Afbeelding 1 van 3
Afbeelding 1 van 3
Jiro Inagaki & Soul Media + Steve Marcus - Something LP Vinyl Record
US $39,99
OngeveerEUR 35,86
Objectstaat:
Nieuw
Een object dat niet is geopend of niet uit de verpakking van de fabrikant is gehaald (indien van toepassing). Het object is nog in de oorspronkelijke krimpfolie verpakt (indien van toepassing). Bekijk de aanbieding van de verkoper voor de volledige details.
8 beschikbaar1 verkocht
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US $4,99 (ongeveer EUR 4,47) Economy Shipping.
Bevindt zich in: Norfolk, Virginia, Verenigde Staten
Levering:
Geschatte levering tussen vr, 27 sep en za, 28 sep tot 43230
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eBay-objectnummer:335378505860
Specificaties
- Objectstaat
- Material
- Vinyl
- Artist
- He6
- Format
- Record
- Release Year
- 2021
- Record Label
- Btba, Beatball
- Release Title
- Love Hurts / Beautiful Doll
- Genre
- International
Over dit product
Product Identifiers
Record Label
Btba, Beatball
UPC
8809114698385
eBay Product ID (ePID)
10046090306
Product Key Features
Format
Record
Release Year
2021
Genre
International
Artist
He6
Release Title
Love Hurts / Beautiful Doll
Dimensions
Item Height
0.44 in
Item Weight
1.01 lb
Item Length
12.48 in
Item Width
12.36 in
Additional Product Features
Number of Tracks
7
Country/Region of Manufacture
United States
Tracks
1.1 Love Hurts 1.2 When the Sun Sets (A Whiter Shade of Pale) 1.3 I Can't Tell 1.4 You Don't Know 1.5 Light in the Prairie 1.6 Beautiful Doll (Get Ready) 1.7 Promise of Love (Colour My World)
Number of Discs
1
Notes
Love Hurts / Beautiful Doll is the 5th and most prominent record by the He6, the frontrunner band of the 1970s golden age of 'group sound' bands in Korea. It features the band's notable funk/psychedelia track 'Beautiful Doll (Get Ready)' which was sampled by DJ Shadow in 'the Number Song'. Also includes 'You Don't Know', the hit number driven by Choi Heon's soulful vocals, as well as another must-listen He6 original tune, the perky brass rock number 'I Can't Tell'. The definitive reissue of the historical 1972 masterpiece of Korean rock!' Amid the various modes by which pop cultured developed in the various regions of East Asia as they modernized, the path followed by postwar Korea was a very unique one. Due to the outbreak of the Korean War shortly after the peninsula's liberation from Japan, American pop culture came to hold major sway on Korean pop culture. The conscious/subconscious aspirations and critiques regarding this fact have continually given rise to various layers of subculture in many fields, thus generating an energy that propelled the possibilities of local culture. In particular, the spectacular growth of pop music, which sprang from the peculiar background that was the 'US 8th Army scene', was recorded in the form of numerous records since the mid-60s. These include such unique rarities that stand out not only among the history of rock/pop music in Asia but throughout the world, foremost among them the works by Shin Joong-hyeon and the Add 4, Key Boys, and the He 5. To better understand this history takes a closer look into the background and influence of the 'entertainment scene' that was formed around the US 8th Army bases at the time. The ASCOM (US Army Support Command) located in Bupyeong was a military complex providing combat support for the USFK, and comprised a sprawling array of facilities whose massive scale and varied functions earned it the nickname 'ASCOM City'. The entertainment scene that encompassed 12 on-post clubs and the more than 20 clubs that were located off-post served as transmission channels for jazz, standard pop, and rock n' roll. The multitude of musicians - including Bae Ho, Han Myeong-sook, Yoon Hang-gi, Shin Joong-hyeon, and Kim Hong-tak - conveyed the newest western musical styles such as jazz, blues, country, and soul and played a critical role in introducing them into Korean pop music. American authorities applied tighter quality controls during the roughly 10-year heyday of the '8th Army show scene' since the mid-60s, leading musicians to pick up the newest repertoires even more swiftly. Meanwhile, the sheer diversity of styles and genres as required by the various stages, as well as the rapidly shifting trends in repertoire, encouraged musicians to further hone their chops while also broadening their musical spectrum. The unique facets of 'adaptation' and 'transfiguration' that arose as musicians from a jazz/big band background took in rock/psychedelic influences ended up being key drivers behind establishing locality. Into the late 60s, as musical activity was broadened to include 'general stages' (intended for the Korean public, as opposed to US servicemen), the development of 'local music' was further accelerated. Korean popular music, which had previously been dominated by trot or new folk music, now saw a new age of gayo featuring a greater variety of styles by incorporating elements of westernized musical language. The various festivals that took place around these years, such as the 'National Men and Women's Collegiate Jazz Festival' hosted by TBC TV since 1966 or the 1969 'Playboy Cup Vocal Group Tournament', where young fans were abuzz with the heated rivalry between the Key Boys and the He5, attest to the possibilities of a budding youth culture and new currents that would give way to a new age of pop music.Regarding the matter of which band had the most 'western' sound, the immediate choice by many fans would've been the He5 and He 6. Their discography
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