World / Traditional / India
453 products
TRAP beats born in Atlanta in the United States have become a common language in the world and continue to produce replicas, and as in Asia, many acts appear and disappear, and rappers from countries such as South Korea, Thailand, and Indonesia have been attracting attention for a long time nowadays. "YouTube play XX million times!" "Instagram follower XX million people!" Such phrases flew around, and the rapper made full use of social media to aim for monetization from a single buzz. It is JUU4E that strongly expresses and continues to create original HIP HOP.
JUU4E is a rapper who has been respected as an OG in Thailand, where young talents are appearing one after another, and has established a unique standing position. In the previous work "New Luk Thung" (2019), under the production of Young-G of stillichimiya / OMK, a masterpiece that is the latest HIPHOP and the latest Luk Thung by eclectic Thai omnivorous ghetto song, Luk Thung with HIP HOP. I made it. This work shocked both inside and outside the country, such as being nominated for the prestigious RIN (Rap is Now) annual best in Thailand, but when this "New Luk Thung" was released, in fact, this work "Idiot World" was already produced. Was starting.
This work is all self-produced by JUU4E. The lyric that interweaves Thai, Japanese and English, the stretchable flow, and the track that has a lower center of gravity than the previous work and is boiled down in dubby are the same as the previous work that chewed HIP HOP / TRAP and made it completely own, but it should be noted. Is a point where you can feel the intention to strongly represent
If you touch this work by biting the information that floods the net with HIP HOP hot in Asia, you're lucky. I want you to be stupid by all means being overwhelmed by the lyrics that challenge the "stupid world" head-on and the sound that is bitten by overwhelming freedom.
Clan Caiman, a five-member band formed by Argentine multi-instrumentalist writer Emilio Alo with the concept of "imagining the music played by a fictional tribe." His debut album "Clan Caimán" (2018) was widely heard by Hiramazu, VIDEOTAPEMUSIC, Tortoise, Tommy Guerrero, Martin Denny and others. In this second work, "Asoma (Rises in English)", Aro's creative musical instrument
This time, we remastered the song contained in the record "Saitama Bon Odori" produced by the Saitama Folk Culture Center in 1983, and recorded / mixed the latest version by the preservation society as of 2017. Recorded in. Please listen to the Japanese dance classics, where the stone Buddha begins to dance. The binding is Shinsuke Takagi (Soi48) following "Yumi Kagura".
The best compilation album of Dao Bandon, a Luk Thung singer from Isan (Northeastern Thailand) who was most wanted to be released by world music fans and frontier rare groove DJs! Thai music is now attracting the attention of collectors all over the world as dance music. Dao Bandung's music, which is characterized by thick beats, killer breaks, and unique voices and tunes, had the appeal of being addicted to the ears once heard. But what was sung in Isan in the 70's? Why did Dao Bandung hit? Its charm remained a mystery. This time, we interviewed Dr. Dao Bandon directly and translated all the songs in Isan and Thai into parallel, and the astonishing facts are under the sun! The laughing and crying original scenery of the idyllic Isan is revealed, such as a song about the set from reggae-like Ga * ja tune, a love song in the world of blues, and so on.
In the 1980s, Mr. Dao produced singers familiar with world music such as Honey Sri-Isan and Jintara Poonlarp. This album is full of roots up to the present in the genre of Luk Thung, which is still extremely popular. There can be no Thai song without listening to this!
In this work, all lyrics are posted in three languages, Thai, Japanese and English. The commentary is posted in Japanese and English, and the annotations of Thai proper nouns are complete! A spirited specification that will be an indicator of future world releases!
Beloved for her petite, baby-faced, and pretty personality, Hong Thong has been active in the middle of the two major genres of Morlam (* 1) and Luk Thung (* 2), and has become a model for next-generation singers since the 1980s. On the other hand, it is a mysterious diva who suddenly retired at the height of popularity.
Her music was known to fans as an early masterpiece of big-name producer Doi Inthanon, and she presented a challenging work in this combination. In this album, her true (really sweaty) wide repertoire with Morlam / Luk Thung on her crotch is extracted by the reliable Soi48 song selection, and its charm is conveyed in an easy-to-understand manner.
From upper tunes such as the bizarre blockbuster "Bump Lam Phloen" that incorporates disco into mor lam, her representative song "Hongthong Khanong Lam", Luk Thung disco, a phantom self-produced single (the best content), and that "apple" Also includes a beautiful cover of "Oiwake". Another highlight is Soi48's commentary, which is based on a direct interview with Hong Tone, revealing an unknown story. Come and experience what Hontone was the new wave of Thai music!
Son Taya is a singer who was hand-salted by Surin Pakshiri, a famous producer of Isan in the northeastern part of Thailand who made "Isan Lam Phloon" (1972) by Ankanan Kunchai, and is a female mor lam singer Payrin Pawn Phibun (already mentioned by Em). He is a "boy" singer who played an active part in pairs with. Based on the belief of the patterner of Isan music (developed and developed in Thai), Paksiri who always tried new things was the hottest recording of 70s-80s, and this Sontaya sound source is a strange and heavy mor lam that can not be heard anywhere else. A treasure trove of Luk Thung. From the Isan girls at that time to the hearts of the current Japanese, European and American dance floor DJs, this
In Thai music, which tends to focus only on the appearance and voice of the singer, as with the producer / arranger work in Japan, the United States and Europe, there are works that should be talked about in their contents. Soi48 and M are proud to send you unique Thai music that is neither funk, jazz nor rock, and the more you know about it, the more you will understand its speciality.
Pailin Pawn Phibun is a treasured child of Isan music tycoon Surin Pakshiri and an orthodox Morlam singer who followed Ankanan Kunchai. In the world's first best compilation album, a collection of famous performances from the latter half of the 70s to the beginning of the 80s during the heyday by the name combination with Paksiri. Although his ability and popularity were also popular, there were not many recordings (→ Paksiri hated crude overproduction), and most of them were released as singles, so the sound source value of this work is quite high. Almost all songs will be reissued on CD for the first time in the world.
The title song "Lamb Chrome Tun (Phantom White Bird)" is the theme song of the oversized hit movie "Monrack Menam Mu" (1978), which features Isaan music, and is her representative song. It is a masterpiece with the saying that the Thai song giant Waiphot Phetsuphant, who was impressed by this, begged Paksiri to make a cover.
Surin Paksiri, who has always brought a new twist to Isan music, is a super-experimental work because Pailin is a singer of the time when he was the sharpest. Lamb Prune, Lamb Tanwai, Luke Tung Isaan, etc. are all quirky recordings, and are full of deep and heavy works such as polyrhythmic songs reminiscent of African music and songs of tribal dance music itself. In Thai music, which tends to be spotlighted only on the singer's song and appearance, there are famous songs that should be talked about in terms of sound as well as the famous producer / arranger work in Japan, the United States and Europe. A unique music mor lam that is neither funk, jazz, rock nor club music! The more you know about Thai music, the more you will understand its brilliant speciality. Soi48 and M are proud to send you this special piece!
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* Note "Mor lam": Mo is a master, and ram is a performing art that speaks with intonation in the tone. In other words, it is a "master of narrative" and is a name that refers to both the singer and the performing arts. Mor lam is not a "song". Isan (Northeastern Thailand) is the home.
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+ Song selection / commentary / binding: Soi48 (with English translation)
+ Japanese / English translation
+ CD version: Normal jewel case, 24-page booklet
+ LP version: Liner included
After dying at the age of 30 in 1992, Pumpuang, who is worshiped as a "song sacred" in Thailand, has a lot of gossip in his life where success and misery are extremely mixed, but in terms of music, why he could become the queen of Luk Thung, etc. In fact, there are few opportunities to be introduced from the front. This time, based on the information we interviewed from multiple parties, we will cut into the wonderfulness and reality of Pun's music.
Whether you've been listening to Thai music-world music for a long time, or you're interested in Thai music but don't know what to listen to, it's one of the big daffodils. The Japanese translation of the poem is posted this time as well, so you can understand the world of Pumpuang Duangjan's songs perfectly! Binding: Shinsuke Takagi (Soi48).
The face of "Rampane" that swept Thailand in the cassette era, the bad tune of Quanter Farsawan is the best compilation album in the world's first CD. Here is the naked appearance of Street Morlam, a dance scene specification that is far from tradition!
In Morlam (* 1), which was a performing art that inherited the traditional "mold", it was rare to make a new mold, but "Lamb Pane", which appeared in the early 1980s, was a great producer, Doi Inthanon. A new type of lam created by Inthanon to meet the needs of the times, its appearance was literally an unconventional event. It is said that this Lamb Pane was specialized in the dance hall scene from the beginning and promoted the appearance of Lamb Singh, who is currently at the forefront, and is an important lamb type that has become the ancestor of Thai bass music since the 90's. In this commentary, Soi48 reveals the secret story behind its birth.
Quanter is the representative of Ram Pane, who made his debut by Doi Inthanon, who was selected from among 1,000 singers. With a strong appearance, he is a powerful singer who rams the life scenery of Thai people (Isan people) at the bottom, incites dance, and burns thick and short. Enjoy heavy street mor lam with translations, including the Thai-style biker song masterpiece "Lam Phaen Motorsai Tham Saeb" that incorporates the engine sound of one of the representative songs, Motorsai (* 2). that!
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* 1: Mo is a master, and Lamb is a performing art that speaks with intonation in the tone. In other words, it is a "master of narrative" and is a name that refers to both the singer and the performing arts. Mor lam is not a "song". Isan (Northeastern Thailand) is the home.
* 2: A motorcycle in Thailand.
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+ Song selection / commentary / binding: Soi48 (with English translation)
+ Japanese / English translation
+ CD version: Normal jewel case, 24-page booklet
+ LP version: Liner included
"Yagibushi" is the first folk song to be recorded in Japan and is popular as one of the largest dunks in the folk song world. .. This song is just crazy. The killer of killer that makes any folk music dance tune hazy in front of the dangerous force! Did you make a mistake in adjusting the EQ in the studio? A massive low beat with distorted bass and strange reverberation that makes you doubt your ears. And the lyrics in the form of a persuasion (Note 2) that tells the story of Meshimori onna (Note 1) who lives at night in Hanamachi. It's neither a Chicago-born ghetto base nor an Atlanta-born trap. It is a Japanese folk song that was brought up in the life of Kita-Kantou.
This time, with the cooperation of the Kizaki Ondo Preservation Society, we remastered and recorded the locally recorded versions of 1980 and 1965 that trapped the hustle and bustle of the night of Bon Odori. As a new attempt, Clark Naito's new recording Kizaki Ondo was also recorded there. MC / track maker Clark Naito, who raps garage punk on sampled tracks and is also active in the Gorge area, has a sense of connecting Bo Diddley and bass music with the term "3 minutes R & R". The collaboration between Minyo Mountains and Clark Naito created a modern version of Kizaki Ondo with contemporary trap beats and sweet synths. This is an extension of the act of "putting folk songs on a turntable and making a roaring sound" at the Soi48 party, and is a proposal for "a new way to enjoy folk songs." Please enjoy it simply as cool music.
Born in Isan, northeastern Thailand, he is an inventor-like producer who has often sent out cutting-edge (metamorphic) killer that will be the flagship of Thai pop producers, and is a great man who has developed Thai music by himself. A genuine record man who wants to do something different than sell, and a living music library that has seen the rise of Thai music with a solid critique.
This time, we selected 12 unscrupulous mixed songs that insist on the true
If Juu & G. Jee's "New Luk Thung", which sings "new" "Luk Thung", is the Luk Thung
All with translations this time as well. The commentary is of course Soi48.
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* Note
1) Luk Thung: A music genre that means "country child" or "country song". Song music that was established in the mid-1960s and is now inherited as Thai national music. Emphasis is placed on lyrics. It is highly omnivorous because there is no specific music format.
2) Leh: A Thai-specific genre in which Buddhist scriptures have been converted into songs through the preaching of monks. Singers who can improvise with limited syllables are respected because they require a high level of skill in the storytelling art.
3) Ramwon: Music with a strong character of creative folk songs established by the Thai government in the 1940s to raise national prestige. It was popular among the working class because of its characteristic ring dance like Japanese Bon Odori. There are two meanings and usages, one is the melody of Thai folk songs reorganized into Western music style, and the other is dance music called Ramwon regardless of genre.
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Song selection / commentary: Soi48
Mastering: Takuto Kuratani (Ruv Bytes)
Binding design: Shinsuke Takagi (Soi48)
CD version: Normal jewel case / 28-page booklet included
Japanese / English liner / Complete translation
TRACKS:
01. Bupper Saicheon "Deliver love in the wind"
02. Smit Thatcha Tape "Hunger for Love"
03. Kawao Cyantone "Simulation of a new house"
04. Banchop Charon Pawn "Don't talk anymore"
05. Liam Darah Noi "Pounding"
06. Kawao Cyantone "Cannabis Bamboo"
07. Bupper Saichon "Show me on foot"
08. Danchai Sontaya "I want to die"
09. Dam Danspan "Ripe Love"
10. Prune Prom Dane "Persuade the Child of the Mekong River"
11. Smary Saen Sotto "Sakura is waiting for you"
12. Waiphot Phetsuphant "Rum along the rice field"
The relaunch of EM Records’ Thai music series. Paradise Bangkok, Soi 48 and EM Records have teamed up to deliver a new series showcasing the extraordinary performances of some of Thailand’s greatest musical legends. The first release is the seminal album Isan Lam Plearn released in 1975 by Angkanang Kunchai. This album represents a crucial moment in Thai musical history when the performance styles of Molam (*1) and Luk Thung (*2) were fused together for the very first time!
Born in the province of Ubon Ratchathani in Isan (the northeastern region of Thailand), Angkanang Kunchai was a young female prodigy who emerged on the Molam scene, and became one of the first generation of Molam performers who were able to “sing” popular music (*3). From an early age she was mentored by renowned national Molam artist Chaweewan Dumnern, and in her mid-teens joined the legendary musical troupe the Ubon-Pattana Band as the lead vocalist.
In 1972 at the age of 16 she released a single "Isan Lam Plearn", which went on to become an enduring classic, covered most recently by major contemporary pop star Tai Orathai. The song was also a defining moment in the career of Ubon’s legendary producer Surin Paksiri, as it was the first recording in which Isan music – in particular Molam – was fused with Luk Thung from Bangkok to form the new musical genre of Luk Thung Isan. This music invented by music industry genius Paksiri, transformed Molam groups into rock bands and saw them starting to perform with the same kind of intensity as Luk Thung artists. The mix of contemporary singing styles with traditional Molam broke new ground and resulted in some truly surprising and influential music. "Isan Lam Plearn" became a major hit as the theme tune to the film Bua Lam Pu, and before long this new forbidden cool began to infect everyone, with performers turning in their droves to the Luk Thung Isan style. This turned out to be a precursor to the spread of Isan music across the country and the Molam boom that engulfed Thailand in the 90s – an unprecedented period in Thailand’s musical history in which Luk Thung singers were simply not able to make it in the record business unless they could perform Molam.
While typically albums produced in Thailand tended to be collections of singles, this work produced by Paksiri has an unusual degree of conceptual unity, and this is a very significant aspect of the album. It is an undeniable masterpiece that sees the Ubon-Pattana Band, led by Paksiri, delivering a performance that dramatically traverses genre boundaries, in an eerie sound-scape populated by the cute and rarefied tones of the young singer… It stands above and apart from the many Luk Thung Isan works that followed. As a bonus track, we have included Kongpetch Kaennakorn’s version of the much-covered "Isan Lam Plearn". Includes commentary in English and Japanese and an explanation of the lyrics.
Footnotes:
(*1) Molam: “Mo” is an artist and “Lam” is a kind of performance art where the artist tells a story using tonal inflexions.
(*2) Luk Thung: An important musical genre originated in Thailand which pulls together influences from various musical sources including rock, latin, regional Thai, Indian, Chinese, Japanese and Hawaiian music. It is also known as music for country folk. This term was coined in the first half of the 1960s.
(*3) Molam pieces are not actually “songs”, so this distinction is significant. At the time, Molam performers were basically forbidden from singing popular music.
+ Newly remastered
+ First ever world release by the artist outside of Thailand
CD version:
Standard jewel case. Booklet including liner notes written by Chris Menist (Paradise Bangkok) and scarece pics. English & Japanese text.
LP version:
4C inner sleeve incl. liner notes and pics.
The music of Clan Caimán is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolution path for music from the 1950s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection.
Formed in 2016 by musician, composer and producer Emilio Haro looking to create music generated by group dynamics, Clan Caimán differs from his past two solo albums (“Panorámico” in 2007 and “Estrambótico” in 2012, both on Radiaciones Armónicas) in that these were studio work and not meant to be played live.
The quintet's enigmatic sound is built upon the kalimbafón, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound.
This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.
Mustapha Skandrani. Besides having an excellent name, this man, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabo-Andalusian and European styles.
"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as Istikhbars. Playing these istikhbars (which have roots in the Islamic Arabo-Andalusian culture which flourished in Spain) on the piano, that quintessentially European instrument, Skandrani was greeted with derision by some purists. Skandrani's powerful musical vision, however, perceives the European element involved in Arabo-Andalusian musical culture, a world of exchange and co-existence, and his decision to play this music on the piano reminds us of this European influence.
Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on the istikhbar and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not vast. This is an admirable acheivement, resulting in beautiful music of a rare charm.
Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.
"Istikhbars and Improvisations" is available on CD and LP vinyl, with English and Japanese liner notes.
"Never Forget Me" is the second release on EM Records from Angkanang Kunchai, one of the greatest Thai singers; the original 1979 vinyl release, now extremely rare, was a collection of her self-produced songs, backed by her own band. This radically independent stance, though admirable, caused the album to languish in relative obscurity, due to her lack of support from the business masters of the Thai music scene of the time. "Never Forget Me" is a plea to her fans, and although the original album was not widely distributed, the high quality of the songs ensured that she was indeed not forgotten. Her first album, which was produced by Surin Paksiri, was the very first of the new molam-luk thung style; the songs here continue in that vein, a mix of modern luk thung Isan and various types of molam, backed here by her hand-picked ensemble, which later disbanded due to financial pressures. Despite these struggles, "Never Forget Me" lives on, its killer tunes loved by DJs and given a 5-star rating by psych record guru Hans Pokora. Available now on vinyl and CD, with English lyrics and liner notes, this is unforgettable.
+ Compiled/liner notes/cover art by Soi 48
+ English liner notes & lyrics
CD version: Standard jewel case, 24p booklet
Two human national treasures, Morlam, who appeared in the movie "Y / OUR MUSIC" and Ankanan Kunchai who appeared in the air tribe "Bangkok Nights", will appear in this competition! The glittering names of Isan's stars are lined up on the work list only for the big names who have been active for many years from Isan in the northeastern region of Thailand, but this time, in the era when they were competing with music itself without PV or TV media exposure, Internon A selection of 70s-80s Morlam / Luk Thung / Thai Funk Nambar, whose production was glaring, mixed with hit songs and rare songs. This is also a textbook that automatically unravels modern Thai pop music from the Isan side. The memorable first work of the Mor lam type "Lamb Pane" that he made and popularized is also making its debut! When you look at Doi Inthanon's work, the expression "I attacked the center (Bangkok) from Isan" fits in, but let's see how much the demon trader Doi-sensei, who is unconventional, went wild! (Teacher, it's unreasonable ~)
* "Mor lam" Mo is a master, and Lam is a performing art that speaks with intonation in the tone. In other words, it is a "master of narrative" and is a name that refers to both the singer and the performing arts. Mor lam is not a "song". Isan (Northeastern Thailand) is the home.
* "Luke Thun": A Thai-specific song genre formed by absorbing Thai local music and music from rock, Latin, India, China, Japan, Hawaii, etc. Known as "Countryside Song". Early 1960s
The name was given to.
+ Song selection / commentary / binding: Soi48 (with English translation)
+ Japanese / English translation
+ CD version: Normal jewel case, 28-page booklet
+ LP version: Liner included
TRACKS:
1. Mont Muanneua "I hate Bangkok"
2. Chaberply Namwai "Chabaply Rum Prune"
3. Ankanan Kunchai "Empty Coconut"
4. Orn Ummer Shinsiri "Sorrowful Morlam Daughter"
5. Nuchanato Nantaner "Your Thor is the sound of love"
6. Hongtone Daoudong "Looking for Hongtone's Lover"
7. Tong Thai Tin Isan "The Weirdest Lamb Prune Part 1"
8. Thorper Chantratip "Boy of Motor Rhino"
9. Po Charat Tonneau Sung Soom "Attack on You"
10. Tone My Marley "Lamb Pane 4 High Man"
11. Quanter Farsawarn "Lamb Pane 4 High Woman"
12. Po Charat Tonneau & Quanter Farsawan "At Huadoon Turn Village"
The KlapYaHandz label, a long-running labour of love helmed by Sok Visal, has been at the forefront of a revitalization of contemporary Cambodian culture since the beginning of the 21st century; it was the very first independent hip hop label in Cambodia, nurturing an ecosystem of rappers, producers and engineers, male and female, fusing hard-hitting Khmer-language hip hop rhymes with samples of Khmer traditional music and Golden Age hits, propelled by relentless grooves. Returning to his Cambodian homeland after a youth spent absorbing hip hop in France and the U.S., Visal’s energy and focus inspired a new musical generation; his love of Cambodian music as well as hip hop melded with his ear for jazz, funk and soul, and led to the creation of some very cool music from the artists he brought to his label. The 12 tracks on this CD are the very finest from the first decade of the KlapYaHandz galaxy. Hip hop, yes, but very definitely Cambodian hip hop, with traditional and Golden Age musical elements very prominent. Very cool, very Cambodian, very cosmopolitan, and very contemporary, but the past is always present, a love of musical history lighting the way forward.
+ 36-page booklet
+ English liner notes and lyrics
+ Liner notes written by Sok Visal and Sorany Var
Tracks:
1. Rin / Hip Hop [2001]
2. Phnom Penh Playaz / Ride With Us [2002]
3. Aping / Ereva Chanoy [2005]
4. Aping / Sangsa Lek 1 (feat. Dina) [2005]
5. Khmer Rap Boyz / Berk Chak [2007]
6. Kelly / K. E. L. L. Y. [2007]
7. Pou Khlaing / Yeak (feat. Adda) [2008]
8. Yungsterz / Luk Ko Luk Krobey [2008]
9. Khmer Kid / Laut Doch Besdoung (feat. Lisha) [2010]
10. Lisha / Srok Sre [2008]
11. Nen Tum / Dey Srok Khmer [2011]
12. Yungsterz / A yap [2011]
We all know Thailand is a place where magic happens, and sometimes it's a place where dreams come true. Suthep Daoduangmai was an ordinary man from the predominantly rural Isan region with a long-cherished dream of forming a band under his own name, even though he wasn't a musician. After a spell of hard work overseas, he returned home wealthy and, magically, formed one of the most successful molam groups ever, an extravagant orchestra with over thirty members, including twelve dancers, blending traditional Isan instruments with modern Western instruments, and featuring four excellent singers, two male, two female. Of particular note is that legendary singer Siriphon Amphaiphong, along with her sister, made her debut with this band. But perhaps this wasn't all magic; Suthep Daoduangmai had an innate musical sense and a keen populist spirit, enlisting great singers and bringing in master producer Doi Inthanon to help hone his vision. This album, originally released in 1984, was a super-hit throughout Thailand, highlighting producer Doi's entertaining new dance-friendly "lam phaen" style, with lively tempos and street-wise country-meets-city lyrics, as exemplified in the title track in which the two male singers head to Bangkok and show the city folks what's what. Originally released on cassette, plus a few vinyl copies for radio play, this 1984 sensation is available again now on vinyl, and, for the first time, on CD. Feel the magic!
We all know Thailand is a place where magic happens, and sometimes it's a place where dreams come true. Suthep Daoduangmai was an ordinary man from the predominantly rural Isan region with a long-cherished dream of forming a band under his own name, even though he wasn't a musician. After a spell of hard work overseas, he returned home wealthy and, magically, formed one of the most successful molam groups ever, an extravagant orchestra with over thirty members, including twelve dancers, blending traditional Isan instruments with modern Western instruments, and featuring four excellent singers, two male, two female. Of particular note is that legendary singer Siriphon Amphaiphong, along with her sister, made her debut with this band. But perhaps this wasn't all magic; Suthep Daoduangmai had an innate musical sense and a keen populist spirit, enlisting great singers and bringing in master producer Doi Inthanon to help hone his vision. This album, originally released in 1984, was a super-hit throughout Thailand, highlighting producer Doi's entertaining new dance-friendly "lam phaen" style, with lively tempos and street-wise country-meets-city lyrics, as exemplified in the title track in which the two male singers head to Bangkok and show the city folks what's what. Originally released on cassette, plus a few vinyl copies for radio play, this 1984 sensation is available again now on vinyl, and, for the first time, on CD. Feel the magic!
Media Condition: VG+ Sleeve Condition: No Cover