This article is a case study on Ling Ling records company (鈴鈴公司), which was the first company to produce the aboriginal popular song records, in perspective of cultural history of music and industrial production history. It traces how the aboriginal people, who were minor and marginal in terms of political and economic status, showed up their grassroots voice in the 1960s and 1970s, when the records industry was dominated by the Taiwanese companies, and censorship was in hands of the Mainlander officials. There is little research on the cultural and industrial aspects of aboriginal popular songs, and lack of secondary data. Therefore the author tried to identify Ling Ling's product types, production process and the relationships among composers, lyricists, singers, owners of the company and the marketing people by collecting standard-playing records, field studying and interviewing.The subject of the article is the Ling Ling company, for it was not only the originator of the aboriginal records in the post war era, but also produced largest amount of aboriginal popular songs, estimated to hundreds of records and thousands of songs. For understanding how the "aboriginal songs" of aboriginal people in Taiwan moved from "singing in tribes" to "commercializing", and modern aboriginals' identity on musical culture and the process of reproducing their culture, it is a necessary attempt to interpret Ling Ling's production history and its publishing style.The article would focus on (1) the historical background of Ling Ling company devotion to producing aboriginal music, and the birth of the first aboriginal record; (2) Ling Ling's two series of aboriginal records: the stylistic differences between label FL and RR; (3) I would conclude this study by discussing the changes in aesthetics of music with the progress of Ling Ling's production of aboriginal music.