© 2018 PSYCHEFOLK PRODUCTIONS  

contact

V.A.: 팝스코리아나 / Pops Koreana: ASCOM & the Eighth Army Years 1963~1972

January 16, 2020

 

I have not found a copy of this LP yet but the story is too great to miss.

 

‘미8군, 애스컴에서 발화되어 한국 대중음악의 여명기를 밝힌 노래들’
Various Artists 'Pops Koreana: ASCOM & the Eighth Army Years 1963~1972'
여러 아티스트 <팝스코리아나: 애스컴과 미8군 사운드의 주역들 1963~1972>

 

SIDE A
1. 신중현 SHIN JOONG-HYUN - 밀양 아리랑(연주곡)
민요, 편곡 신중현 (1963년)
2. 키보이스 KEY BOYS - 그녀 입술은 달콤해
작사 주리오, 작곡 김영광 (1964년)
3. 점블씨스터즈 JUMBLE SISTERS - 키타맨(Guitar Man)
개사 지명길, 작곡 Lee Hazlewood, 편곡 정민섭 (1966년)
4. 이씨스터즈 LEE SISTERS - 철 없는 기집애
작사 임희재, 작곡 정민섭 (1967년)
5. 최희준 CHOE HUI-JUN - 태양
작사, 작곡 이봉조 (1969년)
6. 배호 BAE HO - 그 이름
작사, 작곡 배상태 (1969년)
SIDE B
1. 윤복희 YOON BOK-HEE - Sunny
작사, 작곡 Bobby Hebb, 부분 개사 전우, 편곡 이봉조 (1967년)
2. 박인수 PARK IN-SOO - 의심 받는 사랑(Suspicion)
개사 지명길, 작곡 Mort Shuman, 편곡 최영훈 (1971년)
3. 아이들 IDOL - 배신당한 내 가슴(Purple Haze)
개사 김미성, 작곡 Jimi Hendrix, 편곡 최이철 (1971년)
4. 히식스 HE 6 - Dance To The Music
작사, 작곡 Sly Stone, 편곡 김홍탁 (1971년)
5. 데블스 DEVILS - 별들에게(You Don't Know Like I Know)
작사, 작곡 David Porter & Isaac Hayes, 편곡 데블스 (1972년)
6. 김대환과 김트리오 KIM DAE-HWAN & THE KIM TRIO - 꿈을 꾸리(연주곡)
작곡 김미성과 최이철, 편곡 김대환 (1972년)

 

Anyone with an interest in Korean pop music is surely aware of the crucial historical role that the 8th US Army played during the early years of pop music in Korea.

 

Ever since the 8th US Army command relocated from Japan to Yongsan, Seoul in 1955, the term ‘8th Army’ has become a common byword for the USFK in general. Show stages for entertaining US servicemen and civilian employees were expanded and became established into permanent installations. Initially, entertainers were flown in from the US to boost the morale of the servicemen. However, it soon became apparent that this would be grossly insufficient to cover all of the permanent stages. Eventually, the US military came to invite Korean musicians to play on the stages. It was not long before a huge number of Korean musicians were playing the ‘8th Army circuit’. Compared to the average wages in Korea at the time, these musicians were paid extremely well – this led to the creation of countless ‘entertainment agencies’ that supplied musicians to US bases.

 

As of the mid 1950s, the number of US Army clubs stood at 264, and the sums that the US military paid out to the Korean entertainers rivaled the entire annual export volume of Korea at the time.

 

Cha Young-soo, who led the band ‘Pioneer’ and an ASCOM club band, and who was also a club proprietor during the 1960s, recalled thus in an interview: “There were more downtown clubs where bands played in ASCOM City than in Yongsan. The ‘Seven’ club was particularly popular among US servicemen because they played country music.” ASCOM, which processed all US personnel arriving in Korean, was located at Samreung in Bupyeong and Shinchon.

 

Back in 1939, the Government-General of Japanese-occupied Joseon had established an armory for the Imperial Japanese army in an area that now covers Bupyeong 1-dong, Sangok 3-dong, and Sangok 4-dong. On April 1st, 1940, when Bupyeong-gu was annexed as a part of Incheon, the armory was also expanded. The Bupyeong Armory soon grew into a center of the armament industry, and the arms produced there were supplied to Japanese soldiers throughout the peninsula until the end of WWII.

 

When the US 24th (XXIV) Corps landed on the southern half of the peninsula as an occupying force in late 1945, they commandeered the Bupyeong arms center, garrisoned the 24th Army Service Command at the premises, and sectioned the area off into Camp Market, Camp Grant, Camp Tyler, Camp Harris, and Camp Hayes. The local residents came to refer to this place as ‘ASCOM City’, after the acronym of the US command.

 

In 1951, when UN troops regained control over the Incheon and Bupyeong areas from the joint communist forces of North Korea and China, the ASCOM complex resumed operations. The US Marines installed the ‘Incheon Force Replacement Depot’ and a support command in the ASCOM area. US servicemen would spend two to three months there before being sent to their posts in Dongducheon, Songtan, and Pyeongtaek. So it was only natural that a great number of clubs – in addition to various other industries catering to US soldiers – sprouted up in the areas surrounding Bupyeong’s Sangok-dong, where ASCOM was located.

 

Most of the early ‘8th Army’ scene musicians during the 1950s, such as the Kim Sisters, had played at ASCOM clubs, as did some 10 other bands starting with the ‘Tommies’ led by Kim Yoon-ok. With the advent of the 1960s, these musicians introduced western genres such as standard pop, swing jazz, and rock n’ roll to a domestic scene that had previously been dominated by ‘trot’ music.

 

ASCOM was also the venue for countless ‘8th Army’ stars including Choe Hui-jun, Han Myeong-sook, Patti Kim, Shin Joong-hyun, the Lee Sisters, and Jang Mi-hwa.

 

As mentioned by Cha Young-soo, ASCOM provided a space for Korean musicians to perform and earn their livelihoods in that the concentration of clubs there was even higher than in Yongsan. The musicians who played at ASCOM clubs lived in the vicinity, too. The book, <Music City Bupyeong>, which was released by the ‘Local Agenda 21 Bupyeong-gu’ committee of Incheon City in the December of 2013, also quotes an article stating that hundreds of musicians lived together in Bupyeong 2-dong at the time.

 

As the Vietnam War drew to a close, the US Army began arms reductions amid the détente in the cold war. Accordingly, when the 1st Army Corps and the 7th Infantry Division withdrew from the Korean peninsula, ASCOM also began to downsize. In 1972, when missile / air support operations were transferred to Camp Humphreys and heavy equipment support functions were transferred to Camp Carroll, ASCOM became less operational. Eventually, ASCOM was downgraded to a support unit for the 8th Army.

 

On Jan. 31st of the following year, ASCOM ceased operations and control over the premises was handed over to the ROK Ministry of National Defense on Jun. 30th. Although the facilities left behind by the US forces still retained the previous name (Camp Market), many of the clubs that had once catered to US personnel went out of business. As a result, many of the bands who earned their living by playing that those clubs were forced to relocate. For professional musicians, Bupyeong could no longer support their livelihoods.

 

However, the significance of the ASCOM scene remains in that it served as a bridgehead via which western pop music came to be introduced to Korea, in addition to the fact that the tireless efforts put in by musicians to pass the auditions held there directly contributed to improving the quality of Korean pop music in the 1970s.

 

The present compilation, <Pops Koreana: ASCOM & the Eighth Army Years 1963~1972> focuses on musicians and bands for whom ASCOM at Bupyeong marked the starting point of their careers in the 8th Army circuit. It mainly features musicians from Incheon, as well as musicians who were deemed to have ties to the US 8th Army stages in the Incheon area at the time.

 

The repertoire, which comprises cover tunes that would have been played at such venues, offers a glimpse at the evolution of Korean pop music, which transitioned from swing jazz / standard pop to small-ensemble combo bands, eventually morphing into early rock n’ roll.

 

*이 앨범은 부평 음악·융합도시 조성사업 ‘2019 ASCOM CITY PROJECT’의 일환으로 제작됩니다.
 

Beatball Music - September 2019
‘미8군, 애스컴에서 발화되어 한국 대중음악의 여명기를 밝힌 노래들’


Various Artists 'Pops Koreana: ASCOM & the Eighth Army Years 1963~1972'
여러 아티스트 <팝스코리아나: 애스컴과 미8군 사운드의 주역들 1963~1972>

SIDE A
1. 신중현 SHIN JOONG-HYUN - 밀양 아리랑(연주곡)
민요, 편곡 신중현 (1963년)
2. 키보이스 KEY BOYS - 그녀 입술은 달콤해
작사 주리오, 작곡 김영광 (1964년)
3. 점블씨스터즈 JUMBLE SISTERS - 키타맨(Guitar Man)
개사 지명길, 작곡 Lee Hazlewood, 편곡 정민섭 (1966년)
4. 이씨스터즈 LEE SISTERS - 철 없는 기집애
작사 임희재, 작곡 정민섭 (1967년)
5. 최희준 CHOE HUI-JUN - 태양
작사, 작곡 이봉조 (1969년)
6. 배호 BAE HO - 그 이름
작사, 작곡 배상태 (1969년)
SIDE B
1. 윤복희 YOON BOK-HEE - Sunny
작사, 작곡 Bobby Hebb, 부분 개사 전우, 편곡 이봉조 (1967년)
2. 박인수 PARK IN-SOO - 의심 받는 사랑(Suspicion)
개사 지명길, 작곡 Mort Shuman, 편곡 최영훈 (1971년)
3. 아이들 IDOL - 배신당한 내 가슴(Purple Haze)
개사 김미성, 작곡 Jimi Hendrix, 편곡 최이철 (1971년)
4. 히식스 HE 6 - Dance To The Music
작사, 작곡 Sly Stone, 편곡 김홍탁 (1971년)
5. 데블스 DEVILS - 별들에게(You Don't Know Like I Know)
작사, 작곡 David Porter & Isaac Hayes, 편곡 데블스 (1972년)
6. 김대환과 김트리오 KIM DAE-HWAN & THE KIM TRIO - 꿈을 꾸리(연주곡)
작곡 김미성과 최이철, 편곡 김대환 (1972년)


올 가을, 비트볼과 부평문화재단이 공동기획한 모음집 LP <Pops Koreana: ASCOM & Eighth Army Years 1963~1972>를 발표합니다. 앨범은 인천-부평 지역의 미군부대를 중심으로 활동하거나 동지역 출신을 교집합으로 하는 가수/그룹의 곡들로 구성돼 있습니다. 한국 팝/록의 여명기를 대표하는 음악인들의 숨겨진 명곡을 한 음반에서 즐겨보세요.


SIDE A 1. Shin Joong-Hyun Shin Joong-Hyun - Mill Arirang (piano song)
Min Yo, arrangement shin Jung-Hyun (1963)
2. Keyvoice key boys - her lips are sweet
Lyricist Jurio, composed Kim Young-Kwang (1964)
3. 점블씨스터즈 JUMBLE SISTERS - 키타맨(Guitar Man)
Gaesa Jimyeong-Gil, composed lee hazlewood, arrangement jung min-Seob (1966)
4. Issisters Lee sisters - a girl without iron
Lyricist Lim Hee-Jae, composed by jeong min-Seob (1967)
5. Choi Hee Jun Choe Hui-Jun - sun
Lyricist, composed lee bong-Jo (1969)
6. Baeho bae ho - that name
Written by, composed by bae (1969)
SIDE B 1. Yunboghui Yoon Bok-hee - sunny
Lyricist, composed bobby hebb, part of the part, arrangement lee bong-Jo (1967)
2. Park in-soo park in-soo - doubt love (suspicion)
Gaesa Jimyeong-Gil, composed mort shuman, arrangement choi younghoon (1971)
3. Kids idol - my heart in betrayed (Purple Haze)
Gaesa Kim mi sung, composed Jimi Hendrix, arrangement choi lee chul (1971)
4. 히식스 HE 6 - Dance To The Music
Lyricist, composed sly stone, arrangement Kim Hong-Tak (1971)
5. 데블스 DEVILS - 별들에게(You Don't Know Like I Know)
Written by David Porter & Isaac Hayes, Arrangement Devils (1972)
6. Kim dae-Hwan and Kim dae-Hwan & the Kim Trio - Dream (piano song)
Composed by Kim mi sung choi, arrangement kim dae hwan (1972)

 

This fall, bitball and bupyeong cultural foundation will announce lp <pops koreana: Ascom & eighth army years 1963 > The album is composed of the song of the singer / group, which is used by the us army in Incheon-Bupyeong region.

 

Enjoy the hidden song of musicians who represent the KOREAN POP / rock.Anyone with an interest in Korean pop music is surely aware of the crucial historical role that the 8th US Army played during the early years of pop music in Korea.

 

Ever since the 8th US Army command relocated from Japan to Yongsan, Seoul in 1955, the term ‘8th Army’ has become a common byword for the USFK in general. Show stages for entertaining US servicemen and civilian employees were expanded and became established into permanent installations. Initially, entertainers were flown in from the US to boost the morale of the servicemen. However, it soon became apparent that this would be grossly insufficient to cover all of the permanent stages. Eventually, the US military came to invite Korean musicians to play on the stages.

It was not long before a huge number of Korean musicians were playing the ‘8th Army circuit’. Compared to the average wages in Korea at the time, these musicians were paid extremely well - this led to the creation of countless ‘entertainment agencies’ that supplied musicians to US bases.

 

As of the mid 1950s, the number of US Army clubs stood at 264, and the sums that the US military paid out to the Korean entertainers rivaled the entire annual export volume of Korea at the time.Cha Young-soo, who led the band ‘Pioneer’ and an ASCOM club band, and who was also a club proprietor during the 1960s, recalled thus in an interview: “There were more downtown clubs where bands played in ASCOM City than in Yongsan. The ‘Seven’ club was particularly popular among US servicemen because they played country music.” ASCOM, which processed all US personnel arriving in Korean, was located at Samreung in Bupyeong and Shinchon. Back in 1939, the Government-General of Japanese-occupied Joseon had established an armory for the Imperial Japanese army in an area that now covers Bupyeong 1-dong, Sangok 3-dong, and Sangok 4-dong.

On April 1st, 1940, when Bupyeong-gu was annexed as a part of Incheon, the armory was also expanded. The Bupyeong Armory soon grew into a center of the armament industry, and the arms produced there were supplied to Japanese soldiers throughout the peninsula until the end of WWII.

 

When the US 24th (XXIV) Corps landed on the southern half of the peninsula as an occupying force in late 1945, they commandeered the Bupyeong arms center, garrisoned the 24th Army Service Command at the premises, and sectioned the area off into Camp Market, Camp Grant, Camp Tyler, Camp Harris, and Camp Hayes. The local residents came to refer to this place as ‘ASCOM City’, after the acronym of the US command.In 1951, when UN troops regained control over the Incheon and Bupyeong areas from the joint communist forces of North Korea and China, the ASCOM complex resumed operations. The US Marines installed the ‘Incheon Force Replacement Depot’ and a support command in the ASCOM area. US servicemen would spend two to three months there before being sent to their posts in Dongducheon, Songtan, and Pyeongtaek. So it was only natural that a great number of clubs – in addition to various other industries catering to US soldiers – sprouted up in the areas surrounding Bupyeong’s Sangok-dong, where ASCOM was located.

 

Most of the early ‘8th Army’ scene musicians during the 1950s, such as the Kim Sisters, had played at ASCOM clubs, as did some 10 other bands starting with the ‘Tommies’ led by Kim Yoon-ok. With the advent of the 1960s, these musicians introduced western genres such as standard pop, swing jazz, and rock n’ roll to a domestic scene that had previously been dominated by ‘trot’ music. ASCOM was also the venue for countless ‘8th Army’ stars including Choe Hui-jun, Han Myeong-sook, Patti Kim, Shin Joong-hyun, the Lee Sisters, and Jang Mi-hwa. As mentioned by Cha Young-soo, ASCOM provided a space for Korean musicians to perform and earn their livelihoods in that the concentration of clubs there was even higher than in Yongsan.

 

The musicians who played at ASCOM clubs lived in the vicinity, too. The book, <Music City Bupyeong>, which was released by the ‘Local Agenda 21 Bupyeong-gu’ committee of Incheon City in the December of 2013, also quotes an article stating that hundreds of musicians lived together in Bupyeong 2-dong at the time.

 

As the Vietnam War drew to a close, the US Army began arms reductions amid the détente in the cold war. Accordingly, when the 1st Army Corps and the 7th Infantry Division withdrew from the Korean peninsula, ASCOM also began to downsize. In 1972, when missile / air support operations were transferred to Camp Humphreys and heavy equipment support functions were transferred to Camp Carroll, ASCOM became less operational.

 

Eventually, ASCOM was downgraded to a support unit for the 8th Army. On Jan. 31st of the following year, ASCOM ceased operations and control over the premises was handed over to the ROK Ministry of National Defense on Jun. 30th. Although the facilities left behind by the US forces still retained the previous name (Camp Market), many of the clubs that had once catered to US personnel went out of business. As a result, many of the bands who earned their living by playing that those clubs were forced to relocate. For professional musicians, Bupyeong could no longer support their livelihoods. However, the significance of the ASCOM scene remains in that it served as a bridgehead via which western pop music came to be introduced to Korea, in addition to the fact that the tireless efforts put in by musicians to pass the auditions held there directly contributed to improving the quality of Korean pop music in the 1970s.

 

The present compilation, <Pops Koreana: ASCOM & the Eighth Army Years 1963~1972> focuses on musicians and bands for whom ASCOM at Bupyeong marked the starting point of their careers in the 8th Army circuit. It mainly features musicians from Incheon, as well as musicians who were deemed to have ties to the US 8th Army stages in the Incheon area at the time. The repertoire, which comprises cover tunes that would have been played at such venues, offers a glimpse at the evolution of Korean pop music, which transitioned from swing jazz / standard pop to small-ensemble combo bands, eventually morphing into early rock n’ roll.

* this album is made as part of the ' 2019 ASCOM CITY PROJECT ' in bupyeong music · Fusion City project ‘.

Please reload

January 26, 2020

January 26, 2020

January 19, 2020

January 19, 2020

January 19, 2020

January 19, 2020

Please reload

This site was designed with the
.com
website builder. Create your website today.
Start Now