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Apache Over Singapore: The Story of Singapore Sixties Music, Vol 1

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The Cliff Richard and the Shadows concert in November 1961 opened the floodgates for Singapore pop music as youngsters who attended the concert got the blueprint for pop music: a four-piece backing group fronted by a singer, male or female. Soon hundreds of groups were formed. Meanwhile, Beatles and Merseybeat broke through internationally and brought another sonic shift i The Cliff Richard and the Shadows concert in November 1961 opened the floodgates for Singapore pop music as youngsters who attended the concert got the blueprint for pop music: a four-piece backing group fronted by a singer, male or female. Soon hundreds of groups were formed. Meanwhile, Beatles and Merseybeat broke through internationally and brought another sonic shift in the Singapore music scene. Then came rhythm and blues and this became the third stream. These developments made for a very exciting pop scene in Singapore as there were releases to look forward to every week from EMI, Philips, Decca and other record companies, including local labels. With shows almost nightly and tea dances to welcome the week it was pop heaven. This book examines why it was so. Individual profiles of the bigger acts study their careers in details and trends like rhythm and blues, the blues movement and pyschedelia are examined. The attitudes of officialdom to this phenomenon in Singapore as well as other factors like the infrastructure that helped the sixties pop music movement are also discussed.


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The Cliff Richard and the Shadows concert in November 1961 opened the floodgates for Singapore pop music as youngsters who attended the concert got the blueprint for pop music: a four-piece backing group fronted by a singer, male or female. Soon hundreds of groups were formed. Meanwhile, Beatles and Merseybeat broke through internationally and brought another sonic shift i The Cliff Richard and the Shadows concert in November 1961 opened the floodgates for Singapore pop music as youngsters who attended the concert got the blueprint for pop music: a four-piece backing group fronted by a singer, male or female. Soon hundreds of groups were formed. Meanwhile, Beatles and Merseybeat broke through internationally and brought another sonic shift in the Singapore music scene. Then came rhythm and blues and this became the third stream. These developments made for a very exciting pop scene in Singapore as there were releases to look forward to every week from EMI, Philips, Decca and other record companies, including local labels. With shows almost nightly and tea dances to welcome the week it was pop heaven. This book examines why it was so. Individual profiles of the bigger acts study their careers in details and trends like rhythm and blues, the blues movement and pyschedelia are examined. The attitudes of officialdom to this phenomenon in Singapore as well as other factors like the infrastructure that helped the sixties pop music movement are also discussed.

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