 |
Ros serey sothea |
Birth name | Ros Sothea |
Born |
1948 |
Origin |
Battambang, Cambodia |
Died |
1977 (aged 29) |
Genres |
Psychedelic rock
Garage rock
Kbach
Romvong
Saravan
Blues
Bossa Nova
Film Music
Classical Khmer Music |
Occupation(s) |
Singer |
Years active |
1967–1975 |
Associated acts |
Sinn Sisamouth
Huoy Meas
Eng Nary
Im Song Seum
In Yeng
Chea Savoeun
Pan Ron
Dara Choumchan |
Ros Sothea was born in 1948
[ to Ros Bun and Nath Samien in Battambang Province. Growing up relatively poor, Ros Sothea was the second youngest of five children, included her older sister, activist
Ros Saboeut She displayed vocal talent as a toddler and grew up listening to early Cambodian singers such as Mao Sareth and
Chunn Malai which doubtlessly had a profound influence.
Sothea's talent would remain relatively hidden until friends
persuaded her to join a regional singing contest in 1963. After winning
the contest she gained the attention and praise of the province and was
invited to join Lomhae Yothea (a musical troupe) which regularly performed at Stung Khiev Restaurantin Battambang. It is believed that
Im Song Seurm a singer from the National Radio, heard of Sothea's talents and invited her to the capital,
Phnom Penh, in 1967.
Music career
In Phnom Penh, she adopted the alias Ros Sereysothea and became a singer for the National Radio performing duets with Im Song Seurm. Her first hit,
Stung Khieu (
Blue River)
debuted the same year and she quickly attracted fans with her clear and
high pitch voice. Eventually she became a regular partner with
Sinn Sisamouth
the lead singer of the era, and they were a smashing success. She also
performed with other prominent singers of the era such as
Pan Ron Houy Meas , and
Sos Mat
The style of her early career is characterized by traditional
Cambodian ballads and duets. She would eventually shift to a more
contemporary style by combining romantic ballads drenched in loss,
betrayal, and death with Western instruments. This change of style can
most likely be attributed to her traumatic marriage with fellow singer,
Sos Mat.
By the 1970s, American influence from neighboring
South Vietnam
had reached Cambodia and Sothea, along with her contemporaries, began
experimenting in Western genres. Her high, clear voice, coupled with the
rock backing bands featuring prominent, distortion-laden lead guitars,
pumping organ and loud, driving drums, made for an intense, sometimes
haunting sound that is best described today as
psychedelic or
garage rock. Like the leader of the music scene,
Sinn Sisamouth, Sothea would often take popular Western rock tunes, such as
John Fogerty's "
Proud Mary" and refashion them with Khmer lyrics.
Yet romantic ballads would remain her most endearing work amongst the
more conservative populace. She was often sought out by film directors
to perform the duet and/or solo in their movies. Sothea's collaboration
with the Cambodian film industry is invaluable in identifying over 250
films lost during the communist regime.
Sothea never sang under any one record label and made a modest living
as a musician. She is recognized as a national treasure and was honored
by King
Norodom Sihanouk with the royal title of "Preah Reich Theany Somlang Meas", the "Golden Voice of the Royal Capital".
From her brief relationship with a Khmer Republic parachutist and
General Srey Ya, Sothea increasingly became involved in the military. As
the Khmer Republic struggled in the civil war, Sothea and Sisamouth and
their contemporaries published patriotic songs for the fledgling
republic. Her career would continue until the
Khmer Rouge captured Phnom Penh in April 1975.
Sothea's personality is invariably described as modest and reserved.
She is known to have been involved in a few relationships throughout her
life. When she arrived in Phnom Penh, she was courted by fellow singer
Sos Mat and eventually married. Unfortunately Mat was already legally
married to two other wives. As her career moved forward, Sos Mat became
insanely jealous of her success and of the men who came to watch her
perform. Traumatized by the emotional abuse from the constant envy of
his other wives and the domestic violence from Sos Mat, they separated
within six months of marriage. With her name ruined as a result of the
divorce, her only option was to return to her family in Battambang. It
would only be with intervention and help from Sinn Sisamouth that she
resumed her career in Phnom Penh.
Despite the high-profile divorce with Sos Mat, Sothea's popularity
resurged and she met the son of the famous Van Chan film company as part
of her contract recording film songs. Their marriage resulted in a son
but for undocumented reasons they separated. She is also noted to have
had a relationship with a parachutist of the Khmer Republic. General
Srey Ya of Lon Nol's government, who was extremely infatuated with her,
ended up holding her against her will in one incident. Sothea's unsteady
relationships may have been the inspiration behind her most depressing
ballads.
Fall of Phnom Penh
It is believed that Sothea had traveled to
Pailin Province
for the Buddhist New Year in 1975. Some of her final recordings are
those celebrating the New Year in Pailin. Many are skeptical of this
claim as it had been increasingly dangerous to travel outside Phnom Penh
due to the encirclement of Khmer Rouge forces. When Phnom Penh fell,
there were apparently attempts by military personnel to evacuate Sothea
out of the country. Like everyone else when the
Khmer Rouge took over, she was forced to leave Phnom Penh. There are many speculations regarding her fate from a variety of witnesses.
Sothea was initially able to hide her identity well as she was from
the Cambodian countryside and adjusted well, contrary to most of the
"New People". The survivors from her camp didn't even know she was
amongst them until she secretly confided with them. Eventually she was
discovered and was forced by
Pol Pot
to marry one of his assistants in 1977. As a prolific singer, Sothea
was forced to exclusively perform songs for the new regime.
Her new marriage was an unhappy one marred by physical abuses.
Eventually the disputes got out of hand and the Khmer Rouge cadre of her
village decided she was more trouble alive. She was told that she and
her family would be moved to another village and she was last seen by
survivors departing by ox cart. She then disappeared under typically
mysterious circumstances and is almost certainly dead.
Other accounts believe that she died from being overworked in a Khmer
Rouge agricultural camp. Another account even says that she was still
alive when the Vietnamese invading forces arrived in Phnom Penh in 1979
but died of malnutrition shortly after in a hospital.
As a high profile individual and a musician, she was a prime
candidate for extermination during Pol Pot’s regime. Her two surviving
sisters insist that Sothea, along with their mother and children, were
taken to
Kampong Som province and executed immediately following the
Fall of Phnom Penh. Her remains have yet to be discovered.
Legacy
with the cultural upheaval by the Khmer Rouge, scant evidence of Ros
Serey Sothea's life remains. Her master recordings were either destroyed
by the regime or deteriorated rapidly in the tropical environment due
to lack of preservation. However, many vinyl recordings have survived
and have gained reissues initially on tape cassettes and later on
compact discs. Unfortunately many of these reissues are also remixed
with extra beats usually overriding the original score. The releases
from the master sources are thereby highly sought out by
preservationists and collectors.
Sothea's older sister,
Ros Saboeut, is widely credited with reuniting Cambodia's surviving musicians and bands in the aftermath of the Khmer Rouge era.
[3] Surviving musicians had initially contacted Ros Saboeut to inquire about Sothea's fate.
[3] Ros Saboeut used the opportunity, and her contacts, to reunite the country's rock bands and musicians.
[3] According to Youk Chhang, the
executive director
of the Documentation Center of Cambodia, Ros Saboeut sought to restore
Cambodian music as a tribute to her sister, "I think she was bound by
the legacy of her sister to help."
[3] Her efforts were widely credited with rebuilding the country's rock genre.
[3]
Nonetheless Sothea remained extremely popular posthumously in
Cambodia and Cambodian communities scattered throughout the United
States, France, Australia, and Canada. Western interest in Sothea would
not dawn until songs by Sothea, Sinn Sisamouth and other Cambodian
singers of the era such as
Meas Samoun,
Choun Malai and
Pan Ron, were featured on the soundtrack to
Matt Dillon's film
City of Ghosts. Tracks by Sothea are "Have You Seen My Love", "I'm Sixteen" and "Wait Ten Months".
The
Los Angeles band
Dengue Fever,
which features Cambodian lead singer Chhom Nimol, covers a number of
songs by Sothea and other singers from the short-lived but rich
Cambodian rock and roll scene. The advent of the internet, undoubtedly
saved what was left of her discography while spreading and garnering
interest in her music even after almost half a century later.