Parallel World     V.A. : Cambodian Rocks (60's-'70's)***°

Even more compared to the “Cambodian Rocks” series this compiled album shows some of the best examples of Garage-psych from late ‘60’s and early ‘70’s from Cambodia that were heard around these days, that copied the American styles (especially track 1, perhaps track 13,..) or that adapted them. This came from an area still predating the bloody Khmer Rouge regime when musicians were mistakenly confused with being just too pro-American as if they were not simply expresing hemselves freely and full of joy. Who would think that a few bought tapes from these days were later hardly to be found. They were assembled by Paul Wheeler who went to Cambodia and found these tapes which the locals called Romvong or 'Circle Dance Music' without credits or song titles. Therefore unfortunately no info whatsoever is on the album. One reviewer (elevenshadows) says : “I managed to figure out one of the names of one of the artists, Ros Sereysothea, who was quite popular in Cambodia and is still well-known among residents in the Cambodian section of Long Beach, California.” The compilation notes mention there are echoes of Jimi, Janis, Seeds, Them and S.F. acid.. 'Other Music' says : “Frenzied drum breaks, singers that become growlers and screamers, and gurgling cheap organ riffs that barely match their respective rhythm sections are just some of the highlights. There are tender moments, and those that swing hot, in the sing-song cadences of the Cambodian language. It's Western music, certainly, but with a flailing, tense Eastern edge.” Forced Exposure describes the music :-“These late-60's/early 70's era songs have a sound that's completely inexplicable despite the use of standard rock instrumentation and song structures. Much of it sounds like The Ventures with a Cambodian singer, and one singer getting funky with some James Brown riffs, complete with J.B's trademark 'HUH'. One of them even sounds like "Gloria" in Cambodian.” There are great rhythms, swirling organ, Santana like guitars, or lots of fuzz. The singing mostly has much more Cambodian vocal touch, while the music has a swing, at one time even a jazz twinkling. Ear rational : “These recordings from the late 60s, early 70s Cambodian rock scene range from mad garage-band rave-ups to mystic go-go organ/fuzz guitar, with exotic female singers. Extremely sensual and emotionally charged”.
This was released on LP before in 1994, but 9 more tracks are added now. Not all these bonus tracks are equally essential but all in all it makes this compilation more complete and worth checking out.

Audio http://www.myspace.com/povvannary & http://www.myspace.com/huymeas 
& http://blog.wfmu.org/freeform/2007/12/cambodian-rocks.html
Other review : http://www.fareastaudio.com/archives/04/04/cambodian_rocks_by_various.php
& http://www.turnmeondeadman.net/ADM/GPComps/CambodianRocks.html
& http://www.elevenshadows.com/reviews/reviews2000.htm
& http://wlt4.home.mindspring.com/adventures/reviews/cambodian.htm
Khmer RocksV.A. : Cambodian Rocks vol 1 (CAM,1965-1974)*°°

First two compilations show a part of the Western influenced mainstream entertainment industry with early rock’n roll, often in the kindergarten or playtime shadow of the originals.

From this first volume only some of these for me have that extra charm. Two outstanding tracks are both produced by Mai Boun in 1973 : “Wicked Husband” sung by Ros Sereysothea with psych guitars and organ arrangements and  “The Engagement” sung by Meas Samoun. With a similar band, but completely within a strict song rhythm, is “I love Petite Women” by Sinn Sisamouth (rec.1970-1971). “Whiskey whiskey” by Yol Aularong has some nice organ and electric guitar solo on an exotic but also restricted rhythm. Another better track is "The house of the Rising sun" interpretation on “I’m still waiting for you” by Sinn Sisamouth (rec.1965-1968). One should also recognise the original song behind Yol Aularong's "Brokenhearted Bachelor" also with wahwah guitars, great organ.

More audio : Sinn Sisamouth : "Quando my Love" & Sinn Sisamouth : http://www.myspace.com/sinsisamouth
More on Ros Sereysothea : http://www.myspace.com/roussareysothea &
& http://thecoleranch.com/rossereysothea.html & http://thegoldenvoicemovie.com/

More audio and info on http://ez9.ez-web-hosting.com/~cambodia/..


Khmer RocksV.A. : Cambodian Rocks vol 2 (CAM,1967-1973)*°°

The second volume slightly moves its focus a bit more to end 60’s, early 70’s psychpop and go-go pop examples and sounds a bit more interestingly compiled. A favourite track of this compilation is
"Waiting For the moon" by Sisa Sisamouth (rec.1969-1970), both for singing, song and band interpretation. "Dance Soul" by Leiu Thaert is also very special, a raw, somewhat funny but honest James Brown interpretation, with possibly the pronunciation of "soul" as "sul" or perhaps it's just "Sue" ? Also enjoyable entertainment are "Monkey Dancing the Monkey", laughing rock'n roll by Pan Ro (rec.1967-1969), and in similar way "Dancing the Wolly Polly Beat" by Ros Seresothea (1967). Also "Haircut" by the same Ros Seresothea is special, and perhaps a good example of at least some combination of Cambodian folk singing combined with psych and rock'n roll.

More audio : Pan Ro : "Hippie Men" & Ros Seresothea : http://www.myspace.com/rossereysothea
More audio and info on http://ez9.ez-web-hosting.com/~cambodia/..

Khmer RocksV.A. : Cambodian Rocks vol 3, , all psyched up (CAM,1971-1974)***°

After having read some reviews and comments on the first two compilations, the label makes an extra effort to leave the more entertainment and rock’n roll tracks out of the next compilation, and chooses the matured 60’s and early 70’s psych and even psychrock and beyond for the compilation, which makes it, also for me and my interests, definitely the most interesting of all three.
For airplay I chose many tracks. Some vocal performances immediately attract attention : Pan Ron’s singing is beautiful on “No need to be ashamed” (1973) with psych band or on “Wedding Day” (1972), another great psych-rhythmic track, but also the performance by Ros Sereysothea with psych band on exotic rhythms with “Old Sour and sweet” (1972) has these qualities. Further is added lots of fuzz guitars, and crafted playing.  There are great garage psych examples like Yol Saroun : “Come again tomorrow” (1973) or the Thra Ka Band with “Do you no wrong again” (1974), or with “Crazy Loving You” (1974). I really like the great arrangements, including brass mixed with the rock band rhythms, from Sinn Sisamouth on “A diamond Ring” (1972). My favourite arrangement on the album is again by Sinn Sisamouth. It is the most inventive crossover track (1972) : “The Kickboxer" a song which is more in a Cambodian folk style, (called “romvong”), played with a crossover band. Other tracks I still might include in the radioshow are Pan Ron with “Heart in Despair” (1972) and the crazed “Maksy” from Vao Saroun (1972), and perhaps "Cyclo" from Yol Aularong (1973), early rock'n roll driven beat and great organ and fuzz guitar solos. Of course I could have easily chosen more tracks, as there is not really a weak track on this album.
It might be one of the best starters for the area. It's great as an early psych compilation, with lots of crazed fuzz guitars, fine drumming, fine performances, here all fitting perfectly and often beautifully with the Cambodian singing ! Additionally one must also say it’s only thanks to the dedication of people behind a label like this, that what is left from destruction in Cambodia could be saved for the enjoyment of future generations.

More audio : Yol Aularong : "Number One", Pan Ron : "Chills To My Spine"
More on Yos Olarang : http://www.myspace.com/yosolarang 
More on Pen Ron : http://www.myspace.com/penronx
More on Vor Saroun : http://www.myspace.com/vorsarun
More audio and info on http://ez9.ez-web-hosting.com/~cambodia/..

Khmer RocksV.A. : Cambodian Rocks vol 4 (CAM,?)***°

review might be added later

Info and audio : http://ez9.ez-web-hosting.com/~cambodia/product_info.php?...
Short review : http://www.freakemporium.com/site/release/CACD233/releasepage.html
"PSYCH", CROSSOVER, BEAT, A GO-GO, FUSION
PAGE 2 : CAMBODIA
page 1 : MALAYSIA & SINGAPORE, page 3 : THAILAND & BURMA ,
page 4 : VIETNAM,  page 5 : HONG KONG, CHINA, VARIOUS,...



GO TO NEXT PAGE ->
THAILAND ->



Do you have more info/ more ideas on South East Asian crossover music ? E-mail me

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Introduction from
the Cambodian Cassette Archives :

"In 1970, Phnom Penh was culturally ablaze and the Cambodian popular music scene was at its height. Among the most revered contemporary singers were Sim Sisamouth, Ros Sereysothea and Pen Ron. With their fatanastic ensembles, they rewrote Khmer musical history between the 1960's and 70's -weaving influences from traditional Khmer composition into the various dance crazes and psych-rock sounds infiltrating South East Asia at the time. This golden era was cut short at its apex with the onset of civil war. When the Khmer Rouge took power in 1975, 90 percent of Cambodia's musicians were subsequently killed for the music they produced..along with most of the artists, teachers and intellectuals in the country. Venerable traditions of storytelling, classical music and dance vanished along with their masters. But the musical standards these singers set are considered irreplaceable by the extant Kmer community. In fact, they're the models by which most Cambodian singers are now measured.

After 1980, those musicians who survived or were able to leave Cambodia began to set up shop around the globe, particularely in thr United States. Khmer music slowly began to resurface. New production companies found economical freedom in the casette format, which endured well into the 1990s. In this era, hundreds of new musicians emerged, both in the US and in a slowly recovering Phnom Penh, with many casette releases being released. Today's competitive DVD/Karaoke market sees singers come and go frequently, replaced by a seemingly constant supply of ephemal young faces. With this high turnover rate, singers over 40 are rare these days. In addition, Cambodian production companies can tend towards issuing "remixed" versions of classic recordings, replete with tampered overdubs. Though this might forge a new release on the classics with a younger generation, the originals become increasingly difficult to track down."  Mark Gergis

A great documentary introduction on the Cambodian scene : http://www.youtube.com/watch?v=Z1epvOrrmvY
from the upcoming documentary : http://dontthinkiveforgotten.com (the producers need financial support!!)
See also : http://radiodiffusion.wordpress.com/category/cambodia/
Sublime FrequenciesV.A. : Cambodian Cassette Archives ; Khmer Folk and Pop Music vol.1 *°°

Mark Gergis compiled this CD release out of 150 ageing cassettes found at the Asian Branch of the Oakland Public Library in California. 6 tracks out of 20 (track 4,5,8,11,20) originated from the original growing scene of crossover pop-rock in Cambodia. All other tracks come from surviving groups, from after Pol Pot's massacres en mass from 1975 onwards.

Like in most places in the world, there was an experimentation with local folk songs mixed with similar songwriting, accompanied by the basic rock formation : drums, organ, electric guitar and bass, here and there with some additional local ethnic instruments (some wooden chimes ?, on track 1 and 9). These recordings might contain some of the few surviving documents from before Pol Pot's complete destruction of his own culture.
It is mostly the original 60’s and 70’s tracks which stand out, because here the energy is best and at its most vivid and inspired. Although these recordings were taken as an example for the latter ones, many of the other selected examples suffer from either a use of a cheaper synthesizer (rhythm or keyboards), of from using a recognisable repetition of a pattern, more than just being inspired by new sounds and combinations.

In general one can say that the whole selection fits well together, but it is the subtle differences that make some tracks work better than others.

From the new tracks, those that mix real folk elements work best for me.

From the old tracks the best elements are, similarly to all other countries in the East and Southeast around 60's-70’s: the use of organ, and a bit folkie inspired use of the electric guitar, and with some luck a good use of some freakbeat elements (like on track 5). On track 6 we hear a reggae rhythm mixed with other instrumental elements, with a poprock attitude, making this instrumental track more creative than just mainstream. Also track 10 has used a reggae rhythm ; it is funny in the whole mix. Best example of the old recordings I think is track 11, a female trio, with organ, drums, trumpets etc. having real swing, and a band hanging very well together. Best new track for me perhaps is track 12, with some folk elements and some more brilliant use of electric guitar. Tr.15 is also completely different than the others: it has some heavy psychrock guitars, bass and drums, with on top of this heaviness: a childlike popvoice.

This is one of the few Cambodian folk-poprock compilations there exist for the moment. I still have to check out the "Cambodia rocks" series which I guess will have much more beat, freakbeat & psych related music.

P.S. Most of these artists are listed as 'unknown'.

Audio :"Blue Basket"(or here), track 12, track 13, track 15
Audio of three tracks (7,12,13) : http://www.boomkat.com/item.cfm?id=14407
Info :  http://www.sublimefrequencies.com/...
on cover : ROS SEREYSOTHEA
SINN SISAMOUTH
CAMBODIA : intro,
Cambodia cassette archives, Cambodia Rocks, Cambodia Rocks vol 1, vol 2, vol 3,
Cambodian Psych-Out, "The Golden Voice" (DVD)
Rising Falcon CinemaGreg Cahill : "The Golden Voice" (US/CAM,2007)***

This short movie almost gives a snapshot of Ros Sereysothea, one of Cambodia’s favourite singers, at the time of the regime change by the Khmer Rouge, and all the change it would bring. The short story is based upon true facts, also with elements taken from witnesses from people who were there. The movie gives the opportunity to sympathise with the character during the change, but abruptly stops at a time when she is forced to say goodbye to her whole past, leaving a feeling of unease and sadness when this stops. (Of course, until here she could keep her dignity because she still had a good friend to trust). But that is exactly what happened in Cambodia : everything came to an abrupt stop, so this is something which uplifts the movie to a documentary level.
The only thing I noticed a bit is that in the opening scene where Ros was singing in a nightclub she looked pretty serious in doing so, while what I saw and noticed in all far east singers, also Cambodian singers is a unrestraint almost naïve and child-like happiness, something which then quickly turned in the Khmer Rouge nightmare reality, leaving such a mark on the country I think the child-like innocence to some degree has been lost with it. It is an important fact which I do not notice in the film, although the whole story is very realistic, and could have been filmed on a different moment where things might be expected to change at any time, leaving that trace of seriousness there.
It is remarkable to know that the whole movie was filmed in California, which does not show itself anywhere. It is a great historical document of a singer who now is still remembered amongst all Cambodian citizens in California and elsewhere. It shows also very well how the political change became practically commissioned in reality.

Perhaps it is good to see the whole thing in a wider context and in a complete perspective. Just before the coup, it was the time that America was fighting a war against communism in Vietnam. American soldiers were stationed around Vietnam, so also in Cambodia. Cambodia didn’t show many reactions to the war. Instead they adapted the American influence and took benefit of it, which made new possibilities and also a richer expression in music possible. The lack of reaction against the war, and envying the urban citizens who’s world began to flourish better, especially some people and especially farmers were envious of them. When they took over power, also the movie showed clearly how much they envied the urban citizens, and which happens always with people who are not used to lead others, fell into massive and inhumane abuse of the population, killing all intellectuals, musicians, politicians, intellectuals and soldiers in the country and cities were emptied. From this we must conclude how much communism by the Red Khmer in Cambodia was very much led by jealousy and that they really had been idiotic in reorganizing the country like they did. Like farmers they wanted to dig up the whole land, but in a primitive nature, this was done with so much acid and destruction the land was no longer fertile, but poor. All the new potential, which the citizens had seen and adapted so freely, had been completely destroyed. Instead of taking the positive things spontaneously, like had been done before, their reaction was primitive and had no positive effect whatsoever. Also the real spontaneous positive nature that adapts something from the environment, that makes perfect crossovers that respect past and looks for the future, might be lost for a long time, because with this change the past had been destroyed, and future is an empty vase that could eventually bring new things that loses a consciousness in their roots.

PS. The movie received many rewards in the US and Cambodia.

Info : http://www.myspace.com/thegoldenvoicemovie 
& http://thegoldenvoicemovie.com/ 
More audio tributes on Khmer 70s music on myspace :

http://www.myspace.com/khmermusicrevival
http://www.myspace.com/khmersongs1
http://www.myspace.com/goodkhmermusic
http://www.myspace.com/thegoldenvoicemovie
http://www.myspace.com/brojumbotjomriangkongbuncheoun 
http://www.myspace.com/khmerlegend 
http://www.myspace.com/cambodiansoundtracks
http://www.myspace.com/radiokhmersitya

Other names not mentioned before here :

Poev Vannary : http://www.myspace.com/poevvannary
Hoey Meas : http://www.myspace.com/houymeas 
Meas Mathrey : http://www.myspace.com/measmathrey
Sem Touch : http://www.myspace.com/semtouch
Choun Vanna : http://www.myspace.com/chounvanna
Choun Malai : http://www.myspace.com/chounmalai 
Pen Rom : http://www.myspace.com/penrom
Mao Sareth : http://www.myspace.com/maosareth
Meas Samorn : http://www.myspace.com/meassamorn
Toche Teng : http://www.myspace.com/tocheteng
Em Songserm : http://www.myspace.com/emsongserm 
So Savoeun : http://www.myspace.com/sosavoeun
Chea Savaoeun : http://www.myspace.com/cheasavoeun
Meas Hokseng : http://www.myspace.com/meashokseng
Vor Sarun : http://www.myspace.com/vorsarun
Yos Olrang : http://www.myspace.com/yosolarang
Sos Math : http://www.myspace.com/sosmath

Documentary on http://dontthinkiveforgotten.com
with trailer on http://dontthinkiveforgotten.com/trailer/DTIF-Trailer.mov
El Suprimo Rec.V.A. : "Cambodian Psych-Out" (CAM,200?) ??



review will be added soon





Label info with audio : http://www.defectiverecords.com/discography/X001/X001.html
& on http://www.discogs.com/release/920140
Article : http://www.austin360.com/music/content/music/stories/xl/2008/03/0327xlmusic.html
Info on the Cambodian relief fund Adop-a-minefield on http://www.landmines.org