Sin Sisamouth (Khmer: ស៊ីន ស៊ីសាមុត [sɨn siːsaːmut]; 23 August 1932 – 18 June 1976) was a popular and profoundly productive Cambodian artist musician from the 1950s to the 1970s.
Generally considered the "Lord of Khmer music," Sin Sisamouth, alongside Ros Sereysothea, Pan Ron, Mao Sareth and other Khmer specialists, was a piece of a flourishing popular music scene in Phnom Penh that mixed components of Khmer conventional music with the hints of mood and soul and shake and move to make a Westernized sound likened to hallucinogenic or carport rock. Sisamouth kicked the bucket amid the Khmer Rouge administration under circumstances that are unclear.Early life[edit]
Sin Sisamouth was conceived in August 23, 1932, in Stung Treng Province, the child of Sinn Leang and mother Seb Bunlei.
He was the most youthful of four kin, with one sibling and two sisters. His dad was a jail superintendent in Battambang Province and was then an officer amid the Colonial Cambodia period. His dad passed on of infection, and his mom remarried, and the union brought about two more kids.
Sisamouth went to Central Province of Stung Treng Elementary School when he was five. At six years old or seven, he began to show enthusiasm for the guitar, and he would be requested that perform at school capacities. He was likewise intrigued by Buddhist sacred text and different books, and playing soccer and flying kites.
Around 1951, he passed primary school and expected to study solution in Phnom Penh, however kept working at turning into a vocalist and composing tunes. Pretty much as he had in grade school, he turned out to be surely understood in his school for his music, and was requested that sing at school functions.
When Cambodia was allowed autonomy from France in 1953, Sisamouth's fine singing voice landed him a spot on national radio as a customary vocalist. He likewise proceeded with his studies, working at Preah Ketomealea Hospital.
Music career
In the wake of finishing restorative school, Sisamouth turned into a medical attendant and wedded his cousin, Keo Thorng Gnut, in an organized marriage. The couple had four kids, however he was additionally an exceptionally acclaimed singing star in Cambodia, and his life as a big name overshadowed his family life.
He had a reasonable warbling voice which, consolidated with his own particular arrangements about the joys and torments of sentiment, made him a symbol. He sang numerous ditties, too uptempo rock numbers that highlighted conspicuous, twisting loaded guitar, pumping organ and uproarious, driving drums. Different game plans were more Latin jazz-sounding, highlighting woodwinds, metal, and helper percussion.
In the mid 1950s he turned into a protégé of Queen Nearyrath. He was chosen into the Vong Phleng Preah Reach Troap (established troupe of the Royal Treasury) where together with Sos Matt, he performed at illustrious gatherings and state capacities. Various tunes he composed along these lines bore the unmistakable melancholic songs of the customary Khmer music he performed in those developmental years. In the mid-1950s, a sentimental melody "Violon Sneha", made by violinist Hass Salan, slung Sisamouth into fame. As of late the tune has been re-issued by an expansive number of present day entertainers, including Song Seng Horn, who originates from Rhode Island, Mol Kamach (an artist and guitarist of the 1960s who got away from the Khmer Rouge run and is currently living in France), Nay Sieng (a Khmer situated in France), and Him Sivonn (a female vocalist from Phnom Penh).
The majority of Sisamouth's tape recordings from this period did not survive the years of social change, on the other hand, albeit every so often some of Sisamouth's 1950s and mid 1960s hits are rerecorded effectively. One such hit, "Srey Sros Khmeng", re-rose up out of blankness with Suong Chantha's 2002 reliable interpretation. Sisamouth's different hits of the same period incorporate "Anussavry Phnom Kravanh", "(Chett Srey doch) Chong Srol", "Thngay Dob Pee Thnou", "Thngay Muoy Kakkda", "Teuk Keb", "Stung Pursat", and "Prek Eng Oss Sangkhim".
Around 1963, Sisamouth began recording on the Vat Phnom mark. His "Champa Batdambang" won prompt recognition the nation over. In a 1971 Phnom Penh network show, Sisamouth's questioner reviewed that "Champa Batdambang" was the first tune sung on the introduction of the station in 1965.
What caught Sisamouth's gathering of people was the utilization of a four-piece, shake and move band instrumentation with guitars and percussion, a takeoff from a sponsorship band of wind instruments. He likewise explored different avenues regarding Latin music, a fascination that may have begun with Prince Norodom Sihanouk's organizations, for example, "Reatry Del Ban Chuop Pheak" and "Phnom Penh".
Sisamouth's prominence by and by did not overshadow the work of other recording craftsmen, outstandingly the individuals who sang at the National Radio, for example, Eum Song Seurm and Huoy Meas. Meas Hok Seng, a voice craftsman at the Phnom Penh University of Arts ("Sala Rachna") additionally accomplished big name status in 1966 with "Lolok Nhi Chmaul". Hits by these specialists frequently originated from the pen of lyricist Ma Lao Pi, a capable writer and supporter now living in California, whose perfect works of art incorporate "Day Samot Trapaing Roung" and "Lolok Nhi Chmaul". Regardless of intermittent hits, for example, "Akassyean", Sos Matt then again seemed to have been unjustifiably sidelined in the commercialisation of music that occurred with the entry of recording creations, for example, Vat Phnom and Chan Chaya.
In the late 1960s and mid 1970s, Sisamouth sang the soundtrack tunes to various prominent movies, for example, Orn Euy Srey Orn, Tep Sodachan, and Thavory Meas Bong. In "Peou Chhouk Sar", a 1967 achievement coordinated by Tea Lim Kun, Sisamouth caught the powerful separation of lead on-screen characters Dy Saveth and Chea Yuthan with his "Neavea Chivit". Over his long vocation, Samuth recorded numerous two part harmonies with female singing accomplices, including, in the mid 1960s, Mao Sareth, Keo Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea, and Penn Ron. Penn Ron started recording with Sisamouth in 1966. Ros Sereysothea began her vocation in around 1967 with the hit "Stung Khieu". Her high, fresh voice pleasantly adjusted the more profound conditioned voice of Sisamouth. In any case the nature of Sisamouth's tunes weakened quickly in the 1970s, put something aside for a couple of striking cases composed by lyricist Voy Ho who had been a long standing associate. Over that same period, Samuth adjusted various Thai melodies into his collection.
From 1972 to 1973, music distributer Kruorch Bunlyhe issued A Collection of Sentimental Songs, which contained 500 of Sinn Sisamouth's melodies. It is assessed that he composed a great many melodies, potentially no less than one for every day he was acclaimed, his child Sinn Chaya has said.
Alongside his unique works, Sisamouth likewise acquainted numerous Western pop tunes with Cambodia, just composition new verses in Khmer dialect. Illustrations incorporate "The House of the Rising Sun" as "I'm Still Waiting for You" (an especially decent showcase of his managed stating and baritone voice), "Dark Magic Woman" (drawing impact from the Santana form) under the title "I Love Petite Women", "Sugar" and "Quando My Love".In the consequence of the rebellion by the Lon Nol government on March 18, 1970, which saw the topple of the principle of Prince Norodom Sihanouk, Sisamouth began to sing purposeful publicity melodies in backing of the juvenile Khmer Republic. One such melody that turned into a persisting fantastic was "Mae Owy Ao Yoann", telling the narrative of a mother giving a mantra-secured enchantment vest to her fighter child on his approach to fight. Alluding to comrade troop developments over Cambodian domain amid the Vietnam War, a verse in the same tune said that the removed ruler had sold out Cambodian area to the Viet Cong. Such reactions of the imperial family were extraordinary, not minimum given that Sisamouth had been a protégé of Queen Kossomak Nirirath, mother of Prince Sihanouk. The Khmer Rouge takeover of Phnom Penh on April 17, 1975, saw Sisamouth constrained out of the city, alongside a large number of different occupants.
At this point he had remarried, to an artist in the imperial artful dance, who was pregnant with the couple's second tyke.
The circumstances of his demise in the Killing Fields are obscure, yet he had associations with the old government, was very instructed, and was a craftsman – all trappings of a general public that Pol Pot tried to annihilate. One spurious story is that before he was to be executed, Sisamouth asked that he be permitted to sing a tune for the unit; yet the troopers were unmoved and after he completed the process of
Sin Sisamouth was conceived in August 23, 1932, in Stung Treng Province, the child of Sinn Leang and mother Seb Bunlei.
He was the most youthful of four kin, with one sibling and two sisters. His dad was a jail superintendent in Battambang Province and was then an officer amid the Colonial Cambodia period. His dad passed on of infection, and his mom remarried, and the union brought about two more kids.
Sisamouth went to Central Province of Stung Treng Elementary School when he was five. At six years old or seven, he began to show enthusiasm for the guitar, and he would be requested that perform at school capacities. He was likewise intrigued by Buddhist sacred text and different books, and playing soccer and flying kites.
Around 1951, he passed primary school and expected to study solution in Phnom Penh, however kept working at turning into a vocalist and composing tunes. Pretty much as he had in grade school, he turned out to be surely understood in his school for his music, and was requested that sing at school functions.
When Cambodia was allowed autonomy from France in 1953, Sisamouth's fine singing voice landed him a spot on national radio as a customary vocalist. He likewise proceeded with his studies, working at Preah Ketomealea Hospital.
In the wake of finishing restorative school, Sisamouth turned into a medical attendant and wedded his cousin, Keo Thorng Gnut, in an organized marriage. The couple had four kids, however he was additionally an exceptionally acclaimed singing star in Cambodia, and his life as a big name overshadowed his family life.
He had a reasonable warbling voice which, consolidated with his own particular arrangements about the joys and torments of sentiment, made him a symbol. He sang numerous ditties, too uptempo rock numbers that highlighted conspicuous, twisting loaded guitar, pumping organ and uproarious, driving drums. Different game plans were more Latin jazz-sounding, highlighting woodwinds, metal, and helper percussion.
In the mid 1950s he turned into a protégé of Queen Nearyrath. He was chosen into the Vong Phleng Preah Reach Troap (established troupe of the Royal Treasury) where together with Sos Matt, he performed at illustrious gatherings and state capacities. Various tunes he composed along these lines bore the unmistakable melancholic songs of the customary Khmer music he performed in those developmental years. In the mid-1950s, a sentimental melody "Violon Sneha", made by violinist Hass Salan, slung Sisamouth into fame. As of late the tune has been re-issued by an expansive number of present day entertainers, including Song Seng Horn, who originates from Rhode Island, Mol Kamach (an artist and guitarist of the 1960s who got away from the Khmer Rouge run and is currently living in France), Nay Sieng (a Khmer situated in France), and Him Sivonn (a female vocalist from Phnom Penh).
The majority of Sisamouth's tape recordings from this period did not survive the years of social change, on the other hand, albeit every so often some of Sisamouth's 1950s and mid 1960s hits are rerecorded effectively. One such hit, "Srey Sros Khmeng", re-rose up out of blankness with Suong Chantha's 2002 reliable interpretation. Sisamouth's different hits of the same period incorporate "Anussavry Phnom Kravanh", "(Chett Srey doch) Chong Srol", "Thngay Dob Pee Thnou", "Thngay Muoy Kakkda", "Teuk Keb", "Stung Pursat", and "Prek Eng Oss Sangkhim".
Around 1963, Sisamouth began recording on the Vat Phnom mark. His "Champa Batdambang" won prompt recognition the nation over. In a 1971 Phnom Penh network show, Sisamouth's questioner reviewed that "Champa Batdambang" was the first tune sung on the introduction of the station in 1965.
Sisamouth's prominence by and by did not overshadow the work of other recording craftsmen, outstandingly the individuals who sang at the National Radio, for example, Eum Song Seurm and Huoy Meas. Meas Hok Seng, a voice craftsman at the Phnom Penh University of Arts ("Sala Rachna") additionally accomplished big name status in 1966 with "Lolok Nhi Chmaul". Hits by these specialists frequently originated from the pen of lyricist Ma Lao Pi, a capable writer and supporter now living in California, whose perfect works of art incorporate "Day Samot Trapaing Roung" and "Lolok Nhi Chmaul". Regardless of intermittent hits, for example, "Akassyean", Sos Matt then again seemed to have been unjustifiably sidelined in the commercialisation of music that occurred with the entry of recording creations, for example, Vat Phnom and Chan Chaya.
In the late 1960s and mid 1970s, Sisamouth sang the soundtrack tunes to various prominent movies, for example, Orn Euy Srey Orn, Tep Sodachan, and Thavory Meas Bong. In "Peou Chhouk Sar", a 1967 achievement coordinated by Tea Lim Kun, Sisamouth caught the powerful separation of lead on-screen characters Dy Saveth and Chea Yuthan with his "Neavea Chivit". Over his long vocation, Samuth recorded numerous two part harmonies with female singing accomplices, including, in the mid 1960s, Mao Sareth, Keo Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea, and Penn Ron. Penn Ron started recording with Sisamouth in 1966. Ros Sereysothea began her vocation in around 1967 with the hit "Stung Khieu". Her high, fresh voice pleasantly adjusted the more profound conditioned voice of Sisamouth. In any case the nature of Sisamouth's tunes weakened quickly in the 1970s, put something aside for a couple of striking cases composed by lyricist Voy Ho who had been a long standing associate. Over that same period, Samuth adjusted various Thai melodies into his collection.
From 1972 to 1973, music distributer Kruorch Bunlyhe issued A Collection of Sentimental Songs, which contained 500 of Sinn Sisamouth's melodies. It is assessed that he composed a great many melodies, potentially no less than one for every day he was acclaimed, his child Sinn Chaya has said.
Alongside his unique works, Sisamouth likewise acquainted numerous Western pop tunes with Cambodia, just composition new verses in Khmer dialect. Illustrations incorporate "The House of the Rising Sun" as "I'm Still Waiting for You" (an especially decent showcase of his managed stating and baritone voice), "Dark Magic Woman" (drawing impact from the Santana form) under the title "I Love Petite Women", "Sugar" and "Quando My Love".In the consequence of the rebellion by the Lon Nol government on March 18, 1970, which saw the topple of the principle of Prince Norodom Sihanouk, Sisamouth began to sing purposeful publicity melodies in backing of the juvenile Khmer Republic. One such melody that turned into a persisting fantastic was "Mae Owy Ao Yoann", telling the narrative of a mother giving a mantra-secured enchantment vest to her fighter child on his approach to fight. Alluding to comrade troop developments over Cambodian domain amid the Vietnam War, a verse in the same tune said that the removed ruler had sold out Cambodian area to the Viet Cong. Such reactions of the imperial family were extraordinary, not minimum given that Sisamouth had been a protégé of Queen Kossomak Nirirath, mother of Prince Sihanouk. The Khmer Rouge takeover of Phnom Penh on April 17, 1975, saw Sisamouth constrained out of the city, alongside a large number of different occupants.
At this point he had remarried, to an artist in the imperial artful dance, who was pregnant with the couple's second tyke.
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