 가지고 만들었다면 이 정도까지 나오지는 않았다. 산울림 박스세트 제작은 작년까지는 전혀 생각하지 않았던 작업이었다. 김창익 사후, 김창완의 심경에 변화가 생겨 올 가을부터 진행된 작업이었다. 한두 달의 시간을 가지고 30년의 시간을 농축했으니, 문제가 안 생기면 더욱 이상하다. 서울음반의 새로운 이름, 로엔은 수십 년간 우리나라를 대표한 음반사다. 이미 한대수 박스세트의 우수함, 다섯손가락, 부활 등의 LP미니어처를 재현하며 음반의 질에 대해서는 검증된 제작사이기도 하다. 때문에 이번 산울림의 박스세트는 제작사의 한계를 인정하려해도 이해키가 힘들다. 소규모 레이블인 리버맨뮤직의 LP미니어처를 보라. 어떤 말로도 이들의 변명은 있을 수 없다. 이해 안 되기는 산울림의 모든 판권을 가지고 있는 김창완도 마찬가지다. 박스세트 출시 전, 최종적으로 음반을 확인했어야 됐다. 적어도 김창완은 산울림의 수장이고 상징이지 않은가. 〈불후의 명곡〉에 출현해 탁재훈에서 산울림의 박스세트를 주는 것보다도 그전에 들어봐야 되지 않았을까. 그도 듣지 않은 박스를 남에게 줬다는 말이지 않은가. 적어도 김창완이 미리 들어봤더라면 문제가 이 정도로 불거지지는 않았을 것이다. 4. 그러나 이번 박스세트의 가치 사실 이번 박스세트의 곡 배열은 여전히 마음에 들지 않는다. 기왕 원작의 재현이었다면 CD의 장수를 더 늘렸더라도 보너스 트랙들과 문막 공연을 따로 따로 CD에 담았으면 더 좋았을 거라는 생각이다. 그러나 이번 박스세트는 분명 가치가 있다. 30년 산울림의 역사를 정리했고, 기록하려 시도했다. 시중에서 구할 수 없는 산울림의 음악을 다시 한 번 21세기 소비자에게 보여주는 역할도 했다. 또한 97년 지구반 박스세트에서 들을 수 없는 음원들과 귀한 라이브 버전들이 생생하게 수록돼 있다. CD로 만날 수 없었던 동요집 4장의 가치도 높다. 비록 여러 문제가 발생했지만 박스세트를 살펴보면 제작한 사람들의 노고가 보인다. 크나큰 실수를 했더라도 고생한 공과 결과물까지 폄하하고 싶은 생각은 없다. 하지만 박수를 쳐도 공허한 게 사실이다.
5. 바램 산울림의 음반을 내준 이마저도 고맙게 생각되는 현실이다. 하지만 보편적인 예술은 생명력을 잃지 않는다. 앞으로 어떤 형태로든 우리나라 작가들의 작품이 산울림처럼 박스세트로 재발매될 것이다. 산울림 사건을 교훈삼아 추후에는 치밀한 준비 속에 만들어지는 완벽한 음반을 꿈꿔본다. 또한 산울림 박스세트의 슬픈 사건이 어떤 식으로든 해피엔딩으로 마무리됐으면 좋겠다.
4. What about the value of this boxset
In fact, I still don't like the arrangement of the songs in this boxset. If there had been a reproduction of the original work, I thought it would have been better to have the bonus tracks and the curtain performance separately on the CD, even if the CD was longer.
But anyhow, the boxset still is definitely worth it. The 30-year history of the band was summarized and attempted to be recorded. It also played a role in showing 21st-century consumers the music of wild forest that is not available on the market. It also contains live music and precious live versions that you can't hear on the Earth's Earth Box Set in 1997. Value of four pieces of nursery rhymes which we did not meet on CD is high, too.
Although there are several problems, looking at the boxset reveals the hard work of the creators. Even if you make a big mistake, you don't want to downplay the hard work. But even if you clap, it is true.
Even Lee, who gave the record of the forest / Sanullim sound, is grateful reality. But universal art never loses its vitality. In the future, the works of Korean artists will be re-released in a box set like a mountain echo. Using the lessons of the forest echo, I dream of a perfect record that will be made in the close preparation. I also hope that the sad case of the Sanwoolim box set ends in some way with a happy ending.