SHAH Mohamed Tahir
Performing Arts in Singapore (Music),
Accession Number 003512
- Oral History Centre
Source
- 9
Total Reels
- Mark Wong
Interviewer
- 07:48:36
Total Running Time
- English
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 9
Metadata
- 21 Apr 2010
Recording Date
- 00:58:18
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Born in a rental flat at Alexandra in 1959 before father bought a flat at Tanglin Halt. Delivered by a mid-wife. Meeting the daughter of the mid-wife many years later. Mother was ethnically Chinese, adopted by an Arab family. Father from Pakistan, arrived in Singapore in his early twenties to search for work. Father’s eldest brother was a tailor with a shophouse at North Bridge Road. Father first worked at a bookshop, then joined the British Army to become a Military Police sergeant until the withdrawal of forces. Parents had an arranged marriage, which were common for Pakistanis, Indians and Punjabis. Father declined an offer to be relocated to England. Father’s military camp was at Alexandra. Father found work as a security officer at Hewlett Packard at Depot Road.
Description of childhood. Buying ice balls. Playing gasing, capteh. Upbringing was not strict. Did not attend kindergarten; went straight to primary one. Age gap of a year between interviewee and his two brothers. Malay was the main language used at home. Father spoke English as well. Interviewee did not learn Urdu, his father’s ethnic language. Meetings of small Pakistani community. Mother was a housewife but also worked briefly in a factory. Started her own business. Clarification of parents’ ethnicity and cultural influences. Differences in parents’ diets. Father was widely read. Mother had no formal education but family taught her to read. How parents worked out their cultural differences. How parents administered discipline.
Earliest exposure to music via father’s vinyl records of Urdu poetry and music. Mother listened to Malay pop music on radio. First listened to western pop from the stalls at pasar malams (night markets) selling music, but did not have much interest. Interviewee was heavily involved in sports in his school years. Discovering the guitar at the end of secondary one. Purchasing a guitar for $25 from a Chinese emporium. How father shared his love of Urdu music with him, including its spiritual and philosophical meanings. Listening to western music like The Beatles at relatives’ house. Types of instruments used in the Urdu music. Interviewee did not have much of an interest in Malay pop music. Mother also enjoyed Hindustani, Bollywood music on radio. Family did not attend any music performances. Examples of musicians that performed on television. Ramli Sarip and Sweet Charity playing at Malay weddings.
Attending Hua Yi Primary School and New Town Secondary School. Painting T-shirts with the names of popular musicians. Learning to play the guitar from a friend. Buying song books. Learning fast and moving from folk to electric guitar. Forming bands to play at parties and earning some money. Band mates were people from the neighbourhood. Young people of the time were interested in sports and music. Neighbourhood had large proportion of Malays. Young people mixed freely with people of other ethnic groups. Playing music at void decks. Mixing with older people who were more passionate about music. Some were professional musicians. Watching more experienced musicians play helped with interviewee’s own musical development. Sitting on the slopes behind the National Theatre to catch the performances for free, what was called ‘grass ticket’. Strong drug culture. Names of popular bands: Grand Funk Railroad, Santana, Led Zeppelin, Uriah Heep, Black Sabbath, Marmalade, T-Rex, Bread. Interviewee did not listen to soul or blues yet. Interviewee listened to these bands on cassette or vinyl. Purchasing pirated cassettes at pasar malams. Prices of cassettes. Going to record shops at Plaza Singapura. Some shops would compile individual songs on a cassette for customers.
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Reel/Disc 2 of 9
Metadata
- 21 Apr 2010
Recording Date
- 00:57:14
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Description of pasar malams (night markets) in the early 1970s. Usually on weekends. Range of items sold. Browsing through stalls. Use of kerosene lamps. Description of jagung (corn) and how it was cooked. Other sorts of food. How the stalls were set up on the streets. Description of stalls that sold cassettes. Requesting stall owners to play particular songs. Ethnic composition of stall owners. Description of the popular music of the day.
Catching local bands at the National Theatre. Mentions bands like Xperiments, Straydogs, Western Union Band, Sweet Charity, Heritage and The Flybaits, Black Dog Bone, and the types of music they played. Passing the bar Barbarella and watching The Flybaits play. Free concerts held at a hotel at Tanglin Road. Fun fairs at Tanglin Halt featuring band performances, including interviewee’s. Description of interviewee’s band that was put together when he was fifteen years old. Playing cover songs. Description of his performance at the fun fair. Playing at Malay weddings as guest bands. How Sweet Charity started as a working band that played Malay weddings. Description of the set-up at Malay weddings. Equipment used. No monitor speakers used. Musicians that played in wedding bands usually held other jobs in the week and played weddings on the weekends. How a crowd would gather to watch the bands, even though they were not wedding guests. No complaints from residents about the noise. Similarly, non-Chinese residents tolerated the use of firecrackers during Chinese New Year. How Malay wedding bands began to fade away with the arrival of karaoke machines. How residents’ demands and expectations changed. How weddings moved to community centres.
Interviewee played music at other functions such as birthday parties at such venues as the Ceylon (Sports) Club. Mix of live music and records. Forming a regular group at the Oasis Theatre. Playing danceable pop music at functions. How parents would join in to dance. How much they were paid. Playing about three sets at each function. How long interviewee had to practice before a gig. How often interviewee played. Practising at a friend’s studio near Newton Circus. Using egg trays to absorb the noise. Rehearsing once a week. Other rehearsal studios included Lucky Heights in Bedok, Groove Maker Studio at Great World. Rental fees at these studios. Types of guitars owned.
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Reel/Disc 3 of 9
Metadata
- 11 May 2011
Recording Date
- 00:58:02
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Exposure to music in school. Brass band in Hua Yi Primary School. Initial reason for joining. Reaction to drills and discipline required. Was more involved in sports in school. Music lessons in secondary school where students listened to classical music and learnt about composers. Students’ response. Picking up acoustic guitar in Secondary 2. First public performance at fun fairs. By Secondary 4, playing at night clubs. The Oasis beside Indoor Stadium. Four-piece band Genesis. Three month engagement while attending school in the afternoon session. Six-day work week. Atmosphere. Played popular music by Beatles, Commodores. Crowd requesting dance music like cha-cha, Latin. Three sets of 45 minutes nightly. Fees earned. Ambition to be a professional musician. Inspired by schoolmate Victor. Father bought interviewee guitar from Chinese emporium. Borrowed song books with chord charts. Parents’ reaction to interviewee’s engagement at Oasis. Rejected culture of drugs and cigarettes. Classmates shocked that he was playing in clubs. Excitement of playing. Many bands at the time; sense of competition. Two older band mates dealt with agent.
Guitar tuition with Ray Anthony of Heritage. Discontinuing formal lessons but continuing to meet up to jam. Becoming friends and hanging out. One of Anthony’s housemate was from The Straydogs. Hippie-styled apartment at Bencoolen. Meeting other musicians. Anthony’s invitation to interviewee to join Heritage. Discovering new forms of music like jazz-rock. Learning to use effects pedals. Anthony’s “secret” pedal boxes. Anthony a major influence. Going to music shops like Yamaha, Swee Lee. Rehearsals with Heritage at Groove Maker studio at New World Amusement Park. Traded guitar for a synthesizer. Opportunity to experiment with sounds in Heritage. Band members listened to diverse range of music. Departure of drummer Zul and then Anthony. Interviewee taking over on lead guitar. Getting a friend, Francis, to replace him as second guitarist.
What happened to former band Genesis. Studying Mechanical Engineering at Singapore Polytechnic (SP). Quitting school to concentrate on music. Working on Heritage’s first album while still at SP.
Types of performances Heritage played. Fewer National Theatre gigs due to impending closure. Receiving invitations from SP Students’ Union to play; University of Singapore; Stadium performance in Malaysia; television shows; radio programmes; Goethe Institute; DBS Auditorium; Singapore Conference Hall. Audience at National Theatre were expecting classic rock, while Heritage wanted to play more original material. Process of writing original material. Most bands of the period played covers. Sweet Charity writing original Malay songs and getting recording contracts, but still performing English rock covers live.
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Reel/Disc 4 of 9
Metadata
- 11 May 2011
Recording Date
- 00:56:45
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
The Straydogs guitarist interviewee met at Ray Anthony’s house was Lim Thiam Soon. Impressions of Lim and their conversations about religion, spirituality and philosophy on walks home from Bencoolen. Lim worked full-time as musician in (night) club scene. With National Theatre gone, lack of avenues for concerts; ascendance of club scene in 1980s.
Jazz-rock influences slowly coming out in Heritage’s music. Interviewee’s view that band’s influences were too varied, thus lacking direction. No other bands played a set of 100% originals. Feelings about joining Heritage for the first time. Memorable performance in Malaysia organised by WEA (Warner-Elektra-Atlantic) Malaysia. Audience of 30,000 to 40,000. One band from Singapore, Malaysia (Blues Gang) and Hong Kong. Heritage opened the show. Did not play originals. Played blues, boogie-woogie. Crowd went wild. Played originals at University of Malaysia. Crowd cheered. Malaysian producer Roslan Aziz’s memory of gig. Self-organised shows at Goethe Institute. Renting equipment from Groove Maker. Inviting drummer Lewis Pragasam from Kuala Lumpur to play. No difficulty changing role from rhythm to lead guitarist. Atwell Jansen painted his face, dressed in costumes, wore make up. Ray Anthony looked like Jimi Hendrix. Being recognised as a member of Heritage, which helped interviewee get a job at Kinitex and EMI studios. Receiving press coverage. Being recognised on the streets. No interest in being in limelight.
Experiences recording Heritage’s first album. How recording contract came about. Jimmy Wee, originally from EMI, newly arrived at WEA, signed on local artists including Heritage and Sweet Charity. Blues Gang signed with WEA Malaysia. Wee recommended Blues Gang’s producer but things did not work out. No progress with new producer Steve Israel either. Heritage finished producing tracks themselves. Lessons learnt from recording experience. How the recording studio amplified musicians’ flaws. How musicians in the past did not have their notes “fixed”, post-production. Interviewee’s personal interest in studio equipment grew. Always asking Kinetex Studio boss Arthur Simmonds questions. Heritage wanting to get a studio sound like Genesis or Yes, but unable to do so. Studio did not have experience recording rock bands. Studio engineer asking Atwell not to “shout”. Cover art proposed by Wee. Lukewarm reception of album. Elaborates on the song “Little Boy Lost”, influenced by English band Genesis. Album soon began to sound dated. Whether band members evaluated the album. Album songs worked better performed live. No one knew how to record a rock band and capture the energy.
Enlisting for National Service. Company Sergeant was Mel Ferdinand from Gypsy. Being tasked to perform at passing out parade. Posted out to Ayer Rajah as vehicle mechanic, working 9-5. Rest of time spent with Heritage.
At least a decade spent with Heritage before interviewee left. Band activities during early 1980s period. New members Francis and Ivan Arriola. Why Heritage did not record second album during the time interviewee was still in the band. Artists like Sweet Charity, Dick Lee, Matthew & the Mandarins, Jimmy Chan were able to consistently release albums during that period.
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Reel/Disc 5 of 9
Metadata
- 6 Jan 2012
Recording Date
- 00:58:21
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Reaction of bandmates to interviewee’s departure from Heritage. Working on original studio music in the day while playing covers with Heritage at night. Feeling that Heritage taking a step back from playing originals. Working at Rainbow Club at the same time that Heritage was resident. Deciding to leave Heritage. Francis taking over as lead guitarist. After Rainbow Club stint, Heritage moved on to other venues. Manager was Kelvin Lim. Interviewee watched former band at Apollo Hotel and other places. Sometimes jammed on songs. After Rainbow, interviewee worked at Fantasia Studio in late 1980s. Iskandar Ismail and Ricky Ho asked interviewee to join them at Music Syndicate. Office at Selegie Road. Producing Taiwanese and Hong Kong artists. Interviewee took care of studio and played most guitar tracks as session player. Signed contract with Taiwanese label UFO Records, Music Syndicate as their in-house production company. After second contract cycle with UFO ended, reduction in amount of work received. Ho felt tired of working in pop industry; interest lay in film music. Agreement to dissolve Music Syndicate, although Ho, Iskandar and interviewee remained investors in Yellow Box Studios.
Comparing experiences on stage and in studio. Love for experimentation in the studio. Being offered job by Arthur Simmonds at Kinitex Studio after National Service. Meeting Mel Ferdinand during National Service and being taken care of by him. Asked by Malaysian producer Ahmad Nawab to play guitar parts in the studio. Difficulty reading music notation. How playing in the studio magnifies all one’s mistakes. Comparison to playing live. Permanence of recording. Studio musicians have to be fast and good. Learning how to contribute new musical ideas and ways of playing to what was already scored. Learning multiple skill sets in the studio – guitar playing, audio engineering, arranging, producing. Starting from the bottom, making coffee. Spent about three years at Kinetex Studio. Exposed to orchestral music. Recollection of New Zealand military brass band with thirty musicians in studio. Kinetex had 24-track recorder. Later, interviewee used 8-track recorder at EMI Studio. Praise for EMI’s quality of production work in the region. Recollection of trumpet-player Tony Castillo at Kinetex and impressions of him. Kinitex used by most labels that did not have own studio, such as Warner Bros, WEA (Warner-Elektra-Atlantic), Chinese (language) labels, Malaysian labels. Bulk of work was with Chinese labels and Taiwanese labels. Taiwanese labels came to Singapore because of quality of Singapore’s session musicians and production/arrangement. Labels were making good profits then. Comparing production budgets then and now. Names of prominent studio musicians/arrangers/producers: arranger Alan Ang, drummer Tony Zee, bassist Patrick Seet, guitarist Martin Pereira. Comparison to in-house production team at Motown Records. These studio sessionists mostly played for pop albums; rock bands had their own musicians. Mention of Matthew & the Mandarins and Western Union Band. Recording studio rates. How much studio musicians were paid. Comparing the pay of studio and live musicians. High demand for studio musicians but not many of high quality. Interviewee played for various musicians, including the X-periments, Sydney Tan (gospel music), Ramli Sarip. Also played jingles. Malaysian artists worked with included M Nasir, Sudirman. The arranger is the one who hires the session musicians. Arrangers interviewee worked with were Ahmad Nawab, Alan Ang. Later at EMI, worked with in-house producer Reggie Verghese. More rock music being produced, giving interviewee more chances to play.
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Reel/Disc 6 of 9
Metadata
- 6 Jan 2012
Recording Date
- 00:21:14
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Assisting Arthur Simmonds at Kinetex Studio workshop, doing maintenance work. Doing recording work only towards end of Kinetex stint and later at EMI Studio. Working graveyard shift at EMI because club musicians could only record after club gigs. Working with S Atan, who did all production work on Malay albums. Non stop work round the clock. Number of staff at Kinetex. Work at Kinetex was in the day. Impressions of Simmonds: pioneer audio recordist, recording early Lee Kuan Yew / People’s Action Party rallies; first to bring in Rupert Neve console, Neumann microphone into Singapore. How Kinetex was well equipped for its time. First studio to have 24-track recorder. Kinetex could accommodate a small orchestra. How in the past, the only way to record properly was in a studio. Kinetex was independent, not tied to a label. EMI or PolyGram studios did not rent to musicians outside their artist stable. Mentions also Oscar Studio which did purely Chinese recordings. Simmonds felt betrayed when staff left to work at Quad Studio. Simmonds got remaining staff to sign a contract. Interviewee declined to sign and his reasons. How studio industry fared after. EMI staff (including Reggie Verghese, Vincent Lim) later bought over EMI Studio. After leaving Kinetex, interviewee called Lim and was hired by Verghese for EMI Studio. Why interviewee thought he was hired. Number of staff at EMI. Size of studio. Worked for about three years. Responsibilities and job scope. Martin Pereira did most of EMI’s guitar jobs. Prominent artists interviewee worked with. Worked on Fei Xiang’s first album. Experience working with Sudirman (Arshad). Others included Frances Yip. Did not record Anita Sarawak until later with Fantasia Studio. Interviewee dealt more with session musicians rather than vocalists. Considerations when working with star artists. EMI Chief Engineer Vincent Lim usually recorded the stars.
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Reel/Disc 7 of 9
Metadata
- 30 Mar 2012
Recording Date
- 00:57:06
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
How EMI considered closing their Singapore studio and how staff like Reggie Verghese and Vincent Lim decided to buy over. Other former staff involved included Alan Ang. Interviewee continued to work as engineer under new owners. Work at studio changed. Being approached to work at Rainbow Club as head of sound. Losing interest in studio work. Interviewee could not remember new name of EMI Studio (post-interview note: the company that bought over the studio at MacDonald House was Boogie Productions). How Verghese later took over studio 100% and moved out equipment to MacPherson, then Serangoon Gardens. Finally sold off studio to Lee Wei Song. After parting ways with Verghese, Vincent Lim started own production company; later passed away from heart attack.
How closing of EMI Studio affected industry. How arrival of Pony Canyon revived recording of local music. Warner Elektra Atlantic (WEA) with Jimmy Wee was recording local artists in the years between EMI and Pony Canyon. WEA recorded in different studios. WEA signed artists like Matthew and the Mandarins, Sweet Charity. How Pony Canyon ushered in new generation of Singapore artists like Brian Colaco, Humpback Oak, Shiok. Being involved with albums by Chris Ho, Dick Lee, Sweet Charity. During this period interviewee was working at Rainbow Club. Working with Chris Ho. Memories working on Chris Ho’s album. Thoughts on Ho as an artist. How Ho looked mean but was sweet. Memories working on Dick Lee’s album with producer Sydney Tan. Thoughts on Lee as a commercial songwriter. How Lee would leave production to others. Comparing production budgets of Lee and Ho. How Pony Canyon initially had big production budgets for Singapore albums. Memories of Douglas Oliverio album which had enormous production budget. Hiring of Japanese producer, musicians and engineer. Recorded at Form Studio, Kallang. Interviewee’s role on Oliverio album. How Sweet Charity had asked interviewee to help on their album. Only Malay album that interviewee worked on extensively. Most local albums of the period recorded by small circle of producers: Iskandar Ismail, Ricky Ho, Sydney Tan, Martin Pereira, Reggie Verghese. Interviewee dealt more with technical work than creative decisions.
Interviewee’s first full (creative) production work was on Datuk Shake/Sheikh’s album. Working with MIDI. Good feedback from producer Mac Chew. Example of production schedule, using Datuk Shake’s album as an example. Beginning from budget, target release date, listening to demo versions. How producer would add parts like guitar solos, intros, extended outros. Printing to master tape and recording vocals. Learning MIDI. Using Macintosh 512. MIDI modules from Roland, Korg, Yamaha. Synthesised sounds. Modules were expensive.
Comparing working with live sound in a club compared to in a recording studio. Difference in response time. Ultimate goal to have a balanced mix. At Rainbow Club, bands played Top 40 music. Sometimes foreign bands passed through. Difference between local and foreign live bands. Explaining how he mixed the sound of different types of live bands. Interviewee’s advice not to mix too loud.
Recording artists like Dick Lee, Chris Ho, Jeremy Monteiro at Fantasia Studio. Elaboration of working with Monteiro and his band Jeramzee. Interviewee appearing as an artist on a compilation put together by Monteiro, as well as helping out at Moneteiro’s studio at Serene Centre. Ricky Ho and Lewis Pragasam played on interviewee’s track. Description of track as instrumental and fusion. Experience recording Lee Ritenour. Auto-Tune only came about in the late 1990s, when interviewee was working with Hype Records. Why producers were happy when Auto-Tune was developed. Why the music subsequently became “lifeless”. Explaining the “Cher effect”. How only “real” singers could do live shows. Pickup rate of Auto-Tune in Singapore was fast. How interviewee used Auto-Tune in the present day. How recordings in the 1950s-1970s may not be on pitch but had character.
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Reel/Disc 8 of 9
Metadata
- 30 Mar 2012
Recording Date
- 00:56:36
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Relationship with Jimmy Wee of Warner Elektra Atlantic (WEA) from days of recording Heritage’s first album. Heritage members hanging out at WEA office. Recount of how Japanese label Pony Canyon entered Singapore market. Strategy of expanding into rest of Asia via Singapore. Opinion that Pony Canyon was riding on what WEA was already doing. What happened to former WEA artists. Interviewee’s memorable recordings for Pony Canyon were Brian Colaco, Shiok, Humpback Oak, Dick Lee. Background of Brian Colaco and experience producing his album. Opinion that disagreements between producers and artists were less common in Asia compared to the west. How young Singapore artists were very raw in the studio, using Humpback Oak as an example. How sometimes producers would polish up an album that on hindsight was unnecessary. How as a producer interviewee had grown away from emphasising technical perfection. Songwriting and performance was more crucial. Working with Leslie Low from Humpback Oak. Replacing the rest of the band with MIDI. Recording at Shiok Studio, Paya Lebar and Form Studio.
Working at Hype Records. Chinese music background. Deal with MediaCorp to record albums with actors. Interviewee’s role as music producer. Intense period. Arranging for Chinese band Dreamz FM. Interviewee’s western-flavoured arrangements considered unique for Chinese market that had roots in Xinyao. Contrast to Ocean Butterflies that used Taiwan/Hong Kong template. Dreamz FM had critical acclaim in Taiwan, but not mass appeal. Background of Hype Records owner Ken Lim. Lim played role of executive producer. As producer, interviewee had little to no contact with artists. Elaboration on producer’s role. Different MediaCorp artists had varying success. Mix of MIDI and real instruments. Interviewee’s opinion that he had no signature production style except his own guitar playing. Producers and engineers that influenced interviewee. With Hype, the demarcation of sound used on an English or Chinese record was not so distinct. Hype producers came from western music-listening background. Arrangers in Singapore did not get publishing rights.
Getting more freelance work for live sound, eventually doing theatre work. Getting a call from Selena Tan. Becoming known for his work on musicals. A good producer requires both technical know-how and an ear for music. First musical worked on was Dick Lee’s Fried Rice Paradise. Working on live gigs like World of Music, Arts and Dance (WOMAD) festival. For theatre, interviewee’s main role was in sound design. Explanation of sound design. How demands of musical theatre differ from studio work and live gigs. Environmental challenges of working on outdoor concerts. Outdoor sound preferable to constraints of acoustics of a “bad” room. Outdoor festivals are fun, variety of performances. No soundcheck. Planning input list with stage manager. Comparison to setting up inputs at clubs. Technical crew and assistants needed for outdoor festival like WOMAD.
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Reel/Disc 9 of 9
Metadata
- 30 Mar 2012
Recording Date
- 00:45:00
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Involvement in National Day Parade (NDP) began in 2005 as audio mixer when Showtec Communications was official vendor. Explanation of role of sound designer. Role of sound designer given more prominence when a foreign company was given contract for 2007 NDP at Marina Bay. For 2009 NDP, creative director Ivan Heng and music director Sydney Tan approached interviewee to be sound designer. NDP Committee decision to give job to local rather than foreign designer. Success of 2009 NDP gave committee confidence to hire interviewee again in 2010, 2011 and 2012. No formal training in sound design; learning on the job. How studio work gave interviewee the fundamentals to do sound design. Objectives of sound designer: to deliver performance audio to audience, and to support artists in their performance. Challenges of speaker placement. Similarities to theatre sound design. Idea of sound system design. Job of front-of-house mixer and working with him. Not all theatre productions require sound designer. A lot of preparation work required for NDP. Details on equipment required: microphones, speakers, playback system. Need to design and test backup system. Preparation for NDP begins more than a year before. Names music directors Sydney Tan, Goh Kheng Long, Iskandar Ismail. Weight restrictions of Marina Bay floating platform. Challenge of working at Padang, with four sides of audiences to cover, with inconsistent seating heights. Most memorable aspect of NDP. Job of sound designer to support creative director. Considerations of budget, safety, practicality. Objective to maximise money spent to get best show. Use of cube structure in NDP 2011.
Whether working on music professionally affects interviewee’s passion for music. Personal opinion that music is more about the emotional than the technical. How interviewee worked on music that was different from what he listened to for enjoyment. Considers playing guitar his most favourite aspect of musical involvement. Evaluation of music as a career in Singapore. Need to be street smart, versatile. Advice interviewee gave to his son Adam Shah, a drummer. On preferring to watch television than listen to music after work. Views on mp3 culture and effect on music industry.
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