Playing my Versus records: Secret Swingers and Two Cents Plus Tax

Influential Filipino youth crew band Half the Battle’s reunion show and the 10thyear anniversary of their album, What We Have.

Influential Filipino youth crew band Half the Battle’s reunion show and the 10^thyear anniversary of their album, What We Have.

by rick olivares

Still Ill Records’ online poster said it all, “One of the most important bands of our generation will be making their reunion.” The band on point is Half the Battle. That youth crew that released a three-way split cd in 2006 and three years later, a full length album on vinyl that is also a milestone in the Philippine underground music scene.

The band on point is Half the Battle; that youth crew that followed from that local trailblazing straight edge band, Feud. The milestone vinyl is titled What We Have that was released by Just Another Day Records that also had a similar effect on local bands if not more. 

According to knowledgeable people in the underground scene, Half the Battle’s influence can be still felt today. The music, overall positive message, and most importantly, to think and actually do something (start a band, write a zine, have fun) rather sit down all day resonated well with fans. They challenged listeners to disagree – to which they did to some degree -- and to communicate which is one of the most important things in the hardcore punk community.

Some bands that were inspired by Half the Battle include Random Violence, Value Lasts, and Clean Slate to name a few. They even inspired an indie production outfit in the Sleeping Boy Collective to put up its own promotions according to Darwin Soneja because “they were struck by the sense of community that was prevalent in the shows. It felt like a gathering of friends where everyone knew each other and we never felt unwelcome. Half the Battle and TakeFour Collective were at the center of all of that.”

“If you take a look at the lyrics of their song, ‘Guest List,’ it talks about making shows as accessible to everyone and that has been one of SBC’s guiding principles ever since.”

Evan “Easy” Morgan, vocalist for Half the Battle who is in town for a few days for two reunion shows with his former crew -- first at the Cavite Hardcore Fest last January 26, and then at Mow’s in Quezon City last January 27 – is in disbelief over the “love.” 

“Really,” he wondered about the accolades and impact of his old band. “Is this for real?”

He is even surprised to learn from me that this is the 10^thanniversary of the release of What We Have. “I didn’t even know that, and yet, I am pleased to know that,” he put with a sheepish grin. “This is all news to me. These are just songs that we collected in 2004. Half the songs were off our demo. The rest were written between 2007-09. I didn’t know that people consider our album, ‘influential.’ It is touching.”

It has also been over seven years since Easy left the Philippines with his family to move back to the United States. “I miss the Philippines,” he simply put. “And I want to see how the local underground scene is doing.”

The reunion shows this January 2019 took four months to plan. The show in Cavite saw over 200 people pack the venue. Over at Mow’s on a Sunday evening, it is a smaller crowd. But no less rowdy.

“The reunion show was four months in the making,” bared Easy. “It was great to see new faces in the scene. What I was afraid was these young kids being intimidated in forming bands. But no. To see these new bands and new faces is great. And to see old friends show up (in Cavite) is touching.” 

It seems like yesterday that it was Easy who was inspired. “Feud was a huge inspiration for me. They took a stand and whether you agree with their point of view is something. The Beauty of Doubt was also a huge inspiration for me.”

When Morgan moved to Manila, aside from the recording studio he put up with his wife, he also played bass in her band. 

“I wanted to do something on my own and Feud, who I listened to a lot, were on hiatus at that time. I was thinking then, ‘I gotta form my own band.’ At that time, I was always starting bands. I have been in bands since the mid-90s. I am here with this awesome guy, Papao (who played guitar for Half the Battle) who I worked with in the studio and we formed Half the Battle. My inspiration was there being a lot of records with one great song, and I wanted to record an album with great songs that mean a lot to me. I guess we accomplished that. But Half the Battle was the first band (including bassist Rommel and drummer Puso) that I started from scratch musically and lyrically.”

Songs such as “Take the Chance” encouraged people to turn their dreams into reality. “Purpose” was a stark reminder to continue to grind it out even when things didn’t go one’s way. “Higher Learning” was about looking for solutions other than violence. All 14 songs on What We Have were of the same voice and positively-charged.  

“The idea is to be drunk or act punkish,” explained Easy. “Big corporations provide the alcohol and cigarettes. And they don’t give a crap about us and using it only reinforces the chain. We can do better than that and that is how I feel. This community is a big family. And if everyone can express themselves and we can create our own story instead of this vicious cycle. I am hopeful that one day – step by step, of course – and there are people who give a crap about things – who can change the world we live in.”

What We Have was released on compact disc by TakeFour Collective and Major Malfunction, and on vinyl by Just Another Day Records. The latter though left somewhat of a bitter taste in Easy’s mouth. “I was promised 200 more records and I never got them,” he said. “I only got about 30.” 

And that makes What We Have rare and in demand. 

“One thing I want you to know is I meant everything on that record,” Easy summed up. “There isn’t anything I sang back then that I don’t believe in today. I still believe in every word. I found that there is a lot to be sad about in the world. But everyone who is cynical and doesn’t want to step up will not be able to change things.”

“For sure, these are tough times we are living in. But hopefully, this ugliness is only temporary.”

The life, times and music of Joey “Pepe” Smith

The life, times and music of Joey “Pepe” Smith

by rick olivares

“Masadan mo ang mga ulap.

Balikan mo ang iyong ala-ala.

Mga araw na lumipas

Sa iyong buhay.

Malalaman mo kung paano liligaya sa buhay.

Pagdating ng panahon.”

-       From the Juan dela Cruz Band song, “Panahon”

Joseph William “Pepe” Smith passed away early this morning, Monday, January 28, due to cardiac arrest. He was 71 and turned that age last Christmas, which was also his birthday.

During the press conference that announced what would turn out to be the ill-fated Pepe Smith Rockfest at the Woodman’s Head in Makati, I sat in a corner with Pepe for an interview.

When all was said and done, we spoke for a bit more as he strummed an acoustic guitar. Pepe asked, “Rick, ano favorite Juan dela Cruz Band song mo?”

I noted the usual favorites… “Himig Natin,” “Kahit Anong Mangyari,” “Beep Beep,” and a few others. Then I added, “Panahon.”

Pepe high-fived me. “Now you’re talking,” he said suddenly animated.

I looked at him with a cocked eyebrow.

“’Panahon’ is like our version of the Beatles’ ‘Yesterday,’” he said. And I understood. He sang the first few lines then when someone called him for another interview, he stopped, looked at me, then got up. “Rock ‘n’ roll muna.”

Cut to the Rockfest when it was apparent that everyone was in the midst of a debacle, Pepe said moments before he hit the stage, “Let’s give everyone a great performance no matter what. Kahit konti lang ang tao.”

That was Pepe Smith. A trooper towards the end. 

He debunked any notion of being Pinoy Rock’s savior. He knew that his days had gone by, but the music was all he knew. In the last few years, he battled a series of ailments that left him unable to perform properly. But he hoped that he could record one last bit of music. “I’ve got one more album left in me,” he told me at the Handlebar one evening. We spoke for what seemed to be like an hour as he shared his thoughts about the state of the music industry and what he wanted to do in these last years of his life. While he railed about the difficulties of recording his one and only solo album, Idiosyncrasies, he would inject every now and then bits of humor. 

No matter how bad things got, he never lost his sense of humor.

And that brought me back to a show in Olongapo back in the early 1990s where he went up to a sari sari store and asked the tinder if she had change for five centavos. That got a laugh out of everyone. “Life’s too short, man,” he said then. “Dapat masaya lang tayo.”

In 1982, at the massive Loyola Jam concert at the Loyola Center (now called “Blue Eagle Gym”) at the Ateneo de Manila University grounds, Smith and the Juan Dela Cruz band headlined a who’s who in Pinoy Rock. That was one of the first big rock concerts in post-Martial Law Philippines and now, people could go home late. Smith wore blue pants with red lining, boots, suspenders, and a white V-neck shirt with the sleeves shorn off. He looked like an American Civil War soldier with a Mick Jagger haircut. 

Right before launching into their latest hit, “Titser’s Enemi No.1,” he cried out to the crowd, “Kapag may nagbibigay sa ‘yo ng problema at hindi mo raw kayang iaabot ang iyong pangarap, sabihin mo, ‘heto sa ‘yo.’” He gave the finger at some imaginary oppressor and the band launched into their song. 

That was Pepe; a non-conformist who lived his music dreams. He performed for six-months in Saigon during the early stages of the Vietnam War. An experience he described as “rich and weird” as blood was being shed in the countryside. He went to Japan where he was a part of that mythical group, Speed, Glue & Shinki. He was “Speed” in that trio that included guitarist Shinki Chen who was considered Japan’s version of Jimi Hendrix, and bassist Masayoshi Kabe. They didn’t last long as sales didn’t do well and as the story goes, Chen had a tough time dealing with Smith’s lifestyle.

Before coming home to Manila to join the incarnation of the Juan Del Cruz Band’s classic power trio (that included Wally Gonzales and Mike Hanopol), Smith played a show where Speed, Glue & Shinki were in the same bill as the pre-Lindsay Buckingham and Stevie Nicks line-up of Fleetwood Mac. As Smith told me, he accidentally bumped into Mick Fleetwood backstage causing the English drummer to fall. “That’s why Fleetwood began walking with a limp,” said Smith of his so-called meeting with the rock icon. 

In 2004, he collaborated with (the late) Papadom and Tropical Depression and Junior Kilat in a reggae-fied version of “Himig Natin.” It was brilliant! 

“When we recorded Kahit Anong Mangyari, panahon yan ng New Wave so medyo we somewhat changed our style from the heavy rock of the 70s for yung times as they say,” recounted Smith. “And sa new millennium, naiba rin. Kung yung reggae version ng ‘Himig Natin’ will help yung mga bata na to check out our Pinoy Rock classics, then good yun.”

During the massive Full Blast Pinoy Superbands at the Cuneta Astrodome in 2017 that was incidentally, the last time the Juan Dela Cruz Band performed ever, Smith, who never was able to fully play a guitar after a stroke, tried his best. He even sang lead vocals on a few songs -- after which former Razorback vocalist Kevin Roy lent a helping hand – before turning over the vocal duties to Hanopol. 

Before the band hit the stage, Smith shared a seat on stage (behind a curtain) with his long time bandmates Gonzales and Hanopol). “Like old times,” I ventured to no one in particular.

“We are old,” laughed Gonzales.”

Chimed in Pepe paraphrasing a Neil Young classic – “But it’s better to burn out than to fade away because Pinoy Rock is here to stay.”

And truer words were never spoken.

The King is gone. But he will never be forgotten.

Rest in Peace, Joey “Pepe” Smith.

It’s time to knock on Heaven’s Door.

Gig print poster art making a local comeback

Gig print poster art making a local comeback

by rick olivares

Vinyl records and cassettes aren’t the only mediums from the past that have made a comeback. Printed gig posters are starting to make a comeback. Locally at least.

While most bands still prefer digital posters to promote their shows, the actual printed ones are gaining popularity. 

Furiosa, an independent promotion conceived by Romel Amoncio who is also with the shoegaze band, the Rave Tapes, is at the forefront of the revival of the print posters to promote their shows.

“I was blown away by the work of Frank Kozik during the 90s,” revealed Amoncio of the influence to produce his own gig posters. Kozik did the poster are for bands like the Melvins, Soundgarden, Pearl Jam, Helmet, the Offspring, Nirvana, the Pixies, Beastie Boys, and Newfound Glory to name but a few. “I promised myself that when I start to do my own promotions, I’d also want to do my own posters. It is entirely DIY (Do It Yourself), of course. But what we try to do are posters on steroids.”

The Furiosa gig posters – rendered by different artists from Amoncio’s bandmate Neil Pagulayan to Felix Taaka among others -- have become popular that fans buy them or the posters decorate the walls of independent vinyl record stores such as Black Circles along Timog. 

“Furiosa is a mix of grace and aggression which is similar to the genres (of shoegaze, dream pop, or indie rock) that we promote,” elucidated Pagulayan. “We feel that the female luchador is the best embodiment of this and rendered in exploding colors.”

Kurvine Chua of the band Memoryville and who owns and promoted United Cassettes Philippines also produces gig and event posters. “I do print because it goes in line with my belief in the analog format,” Chua explained. “I also think that in a world where digital is so rampant, print does something different. It gives you a special kind of connection.”

The posters are placed in schools, independent music shops, and the rock clubs. 

They aren’t only souvenirs, but also signposts of the times. 

In 2017, when the Ramones Museum opened as a tribute to the pioneering American punk rock band, one of the main features were the actual concert and gig posters including the original poster to their now-famous show in London that inspired people in the audience to form bands such as the Clash, the Sex Pistols, and the Damned to name a few.

Also during last year’s 25^thanniversary concert by rock band Sandwich, a poster of the show was also sold and according to organizers, it did very well among the fans who packed the venue.

Dream pop band the Strange Creatures also used the occasion of their recent album launch for their debut album, Phantasms, to produce a gig launch poster in conjunction with Furiosa. The art was done by Taaka (who also provided the album art for indie band Washington Drama Club’s cassette EP, Yada Yada Yada). 

“The first time I got to work with Furiosa was a collaboration with music fan site, The Flying Lugaw called, “Elephant-Sized Hearts” Benefit gig,” shared the bespectacled Taaka. “I was stoked when Romel approached me to do the poster art because I love what they do as a promotion. And I think that Furiosa is an excellent showcase for music and art. If you look at their shows, they also have booths for artists to sell their indie comics, pin-ups, stickers, and others. It also provides the artists with a venue to reach out to different audiences.”

Added The Strange Creatures Jon Tamayo during their album launch at Tomato Kick in Quezon City, “When the gig is special because of an album, video, or single launch or it is highly memorable because of the performance, the poster adds to the special nature of the show. Since the indie shows don’t sell tickets per se, the poster is a tangible remembrance. You can say, ‘I was there.’”

Hip hop crew Assembly Generals are back with an album dripping with social commentary

Hip hop crew Assembly Generals are back with an album dripping with social commentary

by rick olivares

I ask, where have all the great protest songs gone?

Ask and you shall be given.

Hip hop/rap band the Assembly Generals open 2019 with the first damn good release that is their second album, Fatigue. And I will underscore this by saying that is Philippine hip hop’s version of the Clash’s Combat Rock so be prepared to be overpowered by their funk, er… rap.

The Assembly Generals (MCs Pao Switchtrik Toledo and Peaceful Gemini, Deng Garcia, Mon Punzalan on MPC, Jigger Divina on turntables, and Ray Marasigan on drums) reserve their biting commentary for the apathetic, willingly-blind, corrupt, the guardians of morality, and well, you get the point.

Fatigue features 12 pointed tracks with bite and telling social commentary aimed at people who are willingly blind, apathetic, and those who perpetuate this vicious cycle of life under the gun, corruption with wave after wave of controversy and whatnot. The title alone says it all… Fatigue… it’s like, here we go again. 

And the cover art… sowing the seeds of awakening? You have to appreciate all the symbolisms and metaphors of this album.

The Assembly Generals rock your consciousness with “Kulog” that sets the tone thematically and lyrically for the entire album. “Gigising ng kulog ang sadyang tulog. Yayanigin ang paligid; ang sahig mangangatog.”

And the crew makes no bones about what they are attempting here. Although the third track, “Anino”, starts off with video game sound effects no doubt to show they have a sense of humor; they are quick to declare that they are “ang araw ng bagong umaga” against that shadows that feed and creep on our fears.

They ask “Saan ba tayo papunta?” in “Ligaw” and why instead of moving forward, we seem to be stuck in a vicious circle.

And that sets up the heart of the order of the album.

“Roulette” is the obvious highlight of Fatigue that with a mighty kick of a drumbeat that calls to mind U2’s “Sunday Bloody Sunday” tells of an average Joe trying to make a living on the wrong side of the tracks and is ultimately felled. “A gunshot from the self-made god of men. And in the end Joe’s dead. We don’t even fuss because who shot Joe? It is actually us?”

Bang. 

The exit wound?

The band asks, “Who’s next? Because nobody wins.”

They up the ante with “Hands Off” that calls to mind Rage Against the Machine’s “Bombtrack.” Remember what I said about the pointed lyrics? Well, the Assembly Generals’ technique is hurling songs like Molotovs from above. 

“Taya” featuring BKLD is a strong track. And then in “ABKD,” they ask, “Bakit ba tayo nasanay sa dilim?”

Fatigue is an album that asks questions and encourages you to get off that wall and do something about it. Before it’s too late. And at the risk of sounding like nothing more than a manifesto in music, the album is intelligently crafted with its loops, samples, and grooves and beats. And even better, it was written with live performances in mind. So you can imagine the ferocity of this on a live stage. 

It is said that during turbulent times, some really great protest or social commentary songs are written. We’ve heard Chickoy Pura’s “Sa Madilim na Sulok ng Kasaysayan”, underground punk band the Dead Brains’ self-titled debut, and Calix’s “The Lesser of Your Greater Friends” that all explore similar themes last 2018. And the Assembly Generals have picked up the fight with Fatigue.

The Assembly Generals will launch Fatigue at the 20:20 Bar in Makati this coming February 2.

Loving the 50th Anniversary Edition of Sgt. Pepper's Lonely Hearts Club Band

On the left is the Capitol US first pressing of this classic. On the right is the 50th Anniversary edition which is a double LP set. 

The 50th Anniversary Edition is such an enjoyable listen that I don't really need to play the old record anymore. The first side contains the new mixes by producer George Martin back in 2006 while the second disc contains the new mixes of these songs by Martin's son, Giles. And they are simply wonderful. 

You'd think that with the Beatles, you'd get tired of the old songs but really, the new mixes inject a lot of life into the old songs. It's not raising the level of the bass, but the way it was remixed using the old analogue tapes. While making Paul McCartney's bass and Ringo Starr's drumming shine. There's a sunshine to these old songs.

Giles Martin explains the work that has been done on all the songs in the liner notes. 

And yes, it's getting better all the time.

Pastilan Dong!’s new album, Gadilaab, is an alt-rock soundtrip.

Pastilan Dong!’s new album, Gadilaab, is an alt-rock soundtrip.

by rick olivares

Pastilan Dong!’s third and new album, Gadilaab, is like a literal 1990s alt-rock mix tape.

Yes, Gadilaab comes in cherry red cassette tape -- with fabulous psychedelic cover art depicting the band – that should be labeled with a nod to the Guardians of the Galaxy… Awesome 90s Mix Vol. I.

I am told that “Gadilaab” is Bisaya for “on fire” or “burning.”

After a couple of listens, what I find on fire is my imagination as it is lit with Sonic Youth fuzz and Stoner Rock sludge. It reminds me of a time when I routinely rifled through the catalogues of Touch and Go, Merge, and SST Records back in the Alternative 90s in search of the next underground nugget to give my life meaning. 

The opening track, “Hiyang” is like a Foo Fighters song. ”Black and White” I swear sounds exactly like local shoegaze purveyors, Sonnet 58. The Silversun Pickups come alive with “Ambiguous.” 

The Queens of the Stone are represented in “Bill Spill”.

“Bisag Unsaon” has my pulse racing as I am reminded of French band Gojira (I have all their albums). 

While Pastilang Dong! wears their influences on their sleeve, it should be underscored that they are no tribute band. The band – vocalist and guitarist Kaloy Olavides, bassist Rio Vargas, and drummer Vin Zafra – play tight, crunching rock in English and Bisaya. And truthfully, I like the braveness of Gadilaab – music, cassette format, and all.

Pastilan Dong! makes no bones about their influences, and I certainly appreciate their willingness to challenge the conventional by singing some songs in Bisaya.

I have to admit that I love listening to Junior Kilat perform dub songs in Bisaya. Ditto with underground punk band Istukas Over Disneyland that sings all their songs in their native Kampampangan. 

Having said that, I feel that Olavides’ vocals are the enigma here. On one hand, there’s the shoegaze approach where the vocals are treated like an instrument as at times it is drowned out by the crunch. However, the monotone in which he sings is like the late Ian Curtis – it drones on whether by design or a limited vocal range. Maybe that’s part of the fondue. 

For the second year running, we have this late late release that was smack in the middle of December. In 2017, it was Sugar Hiccup’s Closure released two days before the end of that year. Gadilaab’s soft launch was sometime before Christmas and this coming January 26, the album will be given the proper send-off it deserves at Mow’s. 

Fire in the hole.

Playing Kiss' Alive!

Kiss was the first band that I ever liked. I was a huge fan of Kiss from about 1977 to 1982 with a complete set of records from their self-titled debut to Dynasty.

Getting the old Kiss records is such a cool thing. 

Jefferson Airplane's Surrealistic Pillow, memories & reaching out across the miles

By Rick Olivares

I was watching this video where this dude was talking about buying second hand records and wondering about the previous owner – if he felt the same way he was feeling listening to the music; if his appreciation for vinyl was the same way he felt ad infinitum. 

While I have been listening, and collecting records since I was seven years old, I almost always bought brand new records. I only started to acquire second-hand records after I lost most of my collection to a fire that gutted my home. However, I never thought about them as pre-owned or even the previous owner.

That is until I purchased a second-hand copy of Jefferson Airplane’s Surrealistic Pillow. 

I didn’t really listen to Jefferson Airplane/Starship I was in sixth grade when their Freedom at Point Zero was released along with its lead single, “Jane.” I got their Spitfire album because it was on sale. But the album that I was transfixed on was Surrealistic Pillow. 

It had something to do with the cover and its pink color and well… I will be honest here… I thought that for a young lad soon to hit adolescence… that Grace Slick was one of the prettiest dames I ever saw. I eventually saved enough to buy the record but I didn’t get into the music – which sounded like a psychedelic Mamas and the Papas -- until I was well into my adult life. This was the time when punk was breaking through and New Wave was coming up. “Jane” sounded so different from tracks from Surrealistic Pillow such as “Somebody to Love” or “White Rabbit.”

Note, that I also somewhat felt the same about the Velvet Underground and it would be decades later when I completely made an about face and thought that the Velvets and Jefferson Airplane (Surrealistic Pillow for the matter) were awesome. 

Anyways, I got me a new second-hand copy. For the past couple of years, I wanted to get a very good copy but they have been hard to come by. And the price for this copy was dirt cheap. So, got it I did.

It was a first for me because I never pick up second hand records with any writings on them. This one had the name of its previous owner on the label of Side One as well as on the back cover – one... Merrill B. Kalkwarf.

Then I decided to do something I have never done before… look up its previous owner. Why? I have no idea? Maybe to talk to someone who loved this record as much as I do.

And this is what I saw in the Belmond Independent, a Colorado newspaper:

Merrill B. Kalkwarf, 64, died May 15, 2008 in Mexico City due to complications of Parkinson's disease. His remains were cremated and a service was held May 21 at the church in Mexico City where he and his wife were married.

Merrill Bruce, son of Ernest and Florence (Tanner) Kalkwarf, was born March 10, 1944 in Belmond. He graduated from Belmond High School in 1962 and went to Wartburg College for one year. He earned a BA in mathematics from the University of Iowa. He was drafted into the army during the Vietnam War and served two years at Edgewood Arsenal in Maryland. He lived in Chicago, San Francisco and Houston before moving to Mexico where he resided for more than 30 years.

His first wife, Carolina, died of cancer. Merrill married Anjelica Cortez Vasquez on April 29, 1995. Within a short time, he was diagnosed with an aggressive form of Parkinson's disease. Anjelica was his main caregiver until his death, an angel in his life. Family and friends will remember Merrill's intellect and quick wry wit. Preceding him in death were his parents and first wife. Survivors include his wife; siblings Janis (Larry) Hase of Arvada, CO, Paul (Bonnie) Kalkwarf of Golden, CO, Miriam Kalkwarf of Larkspur, CO, Adrienne (Jim) Pasquariello of Belmond, and Neil (Anna) Kalkwarf of Conifer, CO; seven nephews; three nieces; four great-nephews; seven great-nieces and two great-great nieces.

May 23, 2008 

©Belmond Independent 2008 

After reading the obituary, I went, “Oh.”

Like what am I going to say?

If Mr. Kalkwarf spent one year in college before going to the Army, he would have been – what 19 years old? He would have about 23 or 24 years old when he picked up Surrealistic Pillow. At that time, the war had already escalated in Vietnam. The obituary is vague as to whether he served in Vietnam or was just assigned Stateside. Nevertheless, it was a different time – the anti-Vietnam War movement was starting. What was he feeling with regards to the time as well as the music of Surrealistic Pillow (that was is considered one of the greats of this era as well as the one that opened the floodgates for Bay Area bands). 

If Mr. Kalkwarf were alive, I would have asked him three things – one, how did he feel about the music of this album at the time that he purchased it; two, why did he let go if this record; and three, would he like it back? Yes, I would gladly send it back. Nothing like being reconnected to something that you grew up listening to.

And I thought to myself – would I let go of my records too? I did let my record collection go when compact discs became the rage (they gathered dust in my home) and began to discover girls. But I did go back and you cannot believe the emotions I felt in doing so. It was not only rediscovering an old life, but it rekindled my love for music and helps me move forward. I never stopped liking music. I collected compact discs right up to the time I returned to vinyl. 

Since I got this second-hand copy of Surrealistic Pillow, I think not only of the songs and Grace Slick but also of Mr. Kalkwarf (how can I not when his name is on the record label and the back of the jacket). Come May 11, 2019, it will be the 11^thdeath anniversary of Mr. Kalkwarf.

I started trying to look up his family. Just to share this. About this connection some 7,632 miles away. 

Playing Santana and Dakila

Santana's debut album that inspired a Fil-American band named Dakila also from the Bay Area to record an album.

What was Santana's music to me? A family friend of ours who recently passed away (Sonny Gonzalez) who I thought was one of the coolest folks ever had all these records from Santana, Sly and the Family Stone, Cream, The Yardbirds, the Doors, Sergio Mendes etc. When we'd visit them at their Merville home, he'd play all these records and allow me to handle them. That was so cool as a kid. When I play Santana I always remember Tito Sonny. I also think of watching local bands like the Fritctions.

The cover of Santana's debut album also called out to me from the wall of the old Electro King record store at the now gone Fiesta Carnival. That is now where Book Sale in Shopwise is. I thought, what an album cover! Then Santana released Abraxas. Oh, boy.

Pinoy vinyl record sellers: 2019 will be bigger and better

Pinoy vinyl record sellers: 2019 will be bigger and better

by rick olivares

Just a few days into 2019, the year already promises to be an exciting one for music lovers. Aside from the always-huge Record Store Day that will be held on April 13 with the local version to be held in a venue that has yet to be named. 

There are heavyweight stars with new albums. The Cure’s first album since 2008 will drop. Shoegazers My Bloody Valentine will release a new album. Avril Lavigne is said to have a new effort with songs written about a personal crisis she went through. There is going to be new product from Lana Del Rey, the Raconteurs, and Weezer to name but a few international artists.

And all these will be available on vinyl. 

On local shores, the re-mastered Ultraelectromagneticpop album by the Eraserheads will go on sale and on vinyl for the first time too! Up Dharma Down’s fourth album is also due for release (also on vinyl). 

According to musician Diego Mapa, there are more local artists who will be releasing their music on vinyl this year, but the line-up has yet to be announced. 

We spoke to a few local independent record stores about how vinyl fared in 2018 and how it is shaping up for 2019. The verdict is one of bright optimism. 

Enzo Valdez and Lea David, Northwest Estate Collectibles

We had a very good year last 2018 kahit marami na mga sellers ng vinyl. Malaking advantage yung every month, we had thousands of new records to sell at very affordable prices. Since yung bulk ng mga plaka namin mga 1980s pababa, yung mga in-demand na records ay mga Beatles particularly yung Abbey Road and Revolver, The Carpenters Greatest Hits and Close to You, any Abba record, America’s Greatest Hits, Fleetwood Mac’s Rumours, Carole King’s Tapestry, and Pink Floyd. Any Pink Floyd record is popular. Queen mas popular ngayon because of yung Bohemian Rhaphsody na pelikula. 

Malaking bagay din yung mga raffle ng mga special records such as yung signed America’s Greatest Hits or mga hard-to-find first pressings ng mga John Coltrane or Miles Davis. Or mga collection ng mga rare punk rock seven-inch records. Meron mga bumibili nun. 

Marami rin mga bagong customers and we hope na patuloy kami mag-reach out sa mga younger buyers na hindi lang bagong mga artists yung hinahanap pati na rin mga classics.

Bong Fulgoso, Plaka Express

Last year, 2018, was our biggest year. With our new online store and a more active marketing plan for 2019, we expect a 50% improvement in sales. My observation is there are a lot of new faces and younger customers from 2017. The most in demand records are classic rock albums from Queen, Black Sabbath, and Led Zeppelin to name a few while older artists such as the Carpenters, Abba, and the Bee Gees remain strong. Interestingly, the buyers are millennials and they prefer the re-issues rather than the first pressings. For example, we have a first pressing of James Taylor’s Greatest Hits, the will get the new pressings.

I think the market and demand for vinyl will continue to grow this year as awareness of the medium is exponentially rising through the help of social media. People are appreciating the value of having physical copies of their music.

Roland Savellano, Lahn’s Vinyl Shop

Maganda benta ko ng plaka last year. The best so far. Every year, gumaganda ang benta kahit marami nang independent sellers. Ang mabenta sa aking mga Beatles, New Wave records, and mga 12-inch remixes.

Sa tingin ko, mas gaganda pa ang selling this 2019 kasi yearly napapansin ko na pabata ng pabata yung mga buyers.  Ang youngest buyer ko is 15 years old and studying in Stella Maris. Ang most recent purchase ay Frank Sinatra. 

Arbie Bulaong, Treskul Records

Sales were steady in 2018. The in-demand records are the hard to find New Wave records like the Care, Friends Again, and New Order to name a few. Punk records remain popular as do soul music titles. Pop classics are always in demand. 

I also noticed that in the shop, we had a lot of new customers; mostly in their late 20s and 30s.

My forecast for 2019 is we will do better because we sold a lot of entry level titles last year. And with new record plants opening overseas, that will mean more product and easier and less expensive access to records.

Al Rivera, Bear’s Den Records

For Bear’s Den, sales were 30% better than the previous year. I think that is because of two things – one, more people are getting into vinyl, and two, because I got a stall at the Spindle Community at the Creekside Mall in Makati. 

The titles that remain popular are the Beatles, Pink Floyd, Led Zeppelin, Miles Davis, John Coltrane, Frank Sinatra… “the essentials” kumbaga. This is based on my observation at the Legazpi Street Sunday Market where there is a more pop-oriented market.

But online, and for collectors, I noticed they look for more specific records. They dig deeper, ika nga.

At the Sunday market, we always get new customers and different age groups since many of them pass through. When people there see the records, they’re surprised so sometimes, they are inclined to buy because they think it’s cool for them to have one (even if they don’t own a record player) or they know someone who collects so they give it as a gift. 

For 2019, I think vinyl sales and interest will be better. Especially now that vinyl is moving into the mainstream because of the Eraserheads reissue. Aside from it being an Offshore Music project, it is also with Sony, a major company.