The K-Pop 100: Idol Group Songs – #60~#51

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

60. 2NE1 – Fire

2NE1 - Fire

From Fire (digital single) (2009)
Label: YG Entertainment
Composition/Writing/Arrangement: Teddy
Links: music video, audio, live

Our first meeting with 2NE1 was heavy in hip-hop, to the point where essentially all the verses were more rapped than sung. And that looked like a good, label-appropriate niche for this group to live in. Minimalist beat and repeated syllables ruled the day, and these women were fiercer and more aggressive than anyone else in 2009.

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The K-Pop 100: Idol Group Songs – #70~#61

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

70. Cleo – Ready For Love

Cleo - Ready For Love

From Ready For Love (2000)
Label: Ho Entertainment
Composition/Arrangement: Kim Dong-young
Writing: Kim Tae-yoon
Links: music video, live

The melody has a bit of that 90s Korean ballad feel – like Star In My Heart stuff. The techno accompaniment that kicks in soon washes that away, but the song remains impossibly cheery. While I don’t think Cleo ever really got out of FIN.K.L.’s shadow, this one moment was fully their own.

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The K-Pop 100: Idol Group Songs – #80~#71

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

80. Zaza – 버스 안에서 (In The Bus)

Zaza - Illusion

From Illusion (1996)
Label: Three Nine Comprehensive Media
Composition/Writing/Arrangement: Kang Won-suk
Links: audio, live

It’s one of those songs where the verses are catchier than the chorus. The raspy rapping is reminiscent of CLON, themselves a contemporary of Zaza, but Yoo Young‘s smooth bridge and finish soon creates distinction. There’s undeniable groove here, and the storytelling still works too.

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The K-Pop 100: Idol Group Songs – #90~#81

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

90. FIN.K.L. – 영원 (Eternity)

FIN.K.L. - Eternity

From Eternity (2002)
Label: DSP Media
Composition/Arrangement: Yoo Jung-yeon
Writing: Lee Hyori (FIN.K.L.)
Links: music video, audio, live

FIN.K.L.’s final album (at least, to date) focused on maturation, and so a ballad was picked to be the lead single. With Ok Joo-hyun leading, the four members elegantly performed this easy-listening number that borrowed noticeably from Brown Eyes-style R&B pop. A soft melody and thoughtful arrangement later, we had the definitive FIN.K.L. ballad.

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The K-Pop 100: Idol Group Songs – #100~#91

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

100. 5tion – More Than Words

5tion - True Image of New

From True Image of New (2001)
Label: K-Story Entertainment
Composition/Arrangement: Kim Suk-chan
Writing: Jung Jin-hwan
Links: music video, live

A ballad-focused idol group isn’t the safest bet now, and it wasn’t then either. 5tion managed to beat the odds, and while the group never reached the lofty heights of their more famous contemporaries, debut single “More Than Words” remains eminently enjoyable with its medium-tempo arrangement and smooth delivery – and now there’s a remake, too.

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The K-Pop 100: Idol Group Songs – Introduction

[The K-Pop 100: Idol Group Songs]

Introduction
#100 – #91
#90 – #81
#80 – #71
#70 – #61
#60 – #51
#50 – #41
#40 – #31
#30 – #21
#20 – #11
#10 – #1

Love them or hate them, the so-called idol groups have been a major engine of growth for the Korean music industry in the last two decades. I can tell you all day about the negative effects they’ve had on the scene, but this is not the time for that. The truth is, K-pop’s idols have given us a veritable treasure trove of good music over the years. The cream of the crop can hold their own against older golden-age gems, as well as against the non-idol mainstream and indie scene’s best.

So here’s a project: let’s try to select the 100 best idol group songs in history. This is the kind of stupidly ambitious and more than a little egotistical idea that led to my (highly flawed) “Best of the Decade” series on this blog five years ago. I thought about publishing this list on Hellokpop, but it doesn’t feel appropriate – too much personal taste went into this, and even my annual year-in-reviews are pushing it in that regard.

Given the thousands and thousands of idol-group songs released over the years, I’m already guaranteed to be missing some things. So in addition to trying to be thorough in my research, I’ve also given myself the following constraints to pare down the universe of possible selections:

  • Only songs released after September 1996 are considered. That’s when H.O.T. debuted, and they are generally considered to be the first modern idol group as we know them today. Unfortunately, this means that deserving work by Taiji and the Boys, Solid, Deux, Turbo, and others are left out. CLON and Young Turks Club missed out by mere months.
  • Work by sub-units of idol groups count, but solo work doesn’t. This is kind of arbitrary, but it’s to preserve the spirit of “group” music while also ruling out group members turned solo.
    • On the other hand, permanent project units consisting of members from different idol groups, such as S, Trouble Maker and Girlfriends, are eligible.
  • Should go without saying, but foreign-language tracks released by Korean groups don’t count. (Their Korean-language re-releases do count.)
  • What constitutes an idol group? For the purposes of this, the term includes all groups whose work and activity are produced, promoted and overseen at the agency level. Usually this is pretty obvious, but sometimes it’s not: is Fly to the Sky still an idol group after leaving SM Entertainment? What about Shinhwa? So I’ve added the caveat that if a group that used to fit the above definition continues to bill itself as an idol group, then all subsequent works still count. So Shinhwa’s later works count, but only early works from FTTS are considered. Still, judgment calls had to be made.
  • Further difficulties abound with teams like UN and Jinusean, which no one in their right mind would have called idol groups in the late stage of their careers. Still, if they were promoted as idol artists at some point, they are eligible for at least part of their careers.
    • As a semantic consideration: so-called “idol bands” like CNBlue, FT Island, AOA, and LEDApple are of course eligible. However, Buzz (perhaps the prototype for these) never seemed to be billed as one, so that team is not considered.

(Note that the names given above are no more than examples; a lot of the teams I mention as eligible didn’t make the final cut anyway.)

Here are some loose criteria I considered when making the selections:

  • Musical quality. The most important thing. Production, polish, and performance all influence quality, as do less tangible things like how pleasant the whole package sounds, how emotionally appealing it is (if appropriate), how turnt can we get to it, and so on. And some songs age better than others.
  • Impact. Are you “Tell Me” by the Wonder Girls and did you orient the entire landscape of mainstream pop towards hook-songs for a few years? Congratulations, you’re on the list.
  • Experimentation. Idol music is a business where the safe is valued. A song that tried something weird and intrepid while maintaining quality gets brownie points.
  • Parity. There are certain groups who have multiple entries making it into the list. And if I’m being fair, some of those groups probably deserve to have even more entries – such is the nature of creative art. But to avoid making a boring list, and also to be able to recognize more groups than otherwise possible, I’ve made some cuts for teams that have an overabundance of deserving tracks. (They’ll still have more entries than others, just not as many as they could have had.)

The final 100 includes consensus classics as well as some songs that are probably headscratchers. Each entry contains an attempt to explain what is good about each of these tracks. Do note, though, that the little blurbs are in general not trying to justify a particular ranking, or why something is ranked over something else; that kind of relativistic (or worse, transitive) argument is much more nebulous, and to be honest, there is not a huge difference in preference between a song I put at #40 versus one I put at #80.

The list is imperfect, of course – there will most definitely be things I’ve missed. Completeness is not really the goal. But I like it a lot, and hope it will be at least interesting to skim through for you – be it a trip down memory lane, an artist discovery session, or just a good laugh.

5월 둘째주 리뷰후기 (Post-review): 이비아 – E.viagradation Part 1 (Black & Red)

For my English readers: this is a series of posts where I’ll be commenting further on the reviews that I write for hellokpop.com in the previous week, taken in a Korean context. As always, please check out my writing over there!

http://www.hellokpop.com/2012/05/13/album-review-e-via-e-viagradation-part-1-black-red/

-5월 13일에 기고한 이비아 EP, <E.viagradation Part 1> 리뷰 본문입니다. 되도록 먼저 읽어주세요.

1. 어쩌다 보니 5월 첫째주 리뷰였던 리오 케이코아의 <Missing Soul> 후기를 놓쳤네요. 그 앨범은 애초 본문에 쓴 것 이상으로 할 말은 별로 없었습니다.

2. 이옥주 누님의 내퍼 활동 시절은 사실 제가 언더힙합을 본격적으로 듣기 전이었어요. 이비아가 되고 나서야 아 이런 래퍼도 있구나 하고 처음 알았으니까. 처음엔 저도 내퍼 시절 곡이 훨씬 좋더군요. 워낙 “Shake”나 오빠 시리즈가 병맛 쩔어주다 보니 (그리고 욕을 바가지로 얻어먹다 보니…), 소울커넥션 믹스테입에서 들려주던 잔잔한 보컬과 묵직한 랩톤이 아깝더라고요. 근데 비로소 이번 EP에 와서야 내퍼와는 차별점을 두고서도 “오 이거다” 하는 색깔을 찾은 것 같아서 그 점을 높이 샀습니다. 별점이 1점대로 폭락하지 않은 이유죠.

3. 한데 말이죠. 저 리뷰 쓴 이후로 예전에 했던 작품을 좀 들어보고 있는데, 이비아한테 딱 맞는 색깔은 또 있었더군요. 이름하여 “소녀의 순정” 되시겠습니다. 이 곡은 발매 직후 들어본 적이 있는데, 왜인지 모르겠지만 그때는 별로라고 생각하고 넘겼었어요. 허나 다시 들은 “소녀의 순정”은 완벽합니다. 흥미진진한 네러티브와 재치있는 래핑이 맞물려 듣는 재미가 아주 쏠쏠한 곡이에요. 특히 2절의 “어디로 가나 보자 // 넌 오늘부로 고자 // 뭐 남자친구? X까! // 아~~!!! X발 토나와” 하는 부분이 발군인데요, 마지막 두 마디를 잇는 급작스런 비명은 이 재치가 번득이는 순간입니다. “일기장”을 뛰어넘는 이비아 최고의 명곡이 아닐까 생각되네요. 어쨌든 이분한테 참 잘 어울린다는 생각이 들었어요. 이걸로 밀고 나가도 괜찮았을 듯.

4. 아무쪼록 잘 됬으면 좋겠네요. 국내에 여성래퍼 드문 건 하루이틀 있는 얘기가 아니지만, 이게 별로 나아질 기미도 안 보이거든요. 윤미래, 리미, 이비아 다음으론 진짜 가뭄에 콩 나듯 보이니까… (요즘 졸리브이나 예요같은 분들이 기대되는데 이 얘기는 나중에 하고요.) 이런 씬에서 홀딩잇다운 해주고 있다는 것만으로도 응원하고 싶습니다. 이번 EP가 초석 하나는 탄탄히 깔았으니 <Part 2>를 기대해 봅니다.

P.S. 이비아 트위터 태그라인 보고 빵터짐…