Paying a homage to artists are oftentimes a sheep's clothing of every record labels; where inside the skin resides the need to store money, lots of it. Reputation follows next, representing the skin, the relationship with consumers and the object of honor. They make strategies that likely blind us, especially fans whom adored the object of honor from day one up to the very last day and of course those curious ones tracing the roots of the object of honor's good-old, glorious days.

Then after buying, you gripe about the price, the low-end quality and the expectations never met. But you are blind from the start, and sourgraping is like arguing with your parents on how in a wicked world you were born with that kind of face. It's your fault. No it's the artist's fault for creating bedlam music. No it's the record label's fault for they're too much of a clever to brought you on your nearby store and purchase it with a commence of satisfaction. And the endless blaming goes on and on and on…

Still, the artist carried the name. They're the one's being pegged to sell. Their contribution to music, their image to people and media, and their raw talent were best remembered and worst attributed. And these were major factors or detriment to the interest of the public, especially the listening public who rave and rant for  music sake.

But whether it's a tribute, b-side and rarities compilation, or GREATEST HITS album, the record label still has the last and the most forceful gunshot. They are the brains to pick the right songs, to maneuver artists and producers, to promote the piece.

Yet, at the end of the day everybody's a verdict, and the subject of blame.

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Rivermaya and Teeth are two acts that enjoyed the boom of alternative rock in the mid-90's; where Seattle-based bands reinvented themselves, Kurt Cobain committed suicide, Grunge music died. Also, it is the common place where Pinoy rock reached its peak, and served as the biggest rival to mainstream powerhouse Regine Velasquez and Ariel Rivera.

Both Rivermaya and Teeth are also the current victims of the Greatest Hits strategy, but with will and contract (the label owns the song) of course. Rivermaya, whose 90's career was in head to head battle with the Eraserheads, have already two greatest hits released earlier (one of which is the HIMIG NG DEKADA NOBENTA COMPILATION). But the earlier GH is carried along with name of Bamboo Manalac. Now that Bamboo's with the Bamboo band and so as Nathan, and Kokoi is stinting with Barbie/Pido Cradle – the name of Rico Blanco is becoming the center of public attention.

The Rivermaya Greatest Hits 2k6 is the old-fashioned way of queuing songs. The

popular ones and the most recognized are served, so as to mark the success that made the post-Bamboo Rivermaya a surefire hit to the listening crowd. Two new songs also made into the cut, "posible" an anthemic passage of positivity and confidence even made a circulation to the radio and music channels, and also became the SEA Games 2k6 hymn. The latter also reminds one of the trouble-free hooks of another anthemic song, "liwanag sa dilim," which is also part of the Rivermaya Greatest Hits compilation.

"241" is obviously a sequel to "214" a.k.a Am I real. This continues the sentimentality of the former, but with Rico ready to let go of the past because as the lyrics states, "somebody owns you

now."  Rivermaya with Rico makes good sentimental ballads, but with a touch of immature and often bastardized Coldplay melodies. The thing is – you still are aware that you enjoy every bit of it; the carefree and smooth melodies, the deceptive, warm guitars and Blanco's voice so gentle it leaves you wanting for more. That basically speaks for "balisong" probably the best  OPM rock-ballad of the decade.

"Umaaraw-umuulan" describes the early sound of the Bamboo-led Rivermaya – guttural, yet full of air. It is the time when they're starting to build again the name, and make maya's wings fly again. However, the band appears to dive very low-lows with "makaaasa ka" an inclusion so unforgivable I want to hit the stereo with the thing I'm holding. Commercial songs make bad reputations and worst if its sick of forced, sloppy guitars and overused, predictable lyrics.

However "Ambulansya" makes a statement that let me forget "makaaasa ka." I remember watching that Maui Taylor-flick  GAMITAN, where this song was being played at the end part of the movie. The siren effects add an emotional texture, and the delicate piano lines give the impression of a good closure to one's chapter… "Abulansya" defines the latter Rivermaya – where it takes a tragic break-up to move on and continue what they have started.

Teeth has enough credits under its belt. They spawned national anthems like "prinsesa" and the beer ode "Laklak." The former charted the number one position on the now-defunt/legendary alternative rock station LA 105 for a death-defying 12 weeks, which also joined Eraserheads' "alapaap" to the center of Senatorial call for banning. Their self-titled album turned double platinum, and the two follow-ups Time machine (1996) and I was a teenage tree (2000) bore with a platinum-gold stature.

 And now Teeth has all reasons to smile. Their efforts are at last recognized with this 18-track CD. Teeth's Greatest Hits is a collection of razor-sharp, in-your-face music that's bold, heavy, and addictive. It depicts an age of long-haired species who swear life is all about angsty music and rebellion against the sophisticated and the norm.

Drugs, sex and alcohol – who says it could all get bad? Well, Teeth's youthful presence states it isn't. The energy fuels through every song's backbone, oozing with fun, regret and sometimes anger, but they're one of those who write with no blot ink and a lot of confidence. They write with experience about love and getting hurt, about the harshness of life and the means of enjoying it. They were never pretentious yet these led to an end that will truly be remembered.

Most of the songs are all-out grungy and hard-edged. Anti-technique and lots of textures are also showcased – sort of a balance or a gnashing-of-teeth style for the band. It is the offspring when you mash-up Nirvana and STP with classic Pinoy punk-rock, which ends out to be straight-forward, tunog-kalye rock. "Laklak" exemplifies this melting point of teeth's sound. Reverb-heavy but a sure melodic blast.

There's so much grunge-sounding on Teeth that you would mistake them for Soundgarden or even Nirvana. "Unleaded" and "Time machine" describes this obvious patronage of the band to the Seattle-based gods. Instead of growls though (not the metal kind), it's been replaced by tame anger and sing-songy melodies. While "Dogs can fly" is comparatively but subconsciously Wolfgang-ish and Razorback-ish with a great drum work courtesy of their drummer Mike Dizon who is now with Pedicab and Sandwich. On the other hand, "galit sa Mundo" is like attempting to steal the success of "laklak." The most structure of the song is very much "laklak" except for the lyrics. I don't know, I just notice it.

There are a lot of nice material in this GH album. One is the psychedelic "super human" and the often, patok-jeepney murdered "prinsesa" but the main laurel is well deserved by "tugtugan na" and one of the soundtrack of my life "shooting star." "tugtugan na" was never a huge Teeth song, but most of my cousins (in their 20's) knew this song. it kicks with guitar machismo and groovy basslines then it blows with the title line. I enjoyed head-bopping with this particular track, especially on that instrumental part where Jerome's soloing is brought to by energy of orgasm!  "Shooting star" is sincerely and unarguably one of the best OPM songs ever made. Six years ago up to now, I still can't get over with this song. It's not just about wishes, but rather about fulfillment. And that's how I interpret it. The sound may be mope, and of the melodrama kind yet Teeth's experimentation on such is a risk that turned out to be successful.

Rivermaya - GREATEST HITS 2K6

VERDICT: 7.5/10

Teeth – GREATEST HITS

VERDICT: 8/10