Why it’s still cool to listen to CDs
The news is heard only in whispers: Alpha Records closing down its office and tapping another company to distribute its releases; Sony Music Philippines downsizing operations and also outsourcing distribution; and still another local label shutting down its CD manufacturing plant.
They say people hardly buy CDs anymore and get their music instead through digital downloads, mostly illegally. In the United States, certified sales of digital albums—albums, not singles—reached a milestone when Eminem’s “Recovery” posted 1 million downloads.
Are we really seeing the death of CDs? Industry observers abroad do not think so, pointing out that consumers have just grown wiser and carefully choose the artists they listen to.
In the Philippines, diminishing CD sales may be the order of the day, but there are exceptions. One is Noel Cabangon’s “Byahe” (Universal Records), said to be nearing double-platinum sales. Though the current benchmark for local records to be certified platinum is only 20,000 units sold, that’s still a happy story for both Cabangon and his record label.
Here are more reasons to believe it’s still cool to plunk that disc into a player, and enjoy the music without headphones.
Noel Cabangon
“Panaginip”
Universal
This follow-up to “Byahe” is loaded with surprises. There are 11 originals in the 15-track CD, most of them musings on the joys and complexities of love.
Imagery, which separates an interesting love song from the humdrum, abound. “Paano ko aaluin, ligalig ng damdamin/Kung wala namang masasandalan,” Cabangon asks in “Sana Dumating Ka Na.”
The music is mainly folk-rock, and here’s another surprise: Cabangon plays with a full band that includes bassist Simon Tan, drummer Rey Vinoya, keyboardist Nikko Rivera and guitarist Edwin Vergara. In some tracks Vergara flies high with excellent solos.
The covers are certainly not boring, most of them interpreted with a jazz flavor. If that sounds unlikely in “Bulag, Pipi at Bingi” or “Sangandaan” (the theme song from “Sister Stella L”), believe us, it works.
The title track, Lennon’s “Imagine” applied to the Philippine setting, may seem naive. Then again, it’s in dreaming that responsibilities begin.
Barbie Almalbis
“Goodbye My Shadow”
12 Stone/Star
The sweet voice is back after a long spell. Now married, with kids, Barbie Almalbis finds time to write new songs and play them with a new backup, brother-in-law Karel Honasan on bass and Alden Abaca on drums.
The album seems more rock ‘n’ roll than any of Almalbis’ previous works with Hungry Young Poets and Barbie’s Cradle. The first track alone, “Ostrich Cowboy,” gallops with infectious energy. In a few others, Almalbis’ guitar-playing is like a shot of espresso to the tired.
In the title track, Almalbis symbolically bids adieu to an old life to start a new one (apparently to raise a family): “There are no regrets when it’s love who decides.”
The love tunes are pretty interesting, even the titles (“No Police”) make it look intriguing. As much as the vignette lyrics, the arrangements work like a charm—done in superb collaboration that makes one rave about the power of a trio.
Almalbis’ songwriting veers away from formula. In “Lights,” for instance, she sings about God in a hip way that takes spiritual worship out of the church and into one’s living space.
Humanfolk
“Humanfolk”
MCA Music
A collaborative outing that features the diverse talents of Johnny Alegre, Susie Ibarra, Cynthia Alexander, Malek Lopez, Roberto Juan Rodriguez and Abby Clutario, this record attempts to find coherence in the jumbling of jazz, rock, folk and ethnic music elements. The result is a kind of world music in which the “humanity” of Pinoy folk traditions are showcased.
The ethnic tracks may sound boring to urban rats, but the jazz-inflected numbers should sway hostile opinions. The first song, “Para Sa Tao,” is enough reason to listen to this collector’s item: guitar and percussive instruments caressing the soul to remember pure love and bliss, as the vocals embrace via a melodic mantra — the Filipino alphabet. If that sounds ridiculous, listen closely because it leads to an illuminating phrase: “Pa-ra-sa-ta-o…”
We feel like the kindest-hearted people in the world.
Chelo A.
“Love, Life & D’Light”
Homeworkz/Universal
A member of the fantastic Philippine All-Stars dance crew, Chelo A. exhibits her other gifts: singing and writing songs. She proves it’s possible to harness Pinay pride while reveling in her identity via R&B/hip hop.
The tracks are quite engaging, starting with the first cut, “Pinays Rise,” which takes off on a cheering-squad beat not unlike Toni Basil’s “Hey Mickey.” Thank God the rest of the material stays out of the fist-pumping cliche and explores instead Chelo’s narratives from personal experience.
The album has 23 tracks—including her spoken preface to what each song is about—quite an abundant lot. “I want your undivided attention,” she coos in “Kiss and Tell,” and we’re glad to listen because she can carry a tune, no matter how limited her range.
The beats and rhythms come courtesy of a team of collaborators led by Fil-Ams Flava Matikz and Knowa Lazarus. Together, Chelo A. and her record crew gives us something to play at a party, even on the beach. Pocholo Concepcion
