I have been binge-listening to MOR 101.9’s Dyis Is It lately to keep myself updated with the latest OPM hits. Here’s what I have discovered. The artists who have been topping the charts are Tawag ng Tanghalan Season 1 alumni Sam Mangubat and Froilan Canlas, as well as PBB Lucky 7 alumni Edward Barber and Maymay Entrata.
Apart from their followers’ support through votes, why did their song become the top hits at the moment?
Wala Nang Iba by Froilan Canlas
Launched last November 23, 2018 on ABS-CBN’s “It’s Showtime”, it talks about a guy who is about to confess his feelings to the girl he has been liking but initially too shy to admit. The song was written by Noell Fuellas, Canlas’s former student in songwriting.
2. Wala Kang Alam by Sam Mangubat
Originally one of the entries for this year’s Himig Handog, it talks about a guy who expresses his disappointment towards the girl who hardly understood his struggles. The song was written by Mel Magno and Martin John Arellano.
3. BMG by Edward Barber
BMG, an abbreviation for “Be My Girl,” talks about a guy who promises to give his greatest love for the girl he likes. The song was written by Mikel Arevalo.
4. Bituin by Maymay Entrata
Originally launched as a promotional song for ABS-CBN’s Star Hunt (the television network’s audition program), it is a dance-worthy EDM song. The song was written by Yeng Constantino.
During the last week of October, Mr. Pure Energy himself, Gary Valenciano, together with Bambi Mañosa Tanjutco, launched Awit at Laro, a project that celebrates the spirit of play (Awit at Laro, 2018). It presents modernized versions of traditional Filipino folk songs, as well as new compositions inspired by the well-loved Filipino games, such as Piko, Jack ‘En Poy, etc. Accompanied by Awit at Laro’s music is a coffee table book which contains the songs’ lyrics and artworks created by artists of Ang INK (Ang Ilustrador ng Kabataan), which may be purchased either online or in one of Awit at Laro’s mall tours. Proceeds from the coffee table book sales will be for the benefit of Unicef and Tukod Foundation while the door art sales will be for the benefit of Museo Pambata. This project was also made in partnership with Shining Light Foundation.
The Awit at Laro album is produced by Star Music, Manila Genesis Entertainment & Management Inc., and GV Productions. It contains two parts, namely Awit and Laro. The Awit album contains nine recordings of traditional Filipino folk songs with modern twists, as well as “Bawat Isa Sa Atin,” an original song written and sung by Gary Valenciano. On the other hand, the Laro album contains ten recordings of originally written songs inspired by the most-loved Filipino games.
This article will feature the songs included in the album, as well as detailed descriptions of each song.
“Bahay Kubo” is one of the most popular Tagalog folksongs we have learned in our childhood years. Apart from the vegetables planted in the backyard, immaterial things, such as love, happiness, peace, and other intangible yet positive things make the “bahay kubo” not only a house filled with vegetation, but also a home that instills positive values. With the song’s recurring instrumentation (flute, djembe, humming, and kulintang), Jona’s vocals were light yet sincere, which complete the song’s positive feel.
“Sitsiritsit Alibangbang” may have had the innocent melody but its song’s last two stanzas talked about human trafficking.
Mama, mama, namamangka
Pasakayin yaring bata
Pagdating sa Maynila,
Ipagpalit ng manika.
Ale, aleng namamayong
Pasukubin yaring sanggol
Pagdating sa Malabon,
Ipagpalit ng bagoong.
These verses were even raised by comedian Vice Ganda during one of the episodes of It’s Showtime while the hosts were discussing the issue on the possible change of our National Anthem’s lyrics. Going back to the track itself, the bridge part served as a commentary to the aforementioned verses:
Pasensya na kung di maintindihan
Huwag ipagpapalit ang tao sa kabagayan
Pagsabihan lang pag sila’y nangungulit
Pagtiyagaan na lang, di na nauulit muli
Musically speaking, the TNT Boys’ version of this folksong has a dance-like feel, which had a fusion of 1990s Eurodance feels and milennial whoop. While the boys have a consistently seamless harmony, Mackie’s rap is clearly done and Keifer’s whistle register is consistently on-point. Francis’s belting lines are also powerful.
Katrina Velarde’s version of “Leron Leron Sinta” had a reggae and R&B feel. While the song’s lyrics were written as they are, Velarde’s voice was powerful yet soulful. Not to mention, her melismas were on point.
“Paru-Parong Bukid” is another Filipino folksong with a fusion of rock and rondalla, interpreted by Yeng Constantino. The interesting part about the song’s arrangement was that the rondalla trills blended well with the pop-rock arrangement.
“Magtanim ay Di Biro,” a Filipino folksong that talks about a farmer’s life, was interpreted by Bamboo and the Band (composed of Junjun Regalado, Simon Tan, Ardie de Guzman, Kakoy Legaspi, Abe Billano, and Ria Villena-Osorio). The sound has the usual rock feel, reminiscent of 1990s Rivermaya (led by Bamboo). The song’s melody departed from the original during the first time it was sung.
Lea Salonga’s “Pakitong-Kitong” is rather a commentary on bashing in general.
Bakit ba may ibang nambabangga at nananadya?
While the song’s original version talks about the struggle of catching crabs in the sea, Jungee Marcelo, the song’s composer has a different take on the “crabs” in the society. The so-called “crabs” are the ones who would do everything out of envy to pull successful people down, in favor of themselves. Musically, the song’s character is dark, which matched Salonga’s theatrical vocals.
Sam Concepcion’s version of the Bikol folksong, “Sarung Banggi” was a mix of Bikol and Tagalog lyrics. However, the Tagalog lyrics were not direct translations of the original Bikol text. Musically speaking, the song’s melody has a slight departure from the original and it has an EDM feel.
“Ati Cu Pung Singsing” is also in EDM, sung by Janella Salvador. The song commences with the Kapampangan folksong’s Tagalog translation, followed by some English lyrical content. It is sung in its original Kapampangan text during the middle part.
“Nanay, Tatay,” is a children’s game song which is reflective in the claps in the song’s beginning. Interpreted by Darren Espanto, Anne Curtis, and Gloc 9, it talks about patience, giving, and perseverance.
Tulungan mo ang sarili mo. Subukan mo at ang mararating mo ay malayo
Ending the Awit segment is Gary Valenciano’s and Mandaluyong Children’s Choir’s “Bawat Isa Sa Atin.” It is a ballad which talks about giving hope to the children, despite them being born out of struggles.
Bawat isa sa atin ay tulad nila.
Naghahanap ng pagmamahal at pag-aaruga
Kung ituloy ang laban,
Karapatan ng bawat batang nilalang
Balang araw nating masasaksihan
Buhay ng bawat batang
Matupad ang pangarap nila.
“Patintero,” performed by Lara Maigue and Mel Villena’s AMP Band, clearly shows how the game patintero is played. It also encourages children to play patintero to promote physical and mental alertness. Musically, it is set in big band jazz.
Similar to “Patintero,” KZ Tandingan’s “Tagu-Taguan” is a clear demonstration of the game. It is set in EDM.
“Piko,” performed by Morissette Amon, has the distinct sound of the Indonesian saron, especially in the beginning, which later transitions into EDM. Lyrically, it shows how popular the piko is, being a budget-friendly and environment-friendly game.
Joey Ayala’s “Luksong Tinik” is musically interesting. It does not only show how the game luksong tinik is played. It is a fusion of EDM and folk elements (guitar, kulintang, and kudyapi), reminiscent of what the UP TUGMA (an organization in the UP College of Music that focuses on Asian Music performance) is currently doing. The “Takbo, takbo, takbo, lukso” part is also playfully done.
Gary Valenciano and Ogie Alcasid’s “Sipa,” is a dance pop song which shows how the game sipa is played. It also describes how the ball used in such game looks like.
“Tumbang Preso,” performed by Kiana Valenciano and Billy Crawford, is basically a creative presentation of the tumbang preso scene. Musically, tinges of the pateteg and the takik are fused with EDM.
Bullet Dumas’s “Jak en Poy” does not only describe how the game is played. Dumas’s lyricism is creative, especially in the part, “Bato, talo sa papel, talo sa gunting.”This part reminds me of the choral arrangements of Filipino folksongs used in high school choral competitions, in terms of rhythmic structure.
“Pitik-Bulag,” performed by Julie Anne San Jose is an R&B love song. It likens the pitik bulag game to romance in general which is full of surprises.
“Touch and Move” talks about the touch and move game by itself. This song molds AC Bonifacio, not only as the dancer who won in ABS-CBN’s Dance Kids, but also as a total performer who can actually sing!
The Laro portion ends with Gary Valenciano’s “Saranggola.” Written by Ebe Dancel, the song talks about letting our dreams (represented by the kite) fly higher and holding onto them with our supporters’ guidance (represented by the kite’s string). The song itself is anthemic and powerful.
The album itself is kid-friendly because those listening to the tracks will not only enjoy the songs’ modern feel. The songs also impart important lessons through the lyrics added. The coffee table book is also a great gift this Christmas season.
To have a sneak peak of the album, here is the Spotify playlist for your listening pleasure.
Two years after winning ABS-CBN’s Pinoy Boyband Superstar, quintet BoybandPH has released its second album under Star Music called Love, BoybandPH. A listening party was also held, weeks prior to its launch.
It is composed of nine tracks, namely, Kaligayahan (Happiness) Interlude which has two parts, “Kung Di Mo Natatanong” (If You Haven’t Asked), “Hanggang Kailan Kaya” (Until When) – the album’s carrier single, “Please Lang Naman” (Please), “D’Tyo” (Not Us), “Drive”, “Tagahanga” (Fan), and “Pa’no Ba” (How). “Tagahanga” was penned by pop-rock singer Yeng Constantino while “Please Lang Naman” was written by Moira dela Torre. “Pa’no Ba” was created by Tawag ng Tanghalan’s Songsmith Froilan Canlas, the group’s vocal coach.
The Kaligayahan Interlude (both parts) channels the best of the group’s vocal harmony, in terms of balance. The voices are even at the start of the song while the melody is clearly heard during the stanza parts. The bass part is also distinct.
Kung Di Mo Natatanong is reminiscent of 1990s Bubblegum Pop Boyband Ballads commonly played during Junior-Senior Prom dances. Counterpoints may have existed in the chorus part but they are seamlessly done, along with the song’s main melody.
Hanggang Kailan Kaya, the album’s carrier single is a mix of boyband harmonies and electronic pop. Some parts may be modified through music technology or “auto-tuned” but the vocal parts remain distinct and not overly artificial. Overall, this song is danceable.
Dela Torre’s Please Lang Naman has a sound fit for television commercials. Along with its guitar patterns commonly used in sway-worthy music, the song’s character is light and easy. It focuses more on the BoybandPH’s member’s individual vocal prowess. However, the “woooh” parts could have sounded better if they are sung with a bit of swing feel.
Both “D’Tyo” and “Drive” have a danceable feel. Drive’s recurring instrumental pattern is distinct, as well as its bass lines and sawtooth riffs. However, the boys’ voices are more remarkable in D’Tyo than in “Drive.”
Constantino takes a little break from her usual pop-rock songwriting practice in “Tagahanga.” Compared to her previous works, “Tagahanga” has more of a pop sound, which is peppered with electronic beats yet the boys’ vocals remain unadulterated.
“Pa’no Ba”, penned by Canlas, is an R&B ballad, which is reminiscent of Boyz II Men’s and 98 Degrees’s ballads that existed in the 1990s. The song’s melody is not only remarkable. The background vocal parts are also even, especially in the chorus part. In fact, nobody from the quintet sticks out in the chordal parts. Russell Reyes’s and Niel Murillo’s ad lib parts are distinct yet sung seamlessly.
Of the tracks mentioned, BoybandPH’s vocal harmonies are best channeled in “Kaligayahan Interlude” (both Parts 1 and 2), “Kung Di Mo Natatanong”, and Pa’no Ba. My only suggestion for “Pa’no Ba” is to have an acoustic version released soon to make the song’s meaning come out better.
Overall, this album deserves a rave, not only because the entire album sounds current. With Canlas’s and Kiko Salazar’s guidance, the quintet’s vocal harmony is “eargasmic” because of its balance and seamlessness. Looking forward to more purely a cappella songs from BoybandPH.