서태지와 아이들 1집

서태지와 아이들 1집

○ 발매 1992년 3월23일
○ 장르 댄스,힙합
○ 타이틀 난 알아요
○ 한국 대중음악 명반 22위
♤ 2집 앨범 듣기

기존 대중음악 문법을 뒤집은 K-Pop의 시초
MBC가 봄개편에서 신설한 <특종! TV연예> 1회 방송에서 실질적 TV데뷔무대를 갖게 된다. 신인소개 코너에서 심사위원단한테서 혹평을 들었지만, 정작 방송을 보고 있던 10대 청소년들에게는 엄청난 문화충격이었다.

1. Yo! Taiji!

Yo! Taiji!

2. 난 알아요

난 알아요

□ 가사
#작사ㆍ작곡 서태지
난 알아요 이 밤이 흐르고 흐르면
누군가가 나를 떠나 버려야 한다는
그 사실을 그 이유를
이제는 나도 알 수가 알 수가 있어요
사랑을 한다는 말을 못 했어
어쨌거나 지금은 너무 늦어 버렸어
그때 나는 무얼 하고 있었나
그 미소는 너무 아름다웠어

난 정말 그대 그대만을 좋아했어
나에게 이런 슬픔 안겨 주는 그대여
제발 이별만은 말하지 말아요
나에겐 오직 그대만이 전부였잖아

오 그대여 가지 마세요
나를 정말 떠나가나요
오 그대여 가지 마세요
나는 지금 울잖아요

(Please Stop)

난 알아요 이 밤이 흐르면 Yo
그대 떠나는 모습을 뒤로하고
마지막 키스에 슬픈 마음
정말 떠나는가

사랑을 하고 싶어 너의 모든 향기
내 몸속에 젖어 있는 너의 많은 숨결
그 미소 그 눈물 그 알 수 없는 마음에 마음
그리곤 또 마음에 마음
그 어렵다는 편지는 쓰지 않아도 돼
너의 진실한 모습을 바라보고 있어요
아직도 마음속엔 내가 있나요
나는 그대의 영원한

난 정말 그대 그대만을 좋아했어
나에게 이런 슬픔 안겨 주는 그대여

오 그대여 가지 마세요
나를 정말 떠나가나요
오 그대여 가지 마세요
나는 지금 울잖아요

오 그대여 가지 마세요
나를 정말 떠나가나요
오 그대여 가지 마세요
나는 지금 울잖아요

3. 환상 속의 그대

환상 속의 그대

□ 가사
#작사ㆍ작곡 서태지
결코 시간이 멈추어질 순 없다 Yo
무엇을 망설이나 되는 것은 단지 하나뿐인데
바로 지금이 그대에게 유일한 순간이며
바로 여기가 단지 그대에게 유일한 장소이다

환상 속엔 그대가 있다
모든 것이 이제 다 무너지고 있어도
환상 속엔 아직 그대가 있다
지금 자신의 모습은 진짜가 아니라고 말한다

단지 그것뿐인가 그대가 바라는 그것은
아무도 그대에겐 관심을 두지 않는다
하나 둘 셋 Let's go 그대는 새로워야 한다
아름다운 모습으로 바꾸고 새롭게 도전하자

그대의 환상 그대는 마음만 대단하다
그 마음은 위험하다 자신은 오직
꼭 잘 될 거라고 큰소리로 말을 하고 있다
하지만 지금 그대가 살고 있는 모습은 무엇일까

환상 속엔 그대가 있다
모든 것이 이제 다 무너지고 있어도
환상 속엔 아직 그대가 있다
지금 자신의 내 모습은 진짜가 아니라고 말한다

세상은 Yo 빨리 돌아가고 있다
시간은 그대를 위해 멈추어 기다리지 않는다
사람들은 그대의 머리 위로 뛰어다니고
그대는 방 한구석에 앉아 쉽게 인생을 얘기하려 한다

Farewell to my love
환상 속엔 그대가 있다
모든 것이 이제 다 무너지고 있어도
환상 속엔 아직 그대가 있다
지금 자신의 내 모습은 진짜가 아니라고 말한다


4. 너와 함께한 시간 속에서

5. 이 밤이 깊어가지만

이 밤이 깊어가지만

□ 가사
#작사 양현석
#작곡 서태지
옛 생각에 까페 문을 열고 지난 추억을 기억하려 했지
부드러운 음악소리마저 내 마음을 아프게 해

비마저 내린 그날을 생각하네
내 욕심과 자만의 슬픈 너의 표정

텅 빈 까페에 홀로 기대어 나도 모르는 눈물을 흘리네
난 두 눈을 꼭 감곤 있지만 너의 모습이 있을 뿐

이 밤이 깊어가지만 지금 전화를 걸어 너를 볼 수 있을까 두려워

넌 지금도 울고 있을 거야 이슬비처럼 여린 너의 마음
그대 제발 슬퍼하지 말아요 너의 마음을 알아요

비마저 내린 그날을 생각하네
내 욕심과 자만의 슬픈 너의 표정

허전한 마음을 감추며 비 내리는 이 밤을 걸어가네
내가 본 창백한 그 얼굴 그것이 마지막일까

이 밤이 깊어가지만 지금 전화를 걸어 너를 볼 수 있을까
다시 만나고 싶어
이 밤이 깊어가지만 지금 전화를 걸어 너를 볼 수 있을까 두려워

6. 내 모든 것 (Live Mix)

내 모든 것

□ 가사
#작사ㆍ작곡 서태지
그렇게도 힘들었던
수많은 사연들을 이제 사랑으로
그대 앞에 나의 모습 보이리라

나의 진실을 말해주고파
하지만 나는
네 흐르는 눈물을
차마 볼 순 없어

내 모든 걸 당신께 말해주고 싶어
작은 마음 드리리라
나는 항상 그대의 마음 곁에 있어
소중한 건 너이기에

난 Yo 언제나 너에게 말은 하지 못하고
그대 눈빛이 마주칠 땐
고개 돌리며 다른 얘길 하네
내 Yo 마음을 주고 싶어도 줄 수 없는
나의 이 아픈 가슴을 너는 아는지
나의 진실을 이해하는지
기타

소리 없이 울다 지친
슬픈 내 모습을 그저 바라보는
그대 앞에 나의 모습 보이리라

애써 미소를 내게 보이는
슬픈 너의 눈빛을 이제는 다시
바라볼 순 없어

내 모든 걸 당신께 말해주고 싶어
작은 마음 드리리라
나는 항상 그대의 마음 곁에 있어
소중한 건 너이기에

내 모든 걸 당신께 말해주고 싶어
작은 마음 드리리라


7. 이제는
8. Blind Love (English ver.)
9. Rock'n Roll Dance ('92 Heavy Mix)
10. Missing

1집 앨범커버

■ About The Album

It is an album that is the direct beginning of the current K-pop world.

Since the great success of Seo Tai-ji and Children's 1st album, it is said that the Korean music industry has changed from one to the last. First of all, the genre of the music industry changed from the two-way composition of trot and ballad to dance music, and the consumers of the music industry changed from those in their 20s and older, especially those in their 40s and older, to teenagers. In addition, the stage costumes were many suits except for the costumes worn due to the concept, but Seo Tae-ji and the children led to considerable changes, such as casual fashion, carrying school bags, and wearing a lot of cap hats. And suspension of activities and comebacks have become common since then.

Shin Seung-hoon seemed to be in power for a long time as he enjoyed his heyday without Sophomore jinx from the first to the second albums, but with the emergence of Seo Tai-ji and the children, the popularity of the album came a challenge. Still, Shin Seung-hoon won the grand prize at the 1992 KBS Song Awards. However, at MBC's Top 10 Singers Song Festival, Seo Tae-ji and her children, who released their first album, won the grand prize.

What the change means is that the way the public spends has begun to change so rapidly that there are no cases where singers, starting with Seo Tai-ji and Children's first album, have been in power for a long time. There were cases in which Lee Mi-ja in the 60s, Nam Jin and Na Hoon-ah in the 70s, and Cho Yong-pil in the 80s were in power for three consecutive years. Since Seo Tai-ji and his children, only Shin Seung-hoon, Kim Gun-mo, Big Bang, Cho Sung-mo and BTS have been in power for a long time.

The most important change is that starting from this period, the Korean music industry has changed and the change into the K-pop market has begun, focusing on the stage that we see and hear from the music we listen to. Prior to that, representative dance singers were Fire Truck, Park Nam-jung and Kim Wan-sun. Unlike those who showed considerable performance, Lee Ji-yeon and Kang Soo-ji also showed a stage that shook gently like Japanese idols.

However, Seo Tae-ji and the children showed different images. First of all, Yang Hyun-seok and Lee Ju-no have shown high-quality point choreography on broadcasts since the 1980s as the founder of B-Boy. For example, in this video, Lee Juno is already showing choreography with a concept completed since 1989 with Park Chul-woo (later debuted as an R.ef.) on the broadcast stage. However, they were only given the position of a backup dancer in the song, but they did not receive a proper dance break. Even if you look at the stages of Park Nam-jung and Hyun Jin-young, who were famous dancers of the time, until 1991, there were no dance breaks even when there were dancers, and the choreography was often only at the level of dance steps.

However, in order to bring their dance skills to the forefront, Seo Tae-ji prepared a separate group dance section and a dance break section in the song, while using the sampling technique that was in the beginning of the introduction of K-pop at the time. The first consideration section of the song "I Know" is an example of the active use of sampling, and string sessions were sampled to create a swirling consideration as if stroke with a guitar, creating a sound that is hard to think of in existing songs until 1991. In other words, the existing song combined string samples as if they were playing a guitar through sampling, a new technique, to create a strong sound that did not exist before, and the tornado dance, a point choreography, was added to the song. Now, it is common sense to create a new sound by picking various one-off sound effects in dance songs, modulating them to this and that, mixing them on the track, or combining instruments with synthesizer sounds, but at that time, such attempts were rare and technically difficult. Therefore, even if you know the necessity, it is rare to write songs using sampling in general. Here, Seo Tae-ji introduced "Cool Rap," a rap style popular on Billboard at the time, into domestic pop lyrics, and even though the rhyme is not clear, he introduced an early form of rap flow, and completed the song by adding a melody part at Yang Hyun-seok's suggestion. After the song became popular, he worked hard on styling and was a fashionista of the time, which had a great influence on young people at the time. It was only through such an attempt that the form of K-pop, in which choreography, songs, and styling were combined, was completed. This was a composition that could only be attempted because composition/arrangement/choreography/styling was possible within the group. If he was good at one thing, he could have become a rookie in the spotlight, and he showed such a complete stage from the beginning.

I know. When you go back to the stage, three members in different costumes start with a shocking scratch hip-hop sound, Seo Tai-ji's dance break with metal, Yang Hyun-suk's rap and dance, and Yang Hyun-suk's dance with point choreography. In particular, SM's thorough research and application to other singers exploded in H.O.T. and other agencies followed it, establishing itself as a key code for the Korean K-pop market so far, and the key element is already almost included in this first album of Seo Taiji. Singers before the first generation idol group also rapidly disappeared after the album, while singers who could understand and apply Seo's methodology even a little bit became very successful.

It is often said that the music industry has changed to dance music since Seo Tai-ji, but it was not without dance before, nor was it a genre that was not popular. After Seo Tai-ji, the Korean music industry has changed to a dance music center that follows Seo Tai-ji's methodology, and it is a right interpretation to summarize that its destructive power was beyond imagination.

The most effective example is Hyun Jin-young, who prides himself on being the father of Korean black music. It is no exaggeration to say that the stage of Hyun Jin-young before Seo Tae-ji and the Children and Hyun Jin-young after Seo Tae-ji and the Children is a completely different stage of singers. In addition, Seo Tae-ji and Hyun Jin-young before the children became popular, while Seo Tae-ji and Hyun Jin-young after the children became singers who boasted their peak popularity. Hyun Jin-young had all the conditions as a complete singer, including the best understanding and passion of black music at the time, transcendent dance skills, unenviable singing skills, and handsome faces, and still considered the best dancers of Korean history. And considering his debut days when he appeared with top dancers Koo Joon-yeop and Kang Won-rae next to him, Hyun Jin-young had almost everything that people often said was a condition for Seo Tai-ji and the children's success. However, Hyun Jin-young became a super-popular singer not from the beginning of his debut with excellent skills and success conditions, but from the time he came out with a stage that was greatly influenced by Seo Tai-ji. Yang Joon-il, who has been praised for being surprisingly ahead of his time since the late 2010s as the so-called Topgol GD, is the same as Hyun Jin-young that the difference between before and after Seo Tai-ji is huge. Yang Joon-il, who listened to black music directly from the U.S. mainland and brought it to Korea, showed a stage with a color similar to that of past singers rather than a future appearance. On the other hand, after Seo Tai-ji, the color and impact of the stage are completely different even though it is the same Yang Joon-il. After Seo Tai-ji and Boys' first album, there was a complete disconnection and fault in the Korean music industry.

Compared to the similar location in Japan at the same time, Flippers Guitar and their influence have greatly changed the J-POP market, it is becoming clearer over the years that this one album and stage, which had a much greater impact, has reorganized the K-POP market. In fact, it is the most important K-pop album in the 90s.

■ 대중음악 명반 100 리스트