his music of Western bands, influences which also found their way into his music – Orkes Melayu was in his opinion was too soft, too acoustic, too polite, and unable to compete against the power and energy of rock music, and so the music was electrified, with keyboard, two electric guitars, electric bass, as well as the traditional suling and gendang. He has stated that he took his guitar style from Ritchie Blackmore of Deep Purple. In addition to Western and Malay influences, Hindi composers were credited for some of the band's songs. The Begadang album ranked No. 11 on Rolling Stone Indonesias "150 Greatest Indonesian Albums of All Time" list. Furthermore, the main single "Begadang" reached at number 24 on the magazine's "150 Greatest Indonesian Songs of All Time" list. His 1973 hit "Terajana", one of the best-known dangdut songs of all time, was the first to use the newly coined, and arguably derogatory, term dangdut, distinguishing the Javanese Orkes Melayu music, heavily influenced by Indian Bollywood records, henceforth dangdut, from the established Orkes Melayu, associated with North Sumatran Malays. Once Soneta was established in the early 1970s, Oma changed his name to Rhoma and went on a decade-long run of successful hit records and films, all of which starred Rhoma playing himself while performing all of his hits. He wrote the classics "Kereta Malam" (night train) and "Kuda Lumping" which were sung by Elvy Sukaesih. Performing live, he adopted many of the props of stadium rock, including large audiences, powerful sound systems, complex sets, fireworks, flashing lights, and smoke machines. He is also notable with the use of some notable musical instruments including various models of Steinberger guitars. This particular guitar was shown off in his posters, leaflets, movies, and pin-ups. Late 1970s onward: Islamic pious music Following his 1975 hajj, he took the name Rhoma Irama, which is an abbreviation of "Raden Haji Oma Irama" (Raden is an aristocracy title for Javanese and Sundanese cultures). Following this pilgrimage, he took on a more explicit Islamic moral tone, adopting Islamic dress, shorter hairstyles, and ejecting band members who consumed alcohol or had extra-marital sex. He also resolved that his music should instruct, and not merely entertain, a form of devotion waged through music. Themes in his music included extra-marital sex, government corruption, drugs, and gambling. The song "Haram" for instance, warns against both drugs and gambling, while the