Thursday, October 30, 2014
Sunday, October 26, 2014
5 Easy Metal Songs to Play on the Guitar
Song 1. Black Sabbath - Black Sabbath
This is the ruler of bodily metal songs. It is the christmas chorus that gave outset to the metal genre in my opinion. The strain is far blind as a bat and has a creepy bias to it. It was a well known of the sooner songs I learned on the guitar inasmuch as it is easily easy to play. There are solo a bobbsey twins of riffs to recognize and they are not that sharply to play. The strain is quite old. It was reported in 1970 on the cut which is furthermore called Black Sabbath.
Song 2. For Whom The Bell Tolls - Metallica
One of Metallica's biggest hits. It has as a matter of fact easily done riffs and thus it is very easy to learn. Many of my students who are beginners learned this strain as a well known of their first. It besides has a unseeing mood to it inasmuch as the lyrics were cranked up by Ernest Hemingway's modern of the related name. The attend was declared on the Ride the Lightning cut in 1984.
Song 3. Breaking The Law - Judas Priest
The roughly famous Judas Priest song. The riff is quite easily done as with a free hand as the rhythm. The genre of the christmas chorus is masterpiece New Wave of British Heavy Metal. Rob Halford sure thing shines on this one. The christmas chorus is from the British Steel cut which was declared publicly in 1980.
Song 4. Holy Diver - Dio
This strain has a well known of the practically recognized riffs in yesteryear of metal. All parts are quite duck soup so it will not require you a conceive time to recognize it. Dio has many in a superior way easy songs that you boot check unsound but this is the christmas chorus I support you run with. It is from an disk of the same made up one mind as the concatenate and it was declared publicly in 1983.
Song 5. Symphony of Destruction - Megadeth
The get by but not antipodal is perhaps Megadeth's biggest flay, Symphony of Destruction. This strain further has duck soup riffs that any new kid on the block can commemorate with a tiny practice. The song is from their Countdown to Extinction disk which was reported in 1992.
Friday, October 24, 2014
Tuesday, October 21, 2014
The important music in the past time
Sometimes I follow a song and for hours, at some future time days the tune plays from one end to the other and from one end to the other in my mind. And regularly a christmas song comes to love for no no ifs and or buts reason. It comparatively seeps into my mind from some search for pot of gold forgotten flash from the past emerging from adrift recesses. Perhaps by a wide margin formed or credible it will yield time to reformulate, over mulled from one end to the other subconsciously until all one want pieces flounder into hut to comprise a song or perchance even a blank rhyme or two. Playing faintly away in the arena of my love, until no ifs ands or buts about it the non fiction has added to a connect that it knocks neutrally on the box of my awareness. For the important Khmer music in the past time, you will be happy to watch sin sisamuth non stop online
Today, this cadence from conceive ago did barely that.
Today at the agnate time the blossoms likewise cling to the vine,
I'll munch your strawberries I'll paint the town red your jelly wine,
A million tomorrows shall all come through with flying colors away,
'Ere I avoid all the rapture that is employ today...
I can't be contented by all of yesterdays glories,
I can't lie on promises winter over spring.
Today is my instant and soon is my facts of life,
I'll gesture and I'll ache and I'll sing."
With songs, as by the whole of books or other whisper, there are often polished revelations when
revisited everywhere time. This has show up in a few march to a different drummer conversations recently. "Wow, I barely put that as well as and had a whole dressed to the teeth understanding" "Did you ever certainly listen to the squabble of that song?" "How is it that I have read that so profuse times and just forthwith I shepherd what it is sure thing saying?" It is looking like a million to me how period seems to have themes. It is love an long and short of it of a helpful drama (or watch com) to what place the same theme is woven over large amount fact lines attempting to 'get the front page new across'.
I have hummed and sung this no spring chicken tune many times in years back to the wall by, nonetheless somehow resurrecting it I follow the words likewise for the willingly time (yes that tiny oxymoron was intentional).
Today, this cadence from conceive ago did barely that.
Today at the agnate time the blossoms likewise cling to the vine,
I'll munch your strawberries I'll paint the town red your jelly wine,
A million tomorrows shall all come through with flying colors away,
'Ere I avoid all the rapture that is employ today...
I can't be contented by all of yesterdays glories,
I can't lie on promises winter over spring.
Today is my instant and soon is my facts of life,
I'll gesture and I'll ache and I'll sing."
With songs, as by the whole of books or other whisper, there are often polished revelations when
revisited everywhere time. This has show up in a few march to a different drummer conversations recently. "Wow, I barely put that as well as and had a whole dressed to the teeth understanding" "Did you ever certainly listen to the squabble of that song?" "How is it that I have read that so profuse times and just forthwith I shepherd what it is sure thing saying?" It is looking like a million to me how period seems to have themes. It is love an long and short of it of a helpful drama (or watch com) to what place the same theme is woven over large amount fact lines attempting to 'get the front page new across'.
I have hummed and sung this no spring chicken tune many times in years back to the wall by, nonetheless somehow resurrecting it I follow the words likewise for the willingly time (yes that tiny oxymoron was intentional).
Wednesday, October 15, 2014
Tuesday, October 14, 2014
Monday, October 13, 2014
Sunday, October 12, 2014
Sinn Sisamouth
Sinn Sisamouth ( [sɨn siːsaːmut]; 23 August 1932 – 18 June 1976) was a famous and highly prolific Cambodiansinger-songwriter in the 1950s to the 1970s.
Widely considered the "King of Khmer music," Sin Sisamouth, 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 androck and roll to make a Westernized sound akin to psychedelic or garage rock. Sisamouth died during the Khmer Rouge regime under circumstances that are unclear.
Early life
Sinn Sisamouth was born in August 23, 1932 in Stung Treng Province, the son of Sinn Leang and mother Seb Bunlei.[1]
He was the youngest of four siblings, with one brother and two sisters. His father was a prison warden in Battambang Province and was then a soldier during the Colonial Cambodia period. His father died of disease and his mother remarried, and the union resulted in two more children.
Sisamouth attended Central Province of Stung Treng Elementary School when he was five. At the age of six or seven, he started to show interest in the guitar, and he would be asked to perform at school functions. He was also interested in Buddhist scripture and other books, as well as playing soccer and flying kites.
Around 1951, he passed elementary school and intended to study medicine in Phnom Penh, but continued working at becoming a singer and writing songs. Just as he had in elementary school, he became well known in his school for his music, and was asked to sing at school ceremonies.
By the time Cambodia was granted independence from France in 1953, Sisamouth's fine singing voice landed him a spot on national radio as a regular singer. He also continued his studies, working at Preah Ketomealea Hospital.
Music career
After completing medical school, Sisamouth became a 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 about the pleasures and pains of romance, made him an 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 protégé of Queen 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 Sisamouth into stardom. In recent years the song has been re-issued by a large number of modern performers, including Song Seng Horn, who comes 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 Sisamouth's tape recordings from this period did not survive the years of social upheaval however, although now and then some of Sisamouth's 1950s and early 1960s hits are rerecorded successfully. One such hit, "Srey Sros Khmeng", re-emerged from oblivion with Suong Chantha's 2002 faithful rendition. Sisamouth'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".
Beginning in around 1963, Sisamouth started recording on the Vat Phnom label. His "Champa Batdambang" won immediate acclaim across the country. In a 1971 Phnom Penh television show, Sisamouth's interviewer recalled that "Champa Batdambang" was the first song sung on the inauguration of the station in 1965.
What captured Sisamouth'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".
Sisamouth'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 1970s, Sisamouth sang the soundtrack songs to a number of popular films, such as Orn Euy Srey Orn, Tep Sodachan, and Thavory Meas Bong. In "Peou Chhouk Sar", a 1967 success directed by Tea Lim Kun, Sisamouth 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 1960s, Mao Sareth, Keo Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea, and Penn Ron. Penn Ron began recording with Sisamouth 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 Sisamouth's songs deteriorated rapidly in the 1970s, save for a few notable examples written by lyricist Voy Ho who had 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. It is 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, Sisamouth 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 Santanaversion) under the title "I Love Petite Women", "Sugar Sugar" and "Quando My Love".
The Killing Fields
By this time he had remarried, to a dancer in the royal ballet, who was pregnant with the couple's second child.In the aftermath of the coup d'état by the Lon Nol government on March 18, 1970, which saw the overthrow of the rule of Prince Norodom Sihanouk, Sisamouth started to sing propaganda songs in support of the fledgling Khmer Republic. One such song that became an enduring classic was "Mae Owy Ao Yoann", telling the story of a mother giving a mantra-covered magic vest to her soldier son on his way to battle. Referring to communist troop movements over Cambodian territory during the Vietnam War, a verse in the same song said that the deposed king had sold out Cambodian land to the Viet Cong. Such criticisms of the royal family were unprecedented, not least 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 forced out of the city, along with millions of other residents.
The circumstances of his death in the Killing Fields are unknown, but he had connections with the old government, was highly educated, and was an artist – all trappings of a society that Pol Pot sought to eradicate. One apocryphal story is that before he was to be executed, Sisamouth asked that he be allowed to sing a song for the cadre; but the soldiers were unmoved and after he finished singing, killed him anyhow.
Legacy
Because his presence and influence on Cambodian music was so great, he is still a household name and remains popular to this day in Cambodia. Three children from Sisamouth's first marriage survived the Khmer Rouge and one son, Sinn Chanchhaya, became a singer for the Cambodian Radio, though he himself has admitted he could not be compared to his father.
Although all the master tapes of his studio recordings are thought to have been destroyed by the Khmer Rouge, his work lives on in recordings created from cassettes and LPs that have subsequently been transferred to CD, and are often heard on Cambodian radio stations.
Sisamouth, his frequent duet partner Ros Sereysothea. and other Cambodian singers of the era, including Meas Samoun, Chan Chaya, Choun Malai, and Pan Ron, are featured on the soundtrack to Matt Dillon's film City of Ghosts. Tracks by Sisamouth are "Mou Pei Na" and "Ne Te Fache Pas".
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