这张LP黑胶唱片专辑发行于2016年，新版本2016年重编完善了这些歌曲信息和歌手信息，初版2004年以CD形式发行2004年行内信息不完善，之后在于2016年4月作为LP黑胶唱片重新发行。 (其中包含新的内页注释、有关艺术家和曲目的重要更新信息、修复和重新制作的音频以及奖励曲目。) 70年代，因为一些原因，导致柬埔寨的大部分乐队成员失踪、被杀害。本专辑收录的曲目跨越20世纪60年代至1990年代，重点关注1980年代和1990年代初柬埔寨侨民创作的音乐，你可以看到众多歌曲名称是Unknown Title，因为时代的变迁再也找不到原始的创作者和歌名，如同这些歌曲消失在历史的长河里... 柬埔寨的音乐界曾经是繁荣而丰富的，就像这个国家的整体文化和社会一样。然而，在70年代初期，这一切都被“红色高棉大屠杀”摧毁了。在这段时期，无数创作者在“红色高棉大屠杀”中失踪或被杀害，他们的大部分音乐也随之消失或被摧毁。 这张精选集专辑收录了上世纪60-90年代柬埔寨民间乐队摇滚创作的音乐，这些唱片磁带发现于“加利福尼亚州奥克兰公共图书馆亚洲分馆” 从150多盘老化磁带提取出来的一些音乐。 幸运的是，一些逃离自己家乡的柬埔寨人在全球各地建立了属于自己的社区，他们带走了一些被谋害创作者的磁带，保存了他们的音乐遗产。在70年代、80年代和90年代，这些分散的社区建立了录音室，继续创作着和那些曾经失去的音乐相似的风格。 马克·格吉斯（Mark Gergis）是一名时代遗留发掘者。1999年-2004年，他探索了奥克兰公共图书馆的亚洲分馆，借用了一些老化磁带收听。他发现了一些既惊人又罕见的歌曲，展现了柬埔寨音乐的多样性和创造力，并收录进这张精选专辑，因为大部分磁带上的歌曲名称与创作者文字信息老化腐蚀，一些歌曲没有名字和创作者。 The history of Cambodia's flourishing and rich music scene was - like the greater culture and society of the country in general - cruelly severed in the early seventies by the Khmer Rouge during their "cleansing" program. All our favorite performers were undoubtedly victims of the Khmer Rouge during this period. In the following years Cambodians who fled the country set up communities around the globe and among the other parts of their culture they treasured, the music of these lost performers was not forgotten. Throughout the seventies, eighties and nineties the scattered communities set up recording studios and continued to produce music just as amazing as those lost golden years. Enter Mark Gergis. From 1999 to 2004 Mark diligently scoured the Asian branch of the Oakland Public Library, checking out each and every cassette of Cambodian music produced in the period from the early seventies to the present. Many of the cassettes were unfortunately unlistenable; not merely because they'd been played thousands of times, or left on hot car dashboards, but because they were being slowly bulk erased by the library employees themselves as they would unwittingly pass them over the magnetic security system used to prevent book theft. Even with the best intentions of the public library as a repository for culture, Cambodian music was slowly being erased one cassette at a time. Of course, there was no public outcry. At this point, people had moved on to the newest thing (no doubt something recorded by one person with an electronic keyboard and other MIDI gear). It seems to happen everywhere: recent history is wiped clean for whatever happens to be hot at the moment. So, it was that Mark culled together a collection of songs that are as amazing as they are rare. One thing particularly striking about many of the tracks is that, they include both traditional Cambodian instruments alongside western instruments. There are tracks with Khan (the inimitable mouth organ of Southeast Asia) playing alongside electric guitar (which is often times being played in the style of a traditional Cambodian stringed instrument), saxophone, drums, electric bass and organ. Some of the combinations and bizarre genre bends are truly off the wall – such as the track, unfortunately to remain untitled for now, a proto-metal Cambodian pop ditty featuring echoey and brash female vocals and a Queen-era guitar solo. While there are a few of the more modern pop tunes – of the primarily keyboards and drum machine variety – here, none are of the overly westernized Asian pop that is so ubiquitous these days. There are also 6 tracks of older tunes that were recorded in Phnom Penh between the mid-1960's and the early 70's (one of which was overdubbed by an American operated studio with a drum machine beat.) This is a truly amazing collection.