Kwanjit Sriprachan

From a very early age, Kwanjit started her vocal training and began to develop her skills in the folk genre of 'E-Sell'. She quickly developed excellent improvisation skills and was able to project stories of everyday life in her music which quickly appealed to her audiences. Many of her stories reflected Buddhist moral teachings which later became a trademark in many of her later works. 


She joined the the 'Waipod Petchsuphan Band' which drifted her style towards the 'Luk Thung' genre. She landed many popular tunes and as a result of fusing both style of music she became a diva of her own genre.

In later life, Kwanjit stayed true to her roots and has become a leading figure in preserving 'E-Sell' - the regional folk music of Suphanburi.

Kwanta Fahsawang

Entering from 'Sri Sa Ket' province of Isan (N.E.Thailand). Kwanta began with her band 'E-Kueng Noi' which was part of the ever talented 'Doi Inthanon' production.

Kwanta is known to be the queen of 'Lam Paen', an accented style variation from 'Lam Plern' of the Lao dialect. As this unique variation consist of mostly male artists, Kwanta Fahsawang is a distinctive and rare diva of this art form.

Well established 'National Artist' in the fields of 'Molam' from 'Ubon Ratchathani' province. Banyan started her performance career at a very young age. With her shinning Thai dancing skills (Lam) and her good looks, she caught the eye of Molam titan 'Thongkam Peng Dee' of 'Rangsriman Molam Group'.


At only eighteen years of age she was able to formed her own 'Banyan Rakkean Band'. Her popularity grew and had toured and performed internationally.In more recent years, her band grew larger both in popularity and production in keeping with the contemporary Molam stage. 

Banyan Rakkean

Born and raised in a poor rice farming family, Saksiam did not have opportunities to pursue education. Instead he helped his family by working the rice fields. Saksiam was very fond in singing 'Luk Thung' ballads and had later joined as back up vocalist for a local 'Lam Wong' band.

Touring with several bands as back up drummer and vocalist, he eventually joined up with 'Molam Petch Siam Band' of 'Theppabut Satirodchompoo' production. Given a record opportunity by 'Theppabut', Saksiam songs became an instant hit landing him at the forefront of Theppabut's label and at the time when 'Luk Thung Isan' was gaining popularity nation wide.


Saksiam eventually left the label due to internal conflicts and very low pay. He later formed his own band but could not gain as much popularity. His professional career dwindled and came to an end during the mid 80's.   

Saksiam Petchchompoo

Hailing from Sri-Saket province, Noknoi Uraiporn reigns the Lukthung/Molam genre. Her career started during the late 70s when she caught the eye of 'Noppadon Duangporn' of 'Petch Phin Thong' production. She began performing with stage molam bands as back up singer and dancer. She later progressed to form her 'Noknoi Uraiporn Molam Band'. Unfortunately the band did not meet great success which halted her career for the next ten years. Having took time to perfect her talents, she broke back in the late 80s with her large molam stage production (some times involving up to 500 performers). the queen of stage molam.

Noknoi Uraiporn

Dao Baandon

Tiam Serdsriri or later known as 'Dao Baandon' was born into a struggling rice farming family in Yasothorn province of Isan. At young age Tiam was a bright child who did well at school. Unfortunately, he would only complete his educational life at grade four as poverty forced him to leave school. As most young boys in very poor rural family do, Tiam was ordained to be a young monk. In monk hood he learnt Buddhist scriptures and had memorised most of the ceremonial chants. As a young monk he shortly became known for his graceful chantings by which many said was the best of Isan. An admirer of the skills of the young monk was 'Theppabut Satirodchompoo' who had suggested to Tiam that he should sing Molam had he ever left monk hood. In the end Tiam followed Theppabut's suggestions. With Tiam's talented skills, opportunities came for him to write and produced Molam music which gave way to the unstoppable 'Dao Baandon'.