Udon Thani Timeluk thung isan
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luk thung isan
Luk Thung Isan is a distinct style of Luk Thung. From Wikipedia‘s article Luk thung:
Since the 1990s there has been much cross-fertilisation between luk thung, string and mor lam music. String artists have taken to singing luk thung songs, while luk thung singers have increasingly been promoted like pop singers, with an emphasis on youth and looks. The mor lam influence has produced a new genre called luk thung Isan or luk thung prayuk, which incorporates the faster rhythms of mor lam.
And from the Wikipedia article Isan:
Many mor lam singers also sing Central Thai luk thung music, and have produced the hybrid luk thung Isan form.
I don’t believe I was aware that Luk Thung was Central Thai. I had seen the statement before, but it just never registered. Rather, I just assumed that it derived from Lao/Isaan origins. Incidentally, ZudRangMa Records in Bangkok has some 30 different old actual records in this category that are selling for between 1,100 and 10,000 Baht.
The website Morlam Luktung also points to Luk Thung being Thai as opposed to Isaan or Lao:
What’s the difference between mor lam and luk tung?
It’s increasingly difficult to distinguish mor lam from luk tung. Broadly, mor lam is older (although modern forms are very different from traditional ones); it is culturally Lao (although most mor lam singers are Thais from Isan); it is sung in Lao or Isan (although it is often sung partly in Thai, or on occasion even in English); it is fast (although it may be slow); and it uses traditional instruments (although it may use modern instruments). Luk tung is a relatively recent form (although its roots are as old as mor lam‘s); it is culturally Thai (although its best singers are culturally Lao); it is sung in Thai (although it is increasingly sung in Isan); it is slow (although it may be fast). Unsurprisingly many nowadays give up and call them both luk tung.
It is made apparent again in Sublime Frequencies‘ description of the album Molam: Thai Country Groove From Isan Vol. 2 CD:
MOLAM is a multi-faceted folk country music native to Laos and the collection of rural Northeastern Thai provinces called Isan. “Molam” is an umbrella term used for numerous Lam styles. It literally translates into “expert singer” or “expert song”. Featured here in volume 2 of this series are Lam Phun, Lam Thuy, Lam Plern, Lam Dern and Lam Sing styles of Molam recordings from the 1970s and 1980s. All of these forms are built from a tradition that is centuries-old. A few examples of Molam/Luk Thung (Thailand’s national country music) hybrids are also featured here.
The distinction is further expounded in James Mitchell’s Review Article: Waeng Phalangwan – A Lao-Isan perspective on Thai Lukthung:
Abstract
In Lukthung Isan, Waeng Phalangwan (2002) makes a case for recognition of the Isan involvement in phleng lukthung, usually translated as Thai country music. The significant involvement of Isan people within the lukthung music industry has provided Isan people with an effective way of influencing Central Thai culture, when most other avenues were closed. The article examines Waeng’s Lao-Isan identity and his use of standard tropes to disguise a defiant radicalism. The centrepiece of Waeng’s argument is a revision of the history of ‘the king of Thai country music,’ Suraphon Sombatjaroen. Phalangwan redefines Suraphon’s current status as the symbol of Central Thai cultural supremacy by placing him within the context of two contemporaries, the Isan songwriters Chaloemchai Siruechai and Benjamin. Waeng’s history of Isan singers and groups of Isan songwriters in Bangkok during the late 1960s and 1970s can be crossreferenced with establishment histories to make possible a reinterpretation of the development of lukthung. The closing chapter of Lukthung Isan, detailing the existence of ‘communist’ lukthung, suggests that a re-evaluation of the counter-hegemonic potential of lukthung may be warranted.
Isan natives are like people of African descent. We’re both discriminated against over race and colour, but what we have in common is a love of music and the ability to work hard.
TV presenter and comedian Thongchai Prasongsanti (Kreangsak 2005)
The whole theme of the article dwells upon that specific influence that isaan people had upon what was the overall Thai Luk Thung industry, so quoting further would be ridiculously selective. I might as well quote the entire work.
Interestingly, not everyone seems to recognize this claim of Luk Thung being Thai overall, and Luk Thung Isan being the regional Isaan variant or genre. The following is from whomever is behind the website MekongMusic:
ลูกทุ่ง, Luktung, Lukthung, Loog Thoong, Loong Thoong is the music representing Thailand as folk music.
It was born in Isan area in Thailand which locates in North West faced the border of Lao and Cambodia.
Isan was a part of Lao before French came and took it by force, then Thailand recieved from that area from France.
So that, Luktung is came from Lao culture.
How to make categorizes who is Lukthung singer? It’s a one of typical questions.
- It’s difficult to find “Who is Luktung singer or Morlam singer?”
Becuse, most of Luktung singers sings also Morlum because it’s came from same stream of music and most of Luktung sigers were born in Isan, that’s why.
I have no doubt that this is a prevalent belief. Whether it is a misunderstanding, though, is not for me to say. I am no authority. But I feel I have made points enough that it probably is a misunderstanding.
luk thung isan
Thapporn Petchubon, Noknoi Uraiporn, Thonthai Tin Isan -[04]- Isan Klab Tin
Uploaded by ThePsychedelicGomper on May 30, 2011
The Sound of Siam •
Leftfield Luk Thung, Jazz & Molam from Thailand 1964 -1975
http://www.youtube.com/view_play_list?p=06FF2C049A00300D
http://www.youtube.com/user/ThePsychedelicGomper
https://www.facebook.com/pages/ThePsychedelicGomper/201525223203470
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