진방남 / 박창오 / Jin Bang-Nam (singer) / 반야월 / Ban, Ya-Wol (composer) /
유성기로 듣던 불멸의 명가수: 진방남, 고운봉, 송달협 편 /
immortal singers heard during the meteor period: Jin Bang Nam, Go Un Bong, Song Dal Hyeop
* 8 불효자는 웁니다 / Retirement cry (.. 8678)
9 마상일기 / Horse diary (.. 3012)
10 기타줄 하소 / Calculate guitar strings (.. 3016)
11 눈 오는 백무선 / Snow white line (.. 3016)
12 오동잎 맹세 / Paulownia oath (.. 5003)
13 금풍년 은풍년 / Golden wind silver wind year
The first track is a sparsely arranged and, in that way, effective song of just acoustic guitar picking and voice in the old Japanese-styled guitar and voice trot, with a small part for a clarinet improvisation. "Horse Diary" is a more up tempo and nicely arranged fast going horse-run of a song. The song after that is a more common styled trot song led by accordion, humpapa rhythm, slide guitar and such. "Snow White Line" is a second guitar trot track, a track with severe phonograph noise. Original in it is a whistling singer part. "Paulownia Oath" is a nice mainstream trot song with guitar/accordion with background arrangements. The last track is a bit more arranged with filmic arrangements. It has a background choir too, so I assume it truly came from a movie too.
Tracks with * I consider more essential listens and also very suitable for airplay on a western radio show.
유성기로 듣던 가요사 두번째 / The second generation singers from the meteor group (1945 ~ 1960)
CD9-5 무역선(貿易船) 사랑 / Trading ship love
CD9-6 산천(山川)은 변하여도 / Even though mountain streams change
The first track is a rather jumpy track (literals jumps a few time because of cracks too, with the cracks themselves filtered out). It is an accordion-led song with additional circus-like arrangements. It is fast and the happier sort of mainstream trot. Also the second song, also still normal mainstream trot, even with its somewhat slower rhythm has a certain vividness in the performance.
유성기로 듣던 가요사 The Meteor Singers I have heard (1925~1945) [Disc 7]
1 사막(沙漠)의 애상곡(哀想曲) / A song of the desert (1939)
* 16 그네줄 상처(傷處) / Swing line wound (1940)
17 불효자는 웁니다 / The Cry of Retirement (.. 8678) (1940)
18 하물선 사랑 / Cargo ship love (1940)
"A song of the desert" is one of these old songs (from which I know several ones coming from the thirties) with a similar attractive pushing rhythm, here a deliberate caravan-like and that way exotic rhythm and with a very positive vibe. "Swing Line Wound" (if translated well as a title) clearly is a Korean Folk song (voice and Korean stick rhythms) with additional arrangements (accordion, violin and small brass-based combo). "The Cry of Retirement" I already reviewed on the first compilation further up. It is a sparse acoustic guitar trot with voice song with a small clarinet part, as I have said before. "Cargo Ship Love" is a jazzy, swinging and happy song with a 30s jazz combo flavor. It makes use of "Hawaiian" slide guitar and accordion and double bass.
유성기로 듣던 가요사 The Meteor Singers I have heard (1925~1945) [Disc 9]
4 오동잎 맹서 / Paulownia oath (.. 5003) (1941)
5 고향만리 사랑만리 / Hometown Great Love Great Wall (1941)
"Paulownia Oath" is a trot song with minor combo jazz influences. The track appeared on another compilation I have reviewed before. Still, I noticed some new details and could give it a second thought of appreciation. The last trot track is also arranged a bit more without dominating anything. For its genre its performance and song it still convinces me well. It has also a small whistling part by the singer.
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BIOGRAPHIES:
이번 주부터 '이동순의 가요 이야기'를 연재합니다. 한국 대중가요의 역사와 인물이 이야기의 중심입니다. 이동순 영남대 국문과 교수는 동아일보 신춘문예를 통해 등단한 시인이며 문학 및 가요평론가입니다.
중국의 칭다오에는 한국인이 운영하는 기업이 무척 많습니다. 그래서 시내 곳곳에는 한글 간판도 흔하게 보이지요. 어느 해 초겨울, 칭다오의 한국 교민을 위문하는 공연에 다녀온 적이 있습니다. '경복궁'이란 식당의 넓은 홀이 공연장이었는데, 초저녁부터 많은 교민들이 몰려들었습니다.
그날 저는 고향과 어머니를 테마로 한 노래들만 주로 골라서 함께 듣고 부르는 자리를 마련했는데, 마침 '불효자는 웁니다'를 부를 때였습니다. 객석 뒤에 앉아있던 한 중년부인이 손수건으로 눈가를 연신 찍어대더니 기어이 흐느껴 우는 모습이 눈에 띄었습니다. 다른 사람들도 덩달아 눈시울이 불긋불긋해졌지요. 효(孝)라는 글자는 늙을 노(老)와 아들 자(子)가 합쳐진 것이라고 합니다. 자녀가 늙은 부모를 업고 있는 형상을 나타낸 글자로 부모나 조상을 잘 섬겨야 한다는 참뜻을 담고 있지요. 오늘은 그러한 효도의 참뜻을 머금고 있는 노래 한 곡을 여러분과 함께 들어보기로 하지요.
불러 봐도 울어 봐도 못 오실 어머님을/ 원통해 불러보고 땅을 치며 통곡해요/ 다시 못 올 어머니여 불초한 이 자식은/ 생전에 지은 죄를 엎드려 빕니다
손발이 터지도록 피땀을 흘리시며/ 못 믿을 이 자식의 금의환향 바라시고/ 고생하신 어머님이 드디어 이 세상을/ 눈물로 가셨나요 그리운 어머니
북망산 가시는 길 그리도 급하셔서/ 이국의 우는 자식 내 몰라라 가셨나요/ 그리워라 어머님을 끝끝내 못 뵈옵고/ 산소에 어푸러져 한없이 웁니다
세월이 아무리 흘러가도 결코 변하지 않는 것이 있으니 그것은 우리를 낳아주고 길러주신 어머니에 대한 그리움입니다. 그러한 그리움은 세월이 흘러가면 갈수록 더욱 애틋한 눈물겨움으로 우리 가슴에서 되살아납니다. 어머니께서는 '부모은중경'(父母恩重經)에 나오는 이야기처럼 언제나 우리를 무한정한 사랑으로 돌봐주셨고, 살아계실 때나 돌아가신 후에나 항상 우리 곁에 머물러 계십니다. 오늘 하루 우리가 무탈하게 잘 지낼 수 있었던 것도 어쩌면 어머니의 사랑이 우리를 살뜰하게 돌보아주셨기 때문일 것입니다.
노래 가사 속의 어머니는 성공을 위해 먼 곳으로 떠난 자식을 위해 노동과 기도를 마다하지 않으셨습니다. 하지만 그 아들이 고향집으로 돌아오기 전, 몸에 병이 들어 그토록 몽매간에도 그리던 아들을 끝내 보지 못하고 홀연히 세상을 떠나고 말았군요. 뒤늦게 돌아온 자식은 어머니 산소 앞에 엎드려 통곡을 하는 장면으로 이 노래의 영상이 마무리됩니다.
이 노래를 부른 가수 진방남(秦芳男)은 1917년 경남 마산에서 출생했습니다. 본명은 박창오(朴昌吾)이며, 작사가 반야월(半夜月)과 같은 사람입니다. 일제강점기 후반에 가수로 데뷔해서 활동하다가 광복 후에 작사가로 더욱 활발한 활동을 펼쳤지요.
그가 가수로서 발표한 대표곡으로는 '꽃마차''불효자는 웁니다''마상일기''그네줄 상처''잘 있거라 항구야''사막의 애상곡''눈 오는 백무선''키타줄 하소''오동닙 맹서''북지행 삼등실'등이 있습니다. 흔히 가요사의 평자들은 진방남의 창법을 '꽁꽁 다져진 듯 옹골차고 매력이 느껴지는 음성으로 빈틈이 없는 특이한 음색'이라 해설했는데, 특히 노래 가사의 의미를 잘 해석하고 새겨서 표현하는 가수로 이름이 높았습니다.
진방남이 불렀던 노래의 제목과 가사를 살펴보면 대개 유랑민의 서러운 심정, 가족이산, 성공에 대한 다짐, 향수와 탄식 등으로 넘실거립니다. 주로 식민지 시대 삶의 애환을 다룬 것이 대부분이지요. 식민지 시대의 모든 가수들의 생애가 그렇듯 진방남도 고난의 청년기를 보냈던 듯합니다. 철물점 직원, 고물상 잡부, 양복점 점원 등의 경력을 거쳤으니까요. 하지만 어려움 속에서도 언제나 노래를 불러서 그 고통을 삭이며 이겨가는 꿋꿋함과 낙천성을 지녔기 때문에 마침내 훌륭한 가수로 데뷔할 수 있었습니다.
영남대 국문과 교수
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"This week, we will be telling the story of Lee Dong-soon's singing. The history and characters of Korean pop songs are the center of the story. The writer of this story is Lee Dong-soon, professor of Korean literature at Yeungnam University, is a poet and literary and music critic who has made his debut through the Dong-A Ilbo New Chun Literature.
There are many Korean-run companies in Qingdao, China. That's why Hangeul signs are so common throughout the city of Qingdao. In the early winter of the year, I went to a performance of convicted Korean citizens of Qingdao. The spacious hall of the restaurant, Gyeongbokgung Palace, a performance hall, where many people gathered from the early evening on.
That day I picked up only the songs that featured the theme of my hometown and mother, and set up a place to listen and sing together. A middle-aged lady sitting in the back of the auditorium stretched his eyes with a handkerchief and I noticed the weeping gears. Others also became uncomfortable. The word filial piety is said to be a combination of old oars and son. It is a letter that shows a child carrying an old parent, which means that he or she must serve his parents or ancestors well. Today I'm going to listen to you with a song that contains the true meaning of that kind of filial piety.
I can't come to you. I cry but I can't come to you.
I call my mother and scream the ground. I can't come back.
Your sweat, your hands and feet / You can't believe this for its child's gold incense /
A troubled mother has finally gone to the world / with Tears
The road to Bukmansan is so urgent /
The crying child of foreign country has gone to me / I truly Miss you
No matter how many years have passed by, there is something that never changes, which is a longing for the mother who begotten and raised us. Such longings are revived in our hearts as we grow more and more sad over the years. My mother has always cared for us with infinite love, as the story in Parent Chongqing says, and always will stay with us both in life and after death. Perhaps it was because our mother's love took care of us today.
The mother in the song did not bother to labor and pray for her child who had gone far for success. But before his son returned to his hometown, he died of his illness and left the world unavoidably. The late child returns to the mother's room where she mourns, ending the song.
The singer Jin Bang Nam, who sang this song, was born in Masan, Gyeongnam, in 1917. His real name is Park Chang-oh and his lyricist is the same as Banyawol. After debuting as a singer in the late Japanese colonial period, he became more active as a lyricist after the liberation.
The representative songs he released as a singer was "Flower wagon"' and the filial piety '"A horse diary" "The swing of the rope"' "Nip sworn"` "northern trip third room'' and so on. Frequently, the commentators of Songosa commented that Jin Bang Nam's method is his unique tone with a tight and attractive voice that seems to be shredded.'
If you look at the title and lyrics of the song sung by Jin Bang Nam, you will usually be filled with nomadic feelings, family separation, commitment to success, nostalgia and lamentation. Most of them deal with the love of colonial life. As in the lives of all the singers of the colonial era, Jinbang Nam seems to have spent his youthful years working as a hardware store clerk, a junk shop clerk, and a tailor shop clerk. However, he was able to debut as a great singer because he always sang songs in the midst of difficulties to crush the pain."
Professor, Yeungnam University
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http://egloos.zum.com/tangchil/v/10027680
1993년 진방남(秦芳男)이라는 예명으로 조선일보와 태평레코드사가 주관한 '전국가요음악 콩쿠르대회'에서 우승하며 데뷔한 반야월은 1945년 광복 이후 작사가로 두드러진 활동을 펼쳤다. '울고 넘는 박달재' '단장의 미아리 고개' 등의 노래가 대표작이다.
가수로서 진방남, 작사가로서 반야월이라는 예명을 사용한 고인은 추미림(秋美林), 박남포(朴南浦), 남궁려(南宮麗), 금동선(琴桐線), 허구(許久), 고향초(高香草), 옥단춘(玉丹春), 백구몽(白鷗夢) 등 필명이 10여개에 이른다.
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Ban Ya-wol debuted at the National Music Competition, organized by Chosun Ilbo and Taepyeong Records, underwent the prominence as a lyricist since the liberation in 1945. Songs such as 'Park Dal-jae' and 'Miaari Gogak of Director' are representative works.
He was named Jinbangnam as a singer and Banyawol as a lyricist. Chumi-rim, Park Nampo, Namgung-ryu, Geumdong-seon, Fiction, and Hometown. He has used more than 10 different pen names too, such as Chocho, Okdanchun, and Baekguong.
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