harmohypnosis

Life, emotions and music masters

2008-09-18T09:21:00.001-07:00

By Nickie Wang/Manila Standard Today

There are various media we could use to communicate a message and music is one of those. Whether sadness, fear, anger, love, joy or exaltation, music has been a proven way to represent emotions and to trigger emotive responses. However, a message can have diverse impact on people depending on the genre and the level of artistry a musician possesses.

This time, let us have Kim Jongwan, a Korean six-string master, and Ryan Cayabyab and his singers to do the communication.

Another Korean invasion?

Korean drama series dominated primetime television during the previous years, and these series were accompanied by good songs that still captivate people.

Thank You Lord is Kim Jongwan’s first acoustic worship album. For people who have little knowledge on Korean writing, they might feel impassive upon seeing the cover of the album most especially when they try to look at the inside pages. The album and track information are entirely written in Korean language.

Seven out of nine tracks in the album are titled in English while two of them do not have any translation. Nevertheless, it is good to note that these tracks actually sound good that you would even try to find out what they really mean. The first is a soothing tune and the next resounds like a festival of percussions that would really entice the listeners most especially on the final two minutes of the song.

The opening track entitled “Intro” fades in very soft and easy but explodes into a soulful thumping before it fades out. It is followed by infectious “Happy Virus,” a song better played in the morning for it will make your whole day full of positivity. The track pauses right in the middle and comes back with a more playful tapping of the guitar seasoned with some finger snappings.

Kim’s “Amazing Grace” sounds very rousing; the melody creates a certain picture that brings you into a reverie filled with happiness. This level of emotion is furthered by the following track “Above All.” Plucked in a soulful manner, this pop-sounding track culminates with power chords and slows down calm and mellow.

“Lord, I lift Your Name On High” is one of the samples of Kim’s guitar flair. The track starts strong yet it is able to maintain or establish the same energy it initiated. It sounds more of a pop acoustic rather than an acoustic worship song.

Inspired by center of Jesus’ ministry, “Galilee Blues” is a three-and-a-half minute of simple guitar, the chords are mostly the same or repeated creating a certain kind of recall. “Sky, Love, Grace” is a very light arrangement of acoustic sound. This title can recapitulate the message the whole album would like to convey.

Restating that this is an acoustic album and it is not anchored by words weaved in poetic manner, the genius behind the guitar simply illustrates that lyrics is not the only possible way to convey a message and musicians do not usually have to go that far to capture an audience and stir up emotive responses.

Mr. C and his singers

Ryan Cayabyab is the virtuoso behind the successful vocal groups such as Smokey Mountain (a popular band in the ’90s that had James Coronel, Geneva Cruz, Jeffrey Hidalgo, and Tony Lambino as its original members), the 14K (the group that launched Jolina Magdangal’s singing career) and the San Miguel Master Chorale.

This time, Mr. C is back in mentoring seven fresh talents he christened RCS (Ryan Cayabyab Singers).

The RCS has just released a 12-track self-titled debut album that features the voices of its members Anezka Alvarez, Katherine Tiuseco, Kyla Rivera, Irra Cenina, Jaime Barcelon, Poppert Bernadas and Vincent Evangelista.

The album jump-starts with stimulating “Call Me, Call Me.” The lyric may be simple but the vocal is outstanding making it a good opening track to introduce the RCS as vibrant vocal group.

Two Cayabyab originals are featured in the album as revivals. The first is “Hibang Sa Awit” and the other one is “Hello Joe, Goodbye.” The first song showcases the vocal prowess of the male singers in a more sophisticated jazz tempo. Their version of the classic song would sound very well especially when performed in a big venue. On the other hand, “Hello Joe, Goodbye” sounds like a filler song. It is boring to the extent that listeners would be lulled to sleep.

“Ito Na Nga Ang Pag-Ibig” is another song that does not make any appeal. The vocal style is good but not so fitting to the song, making the track better as an instrumental. Just like “Ito Na… Ba’t Di Mo Sinabi” lacks vocal charisma. The lyric has a good humor highlighted at the very last line but still sounds trying hard.

“I’ll Make You Smile Again” promises to put a smile on a person’s face again but nobody would instantaneously smile for something too old- fashioned like this track.

Miserable love song “Paano Na ’To” is brave enough to go away with the traditional rhyming of the lyric, but the thing is, as the album’s longest track, it is plainly uninteresting.

However, there are exceptional tracks in the album that promote the vibrant talents of the RCS and of course of Mr. Cayabyab. Take the papiso-pisong pag-ibig of “Pahamak.” It captures a love story that developed through SMS. The simplicity of the lyrics somehow produced a relevant song that most youngsters could relate.

“Hideaway” is one track to note just like “Let Me Love You Tonight.” Both are sensual love songs furthered by an addictive sound of the piano and perfect vocals.

Finally, “Ayoko Na,” a playful contemporary song that reflects urban landscape focused on the squabble between a woman and her boyfriend who is call center agent. Good thing, Mr. C had this track included in the album for it opens him to a new generation of audience.

Mr. C has proven his panache with all the classic hits he had in the previous years. With RCS, it is difficult to identify their sound. It would be better if they will have a front man who would sing most of the songs when they perform. Although it is a good opportunity for every one of them to showcase their individual talents, but when they always do, they can never create a unique sound that would establish them as a vocal group.

Changing moods and shifting modes

2008-08-19T10:13:00.000-07:00

By Nickie Wang

How do you start your day?

Some people prefer to jump-start their day with loads of fun and laughter. Others devote their time focusing on the most important things need to be done. Amid the high rocketing prices of basic commodities, the only way to get by is to smile and throw some chuckles because no matter how we contemplate on every possible way to budget our meager income, it will not solve the problem because higher inflation seems to be a perennial trend.

So, before the problem lingers and turns into a full-scale crisis, let us appreciate the value of laughter by listening to the wacky tandem of Chris Tsuper and Nicole Hyala. Being optimistic, however, is still recommended with sanguine and propelling songs of Bonggo.

Perky road trip

You won’t mind riding an FX with a harum-scarum driver if the radio’s tuned in to 90.7 Love Radio. Commuting has never been so wacky with Chris Tsuper and Nicole Hyala (a.k.a. Tambalang Balasubas at Balahura), tossing out-of-this-world punchlines.

A lot of commuters and even those who just stay at home listening to the popular duo are already familiar with their opening spiel: “Tambalan Na! Si Nicole Hyala po, ang balahurang classmate nyo! Boses ko pa lang pang-almusal nyo na, at si Chris Tsuper, ang balasubas na kambyo king! Sigla ng tawa ko pati bangkay nagigising! Dito sa tambalang pilit na ginagaya ngunit di makuha ang timpla!”

The hilarious duo teams up with Ivory Records in releasing HeyTambalan Na! D’ Nakakalurkei! Na Album. It includes the best of “Tambalagtasan,” a segment in their program in which they put some kind of naughty spin to anything out of the ordinary. The quick-witted duo would use words (from the country’s multi-lingual regions in all possible ways. Like agpapukis (an Ilocano word that means to have a haircut, pukis is the root word); pukiyi (a Chinese word that means not allowed); and keki (a Japanese term for cake).

Aside from the “Tambalagtasan,” they also included the best of Salawikain (proverb) and Kakatukan Stories. To understand these words, better listen to the album, but be cautious enough as Nicole Hyala warns: “Ang mamirata at magdownload, mababaog!”

The album also includes “Kadyot and Kukurukuku” and their chipmunk-sounding spiels that have been a staple sound bite on Love Radio.

The actual tracks that anchor the album—“Biyaheng Jeepney,” “Shala-shala,” “Jowadik,” “Ka-chervahan” and “Nakakalurkei”—are from the campy gay vocabulary, except for the first one.
With “Biyaheng Jeepney,” they are able to depict the real jeepney-riding experience with seats for eight being occupied by nine people, and the reverberating music, not to mention the shouting and the yelling of drivers and passengers.

The thing with their songs, which are actually very few because most of the tracks in the album are just compilation of the best segments of their program, they don’t rhyme lyrically but the essence is there. Nothing musically outstanding, yet most of the messages they convey mirror the peculiarity of Filipino behavior. We will not be surprised if Chris Tsuper and Nicole Hyala would come up with another album where we would hear them recite, or, in their case, sing their heart out.

The album is critiqued as just an extension of the tandem’s radio program but the positive side of it is that if you enjoyed their program, with their CD, you would have all the time in the world listening and laughing with them. Admit it or not, albeit the stereotype that the program is “baduy,” a lot of people enjoy listening to this fantastic pair. After all, everyone has his own little “jologs” inside him.

Bingo Mayor Bonggo

Bonggo is Mayor James “Bong” Gordon Jr. of Olongapo City. The beloved patriarch of the former United States naval base is Fighting for Excellence.

This may sound like his campaign platform, but this is actually the title of an album. Yes you read it right. Mayor Bong Gordon is a musician, a politician and a visionary.

His passion for music started as a member of Ateneo Glee Club and eventually had his talent shared with all other politicians who enjoy music and playing instruments. Thus, the band Houseboys was born. The band was composed of representatives who were also musicians.
But Mayor Bong’s passion for music does not stop with just playing guitar and writing songs, he utilizes the talent to affect people and to mobilize their vast potentials.

Fighting For Excellence is a perfect slogan that heralds the visions of this public servant. The album itself contains seven tracks written by Mayor Bong with the help of his band Bonggo, formed in 1996 to further entertain colleagues and friends that in the long run became a band he uses to educate his constituents through their performances.

The album’s nationalistic approach reflects the willingness of Mayor Bong to bring about change. “Sibit-sibit,” a boat used by old folks for fishing, is a song that narrates the tale of Olongapo’s transition from a simple rural town to a bustling city.

The satiric track “Balimbing” sounds strange because it comes from a politician. It pertains to people in the government who blatantly shift loyalty (another common occurrence in the government).

“May Mga Tao Sa Subic,” is a cry for recognition. It is actually a tribute to the 8,000 volunteers who have unselfishly dedicated their skills and talents in boosting the economy of Central Luzon, yet somehow have now been marginalized.

If you are fond of oldies, “Songs Of Love” is for you. However, it does not have the same impact as the other songs in the album. Similarly, “Pinoy! Check ng Check” falls into the same pit.
Mayor Bong made it contemporary by collaborating with a rapper. We bet, this is the track in the album that even his constituents wouldn’t listen to. Sometimes, no matter how deep the message is, when the melody isn’t too pleasing, the song will remain nothing but a statistics.

Fighting for Excellence, which is also the title of the promotional track, and “Pilipinas Bayan Ko” are the most striking songs in the album. The first recognizes the government thrust to motivate people to fight for excellence, and the latter, which has become the anthem of people who still believe that there is hope in this country, creates a stronger impact in the hearts and in the minds of people who happened to hear the song.

Truly, delivering a message and advocacy can be channeled through different media. Mayor Bong’s strategy is an example. Instead of doing the conventional way, music, as a form of communication, is another effective method to relay a message. Bingo!

Transformation and musical journeys

2008-08-06T09:44:00.000-07:00

By Nickie Wang

We always think that a new album coming from artists who had produced exceptional records and anthemic tracks would always equal their previous works. The pressure to maintain or at least live up to the expectations of the public is a tough task for Aiza Seguerra and Yeng Constantino. Smash hits “Pagdating ng Panahon” and “Hawak Kamay,” by Seguerra and Constantino, respectively, both paved the way for the artists who make guitar-oriented musical compositions. We can still recall how these records created an LSS (last song syndrome) among young people.

Inspired melody

Aiza Seguerra is no longer the child star we know. Her appeal as a child sensation lost its sheen during the latter part of the ’90s. But in 2001, she made a phenomenal comeback via “Pagdating ng Panahon.” This album etched an indelible mark on the local music scene, and for some reason, became her ticket to openly discuss her sexuality.

The unprecedented success of Aiza’s now quintuple platinum- selling album, gave her a new-found fame, but was she able to maintain the popularity?

With “Para Lang Sa ‘Yo,” her album inspired by Judy Ann Santos’ series Ysabella where she also starred in, the listening public was again moved by her angelic voice that never tries hard to impress. Even the most discriminating ears will agree that less voice is more conducive to listening than those records of artists that screech with vocal gymnastics.

“Para Lang Sa ’Yo,” which is also the title of the promotional track, has a romantic theme that both men and women could relate to. “Sana Di Puro Lang Sana” furthers the emotion conveyed by the previous track, but what really serves as an extension of the first song in the album is “Sa ’Yo Lamang.” Whether intentionally or not, this has the same story conveyed in “Para Lang Sa ’Yo.”

“Walang Sayang” is the irony of the track title, this is one of the songs that will bore the listeners, the other one is “Kasama.” The first doesn’t offer something special aside from the fact that it looks like it was taken from a karaoke’s more than a decade-old playlist.

“Kasama” is lyrically poor, high school students can write better lyric.

For first-time listeners who would play the whole album from start to finish, “Persistent Rain” will not disappoint them. The timing is right for the rainy season but whether the rain pours or not, this track will appeal to anyone who is on the verge of letting go and in the first phase of moving on.

“Mahagkan Kang Muli” and “Huwag Mong Iiwan Ang Puso” are the best tracks in the album not because Nyoy Volante and Ogie Alcasid are the respective brilliant composers who shared their talents to complete this project. “Mahagkan…” is a love note written with very simple words yet expresses a deeper meaning. Ogie’s “Huwag Mong…” is a song with a stronger impact as it communicates the emotion of an honest heart.

Aiza made two revivals in the album. Her rendition of “I’ll Be There” is actually better than the original. The message of the song is more felt with easy and soft vocal. That is actually the effect when the attention of the listeners is focused on the message of the song and not to the vocal dynamics. The other cover that is really worth mentioning is “Bakit Ako Mahihiya.” Reliving this Didith Reyes’ classic is Aiza’s affirmation of her sexuality. She gave it a new flavor, a contemporary touch that didn’t fail to give the song a new life.

The album tells a story, a love story everyone could relate. However, the sales of “Para Lang Sa ’Yo” can tell that Aiza failed to equal the success of her previous project. With a new album underway, we can say that she matures only enough to keep her audience from listening to her music.

The big dreamer

Young and sensational! Yeng Constantino made waves with her anthemic “Hawak Kamay,” the single that became more popular than her name. It’s part of her debut album released in 2006 after winning the ABS-CBN reality show Pinoy Dream Academy.

She is touted as one of the most poetic artists in the field of music writing. Considering her age, she was able to write songs that stirred the emotions of her contemporaries and even the older ones. With Journey, her latest offering, Big Dreamer Yeng tries to prove that she is becoming a mature artist.

“Di Na Ganun” opens the 12-track album that hinges on the definition of local pop-rock genre. With this track, Yeng initially shows her authentic talent. She establishes her sound then attracts the listeners with her writing flair. She will entertain you with her playful yet assuring “Ikaw Lang Talaga” before she slows down with a friendship song. “Promise” is different from the other tracks in the album. It is slow-paced and different from the usual sound we hear from Yeng.

Infectious with its positive outlook, “Pili Ka Lang” will affect the emotion of the listeners of the next song with strong conviction “Tao Lang Ako.”

What is noticeable about Yeng with her compositions is that she doesn’t try hard to sound perfect for the pop-rock genre. There are people who would argue that she doesn’t have a perfect voice to be a diva but she utilizes her talent in creating materials that soothe her vocal style. “What About Us,” “If You Go” and “Why Can’t You” are perfect examples for that. But it is not all praises for her. “Tala” and “Bakit Nga” should have been excluded in the album. She could rearrange them, add new flavor, and include them to the next album that she will have. Not that they don’t sound good but while listening to them, the only move the listeners would want to do is to skip and move on to the next track. Same thing goes with her cover of Asin’s “Himig Ng Pag-ibig.” One of the risks in doing revivals, most especially if the song is a big classic, the artist must equal what the song did before; otherwise, it will only sound like an ugly distortion.

The last track in the album is “Habambuhay.” This one is so outstanding that people wouldn’t mind hearing it over and over again (sad to say, Yeng didn’t write this song).

Generally, most of the songs made good impressions. The guitar is so polished that people would really think Yeng is a genius, but actually she plays with the help of her band Morning Glory.

She may have evolved as a mature artist but examining her sound and image, she just looks and sounds like a foreign lady rocker. Wonder who she is? Visit Youtube and check out the most viewed video of all time.

Practical and daring acts of musical reinvention

2008-07-14T21:43:00.000-07:00

By Nickie Wang

Reinvention is the word that best describes the reappearance of a prominent rock band, and the daring move of an artist who attempts to make a solid niche in the world of music. Battle-scarred Rivermaya, with new vocalist Jayson Fernandez, bounces back with a new album entitled Buhay, and Nancy Jane spruces herself up as the queen of Philippine house music with a self-tilted album. Turn on your CD player and let’s listen how they justify the word reinvention.

New life for Rivermaya

It became difficult for the rest of the members of Rivermaya to resurface on the music scene after losing front man Rico Blanco and being dropped by its record label. But, with a televised search for a new member, the band showed it was hell bent in reclaiming its position as one of the country’s prime band, even without Blanco.

Buhay may be the affirmation of the band’s continued existence, but it does not really equal the level of artistry of the previous albums (with Blanco still with the band) it had released. Take “Nice To,” the album’s opening track, as an example. Obviously, the vocals is not impressive even for a rock band. But for those girls who have seen Jayson Fernandez, they will insist that he is more than just a pretty face.

Fernandez’s raw, albeit unemotional style, works though with the other tracks in the album. While “AM” sounds as a good jingle for a toothpaste commercial, listeners will get bored with “I Want You,” “Pure” and “All For You.” They sound nothing more than the ordinary, and don’t have any of the elements that can easily attract our attention. The impression they make is they are love songs but they are actually to say something else.

Rivermaya, instead of narrating what it had gone through, switched to a more positive attitude, and that is evidently reflected in the lyrics of most of the tracks in the album. “Ligawan Stage (Nerbyoso Part 2)” is one catchy track, so is “Sugal ng Kapalaran,” which in a way comes close to the level of musicality of band’s pre-Jayson Fernandez phase. While it poses questions that we normally ask ourselves, the track has an excellent intro, not to say the imaginative arrangement. This also goes the same with “Closer” and “Maskara.” The first sounds like bubble gum rock, but repeated listening tells us that it is mature enough for many people to appreciate. The latter hinges it on simple arrangement, just drums and guitars.

Other notable tracks in this post-Blanco album are: “Checkmate” that resembles the sound of a British rock band; the classic- thudding “Restless”; the proud and confident “Hindi Ako Susuko”; and feel good “Piping Tom.” The track “Kemikal Reaction” gives the album a different flavor but somehow sounds not so like Rivermaya.

It’s interesting for ’Maya to come up with something slow yet still support its identity as a rock band. “Alone” is perfect example. It is the longest track, also the most emotional and quite a nice companion piece to “Sleep,” the album’s last track.

Who’s that Jane?

It’s Nancy Jane, and this year, as far as reinvention is concern, she is the only person to change her image with a certain degree of success.

Nancy Jane Castiglione wants to prove that she’s not just a pretty face.

With a self-titled album, Nancy Jane gambles to explore an ocean other artists would never dare to sail on. So, she comes up with a pure House Music album. House Music as defined by Answers.com, is a style of electronic dance music strongly influenced by soul and funk-infused dance music style of disco.

For those who have heard and seen “Love Song” in YouTube, they would agree that this song was made especially for Nancy. It’s not as impressive as the other tracks in the album but it creates a certain appeal that defines her reinvented image.

Opening track “Deep Inside” is unmistakably a club sound but this is a kind of music club-goers don’t actually listen to. It’s one of those tracks played by DJs to patch up dead air. “Attraction/Connection,” just like the previous track, doesn’t offer anything notable aside from collecting all the words in the dictionary ending with suffix “ion.” “My Perfect Diet” could somehow attract listeners with its title alone but it would disappoint you for it doesn’t offer something special.

Rivermaya’s former vocalist Rico Blanco lent his creativity by providing the music and lyric of the song “Control,” which has two versions in the album, the other one is from Leon Chaplain. “Control” mirrors Blanco’s ingenuity. The track can be arranged to perfectly suit other genres. Chaplain added digitally produced sounds to give the track a more vivid club essence.

If Beyoncé can convey to her audiences her being a strong and independent woman through her single “Irreplaceable,” Nancy Jane has her own version of women who can survive without men—“Without You.” Men would really run after her when they hear “(Driving Around) So Good Together” but they really go wild upon hearing “Moonlight Mood.” “Moonlight”… is perfect club sound for it can create a romantic midnight mood through its sensual lyric and innocently sexy vocal style.

Other great tracks to listen to are “When You Play Around,” “Hold You Close” and “Rock It.” Listen to them once and you’ll forget about Britney Spears. “Hold You Close” is a very sexy sound. Contagiously dance track “Rock It” proves that Nancy Jane can compete in the international market. Her vocal resembles that of Kylie Minogue’s.

It’s all praises for Nancy Jane. House Music in the Philippines has a very narrow target market and she is so brave to release this kind of material. Don’t be surprised if you would hear her tracks being played when you visit clubs in Singapore or Thailand, because her new image and sound simply resonate with international appeal.

Novice artists on the rise

2008-06-28T20:16:00.000-07:00

By Nickie Wang

MBoys '09 and Not that kind of girl

If youR auditory nerves are tired of covers and renditions that only serve as additional rubbish in your playlist, then you need fresh sounds to soothe your ear. It’s only when young blood artists surface that we could experience totally different approaches in music. From the traditional play-safe-and-do-revivals tactics, the Ateneo High School students Mboys ’09 and 2005 Star in a Million product Nikki offer their novice yet exceptional sounds.

Music and the boys

When music virtuoso Ryan Cayabyab heard the talented young students of section M of Ateneo High School sang, he said that their talent must be showcased at the national level. Thus, the Mboys ’09 was born with a self-titled album.
The opening track of the album “Galak” doesn’t sound impressive, but as the song plays on, you will understand why Mr. C applauded these young students. “Galak,” with its simple vocals, goes perfectly with the acoustic.

The album has stored up different revelations. The second track “Bitaw” jumpstarts with a bucolic sound, but from a folk sounding intro, it then astounds you with a pop rock-flavored climax anchored by strong and mature vocals. This lyrically inspiring song drives a message that is solely for people who have gone astray because of drug abuse.

With the album’s intuitive approach to music, the third track “Susan” has more than one flavor to offer. This song is about a girl who probably went through tough situations that can replace Freddie Aguilar’s “Magdalena” or Eraserhead’s “Paraluman.” This track that goes with the piano is fashioned with different vocal styles that sounded like you are listening to three different music genres rolled into one musical masterpiece.

The only English track in the album is “I’ll Always Be There For You.” This track is a kind of music that you could play in the living room without making your mother scream at the top of her lungs. It is something grown-ups and young ones could both enjoy.
“Pakiusap” is the closing track of the album. This very emotional song strummed by the guitar and hummed by a very infectious vocal style won’t beg you to finish off the entire song. Unusually, you won’t mind hearing it over and over again. The track is so affecting that even the track’s performer coos with only “oh,” you would feel the sincerity and the message the song would like to convey.

Not That Kind of Girl

Star in a Million first runner-up Nikki drops her surname Bacolod and releases her sophomore album. From sweet image and ballad singing, Nikki reinvents herself with mature packaging singing upbeat songs. The album Not That Kind of Girl is her explanation of the new image she portrays.

The album is composed of 12 tracks; three of them were originally Spanish songs translated to Filipino by Chuckie Dreyfus. “Not That Kind of Girl (Yo no soy esa mujer)” is the carrier single that supports Nikki’s transition into a lady sounds mature, however, the chorus is the only part of the song that you would enjoy. “Away from it All (Mas fuerte que tu)” is a weak track for it bores the listener because of redundant lyric. The third song that was translated by Dreyfus is “Somebody (A veces).” This one is an outstanding track for it definitely has an international appeal. All elements of this song complement her voice that resembles Lindsay Lohan’s.

“Malapit Na” is good as the opening track. The vocal is so enticing that it would make the boys be eager to know the girl behind the song. While the boys are wondering, girls could jump to slumber party and sing with the girl band sounding track “Step It Up.”

The most outstanding tracks in the album are “Wild Girl,” “Nalilito…Ginugulo,” “Anything and Everything,” and “Dreaming My Own Dream.” “Wild Girl,” although could make Nikki be compared to the sound of Avril Lavigne and Ahsley Simpson, is definitely a sensation for it proves her versatility. “Nalilito…Ginugulo” goes with a catchy lyric that could actually make the listeners imagine every scene the song narrates. If narration is what the previous track does, “Anything and Everything” is a blissful song that could bring you to a different setting; a flower farm or grassland perhaps. “Dreaming My Own Dream” that breathes its own life, is a track suited to be a movie soundtrack because it engages listeners with its moving melody and lyric.

“A Little Nervous” is a country sound where you can hear Nikki’s soul speaks. To wrap up the album is “Rock Me Tonight” that pitches with strong electronic beat but fails to impress for its immature lyric. The whole album doesn’t fall short in supporting Nikki’s transition into a mature girl, indeed it proves that 18-year-old Nikki is no longer the kind of girl we used to know.

Brave Albums

2008-06-27T18:44:00.000-07:00

By Nickie Wang

Mga Gitarista and Doobie Night

Various instrumental and compilation albums are out in the market but rare in the country that local artists collaborate to produce a material that would entice the listeners to play the CD. Let’s take the high-profile compilation Mga Gitarista, and Doobie Nights that has been out for quite a long time now. These two albums are brave enough to woo the Filipino audience’s more mature and discerning taste.

Six Strings

Mga Gitarista is a 14-track compilation album that features the county’s legendary six strings masters like RJ Jacinto, Jun Lopito and Noli Aurillo. It also includes guitar aces Francis Reyes of The Dawn, Mike Elgar of Rivermaya, Mong Alcaraz of Sandwich and Chicosci, Hale’s Roll Martinez, Rocksteddy’s Juven Pelingon, Slapshocks’ Lean Ansing, Pupil’s Yan Yuzon. Jeff de Castro, currently playing for the Kitchie Nadal, Ian Umali of POT and Jack Rufo of Neocolors are also part of the album. The male dominated instrumental album is flavored by Barbie Almalbis fresh and confident piece called Shapes Of Things. Barbie proves that Filipina rockers can etch their own niches in the male dominated guitar universe.

The album’s opening track Space Jungle could remind listeners of old movies with cosmic warfare theme. However, it doesn’t create the same appeal like you’re riding a space shuttle ready for a space collision. Unlike the first track, Haymaker is a hotshot arrangement. With an electric guitar, the composer’s personality reflects on the music. It’s a bit different from Rivermaya’s signature sound.

The Veil by Lupito is a mushy ballad of guitar madness. With Aurillo on the acoustic, it would definitely hit the charts if accompanied by sappy lyrics just like Pelingon’s Geyb’riel, which is superbly strummed in a very emotional manner, and Rufo’s Aratig.

Tracks that are listener-friendly and will definitely be appreciated by non-rock lovers are: Jacito’s Mashi Mashi that is good to have on your player while driving the congested roads of EDSA and España; Reyes’s pop rock Cutout Horizon which is accompanied by keyboard and drums; Martinez’s very appealing Isabelle, a track that is a little different from the usual sound we hear from Hale, but wait until you reach the next half of the piece.

Ripple and Swarm by Aurillo and Castro respectively sound definitely plucked by virtuous masters only that the first will bore the listeners for its droning sound until the end.

Final Decision by Umali is a track with international appeal. Take Charge Brown Jacket by Alcaraz plays something different. With little noisy voice over, that doesn’t sound annoying though, is a good track to wrap up the whole album.

Jamaican Flava

Another CD on our shelf is Doobie Nights. It’s unmistakably reggae with Pinoy touch. The genre is definitely a culture in Jamaica but the way local artists did the songs is quite off because if you would listen carefully, you would know how the real McCoy sounds like and how the impressionist’s alien tongue does the injustices. But of course, Pinoy artists are good in creating twists to conceal the difference. Take the track Diksunaryo for as an example:

"Kapag ang tao'y mahilig mambola, bolero! Kapag ang tao ay mahilig uminom ng Yakult ay yakulero! ...kapag ang tao'y mahilig gumawa ng kanta, kantatero! Ang gumagawa ng kanto..."

The humor of this subjective track by The Chongkeys is also supported by intoxicating Lab Stori and Miguel by Enchi and Brown Outfit Bureau respectively. The first’s staggering use of intoxicating beverages as the verbs in the lyrics makes sense and the latter’s being slight subjective makes you wonder.

For those who wonder what does Doobie mean, well it’s not actually just an expression that we hear from the famous APO Hiking Society hit Doo bidoo. It’s a Jamaican slang that means marijuana cigarette. The etymology of the word is unknown but just like any other previously coined words, doobie was born on the street and had life of its own popularized by those who covertly crave for weeds.

The album is not a clandestine expression of craving but a medium of open expression and depiction of life. G2 and the Bundocks’s Dream Cloudy gives a cloudy day a good name while Ngiti of the Peacepipe ironically will never make you smile. It’s over by Cherry Cornflakes is an emotional song that won’t make you cry but would make you sway a little bit. Pop seasoned Hangover Song by Sefyla, Boogieman by the Space Flower, Humble Beginnings by Humble Sauce and Sweet Lovin by the Coffee Break Island are outstanding tracks with infectious lyrics that would make you fidget from your seats and head on to a beach party.

Shuffle Union ’s Dance With Me is a friendly track that can attract kids to strut with the beat. Sinister Sister by Indio i is a fresh track sang a fresh female voice and Down and Lonely has a strong Jamaican influence but the redundancy of the lyrics will make you feel cheerless for the song.

Sarung Banggi by Mudflow and Sigbin (Dud) by Junior Kilat are the tracks that would really be appreciated by few people who enjoy their kind of style.