In the tradition of naiveté, labeling what's what is simply a foreword to an inferior Pinoy music fan.
Entertainment-media hype is so intensifying, that each and every local consumers bite in to the "next big thing" and all the name-calling your favorite showbiz correspondent have been slating without even thinking. Who could've thought the Asia's songbird is someone who sounded like an angry woman whose approaching her PMS? Or the concert queen and king? Does filling the seating capacities of Araneta make you the apparent heir?
I guess in their ways, they helped to boost #s of struggling careers and enjoyed the paycheck the talent managers or the slew-in record label have offered and deceptively given.
Belief is highly principled. It is with shame that most are into the upheaval of the advantage, of the thing called money and belongingness. People on this category doesn't deserve the pen and the word of mouth to be transported on any public medium. We don't deserve to be fed up by these substandard ideas. We deserve to hear and see the real, and not the constructed reality they've made for the mass to embrace.
But then there's also ignorance and whatnot lack of knowledge. Dwindling on my part to criticize these pipz. I myself might be an existent epitome of these would-be journalists.
People on this category are sometimes self-assuming. They think they know about every theory in their forte, or their piece as of the moment. What they don't realize is that they might have a lapse, a wrong use of term, or probably an erratum on the information regarding the subject. Admittedly, I've experienced it most of the time. Yet to admit that you are wrong is as precious as saying I have to do better. Of course, from time to time you continue to learn and improve.
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But there are quite a handful of generics in music that everyone not only the would-be journalists or writers should know by now. "Acoustic" and "acapella" aren't genres. They're forms of a performance. Sure, the acoustic sound is recognizable enough – it could be piano-driven, acoustic-guitar driven or even with live accompaniment like a horn or string section. Oftentimes it is played live but it could also be recorded. However, it is not backed by subcultures like that of hiphop, reggae or let's say rock, not even a stand of its own because every single kind of music could be trimmed down into raw sets of acoustic, be it a basic instrument or a guitar. Same with "acapella" which is sung without any piece of electronic or raw instrument. These two (acapella and acoustic) are somewhat being build-up as genres by substandard local critics and the ordinary. Since both were mostly enthused by yuppies and those who drive all the way down to Aruba bar, Tapika, hard rock café or insert your favorite bar and lounge in the metro. It's a debatable thing, but at the end of the day talking about it is pure absurdity.
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The ACAPELLA story can be traced as early as the earliest human stage. Men talk. Talking is silly music. The moment we talk, that's the moment we sing shit and shabby, and learn kiddie rhymes like "close-open, close-open." Kidding aside, ACAPELLA music isn't really new in our vocabulary. Most rehearsed in acapellas before plugging in the rhythm section. Name the church choirs, the singing sessions you have with your friends, it is with pundit consideration an Acapella. But with the tradition of Boyz 2 men's "it's so hard to say goodbye to yesterday," there's simply no stopping Acapella. Acapella step its way into tracklists of Cd/cassette records. In the Philippines, the likes of The Company and 92 A.D. created a couple of Acapella-sounding music on their string of hits. Soon, local boygroups followed their footsteps, inspired probably by Boyz 2 men and other R&B/pop groups upon inclusions on the album and stage performances.
When the acoustic scene was in its boom, acapella was on its promise to be loved. About 4 years ago, TM magic 89.9, a pop radio station throw in a contest called "popcapella" featuring some of the best amateur groupies whom had an affection for blending harmonies and playing stupid with the then hiphop-flavored beatboxing. A group called The Akafellas, emerged as runner-ups. But with their college-boy looks and quite promising musical taste, they soon became popular among collegiallas and radio listeners. Actually, in my personal opinion, the Akafellas are the ones whom introduced acapella music on the Philippine mainstream music map, they were followed by other promising talents after their fruitful years of being signed, performing on the malls and classy bars, sharing the stage with both the rock and the hiphop community and getting recognized as the purveyors of Acapella music.
Here I go again, with the labeling.
Then after a sudden disappearance of the popcapella/acapella set-up, JAM 88.3 brings the nostalgia and produces an album (with Star records distribution) of cover songs, smoothly rendered in acapella format. Jam 88.3 never failed CD consumers for producing great compilation albums. I loved the 1st jamming with you CD which introduced me to heart-torturing songs called "like lovers do" and "settling." The other one with Sony-BMG at the helm (ultraelectromagneticjam) has been a past blast and a sure reminder that e-heads is the top band of the last decade.
The Blend, Jam's latest offering is a ten-track record filled with striking harmonies. The first track and the last though are quite a misfit. It seems that the two were made to fill in a ten-CD selection and are just compromised to promote the radio station and the station's interest. The move is and will always be an irrevocably bad insertion to any line-up as listeners pick up the album because of the songs and not those pumped up ads. There's the liner notes at the Cd sleeves so why not put it just there?
Interesting and not surprising, The Akafellas contributed five tracks in the album. One is a Francis M. original "kaleidoscope world" which I think they've given enough justice. Same thing with the sap yet soulful "one in me" and the loungy, bluesified John Mayer-original "your body is a wonderland." The latter has cool vocal renditions that evoke the guitar twang at the chorus, and DJ Mike's effortless beatboxing add some good vibe to the mix.
Bystander's version of Irish pop band The Corrs' summer hit "summer sunshine" splashes some enticing boy-group harmonies that made The Corrs song their own. The lush baritone meld beautifully with the bass vocals. The UVA Academical Village People also surprised me with their funkified live acappella version of Maroon 5's "this love." Dave Boholst's rendition of the gospel/mainstream crossover "I come" is one moving synchronization of well-placed vocals. I enjoyed playing this in a repeat mode over and over. Praises for the album for giving these pop hits a breath of fresh air the acappella way.
I didn't like how Live Sound, an all girl vocal group rendered in their own acappella direction that hot 90's R&B track by Des'ree called "You gotta be." This is no macho issue whatsoever, girls doing acapella sounds quite bland to me, or should I say that particular song. It's not that it is bad, but hearing it you know that the efforts being made are short of expectation. Favorite goes out to the jammed up version of PNE's "this guy is in love with you pare." The choice of song is perfect, all that hype and blending stirs clear-cut with the song's witty packaging. The vocals evocating the bass guitars are solid knocks, and the filler bading, bading is so compellingly original. Thanks to Kilyawan for providing that track.
Blend I have to say is a fun album to listen to. But it appeals only to a particular group or listeners, I myself included. So if you're looking for a twist of Acapella, try Blend. It is a sure stir. but in the case of compilation albums, it could all get tiring.
