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MAFT SAI

April 12, 2019

Regarding the copyright, it is necessary to grasp what was going on by researching each background stories and the historical background. Especially in Thailand, there are no locations or data to gain such information so the only way to find it is to interview the actual artist or the people who are related to the artist.

About the license, it has a rather complex structure even when you compare it with other fields. Especially copy right, because it was monetary problems. Of course everyone wants the copyright. If monetary benefit exists, people could fight for it. Depending on people, they may say that they have the copyright but in reality they don’t have it, or they may lie that they don’t have it even if they have it, there are many cases. Copyright license is very a very difficult matter to distinguish, so it’s a field where you have to find where the original right is and gain information on your own. I’ve heard that there used to be a worse trick before. For example, a label would make an artist sign a blank contract, which means that they only wanted the copyright. It’s said that there were few artists who would sell their copyright to four different labels at the same time and not receive any money at all. There maybe tricks like this hidden in the back so it is necessary to double check who actually owns the copyright.

It is rather easy to find who the artist, writer, producer is but who in the world has the right? Is it the producer, the artist or the label. Even when you have finally found it, there are cases where it has been sold somewhere else already. If it’s sold already, where and who was it sold to? For example is it a Buy off, Buy out or a release? Or, has it been transferred for a fixed term contract for 10 to 20 years? To par the correct right to the correct person, you need to do the homework to do a thorough research.

As a matter of fact, in Thailand, it is common that a producer makes the song. There are not many artists who write their own songs. In most of the cases, the producer, who usually is the mentor, provides the song to the artist. The artist simply sings and expresses the song. And then, the label spreads the song to the world. Also, there is a pattern where the label is responsible for all the expenses for the release, and at the same time, they hold the copyright as well. These arrangements can differ depending on the artist, the song, or the label. For example you can realize when seeing the vinyl, but as description it would say who and who, but it’s just for the promotion and there are cases that in reality they’re just using the name of a singer who was big in the past. In brief, they just change the description to sell more, and it might be the case that the work is not made by that person.

It is necessary to grasp what was going on by researching each background stories and the historical background. Especially in Thailand, there are no locations or data to gain such information so the only way to find it is to interview the actual artist or the people who are related to the artist.

Between the late 70s and early 80s, the music scene in Thailand takes in a huge transition. In the recent years, the music industry has become more and more businesslike. Because of such background, new works and extraordinary works were no longer born.

Thai music is subdivided. Songs of Luk thung and Molam, song from the south, furthermore, the genre of the Suntharaphon band and Luk Krung used to have its own special label or producers and they would make their own vinyl. Talented artists would make collaborated works beyond genre and label. At that time they regarded capability more important than now.you would get the performance permission just like that and be on the stage. Same goes for the musical performance. It really was not very easy to be on the stage.

Singers used to be able to sing all different regional music like Lunk thung, Molam or Talung before. For example, there is a singer name *Waipod Phetsuphan. He could sing songs of all genre. If it’s music from the northern region, we would sing it in Isan which is a dialect of the northern region. If it was the southern region, he could sing it in the language of the southern region. The reason why is because he needed to go around the country for his tour, so he needed to speak the local language and sing.

For example, Dao Bandon had the history of 3 to 4 years of hard work before he joined *Thepphabbut Satirodchomphu’s band. He had the work to carry equipments and worked behind the scene to have the permission to be on the stage. Their capabilities were being challenged. Between the late 70s and early 80s, the music scene in Thailand takes in a huge transition. In the recent years, the music industry has become more and more businesslike. Just a few years back, all the songs were created by a live band performance. A human performed at a studio and they recorded that. That took in the transition and the quality got lower and lower. They make it, thinking what songs could sell. They started recording similar songs with different lyrics in one album. This is because when looking at it from the perspective of business, the character of the people of Thailand focuses more on the lyrics when listening to music. Because of such background, new works and extraordinary works were no longer born.

*Waipod Phetsuphan:
Born 1942. Male singer from Suphanburi Province. An expert in the Buddhism music Laeh, and was called the “King of Laeh music”. Actively embraced the folk songs of Laos for the people of Lao Thai from Viang Chan.

*THepphabut Satirodchomphu:
Born 1943. A male producer from Nong Khai Province. He was active behind the scene in the Isan Music Society. In the mid 70s, because of the huge influence he had, he was chased by the military and defected outside of the country. French-Vietnamese Thai.

Thai music is changing while being tossed around in time. The business game happening around the world is exactly the current music scene of Thailand.

Entering the 90s, it comes to an era where only songs that could sell were being produced. Innovation and creativity decreased. “What can sell?” was more important. For example, if they knew that things that made people laugh would sell, Luk thung and Molam would be more like entertainment and a comedy-like product would be produced. If the comedy is emphasized, the quality becomes low. The tune of these songs were born while being tossed around in time. After that, Molam and Luk thung became like a work which you could laugh when listening to it, and so now there is an image and it’s a genre which is made fun of. Before, it was a popular culture and song with serious lyrics existed.

Especially in the commercial scene, elements such as J-POP or K-POP comes in. The main label would be Grammy or RS. There are only few labels which run at the front line. Also, institutes emerged where you can professionally study to how to release songs and make that a goal. There are people who become artists learning there. The point is, just for the reason that your looks or your facial looks are good, you’ll be scouted and will be made to take singing or dancing lessons for the debut. Well, The business game happening around the world is exactly the current music scene of Thailand.

*GMM Grammy:
Established 1983. The industry leader of media conglomerate based in Bangkok, Thailand. Entertainment industry. Possesses 70% of the share of entertainment industry in Thailand. As for music business, they do concert production, artist management, movie and TV production, and publishing is also included.

*RS Public Company Limited:
An entertainment company established in 1973. It’s a leading company in contents provider and media service in the country.

Let’s make the main music of the band just instrumental. This will allow the instruments to perform freely and there will be no need to perform avoiding the voice of the main vocal. It became possible to run an avant-garde examination with the sound. This is The Paradise Bangkok Molam International Band.

The reason why we organize a band is because we hosted Paradise Bangkok. Genres are Molum, Luk thung, and a mixture of other music from all over the world. It is a music event that plays music of various regions from Africa, Middle East to South Asia. As we hosted the event, we thought we wanted to add not only DJ but live performance to the event as well. I wanted to have our original live bands as well and not only inviting the outstanding artists. Initially I contacted Dao Bandon and Saksiam Phetchompoo and tried to organize it so that they could perform as a guest. Most of them have already retired from the stage for about 30 to 40 years. For that reason, searching for members and inviting them as a guest to the event was a difficult task as well.

What I’ve always been thinking from at that time is to make a band that would be the base of Paradise Bangkok. Since I had plans to call various vocalists as a guest in the future, I felt the necessity of doing that, to avoid having to have hard time with back bands. Every time band members gathered and practiced, the band grew into an instrumental music group with very good atmosphere. Various possibilities emerged, beyond the back band which we were thinking to invite a vocalist to. So we changed the direction of the project. The main music of the band will just be instrumental. We decided to invite guests such as vocalists to sing for us, just time to time. As a result, a good influence came out. For example, instruments didn’t have to perform avoiding the voice of the main vocal, and they could perform freely in many ways, and as a result, it become possible to run an avant-garde experiments with the sound. This is the Paradise Project.

Our first Europe tour was in 2013. We performed in 5 countries and 9 events. We received a very good feedback. We didn’t have an album so we only had clips on YouTube. (laughter)

 

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