A Tribute to singer S.Roha - written by Ghaz

 

S. ROHA – “HIDOP UNTOK CHINTA” (LIVING FOR LOVE)

 

S. Roha in her younger days as a singer.

Sometime in the middle of last year, my wife and I had a chit-chatting with my uncle’s wife, whose two brothers used to be newsreaders for the Malay channel of the Singaporean television. We asked her if she knows the whereabouts of S. Roha, an iconic pop yeh yeh singer of the late 1960s until the early 1970s. She told us that the singer now lives in Johor Bahru but sadly, she is in poor health condition. Being absent from the entertainment for a long period of time, we can only hope for her speedy recovery.

During my teenage years in the early 1990s, I remember watching S. Roha in a short interview on the same TV channel on an Eid program. Since then, I kept on wondering how popular she was in her heydays. Eventually, my curiosity was answered decades later.

S. Roha was born in Singapore circa 1950 as Siti Roha Chik Tajuddin. In her early involvement in pop yeh yeh music, she used her first stage name Roha Chik and managed to cut an EP on Globe Record with a local band named The Keens. However, such move did not have so much impact on her singing career.

Roha Chik & The Keens: Chinta Pertama (The First Love)  roha chik & the keens _ chinta pertama (1967) - YouTube

Roha Chik & The Keens: Mari Gembira (Let’s Be Happy) roha chik & the keens _ mari gembira (1967) - YouTube

Roha Chik & The Keens: Janji Tak Sampai (A Promise Undelivered) roha chik & the keens _ janji tak sampai (1967) - YouTube

Roha Chik & The Keens: Surat Dari-nya (A Letter from Him) Surat Darinya S Roha - YouTube

In 1967, Roha changed her stage name from Roha Chik to just S. Roha. By this time, she was assigned under Olympic Records, in which she cut a split EP with the accompaniment of The Sangam Boys, initially led by A. Aziz Abdullah. The two songs from the said EP, Selamat Jalan (Goodbye) and Gelisah Semenjak Berpisah (Anxious After a Split) became instant hits on both sides of the Causeway.

S. Roha & The Sangam Boys: Selamat Jalan (Goodbye) SELAMAT JALAN - S.ROHA - YouTube

S. Roha & The Sangam Boys: Gelisah Semenjak Berpisah (Anxious After a Split) s roha _ gelisah semenjak berpisah (1967) - YouTube

Beginning 1968, in line with The Sangam Boys’ change of musical genre from pop yeh yeh to Hindustani beat, Roha started singing cover versions of current Hindi film songs in Malay lyrics. The same style was applied in her later recording works with the band until her expiry of contract with Olympic Records in 1969. Meanwhile, she also began to sing in duet with many male singers, such as Syed Hashim Abdullah (the second leader of The Sangam Boys), Salim I., Rahim Jantan, A. Talib, A. Halim, Jeffridin and also her former husband, A. Romzi. 

 

 

S. Roha’s further recordings with The Sangam Boys between 1968 and 1969.

S. Roha & The Sangam Boys – Hidop Untok Chinta (Living for Love) HIDUP UNTUK CINTA - S.ROHA & THE SANGAM BOYS - YouTube

S. Roha & The Sangam Boys – Aku Di-Fitnah (I Was Slandered) s roha _ aku difitnah (1969) - YouTube

S. Roha & The Sangam Boys – Aku, Dunia Dan Manusia (Me, the World and the Human Being) s roha _ aku dunia dan manusia - YouTube

Songs from S. Roha’s EP titled Janji (A Promise) in 1969, recorded with The Sangam Boys featuring Janji (A Promise), Happy Birthday To You, Roh-ku Kembali (My Soul Returns) and Si-Lunchai (The Boy Named Lunchai).

S. ROHA - Video Files Album EP "JANJI" (1969) - S. ROHA - YouTube

S. Roha also appeared on the TV Singapura entertainment Dendang Ria in 1969, where she performed a song called Pelita (The Lantern), accompanied by the Radio & Television Singapore (RTS) Orchestra led by Ahmad Jaafar. This is my personal favorite of her singing style, where her rendition had improved a lot since then.

S Roha Pelita (1969)(EP)(Piring Hitam) - YouTube

Meanwhile, from 1969 to 1971, she also began to sing in duet with many male singers, such as Syed Hashim Abdullah (the second leader of The Sangam Boys), Salim I., Rahim Jantan, A. Talib, A. Halim, Jeffridin and her former husband, A. Romzi.

S. Roha & S. Hashim Abdullah with The Sangam Boys – Tunggu Saja Oh Sayang (Just Wait for Me, My Dear) s roha & s h abdullah _ tunggu saja oh sayang - YouTube

S. Roha & Salim I. with The Wisma – Oh Salamah SALIM I & S.ROHA - OH SALAMAH (HQ) - YouTube

S. Roha & Rahim Jantan with Band Titiwangsa - Jangan Lupakan Daku (Don’t Forget Me) Rahim Jantan & S Roha - Jangan Lupakan Daku - YouTube

S. Roha & Jeffridin with The Wanderers – Ke Binaria (Going to the Funfair) s roha & jefrydeen _ ke binaria (1971) - YouTube

S. Roha, Faridah Mansor & A Talib with The Wanderers – Ayam Banyak Bini (The Rooster with many Wives) A Talib - Ayam banyak bini - YouTube

S. Roha & A. Romzi – Usek Mengusek Membawa Bahagia Usik Mengusik Membawa Bahagia..A Romzi & S Roha - YouTube

At the end of pop yeh yeh craze, it was reported in that S. Roha began singing in a nightclub. Nevertheless, she also appeared on TV and radio shows, once in a while, besides acting as a small role in the film Mat Tenggek (1979) under the direction of Mat Sentol.

S. Roha in the film Mat Tenggek (1979) directed by comedian Mat Sentol. 

 

 

In the early 1980s, S. Roha recorded two following Eid songs, namely:             

S. Roha – Selamat Hari Lebaran (Happy Eid) Selamat Hari Lebaran - YouTube

S. Roha – Hari Raya Hari Bahagia (Eid is a Happy Day) HARI RAYA HARI BAHAGIA - S.ROHA (60AN) - YouTube

However, with the appearance of more new and young stars, her popularity began to fade. After a long hiatus, S. Roha returned to the entertainment circuit by performing at a giant pop yeh yeh concert in Singapore in 2005.

S. Roha – Janji (A Promise) S ROHA - Janji , Konsert Gergasi 60an 2005 - YouTube

S. Roha – Hidup Untuk Cinta (Living for Love) S ROHA - Hidup untuk cinta , Konsert Gergasi 60an 2005 - YouTube

Due to her comeback, she was invited to perform at a theatre titled “Suzana@60” at the Istana Budaya (The Palace of Culture) in Kuala Lumpur, Malaysia in 2006, in which she performed her signature hit Janji.

S. Roha on the CD cover for Suzana @ 60 -- top row, second from right (between A Rahman Hassan and A Halim)

Thanks to such exposure, S. Roha was invited by Life Records (Singapore) to re-record Malay oldies with comedian Wahid Satay (1930 – 2023) in a karaoke album.

S. Roha & Wahid Satay – Sikit Kasi Banyak Mintak (Giving A Litte, Asking A Lot) Wahid Satay & S. Roha - Sikit Kasi Banyak Minta (Official Karaoke Video) - YouTube

S. Roha & Wahid Satay – Sengketa Dan Damai (In A Quarrel and in Peace) wahid satay & sroha - sengketa dan damai - YouTube

S. Roha & Wahid Satay – Cik Mamat Parang Tajam (Mr. Mamat and His Sharp Machete) Wahid Satay & S. Roha - Cik Mamat Parang Tajam (Official Karaoke Video) - YouTube

It is hoped that this humble writing of mine would spark the remembrance of the pop yeh yeh enthusiasts to S. Roha, another queen of pop yeh yeh and Hindustani-Malay songs, whose singing had shaped the 1960s with lots of fun and joy, despite the simple and humble lifestyle of the people back then.

Ghaz, KL

"Pop Yeh Yeh Lives On!" - a blog post by friend and guest writer, Mohamad Afendi Othman

Pop Yeh Yeh Music Lives On: A Look at the Genre’s Enduring Legacy

 

Step back in time to a sunny Saturday morning in 1970, where the air is filled with anticipation. School is out, but my responsibilities as a caretaker of our family cattle beckon me to rise early. However, before tending to those duties, I reach out and switch on the crackling transistor radio, eager to immerse myself in the world of lively tunes with fast tempos and soothing melodies.

 

Little did I know then that the songs I tuned into would become the foundation of a genre known as 'Pop Yeh Yeh.' This unique fusion of pop, beat, and rock music, infused with a touch of local Malaysian and Singaporean flavors, captivated audiences everywhere. It was a harmonious blend of Western influences brought by the British Invasion, with bands like the Beatles, Rolling Stones, The Zombies, The Who, and The Kinks, interwoven with melancholic melodies and wailing voices reminiscent of Arabic inspiration. Pop Yeh Yeh became a reflection of the cultural and social changes that swept through the region during that time.

 

While the late 1960s witnessed the influence of Bollywood and disco beats, the radio stations remained faithful to Pop Yeh Yeh, playing these songs regularly well into the 1970s and early 1980s. Even in the mid-1980s, a group of determined PYY singers, led by A. Rahman Hassan, joined forces and staged electrifying live performances to revive the genre.

 

 

 

Some managed to reunite the original bands, known as 'Kugiran' (derived from the Malay acronym 'KUmpulan-GItar-RANcak,' meaning fast-beat-guitar-group), while others formed new bands, as many original band members had retired from the music scene. But the music persisted, fueled by the unwavering support of its dedicated followers. Pop Yeh Yeh's legacy remained steadfast, continuing to inspire and influence contemporary music in Malaysia and Singapore.

 

Among the prominent Pop Yeh Yeh groups, Kassim Selamat & The Swallows stood out as a fan favorite. Renowned for their vibrant live performances and flamboyant stage costumes, they initially recorded songs in Malay. However, it was when they sang in their native Bawean dialect that their music resonated most deeply with audiences, amassing a devoted following within and beyond the region.

 

Another influential group, The Rhythm Boys, captivated listeners with their infectious melodies, upbeat rhythms, and effortlessly smooth performances. They became the go-to choice for artists seeking an exceptional backing group, their talents enhancing the works of fellow musician

 

 

The Swallows and The Rhythm Boys were not the only icons of Pop Yeh Yeh. A. Ramlie, with his soulful voice and romantic ballads, left an indelible mark on the genre. 

 

 

Similarly, Salim I commanded attention with his powerful, high-energy vocals, captivating audiences far and wide.

 

The influence of Pop Yeh Yeh extended to female artists as well. Roziah Latiff, known for her soft vocals and impeccable fashion sense, became a notable figure in the industry. 

 

 

Another remarkable female artist, June Abdullah, backed by The Cliffters, not only possessed a keen sense of style but also infused R&B elements into her songs, creating a unique blend.

 

Despite Pop Yeh Yeh experiencing a decline in popularity during the late 1960s, its legacy continued to shape the music industry in Malaysia and Singapore. Today, the genre's most beloved songs and artists are still cherished and celebrated. Contemporary musicians reinterpret and cover these classics, ensuring their enduring presence.

 

The impact of Pop Yeh Yeh extends beyond the realm of music. It became a cultural movement, mirroring the aspirations and identity of a new generation of Malaysians and Singaporeans. It was a time when the youth came together, transcending cultural and linguistic barriers, to revel in their shared experiences. Pop Yeh Yeh became a symbol of hope and unity, leaving an indelible imprint on the cultural fabric of Malaysia and Singapore, a testament to its enduring influence.

 

Recognizing the significance of Pop Yeh Yeh, cultural events and exhibitions pay homage to its legacy. The National Museum of Singapore curated an exhibition titled "The Way We Were: Singapore's Music Scene in the 60s and 70s," transporting visitors to the era when Pop Yeh Yeh held sway over the music scene. Vintage instruments, records, and posters adorned the exhibition, offering a captivating glimpse into the vibrant Pop Yeh Yeh era.

 

Moreover, the celebration of Pop Yeh Yeh's legacy extends beyond museum walls. Kuala Lumpur plays host to the annual Pop Yeh Yeh Festival, a joyous gathering where renowned Pop Yeh Yeh musicians take the stage alongside emerging talents who carry the torch forward. This festival becomes a jubilant celebration of the music's cultural significance, drawing music enthusiasts from all corners of Malaysia and beyond.

 

The enduring allure of Pop Yeh Yeh lies not only in nostalgia but also in the tireless efforts of musicians and enthusiasts dedicated to keeping the flame alive. In Malaysia, numerous bands and artists continue to breathe life into Pop Yeh Yeh, ensuring its melodies resonate with new audiences who may not have been acquainted with the genre before.

 

Pop Yeh Yeh's legacy stands as a testament to its cultural and musical significance. It served as a movement that mirrored the hopes and aspirations of a generation, forging a sense of unity amidst diversity. The fusion of Western pop and rock with traditional Malay folk music birthed a distinctive sound that reverberated through the contemporary music scene. As the music industry and cultural landscape of Malaysia and Singapore evolve, Pop Yeh Yeh remains a steadfast testament to its enduring impact.

 

Though Pop Yeh Yeh's golden era may have blossomed in the 1960s and early 1970s, its spirit perseveres, sustained by the unwavering dedication of musicians, enthusiasts, and the cultural events that honor its legacy. Its nostalgic value, cultural significance, and profound influence on contemporary music ensure that Pop Yeh Yeh will continue to reverberate through the hearts of those who appreciate its rich heritage. As long as there are individuals who cherish the music and its enduring legacy, Pop Yeh Yeh will remain alive, a timeless echo of an era that shaped the musical landscape of a nation.

Written by Afendi - May 2023