Pay Dirt

“Sa yo nagmula ang apoy na di pa rin namamatay
Sa daloy ng panahon ika’y nananatiling buhay
Lahat sila ay nakikinig at naniniwala pa rin
Kasama mo kami hanggang ngayon
San man magawi ang hangin
Tuloy tuloy pa rin”

                                                                               -Jett Pangan and Buddy Zabala

The Dawn’s “Tuloy tuloy” is obviously a tribute to the late Teddy Diaz by his brothers in arms. Nonetheless, a careful reading of its lyrics would reveal a sense in which the song could be regarded as the band’s tribute to its fans in particular and to OPM supporters in general. In the main, my interest in OPM or if you will, Musikang Pinoy was borne of a nostalgia that wouldn’t go away to this day and a genuine appreciation for what is truly our own. “…Ito ay atin, sariling atin,” I remember a popular OPM song in the 70s. I have my late father to thank for this as he introduced me to vinyl records and cassette tapes of Pinoy musicians led by Asin, the Apo, Tillie Moreno and Ray-Ann Fuentes, Bong Gabriel, along with Geraldine, Cinderella, Susan Fuentes, among others, way back when we first acquired a National Quadrosonic in the 70s. I can still vividly remember accompanying my father one Saturday morning as he drove to Cubao when he finally had enough savings to buy his dream audio system at that time. For decades, he would cap practically each working day and kick start nearly each weekend by playing his records and cassette tapes of the abovementioned Pinoy musicians along with the standards by Frank Sinatra, Matt Monro, Cliff Richard, et al. Three references would eventually build on the gains my father helped me achieve when it came to appreciating OPM. There was Jingle Magazine, Punks, Poets, Poseurs: Reportage on Pinoy Rock & Roll by Eric Caruncho and BenCab’s  Rock Sessions. All collectors’ items, all out of print.

jingle sept

“Sa Jingle Magazine natutong mag-gitara…”

When I got bitten by the analog bug in 2010, I started building what would eventually become my very own vinyl album library consisting mostly of the music of my youth – from U2 to Tears for Fears, from James Taylor to Jackson Browne, from Tracy Chapman to Suzanne Vega, from America to Toto. In the course of record hunting, I remembered the mint copies of OPM albums from my father’s vinyl collection in the province. Among those I was grateful to rediscover were copies of The 2nd Metro Manila Pop Music Festival , Gary V’s Moving Thoughts, The Apo’s Mga Kwento ng Apo,  Asin’s debut album, and Regine’s self-titled first album. Needless to say, Pinoy Music was grossly underrepresented in my record collection. And this bothered me no end, not so much out of shame but largely because I knew Pinoy Music can hold its own vis a vis’ Billboard hits. I initially made up for this by acquiring as many OPM CDs as I could buy from physical stores. Noteworthy would be albums by the Juan Dela Cruz Band, the Eraserheads, the Dawn, FrancisM, Joey Ayala, Noel Cabangon, Bamboo, Rivermaya, Up Dharma Down, the Jerks, Gary Granada, Lea Salonga, Agot Isidro, the Apo, Joey Albert, MYMP, Sandwich, Aiza Seguerra, Color It Red, Kuh Ledesma, Regine Velasquez, Rico Blanco, Imago, Barbie Almabis, etc. Alas, my hitherto unwavering faith in the analog sound was such that I eventually felt compelled to write to recording companies asking about the feasibility of releasing OPM titles on vinyl. Listening to U2 or Coldplay on vinyl has a way of making you wonder what the Eraserheads or The Dawn would sound like if given the 33 1/3 treatment. I also attempted to write directly to artists and musicians and their management teams to pursue the same. Some did reply positively while others advised me it was not a priority at this time. Most, I suspect, were simply too busy with other commitments. Then again, maybe I used incorrect email addresses. Even as I was doing this, I openly campaigned in online fora and the social media for the release of the recordings of iconic Pinoy Rock musicians on vinyl. At some point, I got mistaken for an A&R man or at the very least a record company executive. Still others insinuated nicely that what I was getting into was folly or OA, even corny. At least one got upset by my queries. Thankfully, it turned out there were quite a number of analog enthusiasts in the country who were on the lookout for OPM releases on vinyl. A number of them openly supported and endorsed several threads I wrote on the subject. Others were passionate enough to voice out their feedback online. Still others went on to put up sites to enlist support for their project. I was not alone.

opm cds

“Ang himig natin ay inyong awitin upang tayo’y magsama-sama…”

Looking back, I was naïve at that time to think that the same production process that led to  the awesome sonic quality of my vinyl albums by U2 and Tears for Fears would be the same process that would be followed for OPM releases. I am, of course, referring here to the sourcing of the analog master copy of the original recordings and using the same to cut the analog source from which the vinyl would be pressed. There is a gulf of difference between sourcing the recording from a CD or worse an MP3 recording and culling it from the original analog recording. The former would result to a physical vinyl copy, true but with CD and MP3 sound quality. The latter is a prerequisite for an authentic analog sound. In any case,  when I received positive responses from recording companies, I was on cloud nine. I would later learn that they’ve been planning to do the same for years now. Unfortunately, both the sound quality and the album art of their OPM albums on vinyl left a lot to be desired among local analog enthusiasts. Maybe because they did not know any better or maybe because they really got economically dislocated by piracy and its variants. I’m afraid we will never know. Spurred by this development or should I say, underdevelopment, I embarked on numerous informal attempts to connect their project manager with the technically-grounded members of an audio forum who offered to help out gratis. As fate would have it, none of these attempts which stretched for months on end prospered due to “scheduling” problems. Not the hush-hush “kapihan” nor the low-key listening session. Not the invite to an indie film screening  nor an invitation to an audio show where you could afford to go unnoticed by wading through the crowds. In the meantime, most of the same online community which enthusiastically supported my campaign at the outset eventually got alienated by the series of OPM releases on vinyl that were released in several batches. To be sure, there were others who were more forgiving. According to them, it’s been a while since vinyl was released locally so maybe the local recording outfits would eventually figure out ways to improve on their analog output. The majority though felt like they were tricked into buying crap and they minced no words to communicate their frustration and disappointment.

opm albums

“Parang kailan lang…”

Drawing inspiration from my fellow audiophiles who actively blog and at least one music veteran who encouraged me to write regularly, I decided to put up my own blog last summer focusing on three areas that have interested me over the years: music, books and movies. Three passions that I currently pursue in the confines of my music room. Hence, the blog name Notes from My Music Room. Thanks to this blog, I have moved on from actively campaigning and inquiring about OPM to writing about it along with other related topics that have interested me. It’s just as well I guess as streaming took center stage in the local music scene thereby dampening the interest in physical recordings whether on CD format or on vinyl. Even the MP3, the favorite whipping boy of the analog faithful, is under serious threat with the rise of audio streaming.

But if I was hoping this would be an easier feat to pull off compared to writing to recording companies, musicians and their management teams to invest in limited edition vinyl releases, I had another one coming. The terrain has changed but the rules have not. No matter how well-intentioned you may be and no matter how you may mean well about writing about something or someone, the responses continue to be varied. Some would oblige, others would not. Some would show some degree of appreciation, others have better things to do than accommodate yours truly. That’s just the way it is. Or as the Apo would put it: “ganyan talaga ang buhay.”

But every now and then, I guess I should also remember to draw some consolation from the law of dharma. A positive act will inevitably earn a positive result whether I like it or not – maybe not tomorrow, maybe not the day after but the day will ultimately come and as the cliché goes, usually at a time when you least expect it so it is best not to expect it. To quote the latest Color It Red carrier single, “hindi magtatagal.” It may come in the form of a PM containing a simple note of appreciation or a firm handshake and a statement of thanks or a post in social media publicly appreciating a collective or  a simple albeit well-meaning note that awaits you at home like the one below.

the dawn auto sept 24

“Salamat at tayo’y nagkasamang muli.”

In the end, we do what we do because we believe in it even if and especially if others do not. The latter, after all, is the ultimate acid test of your conviction.

“Salamat!… San man magawi ang hangin. Tuloy tuloy pa rin.”


Bangon, Musikang Pinoy!

Patay na nga ba ang OPM o “Original Pinoy Music”? O ito ba’y buhay na buhay subali’t nagbabagong-anyo lamang?

Gawa na rin ng patuloy na problema ng pamimirata at ng walang puknat na pag-arangkada ng teknolohiya, taon-taon simula nitong huling dekada, lumiit nang lumiit ang kita ng mga “recording companies” na syang nagtataguyod ng mga musikerong Pinoy na may kontrata sa kanila. At dahil hindi agad nakatugon at nakapagsabayan ang industriya ng musika sa mga paghamong ito maliban sa pagpapaigting ng “anti-piracy measures,” nagkaroon ng masidhing epekto ang mga ito di lamang sa mismong mga “recording companies” kundi pati na rin sa iba’t ibang sektor ng naturang industriya – mula sa mga namumuhunan dito hanggang sa mga manggagawa nito, mula sa mga kompositor hanggang sa mga mang-aawit, mula sa mga nagtratrabaho sa loob ng “recording companies” hanggang sa mga kumpanyang naglalako ng mga produkto nila. Sa Amerika at Europa, ilan sa mga napuruhan nang husto dahil dito ay ang Tower Records, Virgin Music Store at HMV. Sa Pilipinas, ang Music1, BMG Records Pilipinas at ang Sony Music Philippines ay ilan lamang sa mga kilalang kumpanya na nagsara dahil dito. Ito malamang ang isa sa mga dahilan kung bakit wala na tayong makitang CD ng mga naunang “albums” ng mga sikat na musikerong Pinoy gaya ng Eraserheads, Rivermaya, Color It Red, FrancisM, Yano, at iba pa. Tinatayang mahigit 75% ang sinasabing ibinaba ng kita ng mga “recording companies” sa Pilipinas nitong huling dekada ayon sa pananaliksik na pinangunahan ni Kathryn Pauso.

byahe noel cabangon

Ang “Byahe” ay ginawaran kamakailan ng Double Platinum Record Award.

Kaya’t tunay ngang nakagugulat malaman na ang serye ng mga “albums” ni Noel Cabangon ay nakapagbenta pa rin ng libo-libo sa kabila nito. Sa katunayan, noong ika-4 ng Mayo 2014 ginawaran ng “Double Platinum Record Award” (i.e., 30,000 kopya) ang “Byahe” (Universal Records, 2009.) “Platinum Record Award” (i.e., 15,000 kopya) naman ang tinamo ng “Tuloy ang Byahe” (Universal Records, 2012) samantalang “Gold Record Award” (i.e., 7,500 kopya) ang natanggap ng “Acoustic Noel” (Universal Records, 2013.) Anupa’t sa pamamagitan ng tatlong “albums” na ito, masasabing matagumpay na nahimok ni Cabangon ang kanyang mga kababayan na muling masumpungan ang kahitikan at kaningningan ng mga “iconic” na awiting Pinoy: 15 sa “Byahe,” 16 sa “Tuloy ang Byahe,” at 12 sa “Acoustic Noel.” Ilan sa mga pamosong awiting binigyan nya ng bagong areglo ay ang “Tuloy Pa Rin” na unang pinasikat ng Neocolors at “Iduyan Mo” na inawit ni Basil Valdez bilang “theme song” ng “Aguila,” isang pelikula ni Eddie Romero na pinangunahan ni FPJ. Ang “Handog” ni Florante at “Wag Mo Nang Itanong” ng Eraserheads ay matatagpuan din sa seryeng ito. Gayon din ang “Itanong Mo sa Mga Bata” ng Asin at “Ang Aking Awitin” ni Bong Gabriel. Mahalagang sabihin dito na bago pa man lumabas ang sarili nyang areglo at interpretasyon sa mga awiting ito ay matagal nang malapit ang mga ito sa puso ng mga Pinoy. Inaawit ang karamihan sa mga ito sa mga karaoke bars at pinatutugtog sa mga salu-salong Pinoy sa iba’t ibang panig ng mundo. Kasabay nito, mahalaga ding bigyang diin na gawa na rin ng kanyang natatanging istilo ng pag-awit at pagtugtog ng gitara na nahinog sa pagtatanghal sa iba’t ibang bulwagan at entablado sa nakalipas na apat na dekada, mas lalong napalapit sa puso ng mga Pinoy ang mga awiting nakapaloob sa mga “albums” na ito. Sa ehemplo ni Noel Cabangon, dalawang katotohanan ang maaring masumpungan. Una, tunay ngang maganda ang musikang Pinoy at tunay ngang mahusay ang musikerong Pinoy. Ikalawa at higit sa lahat, kung gaano kahitik ang magagandang awiting Pinoy ay sya ding dami ng mga musikerong kasinggaling o mas magaling pa kay Cabangon.

opm music festival

Ang Official Poster ng Kaunaunahang Pinoy Music Festival

Marahil ay maaring sabihin na ang mga katotohanang ito ang nagsilbi na ring inspirasyon di lamang kay Cabangon kundi sa iba pang mga beteranong musikerong Pinoy na kasapi ng OPM o Organisasyon ng mga Pilipinong Mang-aawit na gaya nina Jim Paredes, Ogie Alcacid, Ryan Cayabyab, Gary Valenciano, Christian Bautista, Mitch Valdez, at iba pa, upang maglunsad ng ilang mga “high-profile OPM awareness projects” na kumalampag sa pambansa at indibidwal na kamalayan ukol sa kahalagahan ng musikang Pinoy. Kasama sa mga proyektong inilunsad nila ay ang  “OPM Fair and Traveling Playlist Exhibit” noong ika-24 ng Oktubre 2013 sa Cebu City, ang “Pinoy Music Summit” na matagumpay na idinaos noong ika-19 ng Marso 2014 at ang “Run for EO 255” na naganap noong ika-18 ng Mayo 2014. Ang pinakamalaking proyekto nila sa kasalukuyan ay ang  “Pinoy Music Festival” na itinanghal noong ika-5 ng Setyembre  2014 sa Ayala Triangle, Makati City. Bago nito ay nagdaos sila ng serye ng “street concerts” sa iba’t ibang sulok ng Makati Commercial District mula Agosto 18 hanggang Agosto 31. Ilan sa mga sikat na miyembro ng  OPM na nagtanghal dito kasama ng mga nagsisimulang mga musikero ay sina Lolita Carbon, Bayang Barios, Ron Henley, Johnoy Danao at Luke Mejares. Ayon sa OPM, ang “Pinoy Music Festival” ay naglalayong palaganapin at payabungin ang musikang Pinoy sa pamamagitan ng pagsasagawa ng isang araw na konsyerto ng mga musikerong Pinoy. Kasama ang OPM sa bagong tatag na Pinoy Music Council na kinabibilangan din ng Filipino Society of Composers, Authors and Publishers (FILSCAP), Asosasyon ng Musikong Pilipino (AMP), Philippine Association of Recording Industry (PARI), Music Copyright Administrators of the Philippines (MCAP) at PhilPop Foundation. Pakay din ng naturang konseho na pormal na maideklara ni Presidente Aquino ang Setyembre 5 na “Araw ng Musikang Pinoy.”


Sa tingin ni Bamboo ay hindi proteksyonismo ang sagot sa problema ng OPM.

Sa kabila ng mga kapuri-puring mga pagtatangka sa itaas na ibangon ang musikang Pinoy sa kamalayan ng mga Pinoy, may mga pagtataguyod din nito na mainam na pansinin ng kampo ni Cabangon upang maging mas kumprehensibo at mas makahulugan ang mga ginagawa nilang mga hakbangin. Ito ay mula sa dalawang grupo ng musikero na gaya ng mga taga OPM ay nagtataguyod din ng Musikang Pinoy, yun nga lamang ay sa ibang pamamaraan. Ang una ay kinabibilangan ng mga “mainstream artists”  na may ibang pananaw sa usapin ng OPM. Ang ikalawa ay mula sa mga musikerong di naapektuhan sa pagbaba ng kita ng mga “recording companies” dahil sila ay independyente o “indie” kung tawagin. At dahil di sila direktang naapektuhan, di sila ganoon kaprominente pagdating sa pagtawag ng pansin sa sinasabing kamatayan ng OPM.

Ang pinakapalaban at pinakaumalingawngaw na puna mula sa ilang mga “mainstream artists” ay yaong mga ibinahagi ni Chito Miranda ng Parokya ni Edgar at ni Bamboo kaugnay sa isang probisyon ng House Bill 4218 or OPM Development Act of 2014. Ang House Bill 4218 ay inilunsad  ni Congressman Teddy Baguilat upang magbigay ng proteksyon sa mga musikerong Pinoy na nawawalan ng kita twing pumapasok sa Pilipinas ang mga dayuhang mang-aawit para magkonsyerto dito. Ani Chito Miranda, “bakit kelangang magbayad ng equity ang foreign acts? We should welcome them! Not drive them off! Hindi yan ang sagot para umunlad ang OPM.” (“Chito Miranda Rants Against OPM Bill” by Michael Joe T. Delizo, Manila Bulletin, March 28, 2014.) Hindi nalalayo dito ang punto de bista ni Bamboo: “The OPM Bill is something that they have to really think about muna. I mean, why do we do it? To deter other musicians (and bands) to come here? I’m not sure if I agree with that.” (“Bamboo says OPM Bill needs Further Review” by Pau Aguillera, Manila Bulletin, April 2, 2014) Imbes na mangolekta ng “equities” sa mga “foreign artists” na magtatanghal dito, mas nakikita ni Bamboo ang kahalagahan ng pagtatanong sa sarili ng mga musikerong Pinoy kung papaanong mas mapapaganda pa nila ang kanilang mga konsyerto para makapagsabayan sa mga “foreign artists.” “It’s up to us to step up our game…yung production natin. Let’s support our own so we (will be) able to give you (the public) the concerts you deserve.”

Kung tatanungin ang isang manunulat at tagapagtaguyod din ng OPM na si Katrina Stuart Santiago, ang pinakamainam na sagot sa problemang kinakaharap ng mga “recording companies” sa lumiliit nilang kita ay nasa ginagawang tahimik na pagbangon ng mga “indie acts” o yaong tinatawag ni U.P. Professor Robin Rivera na Malayang Musikang Pinoy. Matatandaang ang Eraserheads na tinulungan ni Rivera na magsimula ay isang dating “indie band” sa U.P. Ani Santiago, “Independent music production cannot be subsumed into any discussion about recording companies’ lost revenues, or the commercial musician’s inability to sell his CDs, or the notion of the mainstream market as goal. Because the independent to some extent, and in many ways, is the answer to these problems.” (“The Pinoy Music Summit’s Dilemma” by Katrina Stuart-Santiago, Manila Times, March 22, 2014) Sinulat ni Santiago ang huli bilang puna sa hindi pagkakasali ng “independent artists” sa naging talakayan sa Pinoy Music Summit. Bagkus ay trinato ang mga itong bahagi na rin ng OPM. Ayon kay Santiago, buhay na buhay ang “independent music scene” sa Pilipinas kaya ang sinasabing “OPM is Dead” ay isang mito na totoo lamang sa usapin ng pagbebenta ng mga “mainstream recording companies.”

up dharma down

Ang Up Dharma Down ang  pinakamatagumpay na “indie band” sa kasalukuyan.

Ang isang tinuturo nyang matibay na ebidensya para ito ay bigyang patotoo ay ang Terno Recordings na tahanan ng mga “indie acts” gaya ng Up Dharma Down at Radioactive Sago Project. Nariyan din ang Wide Eyed Records na naglunsad sa Ang Bandang Shirley at Halik ni Gringo. Interesanteng pansinin na ang pag-asenso o pagbulusok ng mga “indie acts” ay di na nakasalalay sa bilang lamang ng mga plaka o CD na nabebenta sa “record bars.” Sa isang panayam kay Toti Dalmacion, inilahad nya na mula pa noong nagsimula ang Terno Recordings hindi tungkol sa pagbebenta ng plaka o CD ang ginagawa nila at hindi rin sa pagtawag ng pansin sa kahalagahan ng OPM. “From the beginning, Terno has always been about developing and raising the benchmark as far as songwriting and live performances are concerned. To be able to reach out to as many people as possible without having to compromise the material and ideals nor to tailor fit it for the local market to meet a particular demand or ride on a trend. We also have never aligned ourselves explicitly with any OPM-related advocacies preferring instead to focus our energies on making quality music and sharing it with our audiences both here and abroad.”  Sa katunayan, ayon na rin kay Dalmacion na “producer” din ng Up Dharma Down (UDD), ang CD at plaka ng UDD ay di makikita sa mga “record bars.” Kailangan mong sadyain ang kanilang mga pagtatanghal o “gigs” sa iba’t ibang panig ng Kamaynilaan, sa mga lalawigan at maging sa labas ng Pilipinas para makakuha ka ng kopya. Mukhang naging epektibo ang ganitong stratehiya sa kanila dahil sa ang unang dalawang “albums” ng UDD na may pamagat na “Fragmented” (Terno Recordings, 2006) at “Bipolar” (Terno Recordings, 2008)  ay pareho nang “out of print” at mabibili lamang sa iTunes. Naging mainit din ang pagtanggap ng publiko sa “Capacities” (Terno Recordings, 2012) na nilabas nila sa CD at plaka.  Hindi rin pahuhuli ang ingay na nililikha ng mga “indie acts” sa “social media” bilang susi sa kanilang tagumpay. Higit sa lahat, imbes na katakutan nila ang kagubatan ng internet, animo’y isa itong malaking paliparan at laruan sa kanila. Habang sinusulat ito, ang Official Facebook Page ng Up Dharma Down ay mayroong 550,000 likes. Ang Instagram account nila ay may 7,632 followers at ang Twitter account nila ay may 53,100 followers. Nasa “Top 10” din ng Spotify  ang Up Dharma Down  pagdating sa mga “OPM acts” na pinakamadalas ma-”stream” ng mga Pinoy kahit di sila napapanood sa  “primetime TV.” Di katakatakang may mga ilang nagsasabi na ang Up Dharma Down na marahil ang “future of OPM.” Ayon kay Dalmacion, “if there are some quarters who refer to us as the future  of OPM, we’re ok with it, we’re taking it, but we don’t really actively campaign nor act as crusaders of OPM nor do we think of ourselves as such. We just do what we do in our own little way and that’s to produce as much good material as humanly possible.”

raimund marasigan

Raimund Marasigan: “This is the Golden Age of OPM.”

Sa pelikulang “Begin Again” na kamakailan ay pinangunahan ni Keira Knightley, ipinakita kung papaanong maaari pa ring magtagumpay ang isang “indie act” nang hindi dumadaan sa mga “recording companies.” Akmang akma ito sa sinabi kamakailan ni Raimund Marasigan ng Eraserheads, Sandwich at Squid9 nang tinawag nya ang kasalukuyang  panahon na “Golden Age of OPM.” Ani Marasigan, “It’s the golden age of OPM…I came from a time when bands only had Club Dredd and Mayric’s to perform and maybe push their luck…now you have Route 196. Saguijo. 19 East. And unlike during my time, when you needed at least Php 250,000 to record an album, now all you need is a computer and controller. And you have the Internet…people might not be buying CDs as much as before, but your music reaches a larger audience because they’re downloaded and spread around the internet…as a result, we’re actually getting more shows, more people are getting to know us.” (“The Restless Raimund Marasigan” by Marge Deona, Rappler, January 4, 2014.) Sa madaling sabi, ang mga “indie” ang nakasumpong sa magandang potensyal ng isang teknolohiyang unang nagdulot ng problema ng pamimirata at ng mga naging anak at apo nito gaya ng “file sharing” at “streaming.” Salamat sa mga “indie acts,” mukhang mayroon nang papalapit na “liwanag sa dilim” na dulot ng pag-abante ng teknolohiya. Habang sinusulat ito ay ipinagdiriwang di lamang ng Esquire Magazine kundi ng mga libo-libong tagahanga ng Eraserheads ang paglabas ng dalawang bagong awitin nila sa CD single (i.e., “Sabado” at “1995”) na nakapaloob sa isyu ng naturang magasin para sa Setyembre 2014. Walang “recording companies” na naglako ng bago nilang CD single na ilang araw nang pinag-uusapan  sa radyo at sa  social media dahil isa na din silang “indie band.” Ang kontrata nila bilang “mainstream artists”  ay kasamang naglaho ng pagsasara ng BMG Pilipinas. Ang balita tungkol sa kanilang bagong “recording” ay di unang inanunsyo sa telebisyon, radyo at dyaryo. Nauna ang ingay at alingawngaw tungkol dito sa “social media.” Nasa 30,000 sipi lamang ang inimprenta ng Esquire, katumbas ng bilang na kailangan para magawaran ang isang “recording” ng “Double Platinum Award.” Batay na rin sa mga palitan sa “social media,” mukang di magtatapos ang  isang linggo ay mauubos na ang mga kopya nito. Sa iba’t ibang “bookstores” at “convenience stores” sa Kamaynilaan, mahaba ang listahan ng mga naghahanap at nagpapareserba ng kopya bago pa man ito lumabas. May balita ding ilalabas ito sa 45rpm na vinyl o plaka. Matatandaang nanguna din ang mga “indie bands” sa Pilipinas sa paglabas ng kanilang mga “recordings” sa plaka bago sumunod ang “mainstream recording companies.”

esquire eraserheads

Ang bagong “recording” ng Eraserheads ay hindi  inilunsad ng isang “mainstream recording company.”

Sa bandang huli, bagamat di maikakailang  malaki ang agwat ng nagtutunggaling pananaw ng mga “mainstream” na musikerong Pinoy na kaalyado ni Cabangon sa mga “mainstream artists” na di nila kakampi at sa mga musikerong Pinoy na “indie” kabilang sa OPM, pagdating sa usapin ng pagtataguyod ng musikang Pinoy, may isang bagay na bukod tanging nag-uugnay at nagbibigkis sa kanilang tatlo. Ito ay ang masidhing pagmamahal sa kanilang bokasyon bilang musikerong Pinoy at ang wagas na pag-ibig para sa musikang Pinoy. Isang pag-ibig na kung pahihintulutan ni Joey Ayala (i.e., isa pang  dating “indie” na naging “mainstream” at ngayo’y muling naging “indie”) ay maaaring ilarawan na

“walang hanggang paalam
at habang magkalayo papalapit pa rin ang puso.
kahit na magkahiwalay, tayo ay magkasama
sa magkabilang dulo ng mundo.”

Harinawa ay magkaroon pa ng maraming pagtatagpo ang “mainstream” at “indie” sa mga darating na taon upang pag-ibayuhin ang patuloy na pagbangon ng musikang Pinoy.