Reheating Hotdog–before ‘time runs out’
THERE hasn’t been a proper Hotdog reunion after the band was left with just one original member—guitarist-vocalist Rene Garcia who would play occasionally with various musicians in other sessions.
The last time we saw bassist-main songwriter Dennis Garcia jam with his brother onstage was more than three years ago. Dennis looked so excited to play at that time, because he had just recovered from a life-threatening illness.
Mortality or, as Dennis says, “the risk of TRO (time running out)” is one of the motivations behind the coming Hotdog show on May 16 at the ballroom of Dusit Thani Hotel in Makati.
Although the band will be playing minus three original members (Ella del Rosario, Mon Torralba, Lorrie Ilustre), it will be good to see vocalist Gina Montes join Maso Diez and the rest perform an all-Hotdog repertoire.
The Inquirer caught up with Dennis recently via e-mail, where he recalled the band’s rock ’n’ roll roots and his songwriting style, which explained why many Hotdog songs are highly visual and playful.
How did Red Fox evolve into Hotdog?
Red Fox was a very young rock band (repertoire: Rolling Stones, Led Zep, Grand Funk, etc.) when it was formed. Rene was 14 then and I was 16.
The novelty of being young (and a bit articulate) clicked and the band was booked solid every weekend—for parties in exclusive schools, and for almost all the parties of President Marcos’ children.
We were also the mainstay at the classiest joint at that time called Third Eye beside Luneta Hotel, alternating with an Afro-American band called Masters of Time.
When we were legal enough to travel, we got lucky. Spencecliff Corp. (then the biggest hotel and restaurant owners in Hawaii) came to Manila to scout for a band to be a main attraction in Waikiki. They auditioned the top 20 bands in the country and chose Red Fox. We performed for a year, and only Rene and I came back home. The other guys stayed behind, got married to American chicks. (Our singer died after a three-month battle with pancreatic cancer.)
Rene and I decided to form a new band. Initially, we were talking with Boy Katindig and Walter Calinawan of the Circus Band, but it fizzled. So we started auditioning. We had almost 10 members in the beginning but this was eventually trimmed down to six.
How did Ella del Rosario join Hotdog?
I was a big fan of a short-lived local band at that time called The End which had a female vocalist from Maryknoll, Lulu Alunan. The (then novel) idea of having a female soloist was percolating in my mind while we were forming Hotdog. One day, we chanced upon Ella who came to watch the rehearsals and when we made her sing, we were quite impressed. So she became part of the band.
The guys in Hotdog were all from La Salle Green Hills and Ella was from Assumption. But was there a conscious effort to write songs that the “masa” could relate to, right from the start?
I wrote all the lyrics of Hotdog so I can safely say that I did it with no socioeconomic class in mind and no subliminal “marketing” goals. I made sure that I only wrote songs that I will enjoy listening to.
The first few hits like “Ikaw ang Miss Universe” and “Pers Lab” sounded very pop, although the lyrics were quite visual and interesting. Where did the inspiration come from?
I hate predictability, so I made sure that every tune will sound like nothing people have heard before. I was doing it then, I’m still doing it now. I draw my inspiration from everyday real life. Nothing made up—ever.
“Manila” was a high point in the band’s career and exemplified songwriting that, like good, classic literature, was full of action. Who took part in writing it and who thought of taping a jeepney barker’s voice?
I wrote the song (melody by Rene) and I had this idea of sending my assistant to record a barker (with a portable cassette recorder) in Quiapo—way before sampling became an industry staple.
The band became known for wisely riding on to musical trends like disco, for instance, by coming up with songs (“Bongga Ka Day,” “Annie Batungbacal”) that differed from the rest of the copycat groups. Honestly, did you enjoy that particular period?
It wasn’t an enjoyable period for us because our roots have always been of the rock persuasion. Even our repertoire during Hotdog school tours (which we started in the country) consisted of stuff like Edgar Winter Group, Billy Preston and Elton John ditties. So the songs we created during that era can be considered parodies.
“Beh Buti Nga” was New Wave and the music was reminiscent of the B-52s. At that point in the 1980s, did music take a back seat because you, for instance, were immersed in an advertising job?
I had been in advertising since age 17 (as a copywriter at Philippine Advertising Counselors, where I created the breakthrough “O Anong Sarap—Isa Pa Nga” San Miguel Beer campaign). But it was advertising that always took the back seat. Music always dominated my life. The only time I completely focused on advertising was when I became an expat, as executive creative director of Lintas and later FCB in Kuala Lumpur. This was a five-year gig.
We felt burned out in the early ’80s and took a break, but started gigging again in 1984.
What’s so special about this reunion concert, aside of course from Gina Montes whom we haven’t seen in ages?
We were all not getting any younger and under the risk of TRO (time running out). And since people have been clamoring for a reunion for decades, it felt right to do it now. Additionally, we haven’t performed with Jess Garcia and Rita Trinidad since the ’80s.
On a personal note, I felt frustrated when Ella lost her voice two days before her homecoming concert last year with me as producer. I felt bad for the people who bought tickets and who felt frustrated at the last-minute cancellation (Example: Gibo Teodoro bought more than 20 tickets because he loves Hotdog songs and he was looking forward to celebrating his wedding anniversary at the concert). Same thing with Budget Commissioner Butch Abad whose wife Dina has for her theme song “Pers Lab” … as in “DI NA makatulog, DI NA makakain.”
What really happened to Ella?
I spent four months of my life (and a substantial part of my savings) to make the Ella concert happen … I also wrote and produced a brand-new CD for her. Interest was overwhelming. And ticket sales were brisk. But for reasons unknown, she lost her voice two days before the show. I cancelled the gigs and provided the refund. I justified it as “God’s will.” No hidden sub-story.
Have you patched things up with Mon Torralba? What about Lorrie Ilustre?
We’ve never had any quarrel with Lorrie or Mon. I don’t know what’s going on in their minds, which may have created the perception that there were things that needed to be “patched up.” Like any band member, they individually wanted to “fly away” and discover new worlds. I patiently mentored them in songwriting (and even jingle making) for several years. In fact, if you will check out their songwriting careers, I encouraged them to hone their songwriting skills and even wrote and collaborated with them on the few songs that they managed to come up with.
This is weird. The press release says Hotdog will be backed up by, among others, a member of The Boyfriends—a band you satirized in one of your songs. Or is that all part of having fun in the show?
It’s not weird. I believe it shows the band’s “pusong mamon” and generosity. Joey Abando was the voice/brains behind The Boyfriends. He had been away for years (working in Korea) and came back recently and needed to reestablish himself. Rene thought it would be a great idea to invite him to be part of the show to showcase how Boyfriends songs would sound like if interpreted by Hotdog. All for the fun of it—while helping a fellow musician.
