This curated page is part of Sounds of Yesteryear Vol. 2, an initiative by the National Archives of Singapore (NAS) showcasing one newly digitized music record from NAS's audiovisual collection each week.
Return to the main landing page or view footnotes and references.
In 1952, a series of articles titled “Modern Chinese Music” began appearing in the Singapore Free Press. The articles were attributed to a mysterious writer known only by the pen name Fu Hsi, and aimed to enlighten European and Westernised Chinese readers of the latest developments in local Chinese music.
But what exactly defines modern Chinese music? “For those still sceptical,” writes Fu Hsi in the series’ inaugural edition, “let me assure them that there will be no nasal falsettos, no battle-drums, no cymbals, and no squeaky fiddles in these selections.” Instead, the writer proffers several artists associated with Shi Dai Qu (时代曲; “modern songs”)—a genre of popular music comprising “hybrids of jazz, Hollywood film songs and Broadway musicals, modern Chinese school songs, and popular urban ballads of the entertainment quarters”[1] —such as Hong Kong singers Yao Lee and Bai Kwang.
Modern Chinese music had already made its mark in Singapore by the 1930s, with contemporary gramophone records from Shanghai circulating widely in local markets. This musical evolution extended beyond recordings to live performances, as evidenced by a 1936 Straits Times article. The piece reported on an emerging trend in Singapore's clubs and cabarets: Chinese love songs adapted to Western dance rhythms, a fusion attributed to Mr M. P. d'Souza, a musician at the Great World Cabaret. A European musician interviewed for the article observed, "The Chinese prefer to hear their own tunes played in foxtrot or waltz time—which is quite logical considering the changes in Chinese customs and dress."
Malay music in Singapore underwent a significant transformation during the mid-20th century. While traditional styles like keroncong and ronggeng initially dominated local markets, they gradually evolved to incorporate Western and Latin rhythms, or were complemented by entirely new compositions. This musical evolution was highlighted in a Straits Times report on a new series of Malay recordings published by His Master's Voice. The article noted a diverse range of styles, "From the old Malay kronchongs[2] and folk-songs to modern swing, tangos, fox-trots, rumbas and sambas, including the latest Malay screen song hits," describing it as "a new and lively development in Malay music." The recordings featured a mix of original Malay tunes by renowned composers such as Zubir Said, Osman Ahmad, Ahmad Jaafar, Hamzah Dolmat, and Yusoff B, alongside adaptations of traditional songs set to new rhythms and interpretations of popular Latin American music.
The global music scene of the mid-20th century significantly influenced Singapore's local music industry. Latin-inspired musicians like Xavier Cugat and Carmen Miranda achieved worldwide success, with their gramophone recordings finding their way into the libraries of local musicians through various authorised dealers. This international influence catalysed a surge in locally-produced modern Chinese and Malay recordings, which soon flooded the market. A key figure in this development was Thomas Hemsley (also known as T. Hemsley), an Englishman who founded the Chap Singa label and later operated recording studios at Keng Lee Road and MacDonald House. Hemsley's work was instrumental in fostering the growth of Singapore's recording industry during this period[3].
The selections in this theme aim to introduce audiences to significant record series from this era, offering a valuable starting point for those interested in exploring Singapore's rich musical heritage further.
Previous releases
Pulau Bali / Rayuan Pulau Kelapa
Performer(s): Momo Latiff
His Master's Voice P-22939
1948
In 1947, advertisements for new Malay recordings began appearing in newspapers. These records—the early releases under His Master’s Voice P-22900 series—are believed to have been the first products of T. Hemsley’s new recording facilities at Keng Lee Road[4]. This issue in the series was declared one of His Master’s Voice best-selling Malay records in 1951. Upon release, newspapers sold the record as, “Two enchanting Indonesian songs, catchy and tuneful. […] a “special request” from all over the country.” Both tracks are performed by Momo Latiff (1923-2015), a Singaporean singer and actress whose credits include Putus Harapan (1955) and Pendekar Bujang Lapok (1959).
桃花泣血记 其一 / 桃花泣血记 其二 The Peach Girl Part 1 & Part 2
Performer(s): Eng Yean (Ying Yan) Hokkien Opera Company
Parlophone DPE-5501
1950
“The first gramophone records of modern Hokkien music have been made in Singapore at the T. Hemsley studio in Keng Lee Road,” announced a 1950 article in the Straits Times. These records, the Parlophone DPE-5500 series, contained 62 tracks entirely recorded by members of the Eng Yean Hokkien Opera Company, which performed nightly at the Happy World Amusement Park at the time. This disc contains the first and second parts of a modern adaptation of The Peach Girl (1931; Bu Wancang), a black-and-white silent film. There are a total of four discs in this adaptation (DPE-5501 to DPE-5504). Between 1950 and 1951, Nanyang Siang Pau ran a number of advertisements for the play, emblazoned with the troupe’s founder Lin Yan Yan’s visage; “This is her masterpiece,” claimed one of them. Hear the difference compared to this pre-War Hokkien play by the Xin Jia Po Jin Yu Lian Ban.
Terpana Yang Bisa / Pada Satu Malam
Performer(s): Nona Siput (Siput Sarawak)
His Master's Voice P-22943
1948
Singapore’s film industry underwent a similar recovery in the years following the War, as Shaw’s Malay Film Productions resumed its search for the next big star. Siput Sarawak (1921-1999) was one of the studio’s biggest “finds”, bursting onto the scene as the female lead in the black-and-white musical Singapura di-Waktu Malam (1947; B.S. Rajhans). She started her career as a cabaret singer, before lending her voice and eventually presence to local films. She is also known as the mother of singer Anita Sarawak.
This issue in His Master’s Voice P-22900 series contains two Keroncong tracks performed by Siput Sarawak, with “Terpana Yang Bisa” set to a foxtrot rhythm.
Askar Melayu / Godaan Samba
Performer(s): Jasni
Pathe PTH-16
1950
Jasni Ahmad (1914-1987), known mononymously as Jasni, was a radio and recording artist who had begun cutting records as early as 1940, under Pathe’s 60000 series. His voice could often be heard on the air, with Radio Singapore scheduling regular “Songs by Jasni” segments on its Blue Network beginning in 1946.
Jasni was known for his songwriting talents as well—one of his most memorable compositions was “Asmara Terkenang”, which was recorded by his wife—movie star Neng Yatimah—for L. Krishnan’s Takdir Ilahi (1950).
This record was issued under Pathe’s PTH series, which was advertised by Hemsley in newspapers beginning July 1950. A Straits Times article referenced the recording process for this series, “By mid-July about 350 brand new Malay music recordings will have found their way into thousands of Malay homes […] These records, still being manufactured in Calcutta, are the combined effort of about 70 of the best Malay musicians, vocalists and composers, […] Every day, except Saturday and Sundays, for two months – early March to end of May – they pooled their talent and flocked to the T. Hemsley studio in Keng Lee Road to make recordings…”
This release, advertised in the Malaya Tribune on 29th July 1950, features a march on Side A and a samba on Side B.
春心动奈何 / 南洋之夜 Bengawan Solo / Terang Bulan
Performer(s): Eng Yean (Ying Yan) Hokkien Opera Company
Parlophone DPE-5518
1951
“You need not understand Hokkien to enjoy the new Parlophone Hokkien recordings made by the Lim Yean Opera Co. [AKA Eng Yean Hokkien Opera Troupe],” proclaimed a Hemsley advertisement for Parlophone’s DPE-5500 series, “Their music has a universal appeal”.
This disc contains Hokkien covers of two regional classics—side A is a cover of “Bengawan Solo”, an Indonesian song composed by Gesang Martohartono in 1940—and side B is a cover of “Terang Bulan”—itself an adaptation of "La Rosalie", a popular song in the Seychelles during the 19th century composed by Pierre-Jean de Béranger; this melody later became the National Anthem of Malaysia. Although the disc’s labels and accompanying leaflet attribute the vocals to Yang Zhi Hua, both recordings contain solely female vocals.
Baju Shanghai / Taman Bunga
Performer(s): Rokiah
His Master's Voice NAM-94
1952
Rokiah Jaafar (1925-2020), also known as Rokiah, made her debut in the romantic drama Chinta (1948; B.S. Rajhans). Along with P. Ramlee, Siput Sarawak, and S. Roomai Noor, Rokiah was part of a roster of new film stars heavily promoted by Malay Film Productions (MFP) in the post-War years; this strategy was evident from films like Berdosa (1951; S. Ramanathan), which was billed “THE GREATEST GALAXY OF STARS Ever Assembled For A Local Production” in a Straits Times advertisement. After earning her stripes in supporting roles, Rokiah was cast as the leading lady in other MFP productions, like Penghidupan (1951; L. Krishnan) and Jiwa Lara (1952; S. Ramanathan); a review of Jiwa Lara in the Singapore Free Press praised her “bewitching” performance.
Like many of her contemporaries, Rokiah was also a talented singer; she recorded several releases in His Master’s Voice new “NAM” catalogue series, introduced in September 1948 . In an advertisement for this release—which contains two rumba numbers—Rokiah is described as “The Kain Sungkit Girl”, referencing one of her earlier hits which was voted top record in Radio Malaya’s 1951 disc poll, reportedly garnering around 6000 votes.
Kota Baharu Selamat Malam / Wak Ketok
Performer(s): Nona A'siah, Mr Kasban
Pathe 61091
1948
As the daughter of Rahmah binte Osman—a prima donna for the famed Dean’s Opera Company—Asiah binti Aman (1931-2024), better known by her stage name Nona Asiah, was plunged into the limelight from a young age. She started out performing bangsawan at New World Park during the Japanese Occupation; after the War, she joined the Tiga Serumpun Orchestra and began singing regularly over Radio Malaya in 1945. Around 1948, Asiah recorded “Chium-Ku Lagi” (Pathe 61088), a Malay rendition of the song “Besame Mucho” which became a smash hit. Newspapers at the time christened her “the darling of Malay music lovers” who “stole the heart of every boy in town and village”. She soon began lending her voice to Shaw films like B.S. Rajhan’s Nasib (1949) and Rachun Dunia (1950), eventually making her acting debut as the heroine in Nusantara Film Company’s musical romance Pelangi (1951; Nas Achnas).
This disc is part of Pathe’s 60000 catalogue series, which began in 1938 under the name “Chap Ayam” (Cock Brand). The series continued after the War, running concurrently with Pathe’s newer PTH series and eventually terminating in 1951 . Side A is a foxtrot track, while Side B is a playful ronggeng performed together with Mr Kasban, a keroncong singer who was active since the 1930s.
Listen to recordings by Dean’s Opera Company, its star performer Miss Tijah, or learn more about Nona Asiah’s life through her oral history interview.
苏州之夜 / 望春风 Soochow Night / Wang Chun Feng
Performer(s): Poon Sow Keng
Parlophone DPE-5703
1951
“Complaints have been received that [Radio Malaya] keeps on playing old tunes,” reported a 1947 Malaya Tribune article, “but lack of funds makes it impossible to purchase new numbers from China”. This indicated a growing market for new local music; by 1951, consumer spending habits had largely recovered, leading to “mounting sales” for record labels. Record labels were thus incentivised to put out new gramophone records; following the success of its 1950 DPE-5500 releases, Parlophone launched a new series—DPE-5700—for which the first five discs were recorded by none other than Poon Sow Keng (1935-).
Born in Kuala Lumpur, Poon moved to Singapore in 1950 and started singing at the Paramount Café in Great World. Her low, smooth voice won the hearts of music lovers and not long after, she signed a contract to T. Hemsley & Co., Ltd., to record under the Parlophone label. The first five releases were instant hits, making Poon the “best-selling Malayan Chinese disc artist [at the time]” and setting her on the path to superstardom at just 17 years old.
This disc is the third in the series and contains two Mandarin covers set to a foxtrot rhythm. Side A is based on Soshu no yoru, originally recorded for the 1941 film Suzhou Nights, while Side B is a rendition of Bāng Chhun-hong, a Taiwanese classic.
Ayer Pasang Waktu Senja / Selendang Plangi
Performer(s): Miss Rubiah
His Master's Voice NAM-10
1950
In May 1948, T. Hemsley announced that a new set of Malay pop records had arrived on Singapore’s shores. Despite the subdued, unadorned tone of the advertisement, one of these releases—Bunga Tanjong (His Master’s Voice P-22941)—immediately became “the craze of every town and village in Malaya”, forever changing the life of its performer, Rubiah (1923-1992).
Hailing from Medan, Rubiah spent the Japanese Occupation touring the region with a Malay theatrical troupe . After the War, she settled in Singapore, and quickly found work at Shaw’s Jalan Ampas studio as the “voice double” for screen siren Kasmah Booty, beginning with B.S. Rajhan’s Chempaka (1948). Rubiah also sang for the Rayuan Kenchana Orkes’ Radio Malaya broadcasts, and played the double bass in the all-women Wanita Kronchong Orkes, alongside Momo Latiff and Asiah.
This disc is part of His Master’s Voice NAM catalogue series, with Side B (Selendang Plangi; “Multi-coloured Scarf”) notably being a Tango-style track. Both recordings were accompanied by the H.M.V Orchestra, led by Abdul Rahman. Interestingly, Bunga Tanjong and Selendang Plangi were attributed to fellow Medan native, composer Lily Suheiri (Lili Suhairi).
十千里路 / 会否爱你 Shi Qian Li Lu / Hui Fou Ai Ni
Performer(s): Poon Sow Keng, Soo Yin
Parlophone DPE-5740
1953
“Jazz Is Dead, Long Live Swing,” declared a 1950 Singapore Free Press headline, pointing to the latest craze to have taken the region by storm. By the late 1940s, swing dancing had become all the rage in Singapore, culminating in the establishment of Singapore’s first swing club—the International Rhythm Club—in 1949. The same Free Press article speculated that the secret to swing’s success was its “definite straight forward rhythm”, which made it easy for anyone to dance to; similarly, local music columnist Bill Webb-Jones[5] proclaimed swing the “music of democracy” in a 1949 interview. The rise of swing was not free of controversy, however—a music war erupted, with discourse on the genre’s “vulgarity” taking centre stage. Besides critiquing the “ear-splitting” and “raucous” nature of the genre, Straits Times reader Lover of Classics highlighted that Radio Malaya had devoted 17 hours of airtime the previous week to swing sessions, while classical music was only afforded 5 hours.
Side A of this disc is a solo swing number by Poon Sow Keng, while Side B is a beguine duet between Poon and “Malaya’s best Chinese crooner” Soo Yin (1926-1995). The latter possessed a powerful baritone voice that evoked Bing Crosby and Frank Sinatra; this singing style garnered significant attention, especially since “being a male recording in modern Chinese music [was] rare,” wrote Free Press columnist Fu Hsi.