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신카나리아 / Sin Canaria / Sin Canary

Oasis Shin Canaria / Lee In-Kweon (1990)*°

I will spend a bit less attention to this release which I guess are already later works or remakes of both artists, or are songs that give most attention to the grey area recognisability of songs, Trot style, in a still effective way of a contemporarily commercial entertainment. Lee In-Kweon’s voice is vibrating like also old men could sing. His voice is on the foreground, with an added rather natural reverberation. He is accompanied at first by lead accordion and strings in the background. Other tracks have also organ/keyboards electric guitar and an electric bass guitar lead rhythm, still as light entertainment. On the third track is some spoken word intro by a female voice, making me think this might come from a movie.

Even though the album was referred to as containing original hit songs, the tracks by Shin Canaria sound definitely early or much later remakes to me. They are accompanied by organ/keyboards, electric bass playing simple rhythm and a few notes by electric guitar and lush orchestra, with small sax/clarinet confirmations of the melody, and are also light, arranged still effective Trot music, with a definitive pretty commercial like a TV-show related setting, like lullabies for adults singing songs that are remembered from the past.

An album which for the contributions of Shin Canaria for foreign music lovers is actually more something for completists only.

Track Listing: Lee In-Kweon: 01. 귀국선Lee In-Kweon 02. 꿈꾸는 백마강 Lee In-Kweon: 03. 은혜냐 사랑이냐 Shin Canaria: 04. 강남달 Shin Canaria: 05. 서울의 거리 Shin Canaria: 06. 강남제비 Shin Canaria: 07. 능수버들 Shin Canaria: 08. 나는 열 일곱살이예요 Shin Canaria: 09. 삼천리 강산 에라좋구나 Shin Canaria: 10. 요핑게 저핑게 Lee In-Kweon: 11. 인생나루 Lee In-Kweon: 12. 선죽교 Lee In-Kweon: 13. 미사의 노래 Lee In-Kweon: 14. 무영탑 사랑

Earlier review :

The songs on the last disc from 1934 are 원수(怨讐)의 고개, a more up tempo New folk Korean song with jazz arrangement with Japanese folk flavour and another one, and 꽃이 피면, with more melancholic slowly waltzing nature.

The earliest period for me definitely are her best. In the fifties we were left with an already past connection of nostalgia which is maintained but which has a harder time to connect.

The tracks on all compilations will be reviewed a second time (in 2019):

유성기로 듣던 불멸의 명가수-신카나리아, 김복희, 박단마 편 (1996)

Immortal singers heard during the meteor period-Shin Canaria, Kim Bok-hee, Park Dan-ma

1 월야(月夜)의 탄식(歎息) / Monday night's sighs (REGAL 209) trot

2 꽃이 피면 (REGAL 222) trot

3 밤엿장사 / Chestnut (REGAL 239) latin

4 눈물 흘리며 / In Tears (REGAL 239)

5 순정(純情) / Chastity (REGAL 253)

6 순정(純情) / The body weary of the void (REGAL 253)

7 님생각 / Chastity (REGAL 260)

18 물레방아 / Thought (VICTOR 1366)

19 대보름 달맞이 / Watermill (VICTOR 1375)

The two first tracks are mainstream trot style. Different and standing out to these is밤엿장사 / Chestnut (REGAL 239) showing a surprising mambo rhythm. 눈물 흘리며/ In tears (REGAL 239) surely is a favourite in walzing trot style and a great example of its more traditional style. 공허(空虛)에 지친 몸/ The body weary of the void (REGAL 253) turns such style towards a much more jazzy approach. Equally beautiful is순정(純情) / Chastity (REGAL 253), in Japanese-like style of melancholy with slowly stomping rhythm and soaring violin and slide guitar pickings. 님생각/ Thought (REGAL 260) continues in this melancholic way with beautiful singing and nice violin picking.

유성기로 듣던 가요사 두번째(1945~1960) [Disc 3]

CD3 1 승리(勝利) 부기

On this compilation we can find another surprise, which is a real American styled boogie-woogie/mambo-jazz track, 승리(勝利) 부기, unfortunately it is not in best sound quality but the song, singing and arrangements are truly great.

유성기로 듣던 가요사/ Songs that I heard during the musical period from (1925~1945)

CD2 9 원수(怨讐)의 고개/ The Passing by of the Enemy (1934)

CD2 10 꽃이 피면/ Flowering (1934) (REGAL 222)

The first track is passionately played and sung in marching trot style. The second track we already know from another compilation (see above)

[Disc 3] 유성기로 듣던 가요사 두번째 (1945~1960) reviewed on next page

VA : 유성기로-듣던-가요사 (1925-1945), reviewed on next page



나는 열일곱살이에요'를 부른 원로가수 신카나리아(본명 신경녀) 씨가 24일 오전 5시 숙환으로 타계했다. 자료사진 동아일보

'나는 열일곱살이에요'를 부른 원로가수 신카나리아(본명 신경녀) 씨가 24일 오전 5시 숙환으로 타계했다. 향년 94세.

1912년 10월26일생인 신씨는 1932년 조선예술단에 입단한 뒤 시에론 레코드사, 빅타레코드사, 콜롬비아 레코드사의 전속가수로 활동했으며 1940년부터는 신태양 등악극단을 무대로 가수 활동을 하며 '나는 열일곱살이에요'를 비롯해 '강남제비' '노들강변' '뻐꾹새' '그 님은 떠나고' '변주곡' 등 수많은 히트곡을 남겼다.

1998년 문화포장을 비롯해 제22회 가수의 날 공로대상, 제4회 대한민국연예발전공로상 등을 수상한 바 있다.

또한 한국무대예술원 중앙위원, 가수협회 부회장, 원로연예인상록회 최고위원 등으로 활동하며 대중가요계 발전을 위해 애썼다.

유족으로는 외동딸 이혜정 씨와 사위가 있다.

빈소는 서울대 병원 장례식장 2호에 마련됐으며, 장례식은 한국연예협회 가수분과위원회장으로 치러친다. 발인은 26일 오전 10시반, 장지는 국립임실호국원이다.

Rough translation:

Born on October 26, 1912, Shin joined the Chosun Performing Arts Troupe in 1932 and has worked as a singer for Sierra Records, Victa Records and Colombia Records since 1940. "I'm 17 years old", "Gangnam Swallow", "Nodeul Riverside", "Cuckoo Bird", "He's leaving", and "Variations".

In 1998, he won the 22nd Singer Day Achievement Award and the 4th Korea Entertainment Development Achievement Award.

She also worked as a central member of the Korean Performing Arts Center, was vice chairman of the Singer Association, and a senior member of the senior celebrity society.

She left a daughter Lee Hye-jeong and son-in-law.



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