TRACING THE ROOTS OF PINOY ROCK MUSIC

The following is a synopsis of my personal observations and recollections during my adolescent years growing up in
the Philippines pertaining to the Pinoy (short for Filipino or Pilipino) music scene and in particular the Rock music
(synonymous to Rock & Roll) scene that had led to the evolution of the Pinoy Rock music as well as the OPM
(Original Pilipino Music) and "the Sounds of Manila" phenomenon. Thus, this could be the pre-Pinoy Rock music
epoch and how it all got started.
So, enjoy and reminiscence.... and let the Good Times Roll! :-)
Peace & Love,
Ben Yanto
PCR Project Moderator
The beginnings........
Mid-50s saw the initiation and the popularization of Rock & Roll music in US being spearheaded by Elvis Presley,
Chuck Berry, Little Richard, Fats Domino, Buddy Holly, Everly Brothers and many more. Many radio stations in the
Philippines back then played many of the Rock & Roll tunes, particularly Elvis' songs. Elvis Presley was "the"
music icon of the 1950s decade and later, became the King of Rock & Roll. Henceforth, the 50s was the period
when the Rock and Roll music became widely accepted internationally.
During the late 50s, Bobby Gonzales recorded his big hit song "Hahabol-Habol" and Eddie Mesa, because of his
looks and charisma, was named the Elvis Presley of the Philippines. These 2 were the popular music icons in the
Philippines at that time.
During that time also in the Philippines, the establishments of "combo" (with their instruments like non-electric
acoustic guitars, ukeleles, unique floor-bass made of gas tank, bongos and maracas) groupings had proliferated in
Pinoy music scenes. Many combos had imitated the Elvis' Rock & Roll pop culture (such as the attire as well as the
smoothly-combed, greasy hairdo). The "Battle of the Bands" then got established amongst combos in metropolitan
Manila, Pasay City and as far as in Cavite areas.
Then around the early stage of the new decade of 1960, the instrumental groups from US & England such as the
Ventures & the Shadows respectively became popular and hit it big in the Philippine shore. Thus, the electric
instruments (such as electric and bass guitars made by Fender, Gibson and local Philippine-made electric guitars) as
well as the 5-piece drum set had finally set in into the Pinoy combos or bands as the standard musical equipment.
At that time in the early 60s, Pinoy instrumental bands had also evolved and came the bands like the RJ & the Riots,
the Electromaniacs, the Technicolors, the Hi-Jacks, the Deltas and the Celtics just to name a few. Henceforth, it was
also when some of the Pinoy bands started to make their own music composition such tunes as RJ's Mashi-Mashi,
The Electromaniacs' Lovers Guitar, the Celtics' 707 tunes and many more raw Pinoy rock music.

The British are coming.....

Then came 1963, the Beatles music were getting into the Philippine radio airwaves. The Beatles became popular
first in the Philippines and in Asia before they were even made popular in US. Remember hearing Eddie Mesa & the
Hi-Jacks recording of the Beatles' "I Saw Her Standing There" song being played at the radio stations in the
Philippines back then?
February 1964, the Beatles finally conquered America and thus revolutionized the Rock & Roll music pop culture
scene into a new level worldwide into what we called now as the pop Rock music phenomenon. Thus, the Beatles
became the pop culture music icons throughout the remaining 60s decade and Beatlemania had propelled
worldwide.
The "British Invasion" of the mid-60s era had catapulted many more aspiring Pinoy bands like the Moonstrucks, the
Dynasouls (formerly Dynasonics), Tilt Down Men, Bits & Pieces, Downbeats and many others that followed. Those
Pinoy bands then had imitated many popular British and US bands so meticulously (plakang-plaka talaga!) such as
the Beatles, Dave Clark 5, the Rollingstones, Cream, the Beach Boys, the Doors, the Young Rascals, Jimi Hendrix
and lots more. The addition of the portable electronic organ instrument (such as the Farfisa & Vox organs) in the
band's musical accompaniment equipment had added new dimensions & sounds to the blooming Pinoy Rock music.
Trivia: Remember those "SONGHITS" booklets and paperbacks? Those were the hottest selling item at that time
which most of the young generation (me included) acquired them as their own copy and sang along. You know how
Pinoys loved music! :-)
(to be continued............Part 2 - late 60s through the 70s Pinoy music scenes)
One important & final note: In looking back to the evolution of the Rock & Roll music, many popular music icons
like Elvis Presley and the Beatles were inspired by many Black music & artists such as Chuck Berry, Little Richard,
Fats Domino, Robert Johnson and many other faceless Blues musicians in US of the 30s, 40s & 50s.
http://www.pinoyclassicrock.com/roots.html

The 1950's were a time of changes and the music of the decade both reflected the cultural changes that were
happening while still holding on to the societal norms of the past. Following the detrimental effects of World War II,
the United States was about to embark on a musical journey that would change the face of music for decades to
come. Racial tensions were being strained with the beginning of the civil rights movement and music reflected many
of those tensions. Rhythm & Blues (R&B) and Rock 'n' Roll popularized "black" music and many African-American
musicians rose to prominence and enjoyed success, but while some were able to reap the benefits of their work,
many others were forgotten or denied access to audiences through segregation. A lot of people believe that during
the fifties many of the white artists stole music from African-Americans and capitalized on it for their own benefit in
a way that the original artists could not. A perfect example of this happening is when Pat Boone was made to cover
Little Richard's song "Tutti Frutti" and Boone's version topped higher on the charts, while considered by many to be
the inferior version of the song. Others believe that the popularization of R&B and Rock 'n' Roll only helped to
bridge the gap between blacks and whites and further the civil rights movement. While those genres paved the way
for future music, traditional pop and country music clung to the past with old standards remaining popular and a
multitude of covers topping the charts. Either way, this decade was a time of innovation that helped to influence
everything that we listen to on the radio today.
Popular Music Genres of the 1950's

Rock 'n' Roll

Traditional Pop
Country
Rhythm & Blues
Elvis Presley, Chuck Berry, Jerry Lee Lewis, Little Richard, Chubby Checker, Billy Haley & the Comets, Buddy
Holly, Carl Perkins, The Coasters, Bobby Darin, Ritchie Valens, Roy Orbison, Gene Vincent
Nat King Cole,
Rosemary Clooney, Perry Como, Dean Martin, Tony Bennett, Peggy Lee, Ella Fitzgerald, Johnny Mathis, Andy
Williams, Frank Sinatra, Frankie Laine, Patti Page, Teresa Brewer, Ames Brothers, Andrews Sisters, The Four Aces,
Doris Day, Pat Boone
Johnny Cash, Gene Autry, Hank Williams, Conway Twitty, Patsy Cline, The Everly
Brothers, June Carter Cash, Les Paul & Mary Ford Little Richard, Frankie Lymon & the Teenagers, Sam Cooke,
The Orioles, Ray Charles, Fats Domino, The Ravens, The Penguins, The Crows, The Platters, Billy Ward & his
Dominoes, James Brown, Lloyd Price, Bobby Day
Rock 'N' Roll
The 1950's saw the emergence and rise of Rock 'n' Roll and Rockabilly. Carl Perkins was one of the pioneers in the
creation of rock music and his style is often referred to as "Rockabilly" because it sounds like a combination of
country and R&B music with rock influences. Some other artists that were popular in the rockabilly genre were
Buddy Holly, Jerry Lee Lewis and Gene Vincent. Perkins wrote and recorded his chart-topping hit "Blue Suede
Shoes" in 1955 and the song was then covered by Elvis Presley and enjoyed even more success. Elvis Presley is
thought to be the "King of Rock 'n' Roll" by many and rose to fame after beginning a professional relationship with
Sam Phillips - a studio owner who wanted to market "black music" to white audiences. Elvis was more successful in
this endeavor than any other artist of the time and he epitomized the Rock 'n' Roll style and teenage rebellion of the
1950's. One incident that best exemplifies these qualities in Elvis was his controversial performance with hip
gyrations on the Milton Berle Show in 1956, a performance that shocked the conservative sensibilities of adults
during the time but drew in the youth as his performance on the Ed Sullivan Show only a few weeks later drew in
nearly eighty-percent of the television viewing audience. While Elvis is largely responsible for the popularization of
rock music, it is important to remember the original African-American artists who created the genre and were
pushed out of the rock scene like Little Richard, Chuck Berry, The Coasters, Chubby Checker, Fats Domino and the
many others who were not afforded the opportunity to even record their music.
Traditional Pop And Standards
Traditional Pop music of the 1950's refers to the music that was popular before rock music came into the mainstream
in the middle of the fifties, it also refers to music that was popular at the same time as the beginning of rock music
during the rest of the decade but remained largely free of rock influences. Some examples of traditional pop artists
who were popular during the decade were Perry Como, Tony Bennett, Nat King Cole, Patti Page and Dean Martin.
Often the most popular musicians in this genre translated well onto television as they would sometimes have their
own television variety shows or music specials. They sang a lot of original material, but a lot of their most popular
hits were American standards, or songs that had been released many years previously but were already well known
by the public. Most songs in this genre could be classified as being simple and melodic with catchy lyrics. Many of
the traditional pop artists of the 1950's were interpreters of pop standards who would take the old well-known songs
and put their own individual style into it. Some of the most popular interpreters were Ella Fitzgerald, Frank Sinatra,
Peggy Lee, and Doris Day. This genre was greatly influenced by jazz, swing and big band.
Country

Johnny Cash and Hank Williams defined the Country and Western style of music during this decade. Cashs music
was more of a country sound with a rockabilly influence and his songs often centered around a certain theme,
including life, sorrow, and relationships. He also strived to integrate humor into his lyrics to make his collection
well-rounded and respected by a variety of audiences. Because of his compassion for his fellow human being, he
performed many times for inmates in several prisons across the country and his most famous performances resulted
from Folsom Prison. In similar musical style, Hank Williams was a prominent singer and songwriter of the decade.
He continues to be a country music icon and helped to popularize the Honky Tonk style of country music,
characterized by the piano and ragtime sound combined with country and rockabilly harmonies. His most popular
songs, including Hey Good Lookin and Your Cheatin Heart, have come to define the country style of the
1950s. He also helped to create the Outlaw Country genre a style which included songs about spirituality and
rowdy times. Other country artists also began their careers in the 1950s but did not reach the height of their success
until the next decade, like Patsy Cline and Conway Twitty. Country music also served as catch-all genre where many
artists, like Connie Francis, Frankie Laine, and Pat Boone, might record one or two singles with a country influence
but would remain largely producers of traditional pop music during the decade.
Rhythm And Blues
Rhythm and Blues emerged from the jazz music of the 1940's and it came to be a term for blues music that was
slightly more upbeat. Rhythm and Blues of the fifties combined jazz, doo-wop, blues, and gospel to create a unique
sound during the decade. It also spurred the creation of such genres as Rock 'n' Roll, soul, Motown, and funk music.
Many R&B artists of the decade were originators of rock music and a lot of the songs that came out of the fifties in
the rhythm and blues genre are one in the same with the rock 'n' roll genre. A lot of the most popular songs of rock
music enjoyed time on the R&B charts during the decade. Many African-American musicians who pioneered rock
music were somewhat pushed into the category of R&B artists by music producers who were trying to make way for
white rock 'n' rollers to capitalize on the new genre. This genre is largely populated by African-American musicians
with many white artists and musical groups covering the original material and turning R&B songs into traditional
pop songs with a more mainstream sound (like the Chordettes and the Crew-Cuts). Some of the most notable R&B
artists of the decade include Frankie Lymon and the Teenagers, Sam Cooke, The Drifters, The Platters, Ray Charles
and Lloyd Price.
**As you read through this section you may think that some artists listed in one genre should be featured in a
different genre. This is because that a majority of the popular and well-known artists were well versed in a number
of genres and enjoyed great cross-over success during this decade. Nearly all music from the fifties featured
influences from rock, R&B, country, and pop. We tried our best to break down these genres and the examples of
artists for each were chosen on the basis of if you were to hear their most popular songs today, what genre would it
most feel like. It is important to recognize that many of the musicians of the fifties focused on gaining mainstream
recognition and to do so they needed to appeal to all audiences and therefore dabbled in many genres. It was also
one of those perfect times in music history where a confluence of genres just happened to produce some of the most
loved and well-known music of the past eighty years.**
Top Songs Of The 1950s
Popular songs from the Fifties Decade, arranged by year but in no particular order. Do you remember listening to
these songs on the radio?
1950

1951

Sentimental Me - Ames Brothers

Mona Lisa - Nat King Cole

All My Love - Patti Page

I Wanna Be Loved - Andrews Sisters
Music! Music! Music! - Teresa Brewer
If - Perry Como
How High the Moon - Les Paul & Mary Ford
Because of You - Tony Bennett
Come On-a My House - Rosemary Clooney
Be My Love - Mario Lanza
1952

1953

You Belong to Me - Jo Stafford

Here in My Heart - Al Martino
Why Don't You Believe Me - Joni James
Heart and Soul - The Four Aces
Unforgettable - Nat King Cole
The Doggie in the Window - Patti Page
Your Cheatin' Heart - Hank Williams
Till I Waltz Again With You - Teresa Brewer
That's Amore - Tony Bennett
Vaya Con Dios - Les Paul & Mary Ford
http://www.thepeoplehistory.com/50smusic.html
http://officenaps.com/miscellaneous-flotsam/60s-filipino-pop-music/
http://www.slideshare.net/JessicaLoader/history-of-music-1950-2010

The Philippines go with the flow to whatever is popular in the world. Filipinos imitate lots of things. Music is one
thing they use to go with the flow. Through the years, Filipino music develops with the help of foreign musicians
and musical styles according to what's popular at the time.

Prehistoric Music
The datus and rich people sit together. The gong bands start to perform in front of them. Wooden percussions sound
the whole room while a Tagalog jingle is sung.
Gong and folk music is present before Spaniards arrived. Tagalog and Visayan jingles were composed. Songs were
short and instruments may include bamboo sticks and stones from the ground. Farmers may sing Tagalog jingles
while planting rice to boost their energy at work. Fishermen whistle attractive sounds to call fishes in the sea.
Tagalog and Visayan composed songs with gong bands may entertain datus and sultans or any royalty.

Kundiman
The moon is bright with stars twinkling like diamonds. A man in love starts to play his guitar. As he plays, the
window he's facing opens and a beautiful young maiden watches from above and smiles. The man starts to sing a
kundiman classic and he serenades the young maiden. He finishes his song and asks the maiden for a walk tomorrow
afternoon beside a creek.
The 1800s to the 1950s is the Kundiman era. The Spaniards introduced this kind of musical genre to the Philippine
islands. Kundiman (literally came from 'kung hindi man' or 'if not') is a genre of melodramatic and sentimental songs
which are fit for serenades. The tune is slow and its instruments include a guitar. The voice is mellow and the lyrics
are dramatic and romantic.
Blue Moon is an undying classic which is also very romantic. It became popular in the Philippines in the Japanese
occupation.
1950s were the days of very romantic types of music. The Four Aces' "Love is a Many Splendored Things" is a
romantic hit in the 1950s.

Rock and Roll era

In concerts and bars, a fast type of music plays. It's very exciting and the crowd starts to jump and join the dancing.
Rock and roll is an American musical genre of guitars, exciting vocals and fast drums. It was a world impact in the
late 1950s to the 1970s and also until now. Elvis Presley became king of rock and roll with his songs "Jailhouse
Rock" and "Heartbreak Hotel" in the late 1950s. He became famous in the 1960s after numerous films. The Beatles
is a British band famous internationally. They're the biggest rock and roll band in music history with songs "All you
need is Love", "Hey Jude" and "Fool on the Hill".
The 1970s was the start of the Philippine music industry success and rock and roll is one of the first genres to rock
the country. Filipino rock and roll bands Sampaguita and Juan dela Cruz Band are already icons. Sampaguita's
"Bonggahan" and Juan dela Cruz Band's "Gusto kong Mag-swimming sa Balong Malalim" are favorites in the
1970s.

Disco and Manila Sound

The 1970s is the era of Manila Sound. The 1960s to the 1980s is the disco era. Beegees, Abba funky groovy musical
style gave new ideas to Philippine music. Bands such as Hotdog, VST and Co, Hagibis became popular. Disco's like
Circuit, WhereElse, CocoBanana, Star Gazer and others introduced disco dancing.
There were other lesser known bands like Soul Jugglers, Hangmen who promoted a heavier version of Manila
Sound called Pinoy Soul and Pinoy Funk.
Manila Sound had its modern ressurgence during 2004 with the introduction of bands such as KALA and modern
OPM bands covering Manila Sound classics.

Pinoy Punk
In 1978, DZRJ-AM jock Howlin' Dave introduces the music of the Sex Pistols to stunned Manila listeners. On Disco
a filipino disco club owned by Sonny Tanchanco was cited by Billboard Magazine, (an international music magazine
based in the USA) as one of the first international clubs to successfully integrate new wave rock into the disco scene.
Pinoy rock bands started playing new wave rock. Pinoy rock icon, Joey "Pepe" Smith, Sampaguita and the Jerks

were their regular live performers at On Disco with crowds dressed up in "New Wave gears". In 1984, Tommy
Tanchanco formed Twisted Red Cross, an independent cassette label supporting independent punk music. TRC's first
official release which was a compilation entitled "RESCUE LADDERS AND HUMAN BARRICADES" that
showcased the bands he signed up for the label like BETRAYED, Urban Bandits, Wuds, Private Stock and others
were also included on the bandlist.
1980's to 1990's
In the early up to mid-1980s, Pinoy Rock became the music of Filipino protesters. Gary Granada and the band
Buklod had socially relevant lyrics for their songs. Aguilar's Bayan Ko (My Country) became an anthem during the
1986 EDSA Revolution. A subculture rejected this kind of socially-aware lyrics.
The most popular Pinoy Rock band in the Philippines in the '80s was arguably The Dawn, whose early songs were
largely influenced by New Wave and Post-punk, the dominant Alternative Music genres in the Philippines during
that period. The Dawn came to prominence in 1986, when its independently-released single "Enveloped Ideas"
became an instant favorite among listeners of DWXB-FM 102.7, a now-defunct FM radio station popular in the
mid-'80s that heavily played New Wave, Post-Punk, and similar genres.
Many music journalists and enthusiasts, as well as musicians themselves, attribute the flourishing in the mid-'80s of
New Wave- and Post-Punk-influenced bands to DWXB-FM, which began playing independently-released singles of
unsigned local bands. This helped many of the struggling bands in this era to achieve cult status. These bands
included Dean's December, Ethnic Faces, Identity Crisis, and Violent Playground, all of which were able to record
and release their respective albums in the years that followed.
Other Pinoy Rock groups took their cue from these pioneers and started recording their own songs; and this proved
beneficial to the Pinoy Rock scene, which brought back creativity and originality to the awareness of fledgling
musicians. Among the lot, The Dawn, Afterimage, and Introvoys proved to be the enduring and more successful
groups. Each was able to sustain a relatively long career.
DWXB-FM went off the air on June 9, 1987. The new Cory Aquino-led government began sequestering properties
owned by her predecessor Ferdinand Marcos and his cronies, including the home that DWXB-FM beamed from.
DWXB-FM was revived as an online radio station on September 10, 2005, by Sutton Records, with the original DJs
broadcasting from Manila.

1990's to 2000
During the start of the decade, The Hayp, Introvoys and After Image were among the prominent bands enjoying
mainstream recognition. But their collective popularity was later overshadowed by younger bands that eventually
emerged. An underground music scene was already burgeoning in some unknown bars in Manila. Red Rocks (which
later became Club Dredd), together with Mayric's and Kampo (Yosh in the mid '90s), were the only venues where
unsigned bands were allowed to play their own songs. From Power Pop, shoegazer, alternative rock (Eraserheads,
Color It Red, The Youth, Feet Like Fins, Advent Call, Athena's Curse, etc.) to hard rock, heavy metal (Razorback,
Askals, Wolfgang, Dahong Palay, etc.) to hardcore, punk, and death metal (Skychurch, Genital Grinder, Death After
Birth, Kabaong ni Kamatayan, , Loads of Motherhood, The Wuds, Yano, Bad Omen, Rumblebelly, Deifago).
To add to the plight of the underground bands, radio stations would not play their music due to the payola system in
the radio industry despite the fact that most of these bands, if not all, had self-produced ([[independent music|indie)
albums. But DWLA 105.9 challenged the current system by providing a venue for the bands to broadcast their
original songs. Pinoy Rock enthuthiasts were finally elated to hear their favorite underground bands ruling the
airwaves.
Radio station LA 105.9 advocated Filipino rock music, playing original amateur (even if poorly recorded) singles
and gave new avenues for emerging bands outside organized underground concerts. Rock n' Rhythm, a local music
magazine also supported this scene with news and updates, band interviews, album and concert reviews, carrying on
the torch that the defunct Jingle Chordbook and Moptop (popular Philippine rock music magazines during the '70s
and '80s, respectively) have entrailed. The band explosion opened avenues for non-traditional artists as well, like

Intermidya, for example. Their musical instruments looked like materials from a junk shop glued together and which
had names like Sandata#1, Sandata#2, Baby Sandata, etc.
The commercial success of Eraserheads paved the way for more Pinoy Rock acts (Rivermaya, Rizal Underground,
The Youth) getting record deals. Some brave all-female bands got signed (Kelt's Cross, Tribal Fish, Agaw Agimat)
and a few solo artists as well (Maegan Aguilar, Bayang Barrios, DJ Alvaro). Rappers crossed over with great success
(Francis M with Hardware Syndrome and Erectus), despite some earlier controversy with hiphop-bashing allegedly
incited by some artists. These bands adopted a variety of influences both in image and music; many fell under a
particular genre; however, the crossing over of styles was most often inevitable.

2000s
In the early 2000s, Hip hop-, reggae-, acoustic pop/jazz-, and R&B-influenced bands dominated the Philippine
music scene, causing Pinoy Rock to take a backseat. Only a number of Pinoy Rock bands managed to stay in the
mainstream during this period. In 2003 a not-so-well-known home-educated DJ named DJ RO started playing in a
small bar and restaurant known as GWEILOS; DJ RO helped promote the club every Monday night while there was
an emergence of Filipino Rock bands like Bamboo, Orange and Lemons and Kitchie Nadal that started performing
in Gweilos and eventually became popular. In 2004, Pinoy Rock once again gained prominence, with the rise of yet
another wave of Filipino Rock bands. During this time, the Pinoy Rock music scene in Cebu also gained exposure.
2001 saw indie band The Pin-Up Girls, made up of former Keltscross members and underground musicians, signing
to Know-It-All Records in Tacoma, Washington, making them the first Manila-based band to sign with an American
label. This development caused quite a negative reaction from the Manila rock scene as most musicians deemed the
band unworthy of the break.
The Pin-Up Girls released an EP worldwide called "Taste Test" that sold out. Know-It-All then printed a new batch
dubbed "Taste Test: The Expanded Menu". The lead-off single "Caress" hit number one on the New Jersey- and
Internet-based radio www.flashbackalternatives.com.
2004 also saw the emergence of the first Philippine virtual band, Mistula. With the internet as their stage, Mistula
comes alive through their official website, a fusion of music, graphic art, literature, photography and other art forms.
The rest of the 2000s further ushered in the mainstream buzz on Pinoy Rock, and along with it bands that leaned
more towards pop sensibilities. During this time, Pinoy Rock, more than ever, gained mainstream exposure. Pogi
("pretty-face") rock was born (with such bands as Hale, Sponge Cola, Callalily and the new, post-Rico Blanco
Rivermaya), although an obscure, provincial band that called itself Groupies' Panciteria tried to assert a different
political path, releasing in 2009 an mp3 album for free downloading on Soundclick.com after having been inspired
by the politics of ultra-independent rock artist Dong Abay; the half-send-up-of- and half-tribute-to-commercial-TV
2005 album by the band Itchyworms called Noontime Show; and the downloadable protest-folk albums of Gary
Granada.<ref>Groupies' Panciteria's free-downloadable mp3 album Heto Na . . . Ating Jackal Virgin on
Soundclick.com</ref><ref>certain albums of Gary Granada continue to be offered for free downloading as mp3
files at his website</ref>
2006 was when Filipino band, KALA, appeared in the commercial music scene with their full length album entitled
"Manila High" distributed by SonyBMG Music Entertainment. Their first hit was Jeepney which was released
summer of 2006. According to the Philippine Daily Inquirer, the band started the resurgence of the Manila Sound
genre into the modern world through their own mix of funky jazzy electronic rock music. The tribute album Hopia
Mani Popcorn was also launched. Popular bands frontlined the remake album. KALA made a funky remake of VST
and Co.'s Rock Baby Rock which hit number 1 in the airwaves.
In recent years as well, bands like Urbandub, Chicosci, Slapshock, Pencil Toe and Typecast have also played in
other countries such as Singapore and the US, amongst others. Some have even garnered nominations and
recognition from internationally-based publications and award-giving bodies. This is mainly attributed to the effect
of the internet and globalization on almost anything including music, as listeners from other countries can now see
and hear songs and videos of bands overseas without leaving their country.
http://en.wikipilipinas.org/index.php/Philippine_Music

My 50s Pinoy Rock Recollection

by Noel Copiaco (Lansing, Michigan USA)
It was around 1956-57 when I first saw a bunch of guys banging away at their instruments which comprised of
acoustic guitars (some with 5 strings instead of 6), ukeleles, and a one string bass which used an army surplus
gasoline canister as a sounding board. This was in north Tondo where I grew up and I was just in 2nd grade. I would
stop and watch every time I walked by this house after school whenever this group practiced. The house was fencedin by steel matting (another WWII surplus material) with round holes so you can view them from outside the yard. I
dont recall the name of the band but I can tell they were having fun and I knew that someday I would like to do that
too.
As I recall, this combo had one older guy who played the electric guitar once in a while. I couldnt remember what
make or model but to me it was the most beautiful thing I ever beheld in my young life. It looked like an instrument
from outer space and I was mesmerized by the sound it emitted. It was simply out of this world. Unknowingly, I was
hooked for life.
This was probably the earliest growth from the seeds of American rock and roll which were sown by the Platters,
Bill Haley, Elvis and their contemporaries. Songs like Only You and Teddy Bear jammed the radios and juke
boxes around Manila in those days. Even then, Pinoy combos where most prolific and it would be a difficult task to
name them all.
Was this the first time ever that Pinoys mimicked American pop music? The answer is definitely not! Filipinos have
been emulating American pop culture (and therefore music) since 1898. We had our own version of vaudeville,
silent movies and big bands as soon as the concepts were introduced by the Americans. Big bands like Kiko
Gatchalian and his Coconut Grove Orchestra and singers like Katie de la Cruz will attest to this fact.
But since we are in the subject of 1950s Pinoy classic rockers, let me attempt to list a few of the pioneers. Of course
this list will never be complete as it is impossible to remember them all.
Here are some: The Skylarks, Rey Sanchez, The G-Rockers, Five Brown Boys, Cora Adajar, Eddie Salamera, Blue
Jean Boys, The Blue Belt Guys, Bobby Gonzales, The Carolers, The Parola Boys, The Trailers, Audie Daquis,
Calypso Boys, Starlights, Jolly Blue Boys, Gay Toppers, Tiongco Brothers, Rene Ibanez, Diomedes Maturan, Fred
Panopio, Hi-Chords, Don Soriano, Penguins, Ike Lozada, Norrie Jacinto and even the Jitterbugs I think started out as
a gas bass band and probably the first to add a drummer.
These were just some that made a name in those days and there were many more that we probably have never heard
of. Many local radio shows and the TV pioneer Darigold Jamboree also featured talents regularly. Fiestas around
Manila always had an array of these combos entertaining the crowds. These musicians and combos were definitely
pioneers in the arena of Pinoy rock and roll. For us who started to rock out in the early sixties, we owe them a great
deal.
More on the gasoline gas tank bass:
This was the supreme staple instrument of the early Pinoy rockers in the 50s. Most of them were custom made and
had fancy headstocks sometimes in the shape of an animal or object, the most popular of which was the horse head
and the carabao head. A skillful bassist would fill in the need for a percussionist by adeptly slapping the gut string on
the pole making a rhythmic cadence.
And even this ingenious Pinoy contraption had its roots in American music. Jug Bands from the American south
used the wash tub bass with a single string that you stretched with a pole to come up with the right pitch. The early
British rockers also had their own version with their skiffle bands which John Lennon started out in.
But leave it to the Pinoys to take it up one step further and improve on the design. We dont have huge wash tubs in
the Philippines and the batya wont do. So what is the logical alternative?
In a place like the Philippines where US army surplus material was abundant, the gasoline canister was the answer.
It provided a great sounding board with a deep booming hollow sound way better than any wash tub.
And there you have it. Voila! We have bass and we have ignition. We took off like rockets into space! The rest is
Pinoy rock history.

PAP-PA-RA-RAP!
by Dr. Peter Q. Teodoro, Jr. (San Francisco, CA. USA)
One night to go and the most famous fiesta in the Philippines where more than 100 marching bands would parade
the streets of downtown Manila was to be celebrated.
Plaza Miranda, the primary witness to numerous local and national political vaudeville, was teeming with eager and
agitated spectators who came from many parts of the citys suburbs.
It was Fiesta Ng Quiapo.
That time, the tallest building in the country may be found in Plaza Miranda: the 14-story Philippine Savings Bank
building whose rooftop carried the days headlines in its running lights billboard. The entire periphery of Quiapo
church where the revered Black Nazarene dwells was lined with peddlers of agimat, leaves that cure almost every
known disease on earth, and candle vendors whose stuff were truly works of art. The north boundary of the plaza
was like an adorned and overly-decorated, multi-colored altar where flower vendors from the northern Luzon would
usually haul off their harvest. To its right was Carriedo street where locally manufactured shoes of different brands
and makes were sold in countless stalls, and Evangelista street where every household and office item that you can
think of may be found. To its left was Hidalgo street, the haven of photographers, watch repairers, locksmiths, and
home to the famous Pansit Malabon Ni Aling Bida; and Villalobos, the street that leads to Quinta and Qiapo
markets, a generous host to stalls of textile and fabric.
The much-anticipated face-off of the most famous bands and singing groups in the Philippines was the centerpiece
of the evenings celebration. Siopao, nilagang mani and inihaw na mais dominated the fare among the curious and
the anxious. The ever famous sa malamig!, sa malamig! was, as always, the nights designated thirst quencher.
At a given cue, and with the beeping and honking of horns of jeepneys and buses plying the Quiapo route as
background, the master of ceremonies took the center stage, then the sagupaan ng mga banda begun.
Bands in the 50s were not called band they were called combo. A combo was usually a group of singers and
musicians, without minimum or maximum number of members, who all contribute their vocal cords and lungs in
belting out their numbers and renditions. Having a soloist within the group was the norm. If there was a soloist in a
combo, the other members were called pap-pa-ra-rap! Meaning, they were the background vocals. At other times,
they were also called chu-wa-ri-wa-ri-wap! --depending on the rhyme and meter of the song.
Selection of songs that would make their repertoire was crucial: songs must involve everyone in the combo, either
instrumentally or vocally. Songs where pap-pa-ra-rap may be employed were always preferred and became easy
choices for most combos. Hit tunes during that time like, Diana, Mary Marylou, O Yes Sir, Treat Me Nice, Teddy
Bear, Dont Be Cruel, Blueberry Hill, and many others, were the songs that normally landed in the line up of songs
-- song titles where the soloist and background vocals neatly display their singing versatility.
And the instruments? Well, think of anything that would accompany any song without using electricity, those were
the instruments. Congas, bongos, maracas, timbales, snare drums, cowbells, cymbals, ukelele, and oh, yes, guitar,
guitar and more guitar. If you find a combo who uses an electric guitar those times, then that particular group easily
become the most celebrated among the contestants. At times, they even became the favorite.
Talking about the instruments combos used then, the focus could easily be the bass. Bass what? Just bass. Thats
what it was the bass. It couldnt be called bass guitar because it was not a guitar. Not a bass horn, not a bass cello.
No. It was just bass! Period! And the bass among Philippine combos spells the greatest difference because it was the
most noticeable of all instruments used then.
The most famous configuration was the use of reserve gas tank (used in military vehicles referred to as GP
[government property], thus, the word jeep) with improvised neck, tuning key and string. The neck is usually of
hard wood, about six feet in length with slanted fretboard, one end of which is firmly stuffed onto the handle of the
gas tank, while the other end that points upward where the tuning key is, is usually carved with baroque designs.
Tuning key? Easily this is made out of a doorknob, and the string is made of sturdy cotton cord that may be bought
by the yard.
The other variation of the bass is the use of a cylindrical ten-gallon tin container instead of the gas tank.

That evening at the Plaza Miranda on the eve of the Feast of the Black Nazarene, ten combos were to slug it out for
the championship. The stage was set for the competition and the crowd was getting thicker every minute.
I was with my mom together with several jeep loads of neighbors from our community in Sta. Mesa to root for the JBerr Boys where my eldest brother was the lead singer. The group rehearsed and dressed up in our house for this
contest in Quiapo.
Before the first group was called in for their performance, a commotion near the stage erupted. It was a fistfight
between fans and supporters of combos vying for the championship. The whole crowd was plowed by the sudden
running of onlookers in the vast plaza and the group where I belong that was vantagely positioned near the Mercury
Drug in the far end ran in different directions. We lost each other in the melee.
I was six years old that time. And when the trouble was eased out, I found myself in the arms of a Chinese man
selling hopia and other Chinese pastries beside the huge drug store. I lost my neighbors, and scanning the crowd, I
could not locate my mom. I saw a man waving a mate of slippers. I recognized it was my moms. Not for long, I saw
my mom approached the man holding her slippers high, then I told the man cuddling me that theres my mom. I got
re-united with my mom, and later with our neighbors.
The show went on and got done at past one in the morning. The group from Pandacan called Belfast won the trophy
and they got the nod of the judges for their rendition of Diana.