The History of Korean Female Groups –> S.E.S Ep? Pt.1 (Rewrite)
In May (2024), I began delving into the History of Male and Female K-pop groups, and I made my first detailed post about Male K-pop groups. With the assistance of @anemoiawithatouchofobsession in some of my earlier posts (which I am very grateful for), I made the decision to revamp the entire "series," so to speak. I identified a few aspects in my previous posts that I wish to modify, as well as some additional information that I would like to incorporate.
*Note: Even though I’m rewriting the History of Korean Female Groups and starting the exploration of Korean Female Groups, it's still important to acknowledge potential inaccuracies in my posts. This is primarily due to the challenging task given the absence of a reliable database and the prevalence of misleading promotional assertions.
Delving into the early records of Korean Female Groups, numerous valuable albums have been overlooked or remain obscure to this day. Despite the uncharted and turbulent nature of the Female Group album history, I am committed to presenting a comprehensive overview spanning from the 1900s to the 2010s
I will try my best to incorporate Korean, Japanese, and Mandarin (In Bold) in all my posts if there are any translation errors.
There is a slight difference between a K-pop girl group and a Korean girl group. Girl groups who debuted after 1992 are classed as kpop groups/ soloist/ band. That's where the shift in the Korean music scene shifted, before 1992 (before Seotaiji & Boys) are classed as just Korean girls groups (they are equally as important to acts that debuted after 1992).
Time Skip/ Background
Before delving deeper, I would like to provide a brief overview of the developments in Korean music leading up to the significant time skip I am about to introduce, a request made by @pants-for-free123 / @reo-bunnies (thank you for your request & sorry it took so long to start posting about them). The narrative will focus on the evolution of Korean music spanning the 1900s to the present day. This era encompasses a rich tapestry of influences and transformations that have shaped the musical landscape of Korea.
The early years of Korea during the 20th Century, which was the time of Japanese Colonial Period and Early Western Influence from 1900 to 1945, marked a pivotal time in Korean music history. During this era, Japan's occupation facilitated the introduction of Western musical education among the Korean elite, encompassing choral singing, piano, string instruments, and European-style compositions. This period also saw the transformation of traditional Pansori into Changga, which became popular in choral and theatrical performances. As urbanization progressed, two distinct cultural tracks emerged: traditional music for the common populace and Western music for the educated elite. By the 1920s, Yuhaengga, or popular songs, gained widespread popularity, reflecting the changing musical tastes of the time.
Researching the history of various countries can reveal fascinating insights, particularly when examining the contributions of Western artists, travel writers, and explorers who lived through significant historical events. A compelling example is the documentation of life in Korea during the early 1900s by artists such as Elizabeth Keith, Lilian May Miller, and Paul Jacoulet. Their remarkable works capture the nuances of life under colonial rule and provide a unique perspective on the era. These individuals, along with many others, not only chronicled their experiences in Korea but also in other parts of Asia, enriching our understanding of the region's history. The accounts of Westerners who visited or resided in Asia during this period are invaluable for comprehending the complexities of that time, which is why I aim to gather and share information from these foreign perspectives.
Following the early 1940s, Korea experienced a significant shift with its liberation from Japanese rule in 1945, coinciding with the end of World War II. The peninsula was subsequently divided along the 38th parallel, with North Korea falling under Soviet influence and South Korea aligning with the United States. This division led to competing ideologies, as North Korea established a communist regime under Kim Il-sung (김일성), while South Korea developed a capitalist state initially led by Syngman Rhee (이승만). The Korean War erupted on June 25th, 1950, when North Korea invaded the South, supported by China and the Soviet Union, while the United Nations, led by the U.S., intervened on behalf of South Korea. The war resulted in a staggering human toll, with over three million Koreans losing their lives and significant destruction to infrastructure. An armistice was signed on July 27th, 1953, ending the conflict in a stalemate, yet no formal peace treaty was established, thereby entrenching the division of the peninsula.
Key Boys (키보이스), debuted in 1964 (Photo Source) -> I have already talked about them in more detail.
The post-Korean War Era, spanning from 1945 to the 1980s, was marked by significant political, economic, and musical transformations in South Korea. The political landscape shifted dramatically with the April 1960 Revolution, which led to the ousting of Syngman Rhee (이승만), followed by a military coup in 1961 that brought General Park Chung-hee (박정희) to power, initiating a period of developmental dictatorship. This era witnessed rapid economic modernization characterized by industrialization in sectors such as shipbuilding and electronics, culminating in the phenomenon known as the "Miracle on the Han River." Socially, urbanization altered family structures and gender roles, while advancements in education and technology accelerated societal change. The assassination of Park in 1979 set the stage for a gradual transition to democracy, ultimately leading to the June Democratic Uprising in 1987 and the establishment of a constitutional government.
The evolution of South Korean music during this period was influenced by various factors, including the presence of U.S. military forces, which introduced genres such as jazz, rock, blues, and pop. Traditional forms like trot music, characterized by catchy rhythms and emotional melodies, gained popularity alongside rock, which emerged in the 1950s. A notable figure in this musical landscape was Shin Jung-hyeon (신중현), often referred to as the Godfather of Korean Rock. Music also became a vehicle for social activism, particularly during the democratization movement of 1987, with folk songs serving as anthems for change. In contrast, North Korean music was institutionalized for propaganda purposes, focusing on patriotic themes and the glorification of leaders, while traditional forms were repurposed to convey ideological messages.
Between the 1950s and the 1990s, South Korea underwent significant transformations marked by reconstruction, industrialization, and military authoritarianism. Following the June Democratic Uprising in 1987, the nation transitioned to a democratic government, which was accompanied by a new constitution. This period was characterized by profound social and economic modernization, as well as cultural globalization, leading to rapid urbanization and shifts in gender roles. The expansion of education and literacy, along with increased international cultural exchange, played a crucial role in shaping a modern Korean identity, heavily influenced by Christian and Western ideals. These developments in the 1990s laid the groundwork for contemporary Korean society.
In contrast, North Korea experienced a different trajectory during the same period, marked by consolidation and isolation under Kim Il-sung's (김일성) leadership. The establishment of a centralized socialist state emphasized Juche ideology, which focused on political self-reliance and mass-oriented socialist development. This approach resulted in continued militarization and economic isolation, starkly contrasting with South Korea's open-market policies. While South Korea embraced modernization and global integration, North Korea's path led to a more insular and rigid political and economic environment.
The 20th Century in Korea was marked by a significant evolution, beginning with the collapse of dynastic rule, followed by foreign colonization, liberation, and eventual division. This tumultuous period led to the establishment of two distinct states: North Korea, which developed into a totalitarian communist regime, and South Korea, which emerged as a democratic and economically dynamic nation. South Korea's journey included phases of authoritarian military governance, rapid industrialization, and a transition to democracy. These historical events have profoundly influenced Korea's modern identity, shaped its international relations, and fostered a persistent desire for reunification, all while embedding the collective memories of colonial oppression, conflict, and resilience within the national psyche.
The 1990s marked a pivotal era in the evolution of Korean music, heralding the inception of K-pop. This decade was transformative for South Korea, characterized by swift democratization, significant economic advancement, and a growing engagement with global cultural trends. The country's GDP experienced substantial growth, leading to its accession to the OECD in 1996. The liberalization of media and broadcasting facilitated the influx of Western cultural influences, particularly American pop, hip-hop, R&B, and rock, which significantly impacted youth culture. This period also saw the emergence of the Korean Wave (Hallyu/ 한류), initially driven by the export of dramas and music throughout Asia, thereby enhancing Korea's soft power and international image.
Seo Taiji & Boys members (from left) Lee Juno, Seo Taiji, and Yang Hyun-seok (YG). (SeoTaiji Company) (Photo Source)
The emergence of modern K-pop, often referred to as the first generation, can be traced back to the groundbreaking group Seo Taiji and Boys (서태지와 아이들), active from 1992 to 1996. Their debut in 1992 marked a pivotal moment in Korean music, as they fused diverse genres such as rap, hip-hop, rock, and electronic music. This innovative approach introduced Korean rap and English lyrics, effectively bridging generational divides. Their socially conscious themes, addressing issues like educational pressure and societal norms in songs like "Come Back Home" and "Classroom Idea," resonated deeply with the youth. Additionally, their use of MIDI and synthesizer technology created new soundscapes, while their dynamic choreography and fashion choices significantly influenced youth culture. The success of Seo Taiji and Boys laid the groundwork for the first generation of K-pop, inspiring a wave of idol groups and transforming the music industry.
The first generation of K-pop, spanning from 1996 to 2004, saw the rise of idol groups that were shaped by the structured training systems established in the wake of Seo Taiji's influence. Prominent groups such as H.O.T., SechSkies, S.E.S., and Fin. K.L emerged during this period, benefiting from rigorous training programs that focused on singing, dancing, language skills, and public persona development. The music style of this era was characterized by dance-pop, R&B, techno, and early hip-hop influences, with an emphasis on catchy hooks and synchronized choreography. As South Korean music began to gain traction in Taiwan, Japan, and other Asian countries, the Hallyu wave expanded its regional reach, further solidifying the global impact of K-pop.
--------------------------------------------
Thank you for waiting @pants-for-free123 and i hoped you enjoyed Part1 of S.E.S's story. Part 2 will hopefully be out soon.
I have this hc about Tommy's father finally leaving, and Tommy being completely fucked up.
He's feeling it coming for a while (because this is not the first time). His father is a douche, and a psychologically abusive asshole and Tommy knows they're better off without him, all of them, but specially his mom (and God, Tommy loves her, loves her so much) but—
It's a hundred million times worse when it really, really happens.
So he withdraws into himself, doesn't show up at school, doesn't pick up his phone.
And Billy and Steve are worried as fuck. They only know what Tommy told them in a text, an almost unintelligible thing sent at four in the morning, right before Tommy went radio silent.
And they neither know what to do. Think that maybe Tommy needs space so they give him space. But it's been three days and Steve's climbing up the walls and Billy's no better so they go to his house and when Tommy's mom opens the door she looks devastated but she accepts their hugs, presses her lips thin when Steve tells her how sorry he is, offers them cookies because she's the sweetest thing.
"Tommy's in his room. Be patient with him. He really loves his father" and her voice trembles a little and Steve wants to find the fucker, beat his sorry ass till he promises he's never coming back again and, given the way Billy's looking at him, he wouldn't be doing it alone.
And Tommy doesn't answer when they knock at his door one, two, three times. Tells them to "Fuck off!" on the fourth.
"You know us better than to think we're going away" shouts Billy, voice hoarse and resonating on the whole hallway "So open the fucking door!"
There's a long pause. Steve feels his own heartbeat pounding in his ears. Finally, Tommy says:
"It's not fucking locked, you ass"
And his room is dark, only a trace of sun coming from the small crack on the thick curtains, but they can see Tommy lying on his bed thanks to the light that sweeps thought the door, heavy blankets pulled up his head. And Steve doesn't know what to do. Doesn't know at all. But Billy closes the door behind then, finds the low edge of the blankets and slides under it, so Steve follows him, crawls all the way up Tommy's bed till he's lying with his chest lined up with his back, Billy at his front, the three of them hidden together inside the calm warmth of the blankets, so close that they're almost touching, breathing softly.
None of them say anything for a while, and then,
"He's such a fucker. And we're so fucking stupid. I'm so fucking stupid"
"You're not—" starts Steve, but Tommy cuts hin off.
"Yeah. Yeah. I am. I should have kicked him out. I know him. And I didn't. And now it's happening all over again and I could have done something. But I wanted to believe him so yeah, I'm fucking stupid"
He's crying. Steve can't see him but he knows he's crying. There's too much pain, to much regret in his voice for him not to. He reaches out, slips an arm around his waist, buries his nose on the back of Tommy's neck and hopes for his touch to say everything he can't find the words to. And Billy comes closer too, wrapping the two of them, fingertips pressing on Steve's back. Says:
"If he comes back, you got us. We won't let you believe him again"
The air they're breathing feels heavy with raw, overwhelming emotion. Billy asks:
"Do you want us to stay?"
And Tommy's fingers curl around Steve's, he leans onto Billy.
"Yeah"
That's the first night they kiss. The three of them. Kisses that taste like promises you would die to keep. Like "We're here" like "We're not gonna left you" like "We're gonna stay with you, Tommy. Tommy, if you want us"
| kegboys | billy & tommy speak a bit of spanish. translations at the end |
.
"Do you have to eat your ice cream like that?"
Steve looks up at Billy with a frown, licks at his thumb, his middle finger. Takes another mouthful.
"Lai-wah?"
They're sitting on the sidewalk in the back of the Starcourt, entrenched in a patch of shade, Tommy in between the two of them, the soles of their snickers slowly cooking over the boiling pavement. It’s the third day in a row that Hawkins has reached the thirty-five degrees mark, and Tommy can tell Billy is growing restless, wearing his skin thin, like he's burning from the inside out with the heat of the season.
"Less like you're blowing it, more like you’re eating it" his voice sounds hoarse, dangling on some kind of edge.
It sounds hungry.
Steve keeps on looking at him like he doesn't understand, eyes round and big. Manages to catch some syrup right before it slides down the edge of the cone, but gets a bit of cream on his nose. Wipes it with his palm.
He looks devious and adorable and Tommy wants to lick him whole. He hopes it doesn't show when he says,
"I think he means a little less–uhm—dirty?"
Because when it comes to Steve and Billy, shockingly enough, Tommy is the one mediating.
And no, the heat is not helping.
"Dirty" Steve repeats, lips pursing, and takes all of his force of will not to stare at how red they look, how much they stand out of his skin, out of the electric-blue of that fucking uniform "Billy thinks I'm dirty" he crosses his legs at the ankles. His socks are pulled up. Tommy has never wanted to kiss this bad someone that wears his goddamn socks pulled up.
Steve thinks he looks ridiculous in that uniform. He doesn't know shit.
"For the lack of a better word" Billy smirks, canines bare. Looks at Tommy like he's thinking it too, that there isn't really a lack of words, there are plenty.
(Like filthy. Like obscene. Like hot as fuckin' fuck. Like I want you to do to me what you're doing to that fucking ice cream)
Steve rolls his eyes. The ice cream keeps on melting, dripping all over his knuckles. He sticks out his tongue and licks them clean, a long stripe all the way up to the tip, his mouth full of syrup and whipped cream and cookie bits and when Billy breathes out a ragged holy shit, he looks fucking pleased.
"Well, maybe Billy," he says, looking intently at Billy "shouldn't get all that squeamish. Considering the amount of disgusting shit he makes me witness on a regular basis"
It's not like he's not right. Usual circumstances, Billy is gross, he's nasty, but right now, and for some whimsical reason he's eating his ice cream with careful, deliberate precision, making it turn against his tongue, not missing a drop. And Tommy doesn't want to wonder how would it be to have all that meticulous intent aimed onto a different place but he does. He does. Even if it's not as if something like that could ever happen. Because Tommy knows about Billy and Billy knows about Tommy, but that only means they can torture each other about how much they lust and long and pine for Steve. That's all.
(They've only kissed once. Only to know what it feels like. Two days after getting so drunk together, so thoroughly high, that Billy ended up confessing the inconfessable "I would kiss him all day, Tommy, I swear. I would sit on his lap and do nothing fucking else. Just kiss him," two days after Tommy's ribcage pressed inwards, clutching at his heart "Sorry, Hargrove. But I saw him first", two days after Billy laughed at his face "Like that's gonna make any difference." They kissed because there's no one else, because when Billy asked, he did it straight into his ear, voice dripping down the hem of his shirt, sliding his sternum, and lower "If you want, I'll let you pretend I'm him". A single kiss that lasted for fifteen minutes straight and ended the moment Tommy began to feel his cock filling up in his jeans –the moment he began to realize that knowing that Billy Hargrove kisses as if he wants to drag you out of your own skin, that his mouth tastes sweet and warm, spicy with the aftertaste of nicotine, that it feels nothing like he imagines Steve’s would– is a little more risky than he had anticipated)
"I'd do that, but you're getting all filthy, King Steve" and the tone of his voice could pass for mean it wasn't because Tommy knows he always sounds meaner when he's horny (they've touched each other only once. No kisses. No closeness. Just hands. Cramped in the minuscule rectangle of Tommy's bed, because "What it is Tomas? Are you too scared try?" "I'm not scared" "Then pull your pants down" And Tommy shouldn't know he can't stop talking ––dirty, violent, like a fucking heart attack–– while he's coming but he knows, God he knows. "And we don't want those poor costumers getting the wrong impression about what was their lovely Scoops Sailor doing to stain that uniform, do we?"
Tommy sighs inwards. Takes a bite of his almost finished freeze pop. If it wasn't because the idea of his two best friends having a crush on him wouldn't occur to Steve in a million years they'd be totally screwed. It's not like they've been exactly subtle. Especially Billy.
"Mmhh. Guess who's not getting free ice cream next time?" says Steve, tone as bratty as it gets. Daring.
Billy bares his teeth.
"You're forgetting I have Robin, pretty boy"
"Oh. But you are forgetting whose side Robin is"
He’s smiling that angelic smile he always puts on whenever he is about to screw you. Opens up his mouth and sucks on the ice cream, lips pressed around the tip, lets out a groan of pure pleasure and swallows "It’s still too dirty for you like this, Hargrove?" he asks pointedly and Tommy shouldn't, really shouldn't be staring at him but––
(Tommy and Steve have never touched, never kissed, but Tommy knows that he snores softly when he falls asleep with his head buried in your neck and that you can tell how he feels by the way he’s saying your name. He knows how big he feels, how hot, when he gets hard against your thigh, even if it was just once and by pure accident, the two of them rubbing against each other while fighting for the remote, Steve red up to the roots of his hair, repeating "Sorry oh my god Tommy I'm so sorry" and Tommy feeling so thankful for the rough fabric of his jeans being tight enough to hide his own erection)
And there are a million other things that Tommy would like to know, a million times, but he can't.
He can’t)
"-mmy?"
"Uhm?"
"Can you help me clean this up?"
Steve manages to catch the drop of ice cream that's sliding down his neck, licks at the corner of his mouth, but he still has syrup just below his lower lip, on his cheek, and it's not the first time Tommy wets his thumb and wipes whatever he's gotten onto his face, there's been hundred before, but this time Steve looks at him with eyes blown into an impossible dark and Tommy is achingly aware that Billy is watching them too. His heart beats in his throat while he wipes Steve clean, ––his skin soft, sun-warmed–– while bringing his pad into his mouth to clean it up, tasting strawberry and vanilla. And it would also taste like caramel and cinnamon and that spicy aftertaste of the nicotine, if he turned right now and Billy let Tommy kiss him a second time.
(And Tommy will never know, but sometimes he wonders how the three of them would taste like together. Because sometimes Billy comes up from behind and leans all his weight against Steve's back, embraces him, when he's studying or eating at the cafeteria or sitting at the edge of the pool. Sometimes he sits beside him in the back of the car or at the movies, puts an arm around him and Steve lets him, always lets him. Allows Billy to insert himself point-blank into his personal space and Tommy should feel jealous, should feel weird, but what he feels is the blood rushing to the center of his body, pooling in there like an itch he shouldn't dare to even think about scratching)
Tommy hears the click of a lighter, catches the smell of the smoke. When Billy speaks, his voice doesn't reach Tommy's brain, it goes straight down to his cock.
"Cuidado, Tommy. Si lo sigues mirando así se va a dar cuenta de que es a él al que quieres comerte"
When Tommy turns to look at him, he merely raises an eyebrow, and it looks like he's trying not to grin but his teeth widen around the filter like he can’t stop them.
Because Tommy knows about Billy and Billy knows about Tommy, but this is all they do. Picking at each other. Playing games too close to the fire. And Tommy's skin feels burnt, aching, like this thing inside of him is about to peel it up, crawl outside of him.
"Vete a la mierda" he says, makes it a warning, but Billy blows the smoke to his face, blows a kiss after. Tommy pushes him "Gilipollas"
"Oh but of course" starts Steve as he gets up, brushing off any dust that might have got stuck to his pants, throwing the rests of his ice cream in the trash "You two are such a good example of fucking good manners, aren’t you?" He smacks Tommy on the head, steals Billy’s cigarette and takes a long, deep drag “Maybe instead of sitting here doing nothing for the rest of the fucking afternoon you two would grow a pair and talk about making a move about that thing you keep bickering about so secretly all around me” he says in one sitting, looking them alternatively in the eye, and Tommy only realizes that his mouth is hanging open when Steve leans in and places the cigarette between his lips “I'm starting to get a bit tired of waiting."
“But you don't spe–” Tommy starts, but Steve cuts him off before he can finish.
“Oh. No I don’t. But Robin does. I guess it's a good thing that you two were dumb enough not to take it into account" cocky, a little wicked “I'm out at eight”
The door closes behind him. Billy reaches out to retrieve his cigarette. Inhales so deep that in his lungs mustn’t be any room left for the oxygen.
"Fuck"
They hold each other's gaze.
Fuck.
He’s feeling the heat in a lot more places now than only those reached by the burning sun.
At eight.
*
Translations:
“Be careful, Tommy. If you keep looking at him like that he’s gonna realize its him what you wanna be eating”
The History of Korean Male Groups -> Pt. 8/? (Rewrite)
Following liberation, the Korean popular music landscape in the 1950s faced significant challenges due to the aftermath of war; however, it simultaneously emerged as a period ripe with potential and optimism. The influx of Western music genres, largely facilitated by the presence of the US military in Korea, led to a diversification of musical styles. Performers from the US 8th Army, who entertained troops on designated stages, found opportunities to showcase their talents beyond Korea, reaching audiences in Southeast Asia and the United States, in addition to Japan.
The 1960s are often regarded as the golden era of Korean popular music, characterized by a notable expansion beyond the traditional trot genre to include pop, jazz, rock, and folk music. This diversification not only enriched the musical landscape but also aligned with the national sentiment of rebuilding a war-torn country, infusing the scene with vibrant energy. During this time, male vocal groups, particularly four-member quartets emphasizing harmony, gained prominence, with the Bluebells leading the way. Other notable groups from this era included the Bongbong Quartet, Four Clovers, Mellotone Quartet, and Johnny Brothers, all of which contributed to the evolving musical narrative.
As I delve deeper into my research on Korean male groups, I find that more information is becoming accessible. I will be discussing several well-known male groups, organizing my posts into distinct sections to ensure they are concise and can be published more efficiently. In this instalment, I will focus on the pioneering group known as The Key Boys, while the subsequent part will cover either the Bluebells or other notable male vocal ensembles I have previously referenced, all of which were active during this period.
The Key Boys (키보이스)
The historical context of the group across both generations is somewhat limited. In my research, I discovered that there is significantly more information available regarding their albums and the songs contained within them than about the group itself. In contrast to other groups, I have previously discussed, which had more extensive details about their members and overall history, the Key Boys present a different scenario.
I will first provide a brief overview of the group and its members from both generations, followed by a discussion of their albums, as there is a greater abundance of information regarding these than about the group as a whole. It is important to note that the Key Boys may also be referred to as Key Voice when their Korean name '키보이스' is translated into English.
During the initial phases of industrialization and the Saemaul Movement, South Korea witnessed a vibrant enthusiasm for popular music, serving as a temporary reprieve from the challenges of everyday life. This era saw the rise of influential bands like Ad Hwa (애드훠) and the Elephant Brothers (코끼리 브라더스 ‘Kokkili Beuladeoseu’), which significantly contributed to the evolution of Korean rock music. Kim Hong-Tak (김홍탁) (1944~) emerged as one of the two prominent figures during the "Group Sound Era," alongside Shin Jung-Hyun (신중현) (1938~). As the guitarist and natural leader of the group, Kim Hong-Tak's contributions prompt a reconsideration of the question of "Who was the first?" The inquiry into 'the first' or 'the origin' yields varying answers depending on the perspective taken. For instance, from the standpoint of 'popularity,' the Key Boys led by Kim Hong-Tak precede the Add4 formed by Shin Jung-Hyun.
Group Career
It is important to recognize that ensembles such as the Key Boys, who were active from the 1950s to the 1970s, are categorized as group sound; however, I will refer to them simply as groups.
The year 1964 is a pivotal moment in the annals of Korean music, as it marks the emergence of the Key Boys, Korea's inaugural rock band. This five-member group (group sound) was active throughout the 1960s and 1970s, characterized by two distinct generations, with the first iteration performing from approximately 1963 to 1969. Some narratives suggest their roots trace back to 1959, when they participated in 'Package shows' under the name Lock & Key, entertaining the 8th US Army stationed in South Korea. The original Key Boys focused on covering popular Anglo-American music from the 1960s, particularly songs by the Beatles, while also incorporating original compositions from professional songwriters. The founding members included Cha Jung-rak (vocals), Cha Do-gyun (bass guitar), Yoon Hang-gi (drums), Kim Hong-tak (guitar), and Ok Seong-bin (keyboard), collectively referred to as the '1st Key Boys.' Their album, 'The Beatles of Korea, Key Boys' (1964), is considered a significant milestone in the development of Korean rock music, coinciding with the debut of Ad Hoop.
The Key Boys performed at various venues, such as 'Music Listen Rooms' and 'Live Music Salons,' as well as traditional locations like cinemas, where concerts were often held in a format known as 'Cinema Shows.' Their performances during this era contributed to their growing popularity among the Korean public, earning them the moniker 'The Beatles of Korea' due to their emulation of the iconic band's style and image. However, their early performances for the US Army remained largely obscure to the general Korean populace because of security restrictions at those venues. Among the original members, Cha Jung-rak and Cha Do-gyun later achieved success as solo artists, while Yoon Hang-gi and Kim Hong-tak formed their own groups, Key Brothers and He5/He6, respectively, continuing their careers as singers, performers, and producers.
In the mid-1960s, the phenomenon known as 'Beatlemania' catalyzed the rise of the Key Boys, who became a significant representation of the rock band archetype in Korea. They played a crucial role in shaping the early landscape of pop culture alongside contemporaries such as the Kkokkirri Brothers, the Fools, and the Kim Chies. The departure of the original members in May 1969 marked a transition to a new generation, introducing musicians like Jang Young, Park Myeong-su, and Jo Yeong-jo, collectively known as the '2nd Key Boys,' who sometimes expanded their lineup to include additional members.
Members of Key Boys in 1973. From left, Jo Young-jo, Kim Yong-ho, Jang Young, Oh Jeong-so, and Park Myeong-su. (Photo = Provided by critic Park Seong-seo)
The initial phase of the Key Boys, spanning from 1964 to 1965, coincided with the launch of the 'Weekly Magazine,' a significant milestone in popular culture. As original members like Cha Jung Rak and Cha Do Gyun ventured into solo careers, Yoon Hang Ki's service in the Korean Army's entertainment unit during the Vietnam War led to a complete turnover of the original group by the early 1970s. The new lineup, recognized as the second generation, gained recognition for their original songs, including "Memories of the Beach" and "Let's Go to the Beach," which contributed to their rising fame.
Their success was further solidified when they won both the 'Grand Prize' and 'Performance Prize' at the '1st Vocal Group Competition,' enhancing their popularity. Although their debut album was not released until 1971, their unique aesthetic, characterized by tall, wavy hair and leather boots, resonated with a youth eager for change. This distinctive style not only captured the spirit of the time but also played a role in shaping the future of K-pop, despite the eventual decline of their presence in the music industry.
The following information primarily highlights Kim Hong-tak's activities during his tenure with the Key Boys and his subsequent contributions to other "Group Sound Band" He5 that emerged during that period.
The formation of the He5 was not initiated by Kim Hong-tak. According to the recollections of its members, the group emerged in the winter of 1967, comprising five young individuals who were all affiliated with Wha-Yang Entertainment Inc. The members included Han Woong on rhythm guitar and vocals, who previously played with the Four Guys; Cho Yong Nam on lead guitar and vocals, formerly of Shin Jung Hyun and the Jokers; Yu Young Chun as a vocalist from the Silver Coins; and Han Kwang Soo on bass, who had been part of Kee Jin Sung's Orchestra. Collectively, they were recognized as elite musicians from the prominent bands of that era.
At that time, Kim Hong-tak was still performing with the Key Boys. Wha-Yang Entertainment Inc. was notable for its role in managing the distribution of musicians and entertainers for the U.S. Army's 8th Army, collaborating with other entities such as Universal, Dae-Young, and Dong IL.
Key Boys Fan Art
The He5 commenced their performances at the Seven Club in I-Tae-Won, a district in Seoul that has gained international recognition for its diverse markets, restaurants, and bars catering primarily to foreign visitors. Shortly thereafter, Han Kwang Soo's role as bassist became a pivotal challenge for the He5. Kim Hong-tak was brought on as the lead guitarist, while Cho Yong Nam transitioned to playing bass guitar. This addition not only enhanced the group's musical capabilities but also provided them with a platform to reach a broader Korean audience, marking the end of the Key Boys' era and the beginning of a new chapter for the He5.
1st Generation (1963/4-1969):
At the time of its establishment, the founding members included Cha Jung-rak (차중락) (vocals), Cha Do-gyun (차도균) (bass guitar), Yoon Hang-gi (윤항기) (drums), Kim Hong-tak (김홍탁) (guitar), and Ok Seong-bin (옥성빈) (keyboard), who together were referred to as the '1st Key Boys'.
Cha Jung-rak (차중락; 車重樂)
Photo Source - Singer Cha Joong-rak
Cha Jung-rak (March 2, 1942 – November 10, 1968) was a prominent South Korean vocalist who gained fame in the 1960s. He became a member of the rock band 'Key Boys,' often referred to as the 'Korean Beatles,' in 1964, following a recommendation from his cousin Cha Do-gyun. As the lead singer, he primarily performed for the US 8th Army, and in December 1966, he embarked on a solo career, earning the nickname 'Korean Elvis.' His rendition of "Love Gone with the Fallen Leaves," a cover of an Elvis Presley song, significantly boosted his popularity in 1966.
In remembrance of his contributions to music, a memorial stone was established by the Cha Jung-rak Memorial Society on February 10, 1969, featuring the poem "The Meaning of Fallen Leaves," penned by poet Cho Byeong-hwa and inscribed by Cha Jung-rak's elder brother, Cha Jung-gyeong. The same year saw the inception of the "Fallen Leaves Award," aimed at recognizing emerging talent in the music industry, with the inaugural recipients being Na Hoon-a and Lee Young-sook. Additionally, filmmaker Kim Ki-duk created a movie titled "Love Following the Fallen Leaves" as a tribute to Cha Jung-rak's legacy.
Cha Do-gyun (차도균; 車道均)
Photo Source – Singer Cha Do-gyun
Cha Do-gyun, born on June 17, 1940, is a prominent South Korean singer. Originally named Changjong (창종; 昌鐘) during his childhood, he adopted the name Cha Do-gyun in late 1953 following the Korean War armistice, a change formalized by the Seoul District Court. His family noted his exceptional talent for singing folk songs in his youth. In 1959, he participated in the radio talent show "Star Birth," where he faced elimination initially but secured an encouragement award on his second attempt, marking the start of his music career. He made his solo rock debut in 1961 at an underground live venue associated with the US 8th Army and later, in 1963, co-founded the five-member rock band "Key Boys," where he played the bass guitar alongside Yoon Hang-gi, Cha Jung-rak, Ok Seong-bin, and Kim Hong-tak.
Yoon Hang-gi (윤항기; 尹恒基)
Yoon Hang-gi, born on September 15, 1943, is a multifaceted South Korean artist known for his contributions as a rock singer, lyricist, composer, arranger, actor, Protestant pastor, and university professor. He began his career in 1959 with a performance at the US 8th Army A-One Show, under the direction of jazz guitarist and composer Kim Hee-gap. In August 1960, he joined the 110th Marine Corps, serving as a private in the military band. In 1964, he established the Key Boys, recognized as South Korea's first rock band, and released the solo album "Her Lips Are Sweet," which is noted as the first album by a domestic group sound. During the 1960s, when trot dominated the Korean pop music scene, Yoon Hang-gi introduced the unfamiliar group sound genre, later transitioning through the Key Brothers before launching his solo career in 1974.
Kim Hong-tak (김홍탁; 金弘德)
Photo Source – Kim Hong-tak
Kim Hong-tak, born on May 13, 1944, is a prominent South Korean guitarist and rock musician recognized for his contributions to the early Korean rock scene. After completing his education at Dongsan Middle and High School in Incheon, he established the band Key Boys in 1959, marking the beginning of his musical journey as a guitarist. His career took a significant turn in 1964 with the release of Key Boys' debut album. Following his departure from the band in 1967, he collaborated with Han Woong, Yoo Young-chun, and Kim Yong-ho to form the rock group Hip Five in 1968, which achieved success with tracks like "Grassland," "Dreaming Love," and a rendition of "Hey Jude" before disbanding in 1970. Subsequently, Yoo Young-chun gained fame with hits "Deungbul" and "Dalmuri," while Kim Hong-tak went on to create He6s alongside Cho Yong-nam and others, releasing the notable song "Love in the Grassland" from their debut album in 1970.
Ok Seong-bin (옥성빈; 成彬玉)
Photo Source – This image may depict him; however, since the date of his departure from the group is unclear, it is possible that this is a new member. I cannot ascertain this with certainty.
Ok Seong-bin was a keyboardist for the first generation of the Korean rock band Key Boys, which was active from 1963 to 1969. Unfortunately, there is a lack of available information regarding his personal life, his tenure with the Key Boys, or any subsequent musical endeavours after his departure from the band, the timing of which remains unclear. Additionally, I am unable to identify him in any photographs of the group, as many of these images suffer from poor quality.
2nd Generation (1969-1970s):
In 1969, the original members departed, leading to a new lineup cantered around Jang Young (장영) (bass guitar), Park Myeong-su (박명수) (guitar), and Jo Yeong-jo (조영조) (guitar). This group, known as the '2nd Key Boys,' occasionally expanded to include six or seven members.
Jang Young (장영; 張永)
The first-generation member Ok Seong-bin of the Key Boys, along with Jang Young, a bass guitarist from the second generation active between 1969 and 1970s, remains largely undocumented. While I found a potential link to Jang Young, I cannot confirm its accuracy. Regrettably, there is minimal information available about his personal life, his time with the Key Boys, or any musical projects he may have pursued after leaving the band, the exact timing of which is also uncertain. Furthermore, I am unable to recognize him in any group photographs, as many of these images are of low quality.
Park Myeong-su (박명수; 樸明洙)
Park Myung-su (박명수), born in Seoul in 1942, initiated his musical journey in the mid-1960s by forming the group "Babos" alongside Kim Sun and Lee Jin. His early performances included the "US 8th Army Show," aimed at uplifting US troops in Korea. Subsequently, he became part of the second generation of Key Boys with Ok Seong-bin, Jang Young, Jo Yeong-jo, and Oh Jeong-so, achieving notable success by winning the "Grand Prize" and "Performance Award" at the inaugural Vocal Group Competition in May 1969. The group enjoyed significant popularity during the 1970s, particularly with hits like "Let's Go to the Beach" and "Memories of the Beach" from their 1970 album. In the late 1970s, Park Myung-su relocated to the United States, although he remained connected to the Korean music scene, as noted by critic Park Sung-seo, who highlighted his influence on Korean youth culture during the 1960s and 1970s through his involvement with pioneering rock groups. Tragically, Park Myung-su passed away on October 5, 2023, in Las Vegas, USA, due to prostate cancer, as reported by music industry insiders. He had played rhythm guitar in various bands, including the Key Brothers, before his move to the United States.
Jo Yeong-jo (조영조; 趙英喬)
The contributions of first-generation member Ok Seong-bin and second-generation musicians Jang Young on bass guitar and Jo Yeong-jo on guitar from the Key Boys, active during the late 1960s to the 1970s, are largely unrecorded. Unfortunately, there is scant information regarding Jo Yeong-jo's personal life, his tenure with the Key Boys, or any subsequent musical endeavours he may have undertaken after departing from the band, the timeline of which remains ambiguous. Additionally, I find it challenging to identify him in group photographs, as many of these images suffer from poor quality.
Key Boys Discography 1964-1971:
The initial album by Add4 was regarded as the pioneering work of a Korean rock band; however, the situation became more complex following the revelation of the Key Boys' debut album, which was released five months prior. A distinguishing feature of Add4's album was its exclusive collection of original songs composed by Shin, a characteristic absent in the Key Boys' work. Despite this, the Key Boys enjoyed a prolific career marked by energetic tracks and catchy melodies. They are also recognized as the first group to cover a Beatles song, specifically "I Want To Hold Your Hand," on their debut album. Their discography can be perplexing for newcomers, as it is not readily available on platforms like Discogs or Wikipedia. Additionally, it is important to note that the line-up of the Key Boys was not consistent throughout their career, with various members contributing to different albums.
한국의 비틀즈 Key Boys! (The Beatles of Korea Key Boys!)
Although referred to as "The Korean Beatles," the music exhibits a sound reminiscent of the Beach Boys. The title track opens with a surf rock-inspired drum roll, leading into gentle, nearly falsetto vocals. This contrasts sharply with a Beatles-esque solo that begins with a scream. Overall, the album presents a diverse blend of genres, making it an intriguing listening experience.
The debut album of Key Boys, often dubbed the 'Beatles of Korea,' holds significant historical value as it represents the first album released by a Korean band. Launched in July 1964 under Shinsegi Records, this album predates the debut of Shin Jung-hyun's Edfu by five months. It highlights the exceptional talent of its members, who would later emerge as influential figures in the Korean pop music landscape. The album is catalogued as SL 10417 and is classified as a regular album.
The Beatles of Korea Key Boys!/ Her Lips Are Sweet Album Front
At the time of its release, Key Boys comprised five members: Cha Do-gyun on bass guitar, Kim Hong-tak on first guitar, Ok Seong-bin on second guitar, Yoon Hang-gi on drums, and Cha Jung-rak as the solo vocalist. While the album features a total of 13 tracks, it primarily consists of covers, including two songs by trot composer Kim Young-kwang and renditions of works by international artists, such as the Beatles. This collection underscores the band's early engagement with diverse musical influences.
Although Key Boys is recognized as the first band to release an album in Korea, it is important to note that the Elephant Brothers Combo Band, which served as a house band for the US 8th Army officers' club, predates them. However, the existence of their album remains unverified. Additionally, groups like Kimchis and Babos emerged around the same time but did not release albums. Notably, the history of Korean girl bands, such as the nine-member swing jazz group Blue Ribbon formed in 1962, suggests that female ensembles were active even before the male rock bands that are often highlighted in this narrative.
정든배는 떠난다 - 키보이스 / 쟈니리 (The boat that I love is leaving - Key Boys / Johnny Lee)
Discogs asserts that this album was released in 1966, while Maniadb indicates a release date of July 1964; however, I question the validity of these assertions. This album is a split release, a common practice for the Key Boys, featuring collaboration with 쟈니리. The track 웃기는 청춘 is featured in the film 워커힐에서 만납시다.
This album, a collaboration between the renowned band Key Boys and theatrical performer Johnny Lee, was released by Shinsegi Records in 1964. It achieved significant popularity, reflecting the shift in musical preferences among the youth of the 1960s towards Western pop and rock influences. The album is subtitled "A Heart That Cries Over Lonely Night Memories," and features a split format, with Side A dedicated to the Key Boys and Side B to Johnny Lee, catalogued under the album number Ga 12125.
The boat that loves is leaving/ Oh! What a mess, front cover of the album
Following their departure from the US 8th Army stage in 1964, the Key Boys began to perform on a temporary stage within a downtown music appreciation hall. By 1965, their popularity surged significantly. Lead vocalist Cha Joong-rak captivated young female audiences with his Elvis Presley impersonation, complemented by his distinctive long boots. Meanwhile, his cousin Cha Do-gyun innovatively played the bass on the cello, while Yoon Hang-gi garnered attention for his stammering and his choice to don black glasses reminiscent of the blind singer Ray Charles. This dynamic created a competitive atmosphere among the members, each vying for visibility and acclaim.
In March 1966, all members of the Key Boys featured in director Kim Ki-duk's youth melodrama "Hot Youth," which attracted an impressive audience of 100,000 viewers, alongside a dance hall performance. During this period, Johnny Lee, who had gained fame on the theatre stage, performed at the Academy Music Appreciation Room in Gwanghwamun, Seoul. He recorded the song "Wandering Whistle" for the fourth album of the "Constellation of Songs Series," a project initiated by Shinsegi Records, following a recommendation from lyricist Jimin Gil, with whom he had a prior relationship.
The title track of the Key Boys' album, "The Boat That Loves Is Leaving," was a re-recording of a song from their debut album released in 1964. This re-recording not only became a hit but also established itself as their signature song. Unlike the original version, the new recording showcased a notable evolution in musical style, incorporating an electronic organ performance that enhanced its appeal.
그밤과 같이 - 키보이스 (Like that night - Key Boys)
Various sources, including Maniadb, assert that the release date of this work is approximately 1966, although some references suggest it may have been released in 1965. The cover features Seo Jeong Gil from The Add4, who is reportedly the vocalist for the track titled 얄궂데이.
This album is a compilation that showcases performances by the 8th US Army alongside prominent singers and groups from theatrical productions in 1965/1966. A standout track is the cover of "Love Gone Following the Fallen Leaves," performed by Cha Joong-rak, the lead singer of the Key Boys, which has been cherished by the Korean audience as a timeless autumn classic for more than fifty years. The album was released in 1965/1966, produced by Shinsegi Records, and is categorized as a compilation with the album number Ga 12145.
Front of the album, like that night
Released in 1965/1966 by Shinsegi Records, "Like That Night" is a compilation album that showcases prominent artists and groups associated with the 8th US Army and theatre performances. Featured performers include Nam Seok-hoon, Cha Joong-rak, Johnny Lee, Seo Jeong-gil, Kim Sun, the Key Boys, and the girl group Jumble Sisters. The album's arrangements were crafted by composer Jeong Min-seop, with Rock & Key providing the musical performances.
The album consists entirely of covers of international pop songs, with standout tracks such as Nam Seok-hoon's "Like That Night" and Kim Sun's "My Prayer in Tears," both of which highlight exceptional vocal abilities that resonated with the youth of that era. The Key Boys employed an innovative simultaneous recording technique for the song "Love Gone with the Fallen Leaves," which captured the essence of the melancholic season and garnered significant acclaim. Following Cha Joong-rak's departure from Key Boys to pursue a solo career, he re-recorded the song, achieving remarkable success. After his passing, "Love Gone with the Fallen Leaves" gained renewed attention and was covered by numerous artists, solidifying its status as a quintessential autumn ballad still cherished in contemporary playlists.
화제의 총아 키·보이스 힛트앨범 – 키보이스 (Hot topic, Key Boys hit album - Key Boys
This unique solo album by Key Boys showcases their renditions of popular international pop songs, featuring five distinctive covers of Beatles tracks that underscore their self-proclaimed title as the 'Beatles of Korea' during the 1960s. Released in December 1966, the album includes these Beatles songs with loosely translated lyrics, highlighting the group's remarkable vocal abilities, particularly in the track "All My Loving." The album is subtitled 'A gold disc presented by the fascinating vocal team "Key Boys"!', produced by Oasis Records, and is classified as a regular album with the catalogue number OL 12504.
The 1966 album jacket of the 'Beatles of Korea' Key Boys. From the bottom, members Kim Hong-tak (guitar), Cha Do-gyun (bass), Ok Seong-bin (keyboard), Yoon Hang-gi (drums), and Cha Joong-rak (vocals). (Courtesy of Kim Hong-tak)
Locating Beatles covers on domestic pop albums is a challenging endeavour, particularly for those from the 1960s and 1970s. However, this album features five unique covers that exemplify why the Key Boys referred to themselves as the 'Beatles of Korea' and received recognition as such.
The Beatles' significant impact on the American music scene began with "I Want to Hold Your Hand" in 1964. The Key Boys offered their rendition titled "I Want to Hold Her Wrist" on their debut album that same year, also including it as the fourth track on this current release. Originally released in November 1963, the song achieved remarkable success, topping the UK charts and dominating the Billboard singles chart in the US for seven consecutive weeks.
"All My Loving," which the Beatles performed on the "Ed Sullivan Show" in 1964, quickly became a sensation, captivating the audience and signalling the band's impending success. The Key Boys reinterpreted this classic as "Hymn of Love" on their album. The original lyrics, which express affection towards a woman named "Jane Usher," reflect Paul McCartney's deep admiration for her, inspiring him to write numerous songs, including "And I Love Her," which was transformed into "Given My Love" on this album.
Kim Hong-tak, the principal guitarist of Key Boys, expressed his thoughts on the album during an interview, stating that it holds significant sentimental value. He noted that the lyrics crafted by Jeon Woo were both engaging and harmonized well with the pop genre. This album resonates with the band on a deeper level compared to their other pop releases, contributing to its memorable nature.
At that time, the original members of Key Boys each exhibited unique characteristics. Lead vocalist Cha Joong-rak earned the nickname 'Korean Elvis Presley' for his vocal style, particularly evident in their rendition of Presley's "Can't Help Falling In Love." Similarly, drummer Yoon Hang-ki was referred to as the "Korean Ray Charles," with their cover of "You Are My Love" being a tribute to Charles' "I Can't Stop Loving You." Additionally, their version of "Unchain My Heart" pays homage to Charles' "Take These Chains from My Heart," while "Unchained Melody" is recognized as the iconic theme from the film "Ghost," originally popularized by the Righteous Brothers.
Following the release of this album, the original Key Boys disbanded to embark on individual careers. This marks the first album from the group, which had previously released music under Shinsegi Records since their debut, yet it also represents the final full-length album from the first generation of Key Boys after their transition to Oasis Records. The pioneering first generation of Key Boys, instrumental in the emergence of Korean rock, concluded their journey with this album. This album features domestic renditions of early Beatles hits that were particularly cherished during the peak of pop music, and it is regarded as one of the rarest entries in the Key Boys discography, which is already noted for its scarcity.
Key Boys' Soul & Psychedelic Sound - Key Boys
Released in 1969 by Universal Records, this album marks the debut of the second generation of Key Boys, coinciding with their transition to the Apple Division under the leadership of DJ Lee Jong-hwan. It features a split format, showcasing the talents of the emerging female vocalist Im Hee-sook (임희숙), whose exceptional singing abilities contributed to the album's success. This collaboration not only elevated the profiles of both Key Boys and Im Hee-sook but also introduced a distinct psychedelic sound that diverged from the group's earlier works.
Love that has gone far away, that person / Key Boys King Records exclusive commemorative album front
The album, subtitled 'Lim Hee-sook Night Rose Why Are You Crying Kim Hee-gap Composition Collection,' includes the notable track ‘바닷가의 추억’, which is recognized as the group's first significant hit. The production of this album was marked by internal tensions, as the second generation of Key Boys faced disputes with the original members regarding the band's name. These conflicts culminated in the departure of Ok Seong-bin, the last remaining member of the first generation, in September 1969, leading to a complete turnover of the band's line-up.
The release of this album not only signifies a pivotal moment in the evolution of Key Boys but also highlights the complexities of group dynamics within the music industry. The collaboration with Im Hee-sook exemplifies the blending of talents that characterized this era, while the shift in musical style reflects broader trends in the genre. As the second generation of Key Boys established its identity, the album served as a crucial stepping stone in their artistic journey.
The first generation of Key Boys branded themselves as the "Beatles of Korea," primarily focusing on cover songs that resonated with younger audiences. In contrast, the second generation of Key Boys distinguished themselves by appealing to a broader demographic through a fusion of rock and trot music. Their legacy includes memorable tracks like "Let's Go to the Beach," which continue to be celebrated by the public.
The debut album of the second-generation Key Boys was launched to mark their exclusive partnership with the 'Apple Division,' overseen by the well-known DJ Lee Jong-hwan. This album, a collaborative effort with the talented female vocalist Im Hee-sook, achieved significant commercial success, elevating the profiles of both artists. Notably, all tracks, with the exception of the cover "The Sound is Blurry" from 'The Music Played,' were penned by composer Kim Hee-gap.
Key Boys - Merry Christmas
Key Boys' Merry Christmas album front
There is limited information available regarding this album. According to Maniadb, it was released in 1970; however, given its Christmas theme, a release date at the end of 1969 would be more appropriate. The album consists of covers of traditional Christmas songs, embodying the characteristics of a typical Christmas album. It is subtitled 'Key Boys X-MAS Special Collection,' while Naver indicates a release date of 1973. The production company associated with this album is Universal Sale Code Co., and it is classified as a regular album with the catalogue number Kinga-1006.
키보이스 특선 2집 - 키보이스 (Key Boys Special 2nd Album - Key Boys)
Initially, the title of this album appeared unclear; however, the original gatefold version was released five months prior to its reissue (Shown Below) in a single sleeve format, clarifying the title's significance. The album features a blend of both new and older tracks, with the latter presented as instrumental pieces.
This album features a double-sided gatefold jacket alongside a reissued single jacket. The track "Let's Go to the Beach" emerged as a significant hit, establishing itself as one of the most iconic summer songs in the annals of popular music. It can be asserted that the majority of the memorable hits associated with Key Boys are found within this album.
Key Boys Special 2nd Album Front
Released by Universal Records in 1970, this marks the second regular album of the second generation of Key Boys. The album, characterized by its seasonal appeal, garnered an enthusiastic reception upon its release. The five-member ensemble, which includes Jo Young-jo, Park Myung-soo, and Jang Young, quickly ascended to prominence as the leading figures in summer pop music. In contrast to the first generation, known for their individual talents, this group gained popularity through their cohesive performances and well-crafted harmonies, solidifying their place in the public's memory.
The initial attribution for the song "Let's Go to the Beach" was solely credited to Key Boys, which created ambiguity regarding the true authorship of the lyrics and composition. In the subsequent edition, the details concerning the lyrics and composition were removed, leaving only the name Key Boysassociated with the song. This lack of clarity ultimately led to a copyright dispute that emerged 33 years post-release.
According to the August 1, 2003 issue of Weekly Chosun, "Let's Go to the Beach" was a Korean rendition by novelist Lee Ho-cheol, performed during the 1st Asia Group Sound Festival at Seoul Citizens’ Hall, featuring the Japanese group Astrojet (ザ・アストロ・ゼット), led by Korean resident Lee Chul. The original composition, titled "Let's Go to the Beach (Hamabei-ko (海邊~行~))," was created in 1965, inspired by the scenery of Yokohama's beaches. The incident highlights the challenges faced by Japanese music in Korea, particularly following the ban on Japanese songs in 1969.
I was unable to locate any information regarding the Japanese group Astrojet (ザ・アストロ・ゼット). If anyone has knowledge of where I might find details about them, I would greatly appreciate it.
Vocal NO. 1 Key Boys Special 2nd Album (Re-release) - Key Boys
Vocal No.1 Key Boys Special 2nd Album Front
스트레오 앨범 Vol.3 – Key Boys (Key Boys Stereo Album Vol. 3 - Key Boys)
Key Boys Stereo Album Vol. 3 Album Front
There is limited information available regarding the album 'Key Boys Stereo Album Vol. 3', subtitled 'Oh, it's time for you to leave!'. Released on February 25, 1971, by Universal Sale Code Co., it is classified as a regular album with the catalogue number K-APPLE 27. A re-release occurred subsequently. The title may initially appear perplexing; however, it is logical to refer to it as volume 3, as it represents the third release by the new Key Boys, excluding the Christmas album. Despite the reissue, only one track can be found on YouTube.
I believe I have discovered the complete album of '스트레오 앨범 Vol.3' on YouTube while adding links and translations. Here is the link.
Key Boys Stereo Album Vol. 3 (Re-release) - Key Boys
The information regarding this album is limited, despite it appearing to be the concluding release from the Key Boys, who have returned to the Oasis record label. Interestingly, this compilation features previously released Key Boys tracks, including covers of Beatles songs from their 1966 album. The album titled "Goodbye / Let's Dance" by Ebonys/Key Boys, subtitled "Ebonys vs Key Boys Golden POP'S," was released on September 20, 1971, under the production of Oasis Records, categorized as a split album, and assigned the album number OL 982.
Songs the Key Boys covered:
It may come as a surprise that in the early days of Korean music following the Korean War, many local groups frequently covered songs from Western countries. As previously noted, the Japanese occupation had imposed strict censorship on Korean music, limiting its presence on domestic radio. However, during the Korean War, the influx of soldiers from nations such as the US, the UK, Australia, and others introduced Western music to the Korean audience. After the war, many of these soldiers remained in Korea, and the music they brought with them gained popularity among the local population.
From September 8, 1945, to August 15, 1948, the United States Army Military Government governed the southern part of the Korean Peninsula, establishing military camps, including the US 8th Army base. Notably, some members of the Key Boys began their musical careers performing on the stage at this base. This interaction between American soldiers and Korean musicians played a significant role in shaping the musical landscape of post-war Korea, fostering a unique blend of cultural influences that would resonate in the years to come.
The Key Boys have an extensive catalogue of songs they covered, with many tracks appearing on multiple albums due to their popularity. A prime example is their hit "Let's Go to the Beach," which has been reinterpreted by contemporary K-pop artists such as DJ DOC. Additionally, numerous Korean and international artists have covered each other's songs, exemplified by "China Nights," which has been performed by the Kim Sisters, Kyu Sakamoto, Rusty Richards, Yoshiko Yamaguchi, and various other global singers. Another notable cover is "Unchained Melody," which the Key Boys also included in their repertoire.
‘Wooly Bully’
Many may be unfamiliar with the song "Wooly Bully" and its background, although some might recognize the Key Boys. This track appears as the first song on Side B of their fourth album, titled "화제의 총아 키·보이스 힛트앨범" (Hot Topic, Key Boys Hit Album), which primarily features numerous covers of Beatles songs. However, "Wooly Bully" is not a Beatles original; it was performed by Sam the Sham and The Pharaohs, an American garage rock band that was active from 1961 to 1967.
"Wooly Bully" is a song originally recorded by the rock and roll band Sam the Sham and the Pharaohs in 1964. Written by the group's lead vocalist, Domingo "Sam" Samudio, the track adheres to a classic 12-bar blues format. It was first released as a single on the Memphis-based XL label (#906) in 1964, but gained broader exposure when MGM acquired the rights in 1965. The recording took place at Sam C. Phillips Recording Studio, situated at 639 Madison Avenue in Memphis, which was established after the original Sun Studio.
As the band's inaugural and most successful hit, "Wooly Bully" achieved global acclaim, selling three million copies and peaking at No. 2 on the American Hot 100 chart from June 5 to June 12, 1965. The song was edged out of the top position by The Beach Boys' "Help Me, Rhonda" and The Supremes' "Back in My Arms Again," while also reaching No. 31 on the Hot Rhythm & Blues Singles chart and No. 2 on the Canadian CHUM Charts. Notably, it became the first American record to sell a million copies during the British Invasion, blending British rock influences with traditional Mexican-American conjunto rhythms. The track remained on the Hot 100 for 18 weeks, the longest duration for any song that year, and was nominated for a Grammy Award, ultimately being recognized as Billboard's number-one song of the year despite not achieving the top weekly ranking. "Wooly Bully" is a reinterpretation of the 1962 song "Hully Gully Now" by Big Bo & The Arrows, with Samudio modifying the lyrics to substitute "Hully Gully" for "Wooly Bully," while retaining the refrain "watch it, watch it now" from the original.
Domingo Samudio, born on February 28, 1937, in Dallas, Texas, is more widely recognized by his stage name, Sam the Sham. This retired American rock and roll artist is notable for his distinctive camp robe and turban, as well as for transporting his equipment in a 1952 Packard hearse adorned with maroon velvet curtains. As the lead vocalist of the Pharaohs, he achieved several Top 40 hits during the mid-1960s, with "Wooly Bully" emerging as the number one song of 1965 according to Billboard magazine's year-end Hot 100, despite not reaching the top spot on the weekly charts. Another significant track in his career is "Li'l Red Riding Hood," which also garnered chart success.
Cover of the 1965 Italy single
In 1961, Sam established a musical group called the Pharaohs in Dallas, drawing inspiration from Yul Brynner's iconic portrayal of a pharaoh in the 1956 film The Ten Commandments. The original lineup included Carl Miedke, Russell Fowler, Omar "Big Man" Lopez, and Vincent Lopez, who was not related to Omar. The band recorded a single in 1962, but it failed to achieve commercial success, leading to their disbandment shortly thereafter.
By May 1963, Vincent Lopez was performing with Andy and the Nightriders in Louisiana when their organist departed, prompting Sam to join the group. The line-up consisted of Andy Anderson, David A. Martin, Vincent Lopez, and Sam, and they became the house band at The Congo Club near Leesville, Louisiana. It was during this time that Sam adopted the stage name Sam the Sham, a moniker stemming from a humorous remark about his vocal skills. In June 1963, the Nightriders relocated to Memphis, Tennessee, where they became the house band at The Diplomat. Later that summer, with the departure of Andy Anderson and Vincent Lopez back to Texas, Sam and bassist David A. Martin recruited drummer Jerry Patterson and guitarist Ray Stinnett, rebranding the group as Sam the Sham and the Pharaohs, and soon after, they welcomed saxophonist Butch Gibson into the fold.
Personally, I love the Keys Boys version more than the original.
For enthusiasts of classic Korean cinema, the 1966 film "Let's Meet at Walker Hill" (워커힐에서 만납시다) may be familiar. Within this film, specifically from 16:24 to 18:37, the Key Boys take the stage to perform the song "Wooly Bully," sharing the spotlight with a variety of other musical acts. Additional details about the movie can be found below.
‘I want to hold your hand’
Identifying Beatles covers on domestic pop albums is a challenging task, particularly for those from the 1960s and 1970s. However, this album features five unique Beatles covers that exemplify why the Key Boys referred to themselves as the 'Beatles of Korea' and received similar recognition.
The Beatles' journey to American prominence began with the release of "I Want to Hold Your Hand" in 1964. The Key Boys interpreted this iconic song as '그대 손목을 잡고싶어' (I Want to Hold your Hand) on their debut album in the same year, later reintroducing it as the fourth track on their fourth album, "화제의 총아 키·보이스 힛트앨범" (Hot Topic, Key Boys Hit Album). Originally released in November 1963, the song achieved significant success, topping the UK charts and maintaining its position at the top of the Billboard singles chart in the US for seven consecutive weeks.
The Beatles in 1964; clockwise from top left: John Lennon, Paul McCartney, Ringo Starr and George Harrison
The Beatles, an iconic English rock band, originated in Liverpool in 1960, featuring the core members John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are celebrated as the most influential group in Western popular music, playing a crucial role in shaping the counterculture of the 1960s and elevating popular music to an esteemed art form. Their musical roots lie in skiffle, beat, and 1950s rock 'n' roll, yet they innovatively blended these styles with classical music and traditional pop. The band's exploration of diverse genres, including folk, Indian music, psychedelia, and hard rock, marked them as pioneers in the industry, transforming recording techniques, song writing, and artistic expression while becoming emblematic figures of the era's youth movements.
Emerging from Lennon's earlier band, the Quarrymen, the Beatles honed their craft by performing in clubs across Liverpool and Hamburg, Germany, starting in 1960, with Stuart Sutcliffe initially on bass. The trio of Lennon, McCartney, and Harrison, who had been together since 1958, experienced a series of drummers before welcoming Starr in 1962. Under the guidance of manager Brian Epstein, they evolved into a professional ensemble, while producer George Martin played a pivotal role in enhancing their recordings. Their partnership with EMI led to their first hit, "Love Me Do," in late 1962, igniting a wave of popularity known as "Beatlemania." This phenomenon earned them the moniker "the Fab Four," and members of their team, including Epstein and Martin, were often informally referred to as the "fifth Beatle."
By early 1964, the Beatles had risen to international fame, achieving remarkable critical and commercial success. They played a pivotal role in revitalizing British culture and initiated the British Invasion of the American pop scene. Their film debut, A Hard Day's Night, was released in 1964, marking a significant milestone in their career. As they sought to enhance their studio work and faced the difficulties of touring, the band decided to cease live performances in 1966. This period allowed them to create more sophisticated albums, such as Rubber Soul (1965), Revolver (1966), and Sgt. Pepper's Lonely Hearts Club Band (1967). Their continued success with The Beatles (commonly referred to as "the White Album," 1968) and Abbey Road (1969) signaled the onset of the album era, sparked public fascination with psychedelic drugs and Eastern spirituality, and contributed to innovations in electronic music, album art, and music videos. In 1968, they established Apple Corps, a multimedia corporation that still manages projects related to their legacy. Following the band's dissolution in 1970, all primary members found success as solo artists, with some partial reunions occurring over the years. Tragically, Lennon was murdered in 1980, and Harrison succumbed to lung cancer in 2001, while McCartney and Starr continue to remain active in the music industry.
The Beatles hold the distinction of being the highest-selling music group in history, with global sales estimated at 600 million units. They achieved unparalleled success on the US Billboard charts, securing the highest number of number-one hits on the US Billboard Hot 100 (20) and the most number-one albums on the UK Albums Chart (15), along with the record for the most singles sold in the UK (21.9 million). The band garnered numerous awards, including eight Grammy Awards, four Brit Awards, an Academy Award for Best Original Song Score for the documentary film Let It Be, and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, their first year of eligibility, with each member receiving individual induction between 1994 and 2015. Additionally, Rolling Stone recognized them as the greatest artists in history in both 2004 and 2011, while Time magazine included them in its list of the 100 most significant people of the 20th century.
US picture sleeve
"I Want to Hold Your Hand" is a notable song by the English rock band the Beatles, crafted by the songwriting duo John Lennon and Paul McCartney. It was recorded on October 17, 1963, and subsequently released in the United Kingdom on November 29, 1963. This track marked a significant milestone as it was the first Beatles recording to utilize four-track recording technology.
Upon its release, "I Want to Hold Your Hand" garnered over one million advance orders in the UK, positioning it for immediate success on the British charts. However, it faced competition from the Beatles' earlier hit "She Loves You," which was experiencing a revival due to extensive media attention. After two weeks, "I Want to Hold Your Hand" ascended to the number one spot, where it remained for five weeks and spent a total of 21 weeks in the UK top 50. The song also achieved remarkable success in the United States, debuting on the Billboard Hot 100 on January 18, 1964, and eventually reaching the top position for seven weeks. It became the Beatles' best-selling single globally, with sales exceeding 12 million copies, and was recognized by Billboard in 2018 as the 48th greatest hit in the history of the Hot 100. In the UK, it ranked as the second-highest-selling single of the 1960s, following "She Loves You."
‘Unchained Melody’
"언체인드 멜러디” (Unchained Melody), the fourth track on Side B of the Key Boys' fourth album "화제의 총아 키·보이스 힛트앨범" (Hot Topic, Key Boys Hit Album) is a rendition of the renowned song originally performed by Robert Todd Duncan. According to the song's publishing administrator, "Unchained Melody" has been recorded over 1,500 times by more than 670 artists across various languages, including this Korean version by the Key Boys.
Todd Duncan, 1954
Robert Todd Duncan (February 12, 1903 – February 28, 1998) was a prominent American baritone opera singer and actor, recognized as one of the pioneering African-Americans to perform with a major opera company. He gained significant acclaim for his portrayal of Porgy in the inaugural production of Porgy and Bess in 1935, a role that would become synonymous with his career.
Duncan made his debut in 1934 with the Aeolian Opera, a black opera company, performing in Pietro Mascagni's Cavalleria rusticana at the Mecca Temple in New York. Selected by George Gershwin to be the first to embody the character of Porgy, Duncan performed the role over 1,800 times. In 1936, he led a protest against segregation during the Washington run of Porgy and Bess at the National Theatre, refusing to perform in a venue that restricted his seating based on race. His advocacy contributed to the theatre's eventual decision to host its first integrated performance. Additionally, Duncan originated the role of Stephen Kumalo in Kurt Weill's Lost in the Stars, which premiered on Broadway on October 30, 1949, and concluded its run on July 1, 1950, after 281 performances.
In 1938, Duncan made his London stage debut at the Theatre Royal, Drury Lane, as part of C.B. Cochran's musical production, The Sun Never Sets. This ensemble included prominent American artists such as Adelaide Hall, Leslie Banks, Edna Best, and Stewart Granger. The musical, adapted by Pat Wallace and Guy Bolton from various Edgar Wallace stories, featured original music by Cole Porter and costumes designed by Elizabeth Haffenden. Among the songs Duncan performed was "River God." Following the London run, he and Adelaide Hall toured Britain with the production. Simultaneously, Duncan worked as a voice instructor at Howard University in Washington, D.C., from 1930 to 1945, while also performing as a soloist with pianists William Duncan Allen and George Malloy. His distinguished career as a concert singer included over 2,000 performances in 56 countries and two film appearances, after which he retired from Howard to open a private voice studio, where he offered lessons and occasional recitals.
In 1945, Duncan reached a significant milestone by becoming the first African American to perform with a major opera company and the first black artist to sing in an opera with an all-white cast, portraying Tonio in Leoncavallo's Pagliacci with the New York City Opera. That same year, he played Escamillo, the bullfighter, in Bizet's Carmen and performed the song cycle Songs of Glory, composed by Dutch-American director Dirk Foch with texts by Joseph Auslander, the then Poet Laureate. In 1954, Duncan became the first artist to record "Unchained Melody," a song with music by Alex North and lyrics by Hy Zaret, for the soundtrack of the lesser-known prison film Unchained, in which he also had a minor role. Following Duncan's rendition, the song gained immense popularity, becoming one of the most recorded pieces of the 20th century.
In his last interview, Todd Duncan expressed his profound connection to spirituals, stating that they resonate deeply within him, making it challenging to articulate their significance. He conveyed that spirituals are integral to his identity, emphasizing that when he performs them, it is his essence that sings rather than merely his voice. This connection to the music is so profound that he finds it nearly impossible to express in words what lies at the core of his being.
Beyond his singing career, Duncan also contributed to the field of vocal education, mentoring several students, including the distinguished operatic bass Philip Booth, who enjoyed a prominent career at the Metropolitan Opera for twenty years.
"Unchained Melody," composed in 1955 by Alex North with lyrics by Hy Zaret, originated as a theme for the film Unchained. The song's title reflects its connection to the movie, and Todd Duncan provided the vocals for the film's soundtrack. Over the years, it has evolved into a classic, becoming one of the most frequently recorded songs of the 20th century, with the Righteous Brothers' rendition in 1965 being particularly notable. According to the song's publishing administrator, more than 1,500 versions have been recorded by over 670 artists across various languages.
In the year of its release, three different versions of "Unchained Melody" by Les Baxter, Al Hibbler, and Roy Hamilton reached the Billboard top 10 in the United States, while four versions simultaneously appeared in the UK top 20, a unique achievement for any song. The song's enduring popularity has allowed it to chart well into the 21st century, maintaining its status as the only song to achieve number one with four distinct recordings in the UK until "Do They Know It's Christmas?" joined it in 2014. Among the numerous interpretations, the Righteous Brothers' version, featuring Bobby Hatfield's solo, became the definitive jukebox classic, particularly after its resurgence in popularity due to its inclusion in the 1990 film Ghost. In 2004, it was ranked 27th in AFI's 100 Years...100 Songs list, highlighting its significance in American cinema.
‘Can’t help falling in love’
The sixth track on Side A of Key Boys' fourth album, titled "화제의 총아 키·보이스 힛트앨범" (Hot Topic, Key Boys Hit Album), showcases the unique personalities of the group's first-generation members. Lead vocalist Cha Joong-rak earned the nickname 'Korean Elvis Presley' due to his vocal style and charisma. The song '사랑하지 않을 수 없네' (Can't Help Falling In Love) serves as a cover of Elvis Presley's iconic hit, further emphasizing the influence of the legendary artist on the group's music.
Presley in a publicity photograph for the 1957 film Jailhouse Rock
Elvis Aaron Presley (January 8, 1935 – August 16, 1977), commonly referred to as Elvis, was an influential American singer and actor, often hailed as the "King of Rock and Roll." He is recognized as one of the most important cultural icons of the 20th century, with his dynamic performances and distinctive interpretations of music, alongside a provocative stage presence. This unique blend of influences emerged during a pivotal time in race relations, resulting in both immense popularity and initial backlash.
Born in Tupelo, Mississippi, Presley relocated to Memphis, Tennessee, at the age of 13, where his music career commenced in 1954 at Sun Records under the guidance of producer Sam Phillips, who aimed to introduce African-American musical styles to a broader audience. Accompanied by lead guitarist Scotty Moore and bassist Bill Black, Presley became a trailblazer of rockabilly, a lively fusion of country and rhythm and blues. The addition of drummer D. J. Fontana in 1955 solidified the classic quartet, and Colonel Tom Parker, who managed Presley throughout his career, facilitated RCA Victor's acquisition of his contract. Presley's debut single with RCA, "Heartbreak Hotel," released in January 1956, quickly ascended to number one in the US, and within a year, RCA Victor had sold ten million of his singles. His successful television appearances and chart-topping hits established him as a leading figure in the burgeoning rock and roll scene, although his style and promotion of African American music were perceived by some as a threat to the moral fabric of white American youth.
In November 1956, Elvis Presley made his cinematic debut in the film Love Me Tender. After being drafted into military service in 1958, he revitalized his music career two years later, producing some of his most commercially successful work. Although he performed few concerts, under the guidance of manager Colonel Parker, Presley dedicated much of the 1960s to acting in Hollywood films and creating soundtrack albums, many of which received negative critical reception. Notable films from this period include Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, he made a significant return to live performance with the NBC television special Elvis, which paved the way for a successful concert residency in Las Vegas and a series of lucrative tours. In 1973, he became the first solo artist to have a concert broadcast globally with Aloha from Hawaii. However, years of prescription drug abuse and poor dietary habits took a toll on his health, leading to his untimely death at the age of 42 in August 1977 at his Graceland estate.
Presley ranks among the best-selling music artists of all time, with estimated global record sales exceeding 500 million. His commercial success spans various genres, including pop, country, rock and roll, rockabilly, rhythm and blues, adult contemporary, and gospel. He garnered three Grammy Awards, received the Grammy Lifetime Achievement Award at the age of 36, and was inducted into numerous music halls of fame. Presley holds several records, such as the most RIAA-certified gold and platinum albums, the highest number of albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, he was posthumously awarded the Presidential Medal of Freedom.
One of original 1961 North American variants of the standard artwork.
"Can't Help Falling in Love" is a composition by Hugo Peretti, Luigi Creatore, and George David Weiss, published by Gladys Music, Inc. The melody draws inspiration from "Plaisir d'amour," a well-known French love song created in 1784 by Jean-Paul-Égide Martini. Originally, the song was penned from a woman's viewpoint, titled "Can't Help Falling in Love with Him," which accounts for the unique rhyme scheme where the first and third lines conclude with "in" and "sin," diverging from the expected rhymes with "you."
Elvis Presley recorded the song for his 1961 album Blue Hawaii, which served as the soundtrack for the film of the same name. Throughout the 1960s, various artists, including Perry Como, the Lennon Sisters, and Doris Day, also covered the song. The 1970s saw renditions by Marty Robbins, Bob Dylan, and Shirley Bassey, among others. In subsequent decades, European artists like the Swedish group A-Teens and British band UB40 contributed their interpretations, while contemporary artists, such as Kacey Musgraves, released new versions, including one in 2022 for an Elvis Presley biopic. Rolling Stone Magazine recognized the song as one of the greatest of all time, ranking it at #403 in 2012.
‘Let Go to the Beach’ & Plagiarized
The track "Let's Go to the Beach," which significantly increased the popularity of the Korean group Key Boys, was originally performed by the Japanese band The Astro Jets. Additionally, the song has been covered by two other groups, DJ DOC and No Brain.
The Astro Jets, an eight-member ensemble from Japan, debuted their original composition "Hamabe Eiko" (浜辺へ行こう, Let's Go to the Beach) in 1966, with both lyrics and music created by their leader, Lee Chul, also known as Abe Tetsu in Japan. Although inspired by Yokohama's Shonan Beach in 1965, the song did not initially resonate with audiences in Japan. It served as a cheer song for Kazuya Fukuura of the Chiba Lotte Marines but was ultimately replaced in 2010 when the cheering squad underwent a significant transformation. The song experienced a resurgence in popularity after being featured in a Starbucks Hyundai Card advertisement in 2020.
In 1968, The Astro Jets were invited to perform at the 'Asia Group Sound Festival' held at Seoul Citizens' Hall. At that time, a ban on singing in Japanese in Korea necessitated the involvement of Lee Geon, the older brother of the original singer and an expert in international relations, to translate the lyrics. He collaborated with novelist Lee Ho-cheol for this task. Following the successful translation, they were invited to join the Key Boys, a newly formed group that replaced all original members, including Yoon Hang-gi, although the song itself is not connected to him. The track "Let's Go to the Beach" was officially released in 1970 with the approval of Astro Jet, featuring vocals by Park Myeong-su, who also played the guitar.
Upon its initial release, the song's credits failed to recognize Lee Chul as either the lyricist or composer, attributing these roles solely to the 'Key Voice Music Group.' This situation shifted in 1976 when the album 'Key Voice Gold,' produced by Universal Records, credited the lyricist and composer as 'Key Voice.' However, in 1983, the credits were unexpectedly revised to 'Lyricist and composer by Kim Hee-gap,' and by 1996, the song was incorrectly attributed to Jang Young, a member of the subsequent generation. Following Jang Young's passing in 1998, his daughter, Jang Silvia, became the copyright holder.
Lee Chul, the original vocalist, became aware of these inaccuracies during the 1980s, but the lack of a Korea-Japan copyright agreement impeded any legal recourse. He eventually initiated a copyright confirmation lawsuit in 2003, leading to a Supreme Court ruling in 2007 that affirmed Lee Chul as the legitimate copyright owner of the song, declaring that Key Voice's version constituted plagiarism. Additionally, in 2007, the Supreme Court ruled that the second-generation Key Boys' song "Let's Go to the Beach" infringed on a track by the Japanese band The Astro Jets, highlighting unauthorized use without proper attribution to the original composer. The lyrics had been adapted into Korean by novelist Lee Ho-cheol without any modifications.
The Astro Jets
Information regarding the Japanese group (group sound) The Astro Jets is quite scarce. The only details I could locate pertain to their connection with the Key Boys and an incident of plagiarism that was subsequently addressed. However, after reaching out for more insights, I received valuable information about The Astro Jets from a Reddit user named 714c https://www.reddit.com/user/714c/, for which I am very grateful for.
Astro Jet emerged as a prominent live act during the GS era, affiliated with Watanabe Production, which also managed notable figures in early Japanese pop, including the Tigers. In 1969, they were invited to represent Japan at the East Asia GS Competition held at the Seoul Civic Hall. Due to the Korean prohibition on Japanese language and culture, they were required to perform a Korean rendition of their song, which subsequently caught the attention of the Key Boys, who sought permission to cover it. The original Japanese title of the song was 恋人たちの海辺 (Koibitotachi no Hamabe, Lovers' Beach).
A modern recording of the Japanese version, performed by original band member Yuji Oguchi, can be found on a GS revival compilation album released in 2018, which is also available on Amazon. Although Astro Jet was poised to make their record debut under Teichiku while still active, they disbanded before this could materialize. A source indicated that they were ranked as the "65th most popular group sounds band" in Japan based solely on their live performances, highlighting the competitive landscape of the era, akin to today's idol and K-pop scenes. Consequently, the recording by Oguchi remains the sole version of the song captured by an original performer.
5 Mysteries surrounding Early Korean Rock
Jhonnyboi4's video explores five enigmas related to the origins of early Korean rock music, with one mystery focusing on the debut album of Key Boy. In addition, he references various other Korean bands and their albums throughout the presentation. Furthermore, he has produced a brief documentary that delves into aspects of Korean music beyond the realm of K-pop. The insights provided in his video prompted a re-evaluation of the chronological context surrounding the Key Boys' albums, as detailed above.
The prevailing belief for many years was that the Add 4's album, released in December 1964, marked the inception of Korean rock music. However, the discovery of the Key Boys' first album revealed that it had actually been released five months earlier, establishing it as the true first Korean rock album. This record showcased the band performing various rock and pop covers of the era. A notable aspect of this narrative is found in the book "Korean Pop Archaeology 1960," where drummer Yoon Hang-gi reflects on the band's history. During an interview, he mentioned a different album titled "The Old Ship Departs," recorded at Oasis Record Studio, which he recalls as their initial release.
The existence of an album with that title complicates the timeline, as it is known to be a split album featuring both Johnny Lee and the Key Boys, suggesting it may have been their second release. When questioned about this supposed second album, Yoon Hang-gi expressed uncertainty, implying that there were distinct albums for Johnny Lee and the Key Boys due to their popularity at the time. This leads to a convoluted understanding of their discography, with the first album being misidentified as the second, and the second album being described as edited, further blurring the lines of their musical legacy.
A notable inconsistency arises regarding the record labels mentioned by Yoon Hang Gi, who asserts that the first album was recorded at Oasis Record Studio, suggesting it was also released by Oasis Records. However, the reality is that "The Old Ship Departs" album was released by Shinsegi Records, the same label as their debut album. The band did not release any records under Oasis until 1966, two years later. This discrepancy may be attributed to the passage of time, as the events in question occurred 40 years prior to the interview, which can lead to memory distortions.
Additionally, "The Old Ship Departs" was included on their first album, reflecting a common practice of the era where bands would re-record popular songs for future releases. In fact, the Key Boys featured this song on their albums no fewer than four times. While there are ongoing discussions regarding the chronological order of the albums, the lack of definitive evidence renders the debate largely speculative.
Media
In 1966, the Key Boys featured in the Korean film "Let's Meet at Walkerhill," (워커힐에서 만납시다) directed by Han Hyeong-Mo. The narrative centers on a father who, having lost his daughter during the Korean War (1950-1953), encounters Sam-ryong on a train heading to Seoul. Unfamiliar with the city, the father seeks guidance from Sam-ryong, and together they embark on a quest to locate his daughter. Their journey culminates in an emotional reunion at the Walkerhill hotel, where he discovers his daughter performing as a popular singer.
From 16:24 minutes to 18:37 the Key Boys appear. I have talked about the movie here.
A scene from the movie where the Key Boys appear.
The Key Boys (they are sang the ‘Wooly Bully’ originally by Sam The Sham & Pharaohs) shared the stage with various musical acts, including Queen Bee (they are similar to the Key Boys and sung ‘Come see about me’ originally by The Supremes), Nam Jeong-im (남정임) (She sung the song ‘Dark Farewell Letters’), Lee Kuen-hee (이근희) (Sung the song ‘Whole Lotta Shakin’ Goin’ on’ originally by Jerry Lee Lewis), Lee Han-pi (이한피; 李恨皮) (Aka Wicki Lee, he sung the song ‘South of the Border Down Mexico Way’ originally by Jimmy Kennedy & Michael Carr), The Johnny Brothers, Arirang Sisters, Lee Mi-ja (이미자), and several others. Notable performances also featured Hyeon Mi with the Park Chun-suk Orchestra, along with multiple appearances by Nam Jeong-im, Han Meong-sook (한명숙 노란셔츠의 사나이), Kim Sang-guk, and Yu Juyong (유주용) (‘Ramblin Rose’ originally by Nat King Cole), showcasing a vibrant array of talent in the film's musical segments.
Other Media
YouTuber MOVA, known as Mang's Old Vinyl Archive, discusses vintage Korean albums and artists, including DOL, Tempest, Key Brothers, Add 4, and He5. He has produced four videos specifically focused on the Key Boys, delving into their albums and historical context. Although the videos are primarily in Korean, English subtitles are provided for those who wish to engage with the content.
