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송달협 / Song, Dal-Hyub

유성기로 듣던 가요사 (1925~1945) [Disc 4]

6 산유화(山有花) / (Yamari Mountain Flower)

“Yamari Flowers”is a song in trot style of acoustic guitar picking lead plus subtle violin. It is a real fine example of its era.

유성기로 듣던 불멸의 명가수: 진방남, 고운봉, 송달협 편 /

Immortal singers heard during the meteor period: Jin Bang Nam, Go Un Bong, Song Dal Hyeon

14 국경의 버들밧 / Willowbats at the Border (OKEH 1976)

15 산유화 / (Yamari Mountain Flower) (OKEH 12002)

16 국경열차 / Border trains (OKEH 12124)

17 못생긴 영웅 / Ugly Hero (OKEH 12141)

국경의 뱃사공 / Voyeur of the Border (OKEH 12178)

만주신랑 / Manchu Shrine (OKEH 31099)

국경의 버들밧/ Willows at the Border (1937) (OKEH 1976) has a happy walking rhythm and jazz flavours in the arrangements, still is combined with a warm and rather sad voice, in its unique form of Japanese-Korean mixed trot style. The song “Yamari Mountain Flower”is listed here in this compilation as well. A very original arrangement is heard in 국경열차/ Border trains (OKEH 12124) which imitates a steam train in its rhythms while singing an early trot-styled song. It has jazz arrangements too and a small accordion contribution. It also used the real sounds of the train in it. Subtle and bluesy with acoustic guitar is 못생긴 영웅/ Ugly Hero (OKEH 12141) with a special emotional way of singing, another winner and unique original. 국경의 뱃사공/ Voyeur of the Border (OKEH 12178) has original rhythms and shows qualities in singing. It has also marching jazz band influences and parts. Last track, 만주신랑/ Manchu Shrine (OKEH 31099), is led by accordion and voice.

In the trot style during the Japanese occupation, Song Dal-Hyub certainly succeeded to show a qualitative voice.



I translated the texts with help of Google Translate and an assumption of what the context could express here. If it is too different from reality, please mail me and guide me. Thanks.

Seasonal gift

Flowers are blooming

Flowers bloom in a shy and embarrassing way

I will give you (such) a flower

Please accept.

A bird weeps at the age of nineteen

The bird weeps

I give you (such) a bird

Please Hug me.

-Written by Park Young-ho / Composition f (1937)

[Oh well maybe / Songdalup ="virgin diary"] (1937.06) OK 12007

Side a: Oh well maybe / Lee Na-young

'국경의 버들밭' (1937)

작사 박영호/ 작곡 박시춘/ 노래 송달협

울고 간 기로(汽路) 우에 심은 버들이

올 봄도 탐스럽게 푸르렀구려

흘러간 옛 시절을 휘더듬어서

죄없는 버들밭만 버려 놓았소.

초록잎 헤치면서 우는 황조(黃鳥)야

올 님은 아니 오고 너만 왔는고?

행여나 님의 편지 물고 왔을라

저 새를 불러불러 목이 쉬었소.

버들 잎에 아로새긴 애달픈 사연

어이나 전하리까 그대 가슴에

이 몸이 새 아니라 날 수 없으니

누구라 내 마음을 전해 주겠소?


* 기로(汽路): 기찻길 * 황조(黃鳥) : 꾀꼬리

◇ 일제가 국경선 철로부설로 옛날부터 압록강 강변에 길게 뻗어 자라던 넓은 버들 밭을 모두 훼손해버리자 사라진 버들 밭을 그리워 하며 애타서 부른 노래다. 자연환경 보호의 노래라고 생각된다. [잠용]

``Willows of the Border''

Weeping willows.

This spring was also greedy green

I whistle past the past

I left the innocent willow.

Kwanghwang is crying while they are cutting the green leaves

You will not be coming. Is it just you?

I would have asked you for your letter.

I called the bird and rested my throat.

A sad story is engraved on a willow leaf

How can I tell you, in your heart?

This body is not a bird

Who will now deliver my heart?

(1937) Lyrics written by Park Young-ho / Song, Dal-Hyub


PS. The Japanese colonial ruler had cut down a large willow field that had long been stretched along the Yalu River. It is a song sung as it misses the disappearing willow field when it is damaged. It's a song of nature conservation.

'선 창' (船艙) 조명암 작사/ 김해송 작곡/ 노래 고운봉

(1941년 오케레코드)

< 1 > 울랴고 내가 왔던가

웃을랴고 왔던가? 비린내 나는 埠頭가엔

이슬맺힌 百日紅

그대와 둘이서

꽃씨를 심던 그 날도 지금은 어데로 갔나?

찬 비만 나린다 < 2 > 울랴고 내가 왔던가

웃을랴고 왔던가? 울어본다고 다시 오랴

사나히의 첫 純情

그대와 둘이서

希望에 울던 港口를 웃으며 돌아가련다

물새야 울어라 ~

A 'dock' is a facility made like a bridge to reach a boat by the sea. Now it is often used as a 'pier'. The song "Song Sunchang" is a Korean trot song released by the singer Go Un-bong in 1941. The dramatist and writer wrote the lyrics, and written by Kim Hae Song, a famous genius musician. Singer Go Woon-bong was a new class singer who had made his debut at the time of his release. Go Woon Bong made this song a hit and solidified his position as a singer.

The lyrics of the introduction, "I came to laugh or came to laugh," are well known. Kim Hwarang's 1960 film, "I Came To Cry," is named after the famous lyrics. The following lyrics are about walking along the dock on a rainy day. The pain of separation was exquisitely loved and loved. It remains a national favorite song in Korea, and it is widely known and released during the Japanese colonial period. In 2000, Songbi was erected with the lyrics of a song in Deoksan Hot Springs, the budget county of Chungcheongnam-do, Korea. (Source: Wikipedia)



여러분께서는 송달협(宋達協)이란 가수의 이름을 들어보셨습니까? 틀림없이 생소한 이름일 것입니다. 하지만 이 송달협이란 가수는 1936년부터 1940년까지 5년 동안 제법 인기를 날리던 대중연예인이었습니다. 그가 취입한 노래는 도합 36곡으로 그리 많지 않습니다. 오케레코드사에서 28곡, 빅터레드사에서 8곡이 모두이지요. 발표한 음반의 수는 적지만 송달협은 주로 극장 쇼 무대와 악극단 공연에서 대단한 인기를 지녔던 가수였습니다.

송달협은 1917년 평양에서 태어났습니다. 그의 성장기 이력에 대해서는 알려진 것이 없습니다. 다만 그의 나이 19세가 되던 해 오케레코드사가 평양에서 주최한 가요콩쿠르에 출전하여 2등으로 뽑혔고, 그로부터 가수의 길을 걷게 되었습니다.

오케레코드사 전속가수가 된 송달협은 첫 데뷔곡으로 '야루강 천리'(박영호 작사'손목인 작곡)를 1936년 3월에 발표했습니다. 이후 송달협은 오케레코드사 전속가수로 '국경의 버들 밭' '순정의 달밤' '노타이 시인' '국경열차' '국경의 뱃사공' 등을 발표하게 됩니다. 오케레코드사에서 1936년에 3곡, 1937년에 11곡, 1938년에 14곡을 발표한 다음, 어찌 된 곡절인지 1938년 11월에 빅터레코드사로 소속을 옮겨서 이후 1940년 3월까지 1년 남짓한 기간 동안 8곡을 발표하게 됩니다. 빅터사에서 발표한 곡목은 '사랑의 황금열차' '추억의 두만강' '비오는 이국항' 등입니다.

1941년 송달협은 다시 빅터사를 떠나 자신의 옛 터전인 오케레코드로 복귀했고 여기서 두 장의 음반을 발표했습니다. 그러니까 가수 송달협의 데뷔곡은 '야루강 천리'와 '끝없는 향수'이고, 마지막 곡은 1942년에 발표한 '만주신랑'입니다.

송달협의 발표작품들을 눈여겨보노라면 송달협과 함께했던 작사가로 박영호, 김능인, 신강, 김진문, 목일신, 조명암, 김용호, 김다인, 이부풍(노다지), 김성집 등의 이름이 눈에 띕니다. 이 가운데서 박영호의 작품이 가장 많습니다. 작곡가 손목인(양상포), 박시춘, 문호월, 이봉룡, 전수린, 이경주, 이면상, 김양촌 등과 일본인 작곡가 고하정남(古賀政男)의 이름도 확인이 됩니다. 혼성 듀엣으로 함께 취입했던 여성가수로는 이난영, 장세정, 이은파, 김복희가 보입니다. 혼성합창에 함께 참여했던 가수로는 남인수의 이름도 선명하게 들어옵니다. 이런 가수들과 함께 취입했다는 사실은 당시 송달협의 인기와 수준이 상당히 높았음을 말해줍니다. 키도 컸고, 용모도 잘생긴 편이라 특히 극장무대를 찾아온 여성 팬들에게 송달협의 인기는 대단했다고 합니다.

송달협의 음색이나 창법은 마치 남인수와 진방남 두 사람의 특색을 합친 것 같은 느낌의 성음을 보여주고 있습니다. 맑고 가늘며 높은 음역까지 쉽게 구사하는 창법은 남인수풍이라 할 수 있고, 은근하면서도 호소하는 듯한 애절함은 진방남풍이라 할 수 있을 것입니다. 이런 특징들이 송달협 노래의 비감하고도 곡진한 느낌의 맛을 더해주었습니다.

그래서인지 송달협이 부른 가요작품 제목들을 살펴보면 압록강과 두만강 유역의 국경지역 정서를 담아낸 것들이 여러 편입니다. '야루강 천리' '국경의 버들 밭' '국경열차' '국경의 뱃사공' '추억의 두만강' 등 이른바 식민지시대의 비통한 북방 정서를 반영하고 있는 작품이라 할 수 있습니다. 이것은 조선이 일본제국주의의 식민지로 전락되어가던 과정과 이로 말미암은 한국인의 만주 이주사(滿洲移住史)와 깊은 관련을 맺고 있습니다. 망명의 방식으로 전개된 유랑이민, 그 후에 강제로 펼쳐진 일제에 의한 정책이민 과정과도 직결되어 있습니다. 1943년 통계자료에 의하면 재만 조선인 숫자가 무려 140만 명이 넘습니다. 이 많은 사람들이 모두 압록강과 두만강을 울면서 넘어갔던 것이지요.


Google Translation:

"Have you ever heard the name of a singer called Songdalup? It must be an unfamiliar name. However, the Song Dal-yup was a popular celebrity who had been quite popular for five years from 1936 to 1940. There are a total of 36 songs he recorded. There are 28 songs at Okarecord and 8 songs at Victor Red. Although the number of records released was small, Songdalup was a hugely popular singer mainly on theater show stages and performances.

Songdal Cove was born in Pyongyang in 1917. Nothing is known about his growth history. However, at the age of 19, he was placed second in the Gayo Competition hosted by Pyongyang, where he became a singer.

Song Dal-hyeop, an exclusive singer of Okare Records, released his first debut song, ``Yaru River Cheonri'' (composed by Young-ho Park) in March 1936. Afterwards, Song Dal-hyup will be a singer of Ocher Records, who will announce 'Will's Field in the Border,' 'Pure Moonlight', 'Notai Poet', 'Border Train' and 'Boardman'. After three songs in 1936, 11 songs in 1937, and 14 songs in 1938, Ocher Records moved to Victor Records in November 1938. 8 songs will be released during this period. The songs released by Victor are 'Golden Train of Love', 'Tumen River of Memories' and 'Rainy Exotic Port'.

In 1941, Songdalup left Victor and returned to his former home of Ocher Records, where he released two albums. Therefore, the debut songs of singer Song Dal-hyeop are 'Yaru River Cheonni' and 'Endless Perfume', and the last song is 'Manchu Shrine' released in 1942.

If you look at the works of Song Dal-hyup, you can see the names of Park Yeong-ho, Kim Neung-in, Shin Gang, Kim Jin-moon, Mok Il-sin, Kwang-am, Kim Yong-ho, Kim Da-in, Lee Bo-pung (Nodaji), and Kim Seong-jib. Park Young-ho's works are among the most common. The names of composers such as composer (Yang Sang-po), Park Si-chun, Moon Ho-wol, Lee Bong-ryong, Jeon Su-rin, Lee Gyeong-ju, Lee Myung-sang, Kim Yang-chon and Japanese composer Go Ha-jeongnam are also confirmed. Among the female singers who joined together as a mixed duet are Lee Nan-young, Jang Se-jung, Lee Eun-pa, and Kim Bok-hee. As a singer who participated in the mixed choir, Nam In-soo's name comes in clearly. The fact that they were blown with these singers tells us that the Songdalup was very popular and level at that time. He was tall and handsome in appearance, so Songdalup was especially popular with female fans who came to the theater stage.

The sound and sound of the Songdalhyeop shows voices that seem to combine the features of two people, Nam In-soo and Jin-bang Nam. The clear, thin, and high range of the window is easy to say that it is Nam-insu-style, and the calm and appealing sadness is true south-south. These features add to the song's sad and rounded taste.

So, if you look at the titles of the song that Song Song-hyeop sang, there are many things that contain the border sentiment of the Yalu and Tumen rivers. It is a work that reflects the sorrowful northern sentiments of the colonial era, such as the Yaru River Cheonni, the Willow Field of the Border, the Border Train, the Boatman of the Border, and the Tumen River of Memories. This is intimately related to the process of Joseon's fall into Japanese colonial colonies and the Korean history of Manchurian migration. It is also directly related to the process of immigration of migrant migrants in exile, and the policy immigration process by Japanese colonial rule. According to 1943 statistics, there were over 1.4 million Koreans. Many of these people passed by crying over the Yalu and Tumen rivers."


After the liberation, Kwang-Am left North Korea while serving as a left-winger, and served as a senior member of the Democratic People's Republic of Korea. The song was not banned because it changed the name of the composer and composer to another person (songwriter Koh, Lee Bong-ryong). After the establishment of the Sixth Republic, the North Korean artists were lifted to reveal the original lyrics and composers.

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