Filipinos are known as a musical people, and more often than not, our history is reflected via the music we play. The acts in this article are among the thousands of musicians who attempted to tell the story of a people.
APO Hiking Society
While many musical acts have been studies in rancor and artistic differences, the APO Hiking Society is a picture of consistency and endurance.
Starting out with thirteen members, all from the same high school, the group was reduced to a trio by the time their debut album, Collector’s Item, was released in 1975. They have since released 22 albums, sold out a concert at Toronto’s Massey Hall, hosted a noontime show, and become the first Filipino artists to release an album in CD format.
But what sets APO Hiking Society apart from other local acts? Their on-stage presence is notable – every concert, says their website, features “…the latest video support, state-of-the-art lights, and out-of-this-world concert sounds backing up the world’s greatest live act ever… Three men with endless creativity armed with the latest concert support technology available.”
Or is it the musical versatility of the group and their session musicians? APO Hiking Society is as credible singing about the rights of every child (“Bawat Bata”) as when inviting a girl to one’s caress (“Paano”).
The clincher, though, is the songwriting: the lyrics are heartfelt and can be related to by almost everyone; one can hear a 75-year-old singing “Batang-Bata Ka Pa” with the same fervor as a teeny-bopper band singing “Nakapagtataka”. “American Junk” is still as relevant today as it was when it was first released and “When I Met You” is still a staple at showband concerts and karaoke joints.
After forty years, their best work remains viable, and even after their career-ending tour this year, their work will continue to inspire.
Juan Dela Cruz Band
Photos credits: Albert Lozada, Allan C. Santiago, philippinereporter.com
Before Pinoy rock took on an identity of its own in the 70s, bands were known as “combos”, and combos more or less imitated American or British bands. In December 1970, though, the Juan dela Cruz Band broke into the scene with a performance at the Antipolo Rock Festival, ushering in a Golden Age of Pinoy Rock. The core members of the band were Wally Gonzales, Mike Hanopol, and Joey “Pepe” Smith with a rotating roster of session and studio musicians which included Edmund Fortuno, Bing Labrador and Alex Cruz. All of them had been grizzled veterans in the local and international rock scene — Smith was part of the Japan-based trio Speed, Glue & Shinki; Fortuno, Labrador, and Cruz were part of a project called Anakbayan. Anakbayan and Juan dela Cruz Band performed as a “supergroup” in various gigs.
By the time they finished recording the first album, Up In Arms, in 1971, Juan dela Cruz Band had been through major roster changes. By 1973, only Gonzales, Hanopol, and Smith remained of the original supergroup. Despite the lineup changes, though, the trio released what was to become the song of the Martial Law Generation: “Ang Himig Natin”. The world-weary single was followed up with a string of other gritty underground hits: “Beep Beep”, “Balong Malalim”, “Rak en Rol sa Ulan”. JDLC was well-known for its witty yet scathing social criticism: the song “Mamasyal sa Pilipinas”, for example, poked fun at the curfew then in place (Pupunta ako sa Baguio upang magpalamig ng ulo/pero alas-otso na baka maabutan ako ng curfew).
At the end of their meteoric rise to rock-and-roll Godhood in 1981, JDLC had cut four studio albums, two live albums, and one “best of” compilation. They have since reunited for two concerts and continue to influence Filipino acts for decades afterward.
Freddie Aguilar
Photo by Martine Girard
The late 70s were also the age of the Pinoy singer-songwriter: Heber Bartolome, Florante, Rey Valera. But ask if one asks any foreign music connoisseur about Filipino folk singers, chances are that the name “Freddie Aguilar” will be the first mentioned, and with good reason. Freddie Aguilar’s debut single, Anak, has sold over six million copies and has been translated into 26 languages since it was released in 1978. The publicity generated by the song was so great that he recorded an album of his songs, translated into English, in Los Angeles. Not happy with the LA experience, though, he returned to Manila and released another album titled Magdalena, which hit the charts in five European countries.
Upheavals at home soon caught up with Freddie Aguilar’s music soon. After the assassination of Benigno Aquino Jr. in 1983, Ka Freddie’s music became decidedly political, with songs titled “Katarungan”, “Pangako”, and “Luzviminda”, reaching its climax with “Bayan Ko,” a recording of a 1933 protest song.
“Bayan Ko” soon became the rallying-cry of the opposition forces and soon swept the streets. The song was known as the metaphor for what many believed was a Philippines shackled by a dictatorship operating with the blessings of foreign interests. The 1986 “People Power” revolution could be best described as a revolution powered by prayers, human chains, and music notably that of singer-songwriters like Freddie Aguilar.
Ka Freddie has since produced multiple movie soundtracks and played to thousands of patrons in the Philippines and abroad. In his more than a quarter-century of making music that tugs at the hearts of Filipinos everywhere, his skill and dedication remain unparalleled.
VST and Co.
Photo from nostalgiamanila.blogspot.com
While singer-songwriters and underground bands provided the outlet for the masses, disco-influenced acts provided the escape. The so-called “Manila Sound” was a reaction to the often tense atmosphere that pervaded the 70s. At the forefront of the movement were acts such as Hotdog, Hagibis, Boyfriends, and VST & Co. The latter group, a veritable Who’s Who of the local dance scene, produced a unique type of music that could be described as a heady mix of disco, funk, and the kundiman (traditional Filipino love song genre).
Formed from the nucleus of the British-Invasion flavored band called the “Tilt Down Men”, VST and Co. made heavy use of funk and electronic elements. Synthesizers, unknown prior to their introduction in the early 70s, figured prominently in the group’s music; bass tracks, particularly that of songs like Step No, Step Yes, became less of an accompaniment and more of an integral rhythmic element, with a playful, almost “jumping” quality. The band’s three vocalists (Val Sotto, Spanky Rigor, and Tito Sotto) also employed falsettos and harmonies, drawing comparisons to the Bee Gees. Among their best-known disco tunes are “Rock Baby Rock”, “Awitin Mo, Isasayaw Ko”, and “Sumayaw, Sumunod”.
While the group was known for dance music, their ballads, such as “Ikaw Lang ang Aking Mahal”, “Ipagpatawad Mo”, and “Awitin Mo, Isasayaw Ko”, are also among the best-loved local songs owing to their sentimental yet straightforward lyrics. By the end of their recording career, VST & Co. had released five full-length albums.
The band’s songs are still being played and covers are being made in genres such as bossa nova, funk, and reggae. Most of the original members are still active in local music and show business.
The Dawn
Photo from Wikipedia
Arguably one of the most successful 1980s Pinoy bands, The Dawn – Teddy Diaz, Jett Pangan, JB Leonor, and Carlos Balcells – broke into the scene with the single “Enveloped Ideas”, which topped the DWXB 102.7 charts in 1986. The single featured three different genres – classical (Nolyn Cabahug sung in the intro), new wave, and rock – and proved that musical genres can coexist with each other. The band, releasing their first album The Dawn in 1986, was seen as the 80s’ answer to the Juan Dela Cruz Band.
In 1988, though, tragedy struck when their original lead guitarist Diaz was stabbed to death. The band continued to play, employing Japanese guitarist Atsushi Matsuura, and finally recruiting Francis Reyes in 1990. The band broke up in 1995 (after releasing six more albums) and vocalist Jett Pangan later formed his own group; The Dawn reunited for a show at ULTRA in 1997 and was back in the studio by 2000, releasing their seventh album (and first album in the 2nd millennium), Prodigal Sun .
The following years saw further lineup changes. Matsuura left the band; bassist Carlo Balcells was replaced by Mon Legaspi, who was in turn replaced by Buddy Zabala (formerly of the Eraserheads). A feature film based on the band’s history, Tulad ng Dati, was released in 2006, and garnered awards from film festivals locally and abroad. After almost two decades, Reyes was replaced by Kenneth Ilagan on guitar; two more studio albums were released.
The Dawn has been proven to be one of the most prolific Filipino bands, despite the numerous lineup changes. That the band has managed to stay on top of the game even with shifting musical tastes is testament to their talent and originality.
The Eraserheads
Formed in 1989, the Eraserheads rose to be considered the most successful and influential of all Philippine musical acts.
In 1992, after making the rounds of the club circuit, the former cover band caught the ear of the country director of BMG Records (where frontman Ely Buendia was working), leading to a contract. Their 1993 debut Ultraelectromagneticpop! sold over 500,000 copies, and ignited controversy over profanity in “Pare Ko”, its highest-selling single. The second album Circus (1994) established the ‘Heads as a major force in Pinoy rock. Again, controversy came: the song “Alapaap” was criticized for allegedly promoting drug abuse. The band defended the song, deeming it their “ode to freedom”.
The group had cemented their place in Philippine music history by the 1995 release of Cutterpillow. The video for its song “Ang Huling El Bimbo” won the 1997 MTV Asia Viewer’s Choice Award – the first for a Filipino band.
From 1997-2000, the Eraserheads played to sell-out crowds in the US, Hong Kong, Australia, and the Middle East. They released a Christmas concept album, Fruitcake, and an international release album (Aloha Milkyway). Three more albums followed: Sticker Happy (1997), Natin 99 (1999), and Carbon Stereoxide (2001).
By 2002 artistic and personal differences took their toll, and Buendia left in March. The remaining members (Buddy Zabala, Marcus Adoro, Raymund Marasigan) plus two new members formed the short-lived band Cambio. Buendia formed the band The Mongols, which soon renamed itself Pupil.
An Eraserheads tribute album (Ultraelectromatneticjam!: the Music of the Eraserheads) was released in 2005, and the band was persuaded to hold a “concert to end all concerts” in 2008. It was cut short however after Buendia suffered a heart attack after the first set. The concert resumed in 2009, with one of the biggest crowds in recent memory.
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