{"title":"Artist: Kim Hyun-Chul","description":null,"products":[{"product_id":"blue-in-you-original-motion-picture-soundtrack-kim-hyun-chul-lp","title":"Blue In You (Original Motion Picture Soundtrack) [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e180g HQ pressing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eOld-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on Blue Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS YEARS\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-Hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film, where Kim wrote the soundtrack, in 1995 Lee So-ra released her debut album. Kim was the overall producer in this album, in addition to writing 3 songs including the title track. Lee’s debut would go on to sell more than a million copies, surpassing any other solo female act of the time. This album became emblematic of the last glory days of Dong-a Records. For a while, Kim Hyun-Chul remained active as a well-loved singer\/songwriter and composer even after leaving Dong-a Records. Since 2006, Kim took a 13-year-long break, releasing no studio albums during this period. Kim was about to fade from people’s memory as he limited his activities to DJing, show hosting, and TV show appearances without releasing any new music. But more recently, Kim made his return to music by releasing studio albums in 2019 and 2021.\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late-1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop\/jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eOriginal Motion Picture Soundtrack 1993\u003c\/p\u003e\n\u003cp\u003eLee So-ra caught the attention of Kim Hyun-chul through her activities as part of the vocal group Strangers. He eventually suggested they should work on a theme song for a movie together, thus setting off a chain of events that would elevate her to stardom. was directed by Lee Hyun-Seung, who was a rookie director at the time. The film aimed to portray a fresh new air and sensibility that belonged to a new age. Kim, a 24-year-old artist with a keen musical ear for the urban feel, was the perfect fit for creating a soundtrack for the film. The film, which starred two of the biggest names in Korean cinema at the time - Ahn Sung-ki and Kang Soo-yeon – became a huge hit, as did the theme duet sung by Lee So-ra and Kim Hyun-chul. In an industry where it was still common practice to rush the production of a soundtrack on a shoestring budget, Kim’s soundtrack for marked a new milestone. The reissue of this album is pressed on all-blue vinyl, to go with the film’s title.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003e그대안의 블루 - Kim Hyun-Chul, Lee So Ra\u003c\/li\u003e\n\u003cli\u003e이별의 테마 - 헤어짐\u003c\/li\u003e\n\u003cli\u003e연민의 테마 - 연습실에서\u003c\/li\u003e\n\u003cli\u003eAfternoon\u003c\/li\u003e\n\u003cli\u003eNight\u003c\/li\u003e\n\u003cli\u003e새로운 시작\u003c\/li\u003e\n\u003cli\u003e만남 Blue \u0026amp; Puple\u003c\/li\u003e\n\u003cli\u003e만남 Sky Blue (Piano)\u003c\/li\u003e\n\u003cli\u003e만남 Marine Blue (Synth)\u003c\/li\u003e\n\u003cli\u003e만남 Prussian Blue (Guitar)\u003c\/li\u003e\n\u003cli\u003e앤드 타이틀 - 새로운 시작 (Guitar Version)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0ZYu5hwriRTarKVPtCG23O?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"LP \/ Blue","offer_id":42574238154943,"sku":"RNR-039-4-BL","price":64.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_OST_BLUE_01.jpg?v=1703893810"},{"product_id":"sunset-into-the-neon-lights-original-motion-picture-soundtrack-kim-hyun-chul-lp","title":"Sunset Into The Neon Lights (Original Motion Picture Soundtrack) [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e180g High Quality Pressing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eOld-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on Peach Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS YEARS\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-Hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-Chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film, where Kim wrote the soundtrack, in 1995 Lee So-ra released her debut album. Kim was the overall producer in this album, in addition to writing 3 songs including the title track. Lee’s debut would go on to sell more than a million copies, surpassing any other solo female act of the time. This album became emblematic of the last glory days of Dong-a Records. For a while, Kim Hyun-Chul remained active as a well-loved singer\/songwriter and composer even after leaving Dong-a Records. Since 2006, Kim took a 13-year-long break, releasing no studio albums during this period. Kim was about to fade from people’s memory as he limited his activities to DJing, show hosting, and TV show appearances without releasing any new music. But more recently, Kim made his return to music by releasing studio albums in 2019 and 2021.\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late 1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop\/jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eOriginal Motion Picture Soundtrack 1994 After, Kim Hyun-chul invited Lee So-ra again to sing on his next soundtrack. Among Kim’s releases from Dong-a Records, this album was the most heavily jazz-influenced. Although the film itself was not a major hit, ‘Is This the End’ from the soundtrack was very well-loved. Another track, ‘Just Like This’, which also made it onto Lee’s debut album, was a hit as well. From a listener’s perspective, the fusion \/ smooth jazz styles found in these scores make one wish that there were more instrumental albums and soundtracks in Kim’s discography. Previously released on CD only, this is the first-ever vinyl press of this album.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eComing soon...\u003c\/em\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5zZ5NUdUHKcepmrTGKaApw?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"LP \/ Peach","offer_id":42574238286015,"sku":"RNR-039-5-OR","price":64.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_OST_NEON_01.jpg?v=1698380453"},{"product_id":"kim-hyun-chul-vol-1-kim-hyun-chul-lp","title":"Kim Hyun-Chul Vol. 1 [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e180g HQ pressing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eOld-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on White Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS YEARS\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-Hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late-1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop \/ jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eVol. 1\u003c\/p\u003e\n\u003cp\u003eAlthough the central songs on Kim Hyun-chul’s 1989 debut album are the two fusion-styled pieces headlining sides A and B – ‘In a While’ and ‘Our Town’ – it was actually the bossa-tinged ‘Train to Chuncheon’ that became the earliest hit. With lyrics speaking to teenage sensibilities, sublime musicality that can still be described as ‘sophisticated’, and a team of the best studio musicians at the time (led by Kim’s musical hero Cho Dong-ik), the album was a monumental and welcome arrival for Korea’s late-1980s music scene. Although Kim has called his own debut ‘riddled with flaws’ in an interview, most critics and fans agree that it firmly belongs among the ranks of ‘masterpiece albums of 1980s Korean pop music’. In a 2018 list called, compiled based on votes among experts at various Korean media outlets, Kim’s debut placed at No. 12.\"\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003e\u003c\/span\u003e오랜만에\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e눈이 오는 날이면\u003c\/li\u003e\n\u003cli\u003e춘천가는 기차\u003c\/li\u003e\n\u003cli\u003e아침향기\u003c\/li\u003e\n\u003cli\u003e동네\u003c\/li\u003e\n\u003cli\u003e비가 와\u003c\/li\u003e\n\u003cli\u003e나의 그대는\u003c\/li\u003e\n\u003cli\u003e형\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4pR8uK7UQYSHQeVntv2sNl?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"LP \/ White","offer_id":42574238318783,"sku":"RNR-039-1-WH","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_1st_01.jpg?v=1698384829"},{"product_id":"kim-hyun-chul-vol-2-kim-hyun-chul-lp","title":"Kim Hyun-Chul Vol. 2 [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e180g HQ pressing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eOld-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP Pressed on Orange Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS YEARS\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-Hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film, where Kim wrote the soundtrack, in 1995 Lee So-ra released her debut album. Kim was the overall producer in this album, in addition to writing 3 songs including the title track. Lee’s debut would go on to sell more than a million copies, surpassing any other solo female act of the time. This album became emblematic of the last glory days of Dong-a Records. For a while, Kim Hyun-Chul remained active as a well-loved singer\/songwriter and composer even after leaving Dong-a Records. Since 2006, Kim took a 13-year-long break, releasing no studio albums during this period. Kim was about to fade from people’s memory as he limited his activities to DJing, show hosting, and TV show appearances without releasing any new music. But more recently, Kim made his return to music by releasing studio albums in 2019 and 2021.\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late-1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop \/ jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eVol. 2 \u0026lt;32℃ Summer\u0026gt; 1992\u003c\/p\u003e\n\u003cp\u003eDespite having successfully launched his debut album, for two years Kim was forced to concentrate on recovering his health after suffering a sudden brain infarction. While spending more time at home, Kim had the opportunity to listen to more music and explore new territories. One such outcome was his instrumental album with project band ‘Yasha’. Traces of this separately-released fusion instrumental album recorded with Cho Dong-ik, Ham Chun-ho, and Son Jin-tae can be found throughout Kim’s second album. In fact, the instrumental ‘Kids Who Were Snowball Fighting’ (which can be found on the BEAT-88 LP) made it onto both records. Employing the programming skills he picked up during his hiatus, Kim explored electronic pop with ‘More or Less’. Also, the Latin-influenced ‘32℃ Summer’ hinted at something a bit different from Kim’s debut album. While Kim’s second album didn’t produce any hits as big as the previous ‘Train to Chuncheon’, various tracks were well-loved, including ‘With a Black Skirt On’, ‘Nanana’ featuring Jo Kyu-chan, and ‘In the Practice Studio’, which was styled as a jazz standard number.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003e32℃여름\u003c\/li\u003e\n\u003cli\u003e그런대로\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e까만치마를 입고\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e눈싸움하던 아이들 (연주곡)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e사과나무\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e연습실에서\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e누구라도 그런지\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e나나나\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/79wqSmvrPFRtoVueqYwLd0?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"LP \/ Orange","offer_id":42574238548159,"sku":"RNR-039-2-OR","price":64.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_2nd_01.jpg?v=1698385047"},{"product_id":"dong-a-records-years-1989-1994-kim-hyun-chul-5lp","title":"Dong-A Records Years 1989-1994 [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eLimited Vinyl Box Set\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e5xLP pressed on 180g High-Quality Colored Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eEach vinyl is housed in an old-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e20-page full-colored booklet including an interview with rare photos and memorabilia (Korean)\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS ANTHOLOGY 1989~1994\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film, where Kim wrote the soundtrack, in 1995 Lee So-ra released her debut album. Kim was the overall producer in this album, in addition to writing 3 songs including the title track. Lee’s debut would go on to sell more than a million copies, surpassing any other solo female act of the time. This album became emblematic of the last glory days of Dong-a Records. For a while, Kim Hyun-Chul remained active as a well-loved singer\/songwriter and composer even after leaving Dong-a Records. Since 2006, Kim took a 13-year-long break, releasing no studio albums during this period. Kim was about to fade from people’s memory as he limited his activities to DJing, show hosting, and TV show appearances without releasing any new music. But more recently, Kim made his return to music by releasing studio albums in 2019 and 2021.\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late-1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop \/ jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eWhile Kim’s debut album has seen several vinyl reissues, his second album \u0026lt;32℃ Summer\u0026gt;, third album, and the soundtrack too are being reissued in vinyl for the first time. In the case of his second soundtrack, for, this will be the first-ever vinyl pressing.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eComing soon...\u003c\/em\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/0ZYu5hwriRTarKVPtCG23O?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/5zZ5NUdUHKcepmrTGKaApw?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4pR8uK7UQYSHQeVntv2sNl?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/79wqSmvrPFRtoVueqYwLd0?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/5zZ5NUdUHKcepmrTGKaApw?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"5LP \/ Multicolor","offer_id":42574238744767,"sku":"RNR-039 BOX-MC","price":192.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_Box_4.jpg?v=1698364387"},{"product_id":"kim-hyun-chul-vol-3-kim-hyun-chul-lp","title":"Kim Hyun-Chul Vol. 3 [Import]","description":"\u003ch3\u003e** This is a PRE-ORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eKEY FEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e180g HQ pressing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eOld-school style tip-on jacket along with the original insert\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePressed on Yellow Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE DESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKim Hyun-Chul DONG-A RECORDS YEARS\u003c\/p\u003e\n\u003cp\u003eThe psychedelic-tinged pop\/rock sounds masterminded by Shin Joong-Hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up its repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of ‘indecency’. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor release new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government rating and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized ‘decent’ dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea’s music scene. Independent label Dong-a Records was one of the central forces in this new wave. For singer\/songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a.\u003c\/p\u003e\n\u003cp\u003ePerhaps as a consequence of Korea’s hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government influence. Fusion jazz was among the new music styles that were introduced. Seeing that audience reactions were favorable, agencies who worked with major labels began releasing jazz\/fusion records. Soon, new artists emerged whose style was rooted in such influences. Among them were Cho Dong-ik and Lee Byung-woo, who formed the band One Day. The ‘gayo’ style, which had begun following a somewhat trite pattern, became enriched with fusion jazz-style arrangements and musicianship. This encouraged Korean listeners, many of whom had almost exclusively consumed foreign music, to begin seeking out more domestic records and local concerts. Thus, the domestic market started to grow.\u003c\/p\u003e\n\u003cp\u003eKim Hyun-chul was a huge fan of One Day. He was the core member of the band Morning Scent, who had gained a strong following among high school students in the Gangnam area by the late 1980s. His home-recorded demos would sell more than a thousand copies at local record shops and would spread further among students via copied tapes. After attending a One Day concert, Kim got an unexpected opportunity to chat with his idol, Cho Dong-ik. This meeting would become a major turning point in Kim’s life. Upon realizing that Kim was not just a huge fan of his but also a talented songwriter, Cho introduced him to musicians around him. In 1989, when Kim worked on singer Park Hak-gi’s songs, Dong-a Records president Kim Young offered Kim Hyun-Chul 30 million won in cash to sign an exclusive contract. For a college freshman who was just starting off a solo career, that was a huge sum of money. Kim’s signing would help extend Dong-a Records’s heyday until the mid-1990s.\u003c\/p\u003e\n\u003cp\u003eAlongside label mates like Spring Summer Autumn Winter (Bom Yeorum Gaeul Kyeoul) and The Light and The Salt (Bitgwa Sogeum, who debuted around the same time, Kim was a driving force behind the popular wave of so-called ‘fusion gayo’ during the late 1980s to the early 1990s. He also played a major role in successfully debuting Jang Pil-soon and Lee So-ra, who became Korea’s foremost female singers since the 1990s. After making a name for herself with the theme song from the film, where Kim wrote the soundtrack, in 1995 Lee So-ra released her debut album. Kim was the overall producer in this album, in addition to writing 3 songs including the title track. Lee’s debut would go on to sell more than a million copies, surpassing any other solo female act of the time. This album became emblematic of the last glory days of Dong-a Records. For a while, Kim Hyun-Chul remained active as a well-loved singer\/songwriter and composer even after leaving Dong-a Records. Since 2006, Kim took a 13-year-long break, releasing no studio albums during this period. Kim was about to fade from people’s memory as he limited his activities to DJing, show hosting, and TV show appearances without releasing any new music. But more recently, Kim made his return to music by releasing studio albums in 2019 and 2021.\u003c\/p\u003e\n\u003cp\u003eKim’s comeback has a context. The rediscovery of Japanese city pop led some to ask ‘Is there a Korean musician who achieved popular success with AOR and fusion?’ Some Youtubers proposed that Kim Hyun-chul – especially his early work as a solo artist as well as his compositions and production in Jang Pil-soon’s early material – fit the bill. Kim has remarked that he was encouraged to return to music after seeing how much interest teens and 20-somethings were showing for his early work. Kim’s body of work from 1989 to 1994, released on Dong-a Records, comprises 3 studio albums and 2 motion picture soundtracks. These works were molded by Kim’s dearest influences, including American fusion, David Foster’s pop \/ AOR music, in addition to acts like One Day and Yoo Jae-ha, who had breathed new life into Korea’s music scene during the mid to late-1980s. As Korea opened up further since the late 1980s, the 1990s saw an influx of musicians who had studied overseas, the introduction of new instruments and equipment, as well as a slew of creators eager to try a new kind of Korean cinema. This gradually led to more and more diversity in Kim’s works during the 1990s. Even while exploring different styles, Kim’s mastery of production is a constant and shining testament to his artistry. He was able to zero in on a section of Korean listeners who were simultaneously into contemporary Western pop \/ jazz as well as domestic gayo – a keen talent that was unparalleled in Korea’s music scene at the time.\u003c\/p\u003e\n\u003cp\u003eVol. 3\u003c\/p\u003e\n\u003cp\u003eThis album kicks off with the titular ‘One Evening, On My Way Back from Hoenggye’ (which can be found on the BEAT-88 LP), a fusion instrumental that builds further on the earlier ‘Kids Who Were Snowball Fighting’. While the sounds explored here are even more eclectic than on the second album, it was ‘Moon’s Downfall’ that ended up becoming a huge hit, propelling sales of the third album far beyond those of the first two albums. It remains Kim’s best-selling album (exceeding 700k copies in 1994). The lineup of musicians and featured artists is a veritable who’s-who of 1990s Korean pop music: including 1st-gen musicians who had studied abroad like Jeong Won-yeong and Kim Gwang-min, along with Cho Dong-ik, Son Jin-tae, Lee Jeong-sik, Go Chan-yong, Lee Eunmi, Yoo Jeong-yeon, Jeon Tae-gwan, and Park Young-yong. Several tracks on this album epitomize Kim Hyun-chul’s musical style, including the mellow and funky ‘On This Night’ and AOR-style gayo ‘Forevermore, featuring Lee Eunmi)’.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003c\/strong\u003e횡계에서 돌아오는 저녁\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e우리 언제까지나\u003c\/li\u003e\n\u003cli\u003e달의 몰락\u003c\/li\u003e\n\u003cli\u003e음악은\u003c\/li\u003e\n\u003cli\u003e언제나 그댈\u003c\/li\u003e\n\u003cli\u003e오늘 이 밤이\u003c\/li\u003e\n\u003cli\u003e결혼 X (이른나이 - 늦은나이) = 힘든나이\u003c\/li\u003e\n\u003cli\u003e진눈깨비\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5zZ5NUdUHKcepmrTGKaApw?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Kim Hyun-Chul","offers":[{"title":"LP \/ Yellow","offer_id":42574238810303,"sku":"RNR-039-3-YL","price":64.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/KHC_3rd_01.jpg?v=1698385278"}],"url":"https:\/\/helixsounds.com\/collections\/artist-kim-hyun-chul.oembed","provider":"Helix Sounds","version":"1.0","type":"link"}