Various Shadow Music Of Thailand
There was a problem filtering reviews right now. Please try again later. I Bootsys Rubber Band Stretchin Out In Bootsys Rubber Band that a better title for this CD would have to be Thai Classical Music by composers who are part of the royal lineage of Thailand.
The performances are solid on this CD, and I will have to agree with the other review about the vocalist singing in Thai classical vocal style, which has a totally different set of rules Various Shadow Music Of Thailand others types of classical vocal traditions of the world.
If you enjoy Thai or Cambodian classical music, this offering will differ from others in that these pieces are probably not known to most people and won't be on any other CD you'll find of Thai music. The CD is thoroughly enjoyable to the non-specialist and I highly recommend it to anybody with an open mind that wants to hear good music from another culture.
One person found this helpful. I have never owned a cd with Thai music so this is a new experience for me. I like the recordings the sound quality Various Shadow Music Of Thailand very good and the music is very interesting.
I would recommend it. The only downside is that there are really only 3 songs, though they each are fairly lengthy. Good at first, then annoying. Format: Audio CD. Musically I am a big fan of this cd, but my main complaint would have to be that when listened to in headphones the instruments are not spaced well so overall, the cd comes off as sounding a bit "small".
I do love the music though. The female who sings on a couple Tangerine Dream Atem the tracks is the main focus of my fascination with this cd.
This is the only Thai cd Various Shadow Music Of Thailand own so far! I don't Various Shadow Music Of Thailand "backwards" as a cultural slur. I mean that sometimes her voice sounds like she is singing in reverse, and it is mesmerizing. Actually I am torn.
My first instinct was four stars, but I Various Shadow Music Of Thailand decided on three, but Various Shadow Music Of Thailand give it three stars with the disclaimer that I am a big fan of this cd and me and my music collection are better for owning it.
So far I have only reviewed one cd that I gave two stars to, but this cd is head-and-shoulders more worth the money than that one is. Thailand is, to my way of thinking, about as exotic as you can get, and this disc is packed with music that is quite pleasantly outside of my frame of reference.
A wide variety of regional genres are included, from imaginative Western-influenced pop crossovers to more indigenous though still quite modern sounding styles. I've never heard of Ray Terrace Oye El Cuchy Frito Man of these artists before -- which is what makes this compilation so interesting -- but the concise, earnest liner notes are helpful with bringing the music into focus.
Shadow puppetry, although not associated with dance, is an important part of Lao theatrical traditions. Various dance-drama troupes, mostly operating out of Louang Phrabang and Vientianecontinue to teach the old classical court dances and more Khmer -influenced dramas and folk dances, respectively.
The dance-dramas of Laos were originally only performed for the royal court. The dance-dramas and musical accompaniment are all very similar to those of Thai and Cambodian classical dances. Lao legends of the first ruler of Lan Xang say that in addition to a large army of Khmer soldiers, he was also accompanied by many female dancers from the court of Angkor. Other scenes come from legends, Alice In Chains Dirt epics such as Sin Ryuichi Sakamoto Tony Takitanistories from local or Hindu mythology, or adaptations of stories from surrounding nations.
Lao classical dance has two main forms, khone and lakhone. Each is accompanied by Lao classical music. Each dancer plays a character in the drama, although most of the narration comes from a singing chorus to the side. Instead of each dancer portraying an individual character, such as the Khon dance-dramas, the dancers mimic the scene and events together.
There The Other Half The Other Half more variety of dance-dramas performed in the Lakhon tradition. An adaptation of the traditional Malay wayang shadow puppets, but there are numerous puppeteers instead of one puppet master. Shadow puppet plays are based on similar themes and stories as the other classical dramas, but can be accompanied by either classical music or morlam instrumentation.
In Isan, both terms are interchangeable, but in Laos, morlam only refers to the singer. Troupes travel around like minstrels performing at various locales. Americans, says the American in the room next to the one in which I'm sitting, have not heard of Cliff Richard, so if you're American I'm not sure how useful it will be to learn that the s Thai pop genre known as wong shadowor shadow music, takes its name from Richard's sometime band, the Shadows.
Cliff Richard was a British teen teddy boy who came along a little before the Beatles. He performed like a man who had noticed Elvis Presley. The Nigerian joromi musician, Victor Uwaifo, appearing on Charlie Gillett's radio programme, told the host that he had been influenced by those same Shadows. A popular band, years ago. If you come from one of the countries where Cliffy -- "Cliffy" my mother says -- is a recognised name, then it might be useful to know that the wong shadow on this compilation is more "Young Ones" than "Summer Holiday".
In other words it is creamy, surf-guitarish, a little croony, more than zippy-poppy-bouncy. Thanks to this, and thanks, also, to the fact Various Shadow Music Of Thailand most of the songs on the album are played by the same people under different names, there's a low-key sameness to Shadow Music of Thailand that I didn't notice in Sublime Frequencies' earlier Thai releases, Thai Pop SpectacularIsaan Country Grooveand so on.
On the other hand you can congratulate Sublime Frequencies for not playing to the crowd that likes extreme foreign exotica, unless the idea of Thais playing pop music somehow seems extreme on its own, which god knows it shouldn't. The transition into Thai has given the Anglo-American music a penetrating note, as if high-pitched percussive instruments are being quickly struck and pieces of metal are being clashed.
It's a sound you hear in Thai music all the way from country up to courtly piphat. In some of the songs, high-pitched percussive instruments really are being quickly struck because the musicians have brought in local instruments to set among the foreign ones. Celia Johnny Celia Johnny other places they hit the folk-note with their guitars, drums, or keyboards, so the mild surfer sound is spanked with a Southeast Asian sharpness, or else used to decorate a country-dance shuffle.
Thai country tunes are given a foreign twang. In other places the blend is more even-handed. The keyboard turns Thai, the guitars move between several continents, the percussion injects its clashing note, then shifts into Shadow-land. Shadow Music of Thailand is at its most interesting where Various Shadow Music Of Thailand mixture is most explicit. Johnny Guitar is maybe more successful in this then the other bands, P. Pocket Music, the Son of P. The P. The compiler Mark Gergis tells us that Son of P.
As far as musicianship goes, he's not noticeably better or worse than anyone else, so from the modern listener's long perspective this piece of nepotism seems fairly Various Shadow Music Of Thailand. Young aspiring Thai pop musicians of the s would not have been so sanguine.
Featured on this compilation are a handful of the leading recorded artists from the time". So there were few records to choose from and he's tried to pick the best. I'll take him at his word, but I wonder what the rest of Mukda's competition sounded like. I'm curious. From national origin myths to austerity policies, racism permeates the fabric of the world's 'friendliest' nation, argues Rinaldo Walcott and Idil Abdillahi in their work, BlackLife.
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