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Best of Samouth 12 CD collection

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************* SIN SISAMOUTH GREATEST HITS
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Artist....: Sin Sisamouth
Title.....: Greatest Hits (12 cd)
Rel. Date.: Unknown
Store Date: Not in American's.
Type/Genre: Cambodian Music
Size......: 640 MB
Format....: Mp3 wma & wmv
Khz.......: 44.1
Mode......:
Encoder...: MPEG-1 Layer 3
Ripper....: Unkown
Developer.: Unkown
Url.......: http://www.sinsisamouthmusic.com:2008
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Description :

This boxset is from one of Cambodians greatest artist of all time. He was a
singer, composer and song writer of their time, you could say it's their
Elvis Presley.

Brief History

He was a famous and highly prolific Cambodian singer-songwriter of the 1960s and
70s. Widely considered the “King of Khmer music,” Samouth, along with Ros
Sereysothea, Pan Ron and other artists, was part of a thriving pop music scene
in Phnom Penh that blended elements of Khmer traditional music with the sounds
of rhythm and blues and rock and roll to make a Westernized sound akin to
psychedelic or garage rock. Samouth is believed to have been killed under the
Khmer Rouge regime.

Music Career:

After completing medical school, Samouth became a male nurse and married his
cousin, Keo Thorng Gnut in an arranged marriage. The couple had four children.
But he was also a very famous singing star in Cambodia, and his life as a
celebrity eclipsed his family life. He possessed a clear crooning voice, which
combined with his own compositions of the pleasures and pains of romance, made
him an irresistible idol. He sang many ballads, as well uptempo rock numbers
that featured prominent, distortion-laden guitar, pumping organ and loud,
driving drums. Other arrangements were more Latin jazz-sounding, featuring
woodwinds, brass and auxiliary percussion.

In the early 1950s he became a protege of Queen Kossomak Nearyrath. He was
selected into the Vong Phleng Preah Reach Troap (classical ensemble of the
Royal Treasury) where together with Sos Matt, he performed at royal receptions
and state functions. A number of songs he wrote subsequently bore the
unmistakable melancholic melodies of traditional Khmer music he performed in
those formative years. In the mid-1950s a romantic ballad “Violon Sneha”,
composed by violinist Hass Salan, catapulted Samouth into stardom. In recent
years the song has been re-issued by a large number of modern performers,
including Song Seng Horn (Sayonara CD 23) who hails from Rhode Island, Mol
Kamach (a singer and guitarist of the 1960s who escaped the Khmer Rouge rule
and is now living in France), Nay Sieng (a Khmer based in France) and Him
Sivonn (a female vocalist from Phnom Penh). Most of Samouth’s tape recordings
from this period did not survive the years of social upheaval however, although
now and then some of Samouth’s ’50s and early ’60s hits come back to life with
the help of his thousands of Khmer fans from across the globe. One such hit,
“Srey Sros Khmeng”, re-emerged from oblivion with Suong Chantha’s 2002 faithful
rendition. Samouth’s other hits of the same period include “Anussavry Phnom
Kravanh”, “(Chett Srey doch) Chong Srol”, “Thngay Dob Pee Thnou”, “Thngay Muoy
Kakkda”, “Teuk Keb”, “Stung Pursat” and “Prek Eng Oss Sangkhim”.

What captured Samouth’s audience was the use of a four-piece, rock and roll band
instrumentation with guitars and percussion, a departure from a backing band of
wind instruments. He also experimented with Latin music, an infatuation that may
have started with Prince Norodom Sihanouk’s compositions such as “Reatry Del Ban
Chuop Pheak” and “Phnom Penh”. Samouth’s popularity nevertheless did not eclipse
the work of other recording artists, notably those who sang at the National Radio
such as Eum Song Seurm and Huoy Meas. Meas Hok Seng, a voice artist at the
Phnom Penh University of Arts (”Sala Rachna”) also achieved celebrity status in
1966 with “Lolok Nhi Chmaul”. Hits by these artists often came from the pen of
lyricist Ma Lao Pi, a talented poet and broadcaster now living in California,
whose masterpieces include “Day Samot Trapaing Roung” and “Lolok Nhi Chmaul”.
Despite occasional hits such as “Akassyean”, Sos Matt on the other hand appeared
to have been unfairly sidelined in the commercialisation of music that took place
with the arrival of recording productions such as Vat Phnom and Chan Chaya.

In the late 1960s and early ’70s, Samouth sang the soundtrack songs to a number
of movies catering to mass taste, such as Orn Euy Srey Orn, Tep Sodachan, and
Thavory Meas Bong. In “Peou Chhouk Sar”, a 1967 success directed by talented Tea
Lim Kaing, Samouth captured the poignant breakup of lead actors Dy Saveth and
Chea Yuthan with his “Neavea Chivit”. Over his long career, Samuth recorded many
duets with female singing partners including in the early 60’s, Mao Sareth, Keo
Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea and Penn Ron. Penn Ron began
recording with Samouth in 1966. Ros Sereysothea started her career in around 1967
with the hit “Stung Khieu”. Her high, crisp voice nicely balanced the deeper-toned
voice of Sisamouth. Nevertheless the quality of Samouth’s songs deteriorated
rapidly in the ’70s, saved a few notable gems written by lyricist Voy Ho who has
been a long standing colleague. Over that same period Samuth adapted a number of
Thai songs into his repertoire.

From 1972 to 1973 music publisher Kruorch Bunlyhe issued “A Collection of
Sentimental Songs”, which contained 500 of Sinn Sisamouth’s songs. That was just
one publisher. It’s estimated that he wrote thousands of songs, possibly at least
one for each day he was famous, his son Sinn Chaya has said.

Along with his original works, Samouth also introduced many Western pop tunes to
Cambodia, simply writing new verses in Khmer language. Examples include “The House
of the Rising Sun” as “I’m Still Waiting for You” (a particularly good showcase of
his sustained phrasing and baritone voice), “Black Magic Woman” (drawing influence
from the Santana version) as “I Love Petite Women”, and “Quando My Love”, a
crooner’s classic in any language.

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