His public persona was that of a "bad boy" who flirted, sang sarcastic songs about everyday life, and claimed not to care about money or fame.

He was last seen shortly after the Khmer Rouge seized control in April 1975 and ordered all residents of Phnom Penh to evacuate the city.

[5] Though what happened to him is uncertain, according to the Huffington Post, "his name survived as a sort of codeword for the younger Cambodians to identify themselves as a way of keeping their culture alive.

"[8] According to LinDa Saphan, "In the 1970s, Yol Aularong and Meas Samon were the only singers and songwriters who were making social commentary through their songs.

[10] The compilation drew attention to the novel sound of music produced by Aularong and his contemporaries, who combined popular Western genres like garage, psychedelic, and surf rock, with Khmer vocal techniques, instrumental innovations, and the popular romvong "circle dance music" trend.

[11][12] Reviewers likened his "Yuvajon Kouge Jet", for example, to a "fuzzed-out, reverb-soaked,"[12] "go-go organ and fuzz-guitar"[13] cover of Them's "Gloria.