Five Notable Cover Songs

Covering a song is easy as it is only copying something that has been laid on tape. Any musician who has the patience to learn a song can replicate pre-existing music and play it the way it was done before.

The real challenge, however, is turning the song into something new - something fresh to the ears of people who have heard the original version countless times before. Or to surprise those who get familiar with the cover first when they someday discover the original.

Here are five that rise above:


JEFF BUCKLEY - HALLELUJAH
Originally written & performed by Leonard Cohen

The 90s shooting-star owned this song by making it somber, more soulful and yearning.



JOHNNY CASH - HURT
Originally written & performed by Nine Inch Nails

The Man In Black, with his age & wisdom, took this heart-wrenching piece and sang it as if all the words were his.



RYAN ADAMS - WONDERWALL
Originally written & performed by Oasis

Heart-on-sleeve alt-country rocker brings out an ambient and sadder version of this Britpop tune.



CIBO MATTO - ABOUT A GIRL
Originally written & performed by Nirvana

Two awesome Japanese girls pay tribute to a late grunger named Kurt by re-shaping his most-pop song into a bossa nova magnificence.



THE WHITE STRIPES - ONE MORE CUP OF COFFEE
Originally written & performed by Bob Dylan

A sweeping epic by Mr. Zimmerman, Jack & Meg give a muscular rendition that blows you away.

Neil & Jack

Urbanscape

Album Review: Incubus - If Not Now, When?

It's official. Incubus has a pop album.

Well not exactly pop but more of a pop-rock mid-tempo set of songs. 'If Not Now, When?' starts fresh with an 80s feel with the title track. It then proceeds to 'Promises Promises', a sort of groupie-point-of-view song. From there, they basically stay on the same road, not steering much with every tune they present. The melodies are catchy & the music backs them up tightly. Good songs actually make up the whole record. Good, but not necessarily great.

If you've been following the band since the beginning (or at least the middle) of their career, you would know that they are one of those few bands that show growth & evolution through their albums. A group that has a conscious effort to not repeat what they have done in the past as much as possible.

'Fungus Amongus' was full-on funk.
'S.C.I.E.N.C.E.' was funk/rap-metal.
'Make Yourself' was nu-metal.
'Morning View' was modern metal-alternative.
'A Crow Left Of The Murder' was hard rock (& the peak of their greatness).
'Light Grenades' was scattered-modern rock.

With 'If Not Now, When?', they chose to reinvent again & leave their comfort zones more than ever. Chris Kilmore, their previous DJ, fully takes on the role of the keyboard player. Guitarist Mike Einziger steps back, avoiding the flashy riffs & leads. Drummer Jose Pasillas applies a more-bassy sound, forgoing with his signature treble-laden pounding which works well with Ben Kenney's bass-playing. And the fact is that it all works well & perfect. The whole machinery is cool & smooth.

However, it does not offer anything new. It may be new to Incubus but it's a territory that many musicians have been on before. Einziger might try out a Radiohead-like tone here & there or employ 80s riffs on 2 songs but it's nowhere near groundbreaking. As for vocalist/lyricist Brandon Boyd's themes, it still has that poetic attitude. However, like in the previous album, the themes that surround the tracks are mostly about romance. He is more convincing delivering lines with depth. Here he is almost comparable to younger lovelorn singers. The good news is that he sounds less annoying here than on his emo-like takes on Light Grenades. Although the 'ooohs' & 'aahs' he's too comfortable executing sometimes seems off. He unfortunately was not able to fully-adapt to the new genre they decide to take on.

The album is not 100% mid-tempo. There's the lead single 'Adolescents' which is formulaic Incubus & the fast-paced 'Switchblade' which really is a sore-thumb. The most redeeming part of the whole record though is the 2nd part of 'In the Company of Wolves'. The first part sounds like it was written by either Coldplay or Band Of Horses. But it sublimes into a weird & dreamy tune ala-Massive Attack. It's the most space-floating moment you'll get in this 50- minute ride.

In conclusion, Incubus avoided taking risks but by doing that, they took a huge risk at the same time. It's a paradox that, if given enough thought, actually holds true. The risk is losing a large part of their fan base who were too familiar with their previous aggressive & brash music. The not-taking-risks on the other hand is delivering an album full of forgettable hits; songs that may be catchy at first but melt away too easily. Whether they intentionally want to mess with people's minds or not by offering average music, they undoubtedly seem uninspired. Musicians have to be judged by music anyway. Theirs today is sedated - an inkling of what they can do as a powerful band. Better luck next time.

10 FAVORITE FILIPINO ROCK & FOLK SONGS

When a friend asked me what my Top 10 Favorite OPM Rock Songs are, I was taken aback. My elementary years were surrounded by the smooth jazz & ballad cassette tapes that my father would always play on our Astron single-huge-speaker 'karaoke'. During highschool, the limited availability of music in the province exposed me to pop & boybands on MTV. I was infatuated. In hindsight, I think I shouldn't have been too stubborn & instead adapted to my older brother's love for alternative songs. It wasn't until college when I learned to appreciate what I thought was noise before. After a brief fling with hip-hop & modern RnB, it was in the 2000s when I got engaged to rock. The bridge in my case were rap-metal, alternative & OPM rock (Original Pinoy Music). Now I am married to the heart, veins, brain & soul of rock music - along with its feet, limbs, fingers or what-have-you. (I do of course also have never-ending affairs with jazz & classical plus some flirtation with pop from time to time).

I'll be honest. I'm not a big fan of our own mainstream music. For me, most kinds of our country's music were patterned after whatever current global music is famous at the time. If I had to pick the real original music of our country, it would be the ethnic ones.

Having said that, my not-too-deep knowledge of & aloofness from OPM are huge reasons why this list was a personal challenge.

After 5 hours of picking my brain, here's what I've come up with.
(These are in chronological order with regards to the year of release.)
(Click on the title to download song.)


ASIN - Balita
[Masdan mo ang Kapaligiran, 1978]

'Pinoy progressive music', as what our communist-thinking countrymen call it, is a genre of Filipino folk music that proliferated during the Martial Law Era. Until today, songs from that genre are still the most poetic to come out of OPM. I consider ASIN as the best among the early folk bands and this track describes the sad state of the nation during that period.


The Dawn - Enveloped Ideas
[S/T, 1987]

When New Wave & Post-Punk peaked in the 80s, it was inevitable for the Pinoys to ride the wagon. One of its offsprings, The Dawn presented this anthemic youth-relatable song. They were the U2 of our country.


Gary Granada - Bahay
[Pagsamba at Pakikibaka 1989]

Joey Ayala at ang Bagong Lumad - Walang Hanggang Paalam
[Magkabilaan, 1991]

Granada & Ayala were part of my childhood. At one point, my father & his friends were big fans so naturally me & my brothers got familiarized with their music. I consider these two as musical geniuses. 'Bahay' by the former (also a part of the underground artists during the Marcos era) is a beautifully-written folk song that tackles poverty. 'Walang Hanggang Paalam' by the latter is a folk love tune with a warm melancholic melody that melts hearts.


Yano - Banal Na Aso, Santong Kabayo
[S/T, 1994]

Essentialy a bare punk rock duo, Yano was a great socio-political outfit that had a solid debut album. Abay's brave preaching words (sometimes sarcastic, sometimes direct) blended sweetly with Gancio's riffs and sweet leads. Simply put, this track defined their music.


Eraserheads - Spoliarium
[Sticker Happy, 1997]

Pop-rockers Eraserheads had great songs under their belt but it was this song that opened up a whole new world for me when I first heard it. Its sound & dream-like phrases hooked me.


Radioactive Sago Project - Gusto Ko Ng Baboy
[S/T, 2000]

In college, I was trying out all kinds of music. RSP was different. Jazz-rock wasn't something no other bands play. 'Baboy' starts out as a story of a kid's obsession with pigs until he becomes a man & realizes that everywhere he looks, swine can be found in humans. This song is a parade of spoken-word horn-laden monster of a rant. A true gem.


Imago - Rainsong
[Probably Not But Most Definitely, 2001]

Before they wrote mediocre songs, Imago was an ethnic-rock band with their debut album produced by the great Bob Aves himself. Rainsong is water that wets the ears with its cool sound & unintelligible chanted melodies.
[Note: The download link only offers the remixed version.]


Orange & Lemons - Hanggang Kailan (Umuwi Ka Na Baby)
[Strike Whilst The Iron Is Hot, 2005]

Forget about how this band aped Care's "Chandeliers" with their "Pinoy Ako" (& how they denied it thinking everyone is stupid to believe them). Despite their arrogance, 'Hanggang Kailan' is a timeless love song that I'm sure even my grandkids would not be able to resist.


Rico Blanco - Yugto
[Your Universe, 2008]

Epic.
The only reason why I don't have Rivermaya on this list is because I consider this to be the best Filipino song ever written. When Blanco left his band of 14 years, it only took him a year to break the silence and release his first solo album. Although the outcome basically consisted of pop songs & ballads, 'Yugto' stands out with its deep lyrics, sprawling inventiveness & extensive use of instruments.

Freeradio - Yet (Again)

"The dead don't feel when the lights are on and you keep talking. Suddenly the window brings a breeze so cold, you feel old. And nothing lasts forever. And they're sending you away to a lonely place you never knew - until today. It's your release now you are paid. It's a disease yet to be named when the young believe that they are saved. As for me, I wear the cycle on my skin. The dead don't feel. But you see I'm old; and will you feel for me now? Forget the years we had. The troubles are at hand. It's your release now you are paid. It's a disease yet to be named when the young believe that they are saved. Open my hands, open my eyes. So this is how it feels to reach the last pages of your life. The final stages in your life. It's your release now you are paid. It's a disease yet to be named when the young believe that they are saved."

Freeradio - Emergency

From the 2011 EP 'D.E.A.F.'

Drums: Kiko Yman
Bass: Jorge Neri
Guitars: Royce Obong & Doi Allequir
Vocals Rob Equiza

Freeradio - Arms Around

From the 2011 EP 'D.E.A.F.'

Drums: Kiko Yman
Bass: Jorge Neri
Guitars: Royce Obong & Doi Allequir
Vocals Rob Equiza

Location: Talent City Studio, Calbayog City
Video by Jesyle Yman

Freeradio - Burning Candles

From the 2007 album 'One-Man Education'
CAMP Records | Inspiration From My Insecurities Music

Vocals: Rob Equiza
Guitars & Bass: Royce Obong
Drums: Teejay Tan

(words&music: Equiza/Obong)

Freeradio - Deny Me

From the 2011 EP 'D.E.A.F.'

Drums: Kiko Yman
Bass: Jorge Neri
Guitars: Royce Obong & Doi Allequir
Vocals Rob Equiza

Location: Talent City Studio, Calbayog City
Video by Jesyle Yman

Turntable & Vinyl Records

The Rise of Pinoy "Indie" Music

[I wrote the following article for Explore PH.]



Indie Music – a term largely misinterpreted as a genre. It is a common misconception. In fact, Indie Music is the manner in which the songs are distributed by artists. Derived from the word “independent,” it is simply any music not produced or backed by major record labels. Since the beginning, large record companies tend to financially and creatively control the music business. As a result, the need to create independent record labels arose as an alternative outlet for artists and producers. In the UK, 1970s saw the success of the movement after two decades of failure to fight the giants.

In the Philippines, Original Pinoy Music or “OPM” (if the term is to be taken at face value) has been around since the 1800s until 1950s as Kundiman – those sweet ballads meant to be sung during harana (serenades). By the time rock ‘n roll found its way to the country, it didn’t take long for acts such as Sampaguita and Juan dela Cruz Band to re-invent the Philippines’ representative sound. Eventually it was replaced by Disco with VST & Co. and Hagibis as notable groups of that era.

However, it wasn’t until the early 80s when Pinoy Indie Music was born. It was then known as “underground.” As soon as the punk explosion reached Manila, a handful of bands emerged and Tommy Tanchanco was more than willing to organize them, putting their original songs under one roof, hence creating “Twisted Red Cross” (TRC). TRC was the first official underground label in the country. In the midst of government-controlled music during Martial Law, here was a visceral alternative distributed through cassettes. The only major hindrance was that high-quality recording has yet to become a possibility. But that didn’t stop them. Betrayed, Urban Bandits, Wuds were a few of the acts under the label. It would be a mistake, however, to discredit the works of folk acts like Buklod and Gary Granada. Their socially aware music, also logically not backed by major labels, played a crucial role in waking up the nation’s courage to act against the then existing dictatorship. It arguably helped ignite the successful EDSA Revolution that ultimately dethroned Ferdinand Marcos.

The mid-80s, in turn, presented New-Wave and Post-Punk bands that were all able to come up with songs that they produced themselves. With the aid of an FM station called DXWB, singles from unsigned bands such as Violent Playground and Ethnic Faces were on heavy radio rotation thereby helping the artists achieve popularity despite being underground. A most notable point during the period is The Dawn’s rise to greatness with their track called “Enveloped Ideas.” The post-martial law Philippines was a time of surging creative forces with musicians not merely interpreting pre-existing songs but continuously composing originals, simultaneously inspiring other fellow musicians.

This was carried on in the 90s albeit changing the sonic landscape as alternative rock came into view. Most bands that had gained legendary status from the early part of the decade started out as independent outfits, constantly playing in popular rock clubs such as Clubb Dredd and Mayric’s. But there was already a conscious effort for most groups to be signed to major labels. Music was again becoming a business, a financially-supportive one that is. Still, FM Stations such as LA105.9 and specially NU107.5 were generous enough to play self-recorded and produced songs from unsigned artists. One of the best known programs of NU107 was “In The Raw,” wherein every song played is underground non-mainstream tracks submitted by unknown bands. Some of those songs eventually got played regularly outside of the program. While the program definitely served as an encouragement for young musicians to pursue their passion in music, it was also proof that more potential independent artists were just waiting to be discovered.

Indie record labels were still around. Such record companies were responsible for rounding up bands that were willing to take the road less-traveled, as far as labels are concerned. By the 2000s specially, it was no longer a matter of a musician’s quality for him to be signed to major labels. It was a choice. With major labels, the creative decisions are usually handled by the company executives who consciously take control in an effort to make their product as profitable as possible. One example of this is when they force an artist to cover a previous hit by another artist; in this way, a tried-and-tested song acts as bait for the consumers who would otherwise be hesitant to buy an album by an unfamiliar artist. In this sense, more bands rationalized that it would be better to belong in an indie label. Among all the “little record companies,” Terno Recordings is by far the most successful. Under their belt, Terno boasts bands that are of equal or higher level than those in major labels (e.g. Radioactive Sago Project, Up Dharma Down, Orange & Lemons). As an additional major appeal, Terno’s visual art, from the cover to the packaging are very refreshing – utilizing vintage and lo-fi approach.

By the late 2000s, the ubiquity and necessity of personal computers in every urban household paved the way for even the most common man to have the ability to record & mix songs easily. Audio software is readily available for anyone who needs it. Partner that with the internet and you get hundreds of indie musicians sprouting like mushrooms in a forest. Web sites such as MySpace, Soundclick, Facebook and Soundcloud lets anyone upload their self-made track and be recognized. The downside to that, however, is that more often than not, quality control is not administered. It’s basically still the same as two decades ago when few underground tracks stood next to the mainstream ones except that now, the former has outnumbered the latter.

Whether we call it underground or indie; alternative to mainstream or nuisance, artists will always find a way to break away from the norm. It is in their nature to challenge what is common. The reason to that is because to be different, an artist has to be independent - whether he is “indie” or not.




[IMAGE CREDITS: 'Handed-Down' by Rob Equiza; 'Up Dharma Down' by Selena Gabriel &; 'Radioactive Sago Project' by Nenez Quiño]

"Oh Holy Night / Hymn For A King"

Recorded on December 7, 2010



(Click on cover image to listen)

2010 Jam Lemon Records
Cover Photo by Tracy R. Tuason

"Quite A Lesson"

Recorded on September 27, 2010



(Click on cover image to listen)

2010 Jam Lemon Records

Jam Lemon Records presents 'Brain Of Zafra'

Sometimes when you're enjoying a certain artist's music, you feel the need to share it with others. There's this itch to let your friends listen to it. I'm not talking about spoonfed songs from radio & TV. Rather, I'm referring to non-commercial underground songs and artists not too many people are aware of. The indie-music pool offers a lot of these undiscovered gems. With the advent networking, it has never been easier to hear about unfamiliar bands & artists who are surprisingly good.

A couple of years ago, a fellow-music enthusiast introduced himself online to me. He lives in Mindanao and our common denominator was Grunge at the time. As I got to know him better through constant communication, I have learned that his love for music goes way deeper. Before we knew it, we were sharing thoughts on classic rock & indie artists as well as bouncing ideas about music in general.

Later on, he divulged that he writes his own songs too & even records them, albeit on his low-end mobile phone so he warned me of the bad audio quality. I took a listen and indeed he was right, it's like listening to FM radio with bad reception. However, the songs struck me! The chord progressions are simple (may not be much for the skill-focused musician), but the tunes & melodies are just catchy and the lyrics would ground any deep-thinking listener. To put a clearer description, some parts are reminiscent of Pearl Jam and mostly Nirvana which indicates the influence - but not to the point of sounding like a rip-off. The dude has his own sound. His music is of expression, not impression. Needless to say, I instantly became a fan.

After several months, I finally convinced him to release a demo compilation. He sent me 10 rough demo tracks which I tried to improve
as much as I can. Although the end result is as low-fi as low-fi can get, I believe this is something I am proud of as much as the artist is.

"BRAIN OF ZAFRA's Embryos" is now available.
For anyone interested, send me a direct message.

Because I have the itch to let my friends listen to it.

"Moonbeams"

Recorded on May 16, 2010



(Click on cover image to listen)

2010 Jam Lemon Records

"Brain Rots"

Recorded on May 10, 2010



(Click on cover image to listen)

2010 Jam Lemon Records

"The Closing"

Recorded on April 2, 2010



(Click on cover image to listen)

2010 Spotlighting Moon Songs

"March"

Recorded on March 13, 2010



(Click on cover image to listen)

2010 Spotlighting Moon Songs

"Whatever Floats Your Boat"

Recorded on March 13, 2010



(Click on cover image to listen)

2010 Spotlighting Moon Songs