Danny Koh: Fishermen, Candidates (Part III)

Friday, July 9, 2010

In my search for Singapore's 60s instrumental group members, I remember the Cathay restaurant where sea-food was as popular as the bands that performed there. Danny Koh provided the answer that I posted a year and a half ago on the blog when I asked him about this restaurant.*

Pianist, tutor and musical director Danny formed two very popular bands, The Fishermen and The Candidates that played to a packed restaurant called The Kelong in the 1970s. (Notes from a letter to Andy on Sunday, 6th June, 2010):

He was with The Trailers for 3 years. The band had a number of **pianists - or keyboardists - before he joined them. The first in the group was Michael, followed by Patrick Foo, then Danny himself and Benson Goh. There were others too but it had been many years since and there was difficulty remembering specific names.

When Danny left The Trailers, he formed The Fishermen and they performed regularly at the Kelong Niteclub which was the old Cathay Restaurant. The original musicians in the group included Benny Chan (guitar) and Amir Samsudin (drummer), both from the Checkmates and Robert Suriya (guitar), who is now residing in Guam. Robert, of course, was from Naomi and The Boys.

After the group disbanded, Danny formed another band called, The Candidates. The musicians were Ramon Rahmat from the BlackJacks, Sanip Ismail, who had since passed away, Leon Lim, who now resides in Vietnam and Leo Fernando, a saxaphonist of stature and renown. This professional band of men performed at the Kelong, Singapore and at the Fortuna Hotel in Kuala Lumpur, Malaysia for some time.

Danny added that when they were at the peak of their popularity, they signed under the RCA label and recorded some songs, but the record was never released for reasons known to the group themselves.

**Danny is a 'pianist' rather than a 'keyboardist', the distinction being clear that he has a Licentiate from the Royal School of Music (LRSM).

Image: http://web.singnet.com.sg/~ebony_ivory17/

*Thursday, January 08, 2009:
Cathay Building, The Kelong, The Flybaits, The Fishermen

Original article: Andy Lim.

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Naomi And Robert Suriya Originals - Long Play

Thursday, May 6, 2010

When Naomi and The Boys recorded for Decca in 1969, they had one Long Play called, The Best of Naomi (SKL 3002). It was done at Decca Orient (Pte) Ltd at MacDonald House in Orchard Road, Singapore.

The back sleeve extols the group with a short write-up (edited). "Talent is a very desirable quality and no artiste can hope to get anywhere without possessing a bare minimum. But to get right up to the top, you need individuality - a distinctive sound and style which enables the listener to identify you at once.

On this Decca LP album Naomi and The Boys present 14 great examples of talent, individuality and unique artistry. Each one is an outstanding performance. Naomi sings with her usual sincerity backed by her inimitable Boys. Splendid entertainment."

The line up includes Robert Suriya on lead guitar/glockenspiel, Peter Thomas on bass/rhythm, Moses Tay on organ/piano, with Alphonso Soosay on drums/percussion. According to Henry Suriya, brother to Naomi and Robert, only Tay reads music, so he documents the arrangements for the group.

Of the 14 songs, 8 are originals by Suriya, Till The End Of Our Time, I Love You, I Know, I Won't Miss You, The Time Has Come, Get You Outa My Mind, If You Change Your Mind and It's All Over.

The rest of the songs are interpretations of Paul Simon's Sound Of Silence, The Everly's So Sad, Frazier's There Goes My Everything, the well-known Schertzinger/Mercer song, I Remember You, Otis/Benton/Hendricks, Looking Back and the song that made this group famous, Happy, Happy Birthday Baby by Sylvia/Lopez.

Good friend Henry Suriya let me have his only copy of this album. Old St. Andrew's School boys...

His take on the album soon!

Image/Original article: Andy Lim Collection.

Monday, February 01, 2010
'Unforgettable': Cheryl's Tribute To Her Dad Moses Tay, Bassist For 'Naomi And The Boys'

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Girls In The Garage? How Others View Our 60s Asian Lady Singers. Stereo-Typed Again?

Saturday, March 13, 2010

Way back in 1999 on 13th February, an album of Singapore 60s English and Chinese pop songs were released. Many enthusiasts would have realised this but just in case... On this 13 track CD, we have an interesting selection that includes:

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1 Penny Lim & The Silverstones - Kung See, Kung See, Let's Be Happy 2 Rita Chao & The Quests - Hanky Panky 3 Lara & The Trailers - Sugar Town 4 Nancy Sit - Love Potion #9. 5 Rita Chao - Yummy, Yummy, Yummy *6 [unknown] - If You Ever Go 7 Naomi & The Boys - As Tears Go By 8 Naomi & The Boys - I'd Like to Know 9 Rita Chao & The Quests - How to Catch a Girl 10 Nancy Sit - Hanky Panky 11 Sakura & The Quests - My Boy Lollipop 12 Nancy Sit - Come Back When You Grow Up 13 Nancy Sit - Fever.

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*The Silver Strings & Shirley Nair. (check Comment by Steve Farram).

WHAT OTHERS SAY:

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Below is an article posted by Mack Hagood on February 22, 2004 09:24 pm by The Far Eastern Audio Review:

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"As Sofia Coppola's Lost in Translation heads for the video stores and awards shows, some are having second thoughts about the film. Kiku Day's scathing indictment in the U.K.'s Guardian and other late reviews have held up the film's jokes about Japanese food, stature and English pronounciation as examples of anti-Asian racism.

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Coppola, who lived in Japan for a time, is probably taken aback that a film she intended as "a love letter to Tokyo" has been interpreted as racist. The key to the controversy is in the film's title: Lost in Translation is about the alienation, wonder and--yes--humor to be found at the limits of people's understanding of one another.

.

The problem is, like her two protagonists, the director doesn't push those limits hard enough and little beside the wacky and exotic make it through the filter of her Western gaze. This isn't racism (it lacks the intent and cruelty that word implies), but it is a missed opportunity to see the Japanese on their own terms.

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Which brings me to The Girls in the Garage Vol. 9: Oriental Special. Again, the (somewhat unfortunate) title tells us a lot: This installment of the 60's girl rock series brings us wacky finds from the flea markets of Singapore.

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Compiler "Bradley Ghoulstein" is knocked out by the hilarity of what gets lost in the Chinese translation of Western pop, so the filter we get here is in the playlist, which is comprised almost entirely of familiar American songs. The goal here is a cool, funny addition to garage collections and on that level it works well.

,

Rita Chao and the Quests' version of "Hanky Panky" (one of two versions on the CD) is brilliant. Greasy-dirty guitar tone, funky drumming and Rita's charming vocal delivery--complete with "R" and "L" mixing and implied lesbianism when she doesn't change the gender of "her baby" in the lyrics--all conspire to create the perfect party single.

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Nancy Sinatra's "Sugar Town" sounds great in Chinese by Lara and the Trailers; "Love Potion #9" fairs a little poorer in the shaky hands of Nancy Sit and her band. Yes, that's right... Nancy Sit, a Nancy Sinatra knock-off responsible, by the way, for the oh-my-god-it's-so-bad-turn-it-off-now second version of "Hanky Panky" on the disc. Cross-cultural weirdness abounds on this record and it's damn fun.

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Racist? I can't see how. Reductionist? That's a different story. Mr. Ghoulstein's liner notes seem to be made up of whatever he could glean from the album covers. Intrigued by their beautiful version of "As Tears Go By," I checked the notes for information on Naomi and the Boys and learned they were "Malaysian (Indonesian?)" with vocals "sung in almost perfect English... damn."
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A quarter of the tunes here belong to Nancy Sit, not because she's good, but because she's funny. But by far the best song is an original, Penny Lim and the Silverstone's "Kung See, Kung See, Let's Be Happy." The liner notes call it an "undescribably baffling masterpiece of New Year's (Chinese of course) bubblegum." I can't improve on that description. It's Chinese 60's pop on its own terms - incredibly weird and enjoyable. It opens Oriental Special and the rest of the CD pales in comparison.

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Lost in Translation and The Girls in the Garage Vol. 9 both view Asians through the filter of Western culture and divide them into two groups: hipsters who get it "right" and (much preferred!) amusing folks who don't. In either case, the Westerner is really looking at himself--whether it's the flattery of good imitation or a funhouse mirror.

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I don't condemn us for being this way--all cultures are self-obsessed, after all. But when we stick only to the safe confines of the Tokyo five-star hotel and the goofy Singaporean cover versions of our own songs, we miss out on true Asian originals and the chance to push beyond the limits that separate all of us different styles of human."

.

Reference: http://www.fareastaudio.com/archives/04/02/the_girls_in_the_garage_vol_9_oriental_special_by_various.php

Image/article by: Mack Hagood who is currently completing his MA thesis in Folklore and Ethnomusicology at Indiana University. He is creator and editor of the Far Eastern Audio Review. From: Folklore of East Asia Folklore Forum 38.1 (2008).

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Listen to the songs on You Tube. Do you have comments to make or do you have a copy of the CD and Bradley Ghoulstein's liner notes? Would be an interesting read.

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Read Andy's take on:
'Sayonara' 60s Music: American/Japanese Influence, Marlon Brando, James Mitchener, Irving Berlin, Miyoshi Umeki, Tracy Huang (Friday, 3rd July, 2009)

Friday, April 24, 2009
(3) Born Free HK Invasion Pop Song/Pop Movie

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'Unforgettable': Cheryl's Tribute To Her Dad Moses Tay, Bassist For 'Naomi And The Boys'

Sunday, January 31, 2010

(Image: The late Moses Tay, with his family at daughter Cheryl's Graduation Ceremony at Temasek Polytechnic in May, 2009.)

GOODBYE, MR. BASS MAN

For my father, Moses Tay (September 8, 1940 — January 23, 2010)

It has been a little over a week since Dad left us & I've finally managed to sit down & begin writing this post.

Like death, this blog entry has always been inevitable. It was just a matter of when & how, though I know I could never truly have been prepared for it. I suppose that is why I'd been procrastinating — I couldn't & didn't want to believe he was gone for good but, during mass last Saturday evening, it hit me.

Just two Saturdays ago, around two in the afternoon, I returned home from the gym, only to find Mum pacing about worriedly, telling me that something was wrong with Dad. Thinking it couldn't be anything serious, I assumed it was just fatigue from him having worked on his motorcycle the day before & that Mum was simply being her usual excitable self.

Upon entering his bedroom, however, I knew I'd been mistaken. He was lying in bed, weak, restless & semi-coherent. I called for an ambulance but by the time the paramedics arrived, Dad was already unconscious, with only a very faint pulse. Several unsuccessful attempts were made to revive him but after he flatlined a few times, I knew he had left us. And to think, just hours before, as I was getting ready to leave for the gym, Mum & I were in the kitchen, discussing how we would celebrate Dad's 70th birthday this year.

I then experienced firsthand how cruel a master of irony death is. It leaves you no time or opportunity to grieve when a loved one dies, instead requiring you to stay calm & controlled throughout, so you can deal with the many strangers who have to be contacted in the aftermath of the deceased's passing — the police, the doctor, the undertaker, the dailies & your friends & family.

Still, in the days that followed, there were moments, both private & public, for all who had known him to reflect on his life, his relationships with them & how his death had affected them. Personally, I was on autopilot (as I'm sure my mother & brother were), seeing to the funeral arrangements & meeting the countless people who had turned up to pay their respects. But whenever I had a moment to myself, an almost overwhelming mixture of emotions would come upon me: nostalgia, pain, loneliness & disbelief.

As the writer in the family, the obituary & eulogy became my responsibility & I had barely enough time to sit down & write the latter. It wasn't until a few hours before the memorial service on the second night of the funeral wake that I actually started on the eulogy. As I whiled away the first half hour or so wondering how I could write a relatively short yet fitting tribute to Dad, it occurred to me: Dad had played different roles to different people & maybe, just maybe, I could capture that essence on one A4 page of foolscap. So I tried:

"Even as we say 'goodbye' to Dad, we hold on to the many fond memories we have of him. As a father, he was gentle, affectionate & generous. He was happy as long as everyone at home was happy & would always go to great lengths to ensure that we had what we needed.

As a husband, he was caring, loving & responsible, always making sure our mum was well taken care of in every possible way. He never had a harsh word on his lips & was often on hand with a massage or a meal to ease any physical discomfort on our mum's part.

As a friend & musician, he was lively, entertaining & multi-talented. His limitless supply of jokes, countless stories, singing & dancing made him the life of every party, while his excellent musicianship made him the man to call for many gigs.

Dad was many things to many people but the one thing we all know about him is that he was a genuinely kindhearted & good-natured man & we will all miss him dearly & remember him fondly.

We are comforted that he is now watching over us from a better place & he is with God.

Dad, we love you & miss you. Thank you for being a wonderful father, husband & friend.

"I had to get my brother to read it, for I was quite sure I wouldn't be able to make it through the entire eulogy without breaking down.

Even now, I doubt I managed to truly summarize in that eulogy what Dad was all about. Then again, words can only do so much, even in the hands of the most skilled wordsmith.

I know what I miss about Dad. I miss his jokes, no matter how cringeworthy many of them were. I miss the delightful sounds of his piano- & bass-playing, his singing & dancing, his good heart, his constant patience.

I miss making breakfast for him, watching television with him, taking rides on his motorcycle & singing with him. One of my earliest memories with Dad took place in his car, listening & singing along to Nat King Cole's & Natalie Cole's father-daughter version of Unforgettable, a memory I undoubtedly miss.

Those close to me know that what I will miss most, however, is not the memories I have had with him but the memories I'm unable to have with him. I will miss him on his 70th birthday, when I should be throwing him the celebration of a lifetime. I will miss him at my eventual wedding, where he should be walking me down the aisle & giving me away. I will miss him when I have my first child, when he should be carrying his grandchild & beaming with grandfatherly pride.

There are many other events during which I will miss him but, as always, I will take comfort in the knowledge that he is now in a better place, free from all worldly cares & concerns.

Dad's funeral was attended by many & there have been tributes to him in the media, thanks in no small part to his longtime friends who wanted to remember him as best they could.

To everyone who showed up or helped out in one way or another, thank you.

And to Dad, thank you for being the best father I could ever have asked for. I will love you & miss you for as long as I live.

Love,

Your Daughter,

Cheryl

*Moses Tay was the bass guitarist with Naomi & The Boys, Sing60sMusic.

Image/Original article: Cheryl Tay Collection.

(Note: Please request writer's permission to reproduce this letter.)

Cheryl Tay's Blog: http://dramaticmusings.blogspot.com/

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Moses Tay Bassist Naomi & The Boys Passed On

Saturday, January 23, 2010

One of our 60s band boys Moses Tay (image with The Austrian Beatles) has passed on. Mr. Tay was the electric guitar bassist with Naomi And The Boys, one of the most popular instrumental groups in Singapore. The last time blogger met him was when Mr. Tay attended the July 23rd, 24th Concert at the Orchid Country Club in 2009.

This blog and all its readers send Mr. Tay's family their condolence.

(Click below: Henry/Naomi & The Boys to read about this band.)

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Casablanca Marianne Faithfull As Tears Goes By

Tuesday, January 5, 2010

How is the 1942 hit movie Casablanca, starring Humphrey Bogart, connected to rock group, The Rolling Stones? What's more popular than this rock group? And how does Marianne Faithfull fit into the picture?

The link that binds is the hit song, As Tears Go By. According to Wikipedia, the myth surrounding the song's genesis has it that Rolling Stones manager Andrew Oldham requested Mick Jagger and Keith Richards to get together and write a song, even suggesting what type of song he wanted.

The result was initially named As Time Goes By, the title of the song Dooley Wilson sings in the film Casablanca. But strangely, it wasn't popularised by the Stones but by Marianne Faithfull and the song reached number 9 in the British charts in 1964 and launched her career as a pop star at 17 years young (watch introduction by Paul Anka and interview with Brian Epstein, YouTube sidebar). The Stones recorded their version in 1965, the most subdued Stones blogger has seen in his life (YouTube sidebar).

Blogger loves the song. Marianne Faithfull's version is pleasant to the ears and as our local singers say, delivery on stage is not demanding. This song has been covered by others including Singapore's Naomi And The Boys.

Any comment about this beautiful classic?

Song Information: Wikipedia.

Original article: Andy Lim Collection.

Image: http://www.dailymail.co.uk/tvshowbiz/article-487138/After-beating-breast-cancer-Marianne-Faithfull-reveals-hepatitis-C.html

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Naomi & Boys - Singapore 60s Christmas Card

Saturday, November 7, 2009

ANDY'S CHIT-CHAT WITH SINGAPORE 60S ARTISTES:

Another coincidence. I managed to get a copy of Naomi & The Boys' Christmas EP only a few days ago. According to the group's 1995 write-up by Eric Yeo, Managing Director of Polygram Singapore/Malaysia, "Many people might not know they were the first local group (in Singapore) to record a Christmas EP."

Henry Suriya (image) acknowledged this piece of information and further explained that brother Robert's original, My First Chrismas Without Daddy was written as a tribute to their father who passed away at a young age of 44.

The poignant rendition by Henry's sister Naomi moved members of the recording staff so much during this particular pressing that they cried openly.

Silver Bells rang the cash registers and Mary's Boy Child together with An Old Chrismas Card made this EP another hit for NATB. It was definitely with dad's blessing.

Original article: Andy Lim & Henry Suriya Collection.

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(C) Pop-Star Idolatry - Angry Fans Too?

Sunday, October 25, 2009

SINGAPORE IDOLS IN THE 60s:

Most times Singapore 60s idols, like Rita, Sakura or Lara (image), get bouquets but sometimes a few get brickbats. Even the most popular of singers or bands get negative remarks thrown at them while others get boos from an unpleasant group in the audience. At its worst, the really unlucky ones would get tiny missiles in their paths.

*"I was scared stiff and shivering. He wanted me to do a folk song called Scarlet Ribbons. When I performed that song in Chin Hoo Stadium in Kuala Lumpur, I had a stone thrown at me. It did not hit me but it hit my guitar."

*"I was nervous, scared and I wanted to pack up and go. No way was I going to perform to people who boo and throw stones... When I went up to Penang, I faced a more matured audience. I went down quite well with the audience and this made up for my disappointment."

It's similar all over the world and part of pop-star idolatry. Impersonator or otherwise, there's bound to be someone out in the audience who doesn't like the celebrity's face, his singing or his personality. And of course there are some who are just envious of his popularity.

*(The above was an interview with Henry Suriya of Naomi and the Boys, 3 August 1995 for a research by Lily Kong on, The Invention of Heritage: Popular Music In Singapore.)

Image from left: Lara Tan, Rita Chao, Sakura Teng.

Original article: Andy Lim Collection.

Also check posting: June 21st, 2009.

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(2) Naomi Boys Quests Beat Rolling Stones '66

Saturday, September 19, 2009

****************************************In April 1966 while Singapore was busy with its first ever Grand Prix at Thomson Road, Keith Locke and the Quests (Columbia/EMI) reached the 5th spot on Singapore's Top Tunes with Push, Push, one above My Love by Petula Clark on Pye Records, 19th Nervous Breakdown by The Rolling Stones on Decca and Svensk-A-Flicka by Johnny Lion on Philips.

But on Malaya's Top Pops Locke & Quests were at number 2 and the number 1 spot in Malaya was Naomi singing I Know with her Boys on Philips. At number 3 was As Tears Go By by the Rolling Stones. Apparently I Know had sold copies far beyond the dreams of 60s music record producers.

First Singapore Grand Prix and first at the top of Asia's hit parade. Happening in 1966! And it had been happening all the time. Comment anyone?

Image/original article: Andy Lim Collection.

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1st National Day 1966 And Singapore 60s Pops

Saturday, August 8, 2009

Singapore celebrated its first National Day (image) in 1966, one year after Singapore's independence from Malaysia on 9 August 1965. The venue of the parade was usually at the historical grounds of the Padang, where the declaration of Singapore's independence was held.

(Songs by our local artistes heard on Rediffusion and Radio Singapore that year included, It's All Over; I Know; Happy Birthday, Baby; Making Believe by Naomi & The Boys, Silver Threads And Golden Needles by The Crescendos, Push, Push, by Keith Locke & The Quests and Mark Yun's, Never Die.) A recording of Naomi and The Boys was played over the loudspeaker during the lst National Day Parade.

Since the first parade in 1966 and up to 1975, the venue was located in this central area. The idea was to bring the parade closer to the people. In 1976, the parade was held for the first time at the newly completed National Stadium, where the much larger area of the stadium allowed for more people to view the parade live.

The National Day Parades are organised by the Singapore Armed Forces, with the extreme involvement of a multitude of public and private organisations.

The 1968 parade was the first parade to be held in the rain. By a strange coincidence the theme for that year was, "Building A Rugged Society".

Princess Alexandra of the British Royal Family, carrying out royal duties for the Queen, was the special guest at the 1969 parade, which not only celebrated Singapore's 4th birthday, but also celebrated the 150th anniversary of the founding of Singapore.

(International popular hits included, Love Letters, by Elvis; Wind Me Up, Visions, by Cliff Richard, These Boots Are Made For Walking by Nancy Sinatra, The Sounds of Silence by Simon & Garfunkel, Svensk-A-Flicka with Johnny Lion & The Jumping Jewels, 19th Nervous Breakdown; As Tears Go By by The Rolling Stones and Michelle by The Beatles.)

If readers have contributions on Singapore 60s music and National Day, please do so on the 'comments' page.

Reference: Wikipedia

Image: National Heritage Board

Original articles within parentheses: Andy Lim

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(4) The Trailers With Henry - Copyright Laws

Sunday, June 21, 2009

"Even to this day, the protection of artistes' work continues to be an arduous task. I wonder how many local artistes know what is copyright. Why is copyright important? How long does copyright exist to cover the artistes' works? My personal view is: Anyone who takes another's musical works without the permission or compensation has infringed copyright laws.

Although I contributed so little, I am honoured and proud to be part of Singapore's pop history. The places visited; the many friends I've made will be things, "I'll remember and treasure all my life." Henry Suriya.

This article is the final part in the series.

Image/Article: The Trailers and friends. Henry Suriya Collection. All Rights Reserved.

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(3) 60s Music Decline - Money Piracy Culture

Saturday, June 20, 2009

"The boom in the local recording industry created an avenue for "pirates' to thrive. Recordings of popular artistes were found evrywhere on many different labels. There were times pirated copies could be found in shops even before the originals hit the market. Unbelievable, frustrating and sad, yet nothing could be done.

At that time, both Malaysia and Singapore were not protected by copyright laws. Privacy was rampant in some Asian countries. A huge portion of the artistes' earnings were take away by these crooks.

The 'down syndrome' started to take place, beginning with fewer stage shows and followed by the disappearance of shops that sold musical instruments. Jobs were lost. Tea-dances were banned as pop music was regarded as 'yellow culture'. The music scene slowly but surely slipped into slumberland."

Many of our local artistes were echoing the 1964 hit song by the Animals - We Gotta Get Out Of This Place. Some of them did just that and (while some got out of the industry), others moved out of Singapore."

Henry is brother to Naomi and Robert (singer/composer) of the Naomi & The Boys fame. FYI: This family has 12 of their songs on the 100 Greatest Singapore 60s Definitive Collection that was recently released.

Image/Article: 3rd part of a series by Henry Suriya. All Rights Reserved.

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(2) Singapore 60s Musicians For Charity Shows

Wednesday, June 17, 2009

"An entertainer's life in the 60s did not evolve around the music alone, many were also involved in community service - a fact not many people are aware of. Top performers very often were called upon to help in fund-raising events for various charities in Malaysia and Singapore. They did this willingly and seldom were paid.

Recording technology was inferior then. Good recording and sound engineers were few. As a result many groups produced their own music through trial and error. Yet, some of the best local recordings were done in the 60s. This also inspired some to become good record producers."

(2nd part in a series of 4 articles by Henry Suriya.)

Article/Image from: Henry Suriya Collection - All Rights Reserved.

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(1) Henry Suriya Singapore 60s Artiste Recalls:

Tuesday, June 16, 2009

Local music was at its peak during the 60s, it was a period which also saw the beginning of some good song writers and record producers.

The 60s was a vibrant period for Singapore's music industry. Everyone became a part of the music scene - those who liked to dance, those who loved and bought our vinyl records, the radio stations that played our music - without them no singers and bands could continue. Their support for the locals artistes was the greatest compliment any artiste could ever want.

To many of us, music was just a hobby. We could never make a living from music. The highest one could achieve is to make a record and get some publicity in the media.

(1st part of a series where HENRY SURIYA, recording artiste, provides an overview of Singapore's vibrant music scene during the 60s .)
Image: www.wesdooley.com

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Channel News Asia On Singapore 60s Music

Wednesday, June 10, 2009

Audie Ng, bassist for The Silver Strings and boss of his own entertainment company, seen above with *Henry Suriya, was interviewed today by Channel News Asia, Singapore. On the morning chat show, Audie explained the music phenomenon that rocked the youths from the early 60s to the early 70s.

He recalled the evening when The Silver Strings were the opening introductory act for the Rolling Stones Concert at the Singapore Badminton and how the fans stormed and gate crashed the Stadium in their enthusiasm to watch the show.

Brian Richmond, who was also interviewed, explained the 'hidden treasure' that was the sixties. Together with Joseph Pereira, they were interviewed by Susan Jung and Steve Chia.
*Henry Suriya records with The Boys and sister Naomi and brother Robert.

Original article by Andy Lim.

Images: From Henry Suriya Collection.

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90.5FM DJ Brian Richmond with Henry Suriya

Friday, June 5, 2009

Brian Richmond and Henry Suriya (image) are well known personalities in our local 60s music scene. Richmond hosts the 90.5 fm Gold Classic radio broadcast, Nites With Brian and Vintage Sundays on MediaCorp Station. He will one of the hosts for Eurasiana, a musical tribute, on 26/27 June, 2009 at the Esplanade Concert Hall.

Henry Suriya (check older posting), is a well-known crooner and has recorded many songs during the 60s with his brother Robert and The Boys. Two of his songs are included in The Definite Collection. Brian Richmond has a part in the promotion of this box set.

Image: Henry Suriya Collection.
(1st posting on MCs, comperes, radio personalities from 60s).

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Naomi & The Boys - 50 Songs For 60s Music

Thursday, May 7, 2009

Henry, Robert and Naomi are part of the famed Suriya family that had engulfed Singapore 60s music. While Henry recorded his music solo, Robert and Naomi recorded as a group called, "Naomi and The Boys".

But they don't really need an introduction because the songs, "It's All Over" (image), and "I Know" both originals, were right at the top of the Singapore and Malaysian Hit Parade Charts then. Besides, Naomi's, "Happy Birthday Baby," was more popular than other cover versions.

Robert Suriya, singer, songwriter and lead guitar with The Boys had Peter Thomas on rhythm, Moses Tay on bass and Alphonso Soosay on percussion. This final re-grouping of passionate musicians went on to produce and record about 50 songs altogether.

While on the hunt for Singapore 60s vinyls, I managed to buy a few of their records, but all of them are bootleg copies. The copyright laws were not in place in Singapore during the 60s and had affected people in the music industry significantly.

More about Henry, Robert, Naomi and The Boys in future postings.

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Robert Suriya Compositions: "I'll Always Love You", "That's All I Have To Say".

Saturday, May 2, 2009

After his first successful recording, Henry Suriya recorded the second EP in 1967 and featured four songs including two originals by Robert Suriya.

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Henry Suriya: From Boxing Ring To Golden Ring

Thursday, April 30, 2009

Before Henry Suriya (image) became the pop crooner during Singapore 60s, not many fans knew he was a boxer. According to the newspapers then, he was an "amateur boxing champion who gave up trading punches for singing.

Henry Suriya had won many prizes in singing competitions but was also an expert at swinging competitions as he was feather-weight champ in the Singapore Youth Boxing Championships in 1957.

His father, who was also a boxer, urged Henry to give up the game and as an inducement presented Henry with a guitar on his 18th birthday. Henry never looked back, learnt to play the guitar and started singing sentimental songs.

During an interview with Henry, an old schoolmate, he wanted to emphasise that he only sings in his own original style. We all know that Henry. We have been listening to your songs for a long time now.

More about Henry Suriya in future postings.

(Interview by: Andy Lim. All Rights Reserved.)

Image: lst recording in 1966, accompanied by his brother Robert Suriya and The Boys.

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Singpore 60s Music Scene Disappeared in 70s

Wednesday, December 24, 2008

JOY asks: "I wasn't part of the scene but what I'd like to know is... why did it suddenly disappeared?"

(1) It probably disappeared because of the Singapore Government's clampdown on drugs in the early 70s, which was at that time associated with rock music and western depravity. It was called, "Yellow Culture."

(2) According to some 60s Singapore artistes that Andy has interviewed, it also disappeared because of the extreme record-piracy then. Much money was lost because bootlegs records were being sold in the open market.

(3) Henry Suriya, a 60s crooner and elder brother to Naomi and Robert (The Boys), remembers that when his fans pushed him his EP records to be signed, he noticed that they were mostly pirated copies. He smiled and signed them all but it was an unpleasant experience to see only bootleg versions of his own records.

Imagine the amount of revenue/royalties the local artistes would have lost. Ironically, the pirates who made copies of these records benefited.

(4) Unpleasant conflicts in some of the 60s nightspots led to physical abuse and fights. There were also unruly elements at the nightclubs and dance venues. As these incidents increased, these places were closed down.

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