This was how I arranged & produced the sound of AMERICAN JUNK.

I have arranged and recorded many of (Apo) Jim Paredes' compositions and AM JUNK was one of them. My first task was to understand the composer's vision and the essence of the song by paying close attention to the melody and lyrics. I believe that every choice I make in terms of instruments, beats, sounds, and arrangements should serve a purpose and contribute to the overall sound. My goal was to create a captivating sound for the new record, as "American Junk" would serve as the carrier single for Apo's highly anticipated album, "MADE IN THE PHILIPPINES".

In the past, songwriters would often send arrangers basic demos that consisted of just the melody and lyrics, sometimes accompanied by a simple piano or guitar. Unlike today, where we receive fully produced demos, I preferred the rawness of the earlier approach. It allowed me the freedom to bring my own creative ideas to life without being influenced by existing productions.

Jim sent me a cassette tape with the melody study for "American Junk," and at the end, his instruction was short: "BAHALA KA NA" (It was up to me).

The song revolved around two characters: Pidro and Joe. Pidro represented the Philippines, a third-world country, while Joe symbolized the United States, a first-world nation. In the political climate of the 1980s in the Philippines, there was a surge in nationalism and anti-American sentiments. Despite the song being presented as a comedy, Jim's lyrics carried a profound statement.

For PIDRO, I drew inspiration from the enchanting folk dance called "SINGKIL" originating from the Maranao culture in Muslim Mindanao. To bring this traditional essence into the modern sound of "American Junk", I used the DMX Oberheim drum machine to lay down a captivating rhythm.

I then added the ethnic instruments Kulintang, and Kubing (played by RIA REGALADO YUSI), while I overdubbed the Bungkaka, Agong, and Gangsa. The fusion of these traditional and contemporary instruments created a unique theme for Pidro, showcasing the cultural richness of the Philippines.

For JOE, the American character, I chose the timeless power of ROCK 'N ROLL! The late MENCHU APOSTOL, a very talented guitarist, contributed his skills to the recording sessions at AD & AD in Mandaluyong. His exceptional guitar tracks breathed life into Joe's persona, injecting a dose of electrifying energy into the composition.

If you're curious about how I seamlessly blended the ethnic "Singkil" rhythm into this pop tune, I invite you to check out a short video clip that showcases this unique fusion. "American Junk" truly embodies the harmonious coexistence of two different musical styles.

Missing PIDRO!

Performed  by the Apo Hiking Society, music - Louie Ocampo, lyrics - Winnie Arrieta. 

In 1979, the Metropop Music Festival, a songwriting competition was in its second year. I was part of a pool of musical arrangers/musicians assembled by the festival for the composers.

One of the finalists, a young man of 18, approached me and requested that I arrange his song for the competition. He also wanted the group Apo Hiking Society, of which I was the musical director, to interpret and perform his song. This was my very first encounter with LOUIE OCAMPO.

"EWAN" won 2nd place in the festival and became his breakthrough hit. From there, Louie went on to become one of the Philippines' most renowned composers, musical directors, and arrangers, a true legend in the industry.

There were two studio recordings of the song with the same arrangement and singers. The first one was for the Metropop Music Festival album, which was recorded on a 16-track at Cinema Audio Studio A. The entire orchestra had to fit into a small studio and recorded without overdubs, as the organization was trying to save time and money. I recall Louie playing the acoustic piano while I conducted the orchestra.

The 2nd recording of Ewan was for Apo's own album under Wea Records. Recorded at AD & AD studios, I was able to record the orchestra in sections with the same arrangement but used the Fender Rhodes electric piano instead.

That's my "EWAN" story.

DANNY JAVIER- Lahat Tayo

DAVID POMERANZ is a Multi Platinum Award-Winning Recording Artist and Singer-Songwriter.

My initial encounter with David occurred in the late 1990s during a concert featuring STEPHEN BISHOP and MICHAEL JOHNSON at the Folk Arts Theater where I served as the Musical Director and Arranger.

Following the concerts in Manila and Cebu, RAMON CHUAYING, whom I've known since the 1970s at WEA Records, approached me. As the president of MCA Universal Records, he expressed a desire to create an album for David. He asked if I could facilitate the deal and make it happen. I gladly accepted the opportunity.

A meeting ensued, bringing together Mon Chuaying, Chito Ilagan, David, and myself in a Mandaluyong restaurant. Over dinner, we hashed out the details and sealed the agreement with handshakes, and the rest, as they say, is history.

We recorded the songs at Greenhill Recording Studio, utilizing a 2”-24 track recorder. Subsequently, we mixed the entire album at Pink Noise Recording Studio and mastered it at Studio 8.

"BORN FOR YOU" quickly became a massive hit, resonating across radio stations and selling hundreds of thousands of copies in a remarkably short period. Its success paved the way for another project, leading to the production of a Christmas album titled "THE EYES OF CHRISTMAS".

David Pomeranz's "Born for You" album marked the onset of his musical journey and a profound connection with the Filipino audience. Through numerous concerts for Filipino communities worldwide, he has earned their deep affection, embracing him as one of their own. One might even wonder if he has Pinoy blood.

GARY VALENCIANO 

Mr. Pure Energy

Allow me to share the remarkable story of how I crossed paths with the iconic Gary V.

It was a busy day at Cinema Audio Studio - D where I was recording an arrangement for the group The BAD BANANAS, (actors Boyet de Leon, Bobot Mortiz, Jay Ilagan, and Johnny Delgado) however, a problem came up as my male backup singer suddenly couldn't make it. I needed a tenor, a high voice that would harmonize flawlessly with The Bad Bananas. With an impending deadline, I was left with no options. Fortunately, a friend came to my rescue, recommending a singer.

In that afternoon, he arrived at the studio and if my memory serves me right, he was accompanied by his dad. He was a high school teen still wearing his school uniform of black pants and a white polo shirt. He just came from La Salle Green Hills which was close to the studio. Despite his age, he effortlessly provided outstanding backup vocals.

Fast forward, it was 1983 when our paths crossed once again. I received a call to record and arrange a few songs for a new artist’s debut album. Imagine my delight when I discovered that the artist in question was none other than the remarkable singer I had worked with before — GARY!

Little did I know that this talented teenager would evolve into one of the most phenomenal vocalists the country had ever seen. It was only later that I made an intriguing connection—Gary happened to be the younger brother of my high school batch mate from LSGH.

For Gary's inaugural album titled "GARY", I arranged and recorded four songs in 1983 at AD & AD Studios...the carrier song was YOU'VE GOT ME WORKING HARD. The others were LOVE OF MINE, AFTER ALL, and BETTY'S IN BED.

Reflecting on the past, I feel an immense sense of pride for having had the privilege of working alongside the talented high school student who once provided captivating backup vocals—MR. PURE ENERGY, GARY V!

"MAGING SINO KA MAN" was recorded at Cinema Audio Studio A on a 16-track, using 6 Violins, 2 Violas, 2 Cellos, an Oboe, and an Alto Saxophone, in addition to the Rhythm section. I still have vivid memories of our oboe player, Mang Perio.

I wrote the melody for the Sax solo, aiming to achieve a specific sound and style that I envisioned. However, during the recording session, we encountered some challenges in achieving the desired sound. Eddie Sangcap did a fantastic job, but I was searching for something different. As a result, we spent time experimenting in the studio, using various outboard effects like flangers, octavers, and more. The final result is what you hear on the record.

On the other songs such as "KAMUSTA KA?" and "MANGHUHULA", I added a 5-piece horn section consisting of 2 trumpets, 1 alto sax, 1 tenor sax, and a trombone.

Rex Smith, an acclaimed American actor and singer from the '70s, gained fame with his chart-topping hits, "You Take My Breath Away" and "Simply Jesse." I collaborated with him in the late 1990s during his concert at the Araneta Coliseum in the Philippines as his musical director and arranger. I assembled an all-Filipino band to support him in delivering an unforgettable performance.

Following the success of the Born For You album of David Pomeranz, recorded in the Philippines, MCA/UNIVERSAL was eager to capture the magic of Rex Smith. Engaging in exciting conversations, we decided to bring another musical gem to life and recorded the CD titled SIMPLY REX. 

Drawing on my experience as a jingle writer, I knew that the intro was crucial for capturing the listener's attention. With just seven notes, I created the catchy theme of "Macho Gwapito". To achieve a unique sound, I played a tubular bell (which is commonly used for Christmas music) and flutes played in the Anderson technique, inspired by my interest in Jethro Tull's music. For the electronic drum fills, I programmed a Minimoog. In addition to my rhythm section (Jun Regalado on drums, Roger Herrera Jr.+ on bass, and Rudy Lozano+ on guitar), I added a live horn and string section.

We recorded at Cinema Audio Studio D on a 24-track. The music was written by Charo Unite, and the lyrics were penned by Snaffu Rigor, both from Vicor Music.

Thanks to its catchy melody and unique sound, "MACHO GWAPITO" became one of Rico J's biggest hits.

In 1978, I was given the opportunity to work with a young and talented kid named SHARON. She was just twelve years old, and I was tasked with arranging and recording her debut album under the Sunshine label of Vicor Music Corp. We were at Cinema Audio Studio B, running a little late as we recorded the orchestra on an 8-track. While waiting for her turn to record, Sharon played in the corridor under the watchful eye of her Yaya. When it was time for Sharon to dub her vocals, she confidently stepped into the recording booth, wearing the big headset, and started singing. What happened next was nothing short of amazing. Sharon did all the songs in just ONE TAKE! No curing, no overdubs, and I was a witness to that incredible feat. Her voice was so pure and perfect that it left everyone in the studio speechless.

In that same album "DJ's PET", I arranged another Rey Valera song entitled "KAHIT MAPUTI NA ANG BUHOK KO" which became another hit. And when it was time to do her self-titled album "SHARON", the recording company asked me to arrange a disco tune for her following the big success of VST & Co.'s "AWITIN MO AT ISASAYAW KO" which I had just previously done, thus her 3rd hit song 'I-SWING MO AKO' composed by the late Caloy Agawa.

After that first public appearance, there was no stopping Sharon. She went on to sing beautiful movie theme songs composed by the great George Canseco+. She also ventured into acting in movies and hosting TV talk shows. The rest, as they say, is history. From the little kid I knew, she was destined to become...the MEGASTAR!

Sharon's talent was undeniable, and her work ethic was impressive, especially for someone so young. She was focused, determined, and passionate about her craft. Her talent would go on to shine bright, and her debut album was a resounding success. Looking back, I feel honored to have been a part of Sharon's journey, and I am proud to have witnessed her greatness from the very beginning. 

"VST & Co. began as a group of studio musicians and artists, initially with Tito Sotto, Vic Sotto, Joey de Leon, and myself, supported by session recording musicians. The creative process was a collaboration: Vic composed the music, Joey wrote the lyrics, and I handled the arrangement and recording. The concept was Tito’s brainchild, and it gained momentum when the first single, "Awitin Mo at Isasayaw Ko", became a massive hit. This success led to the formation of the iconic group recognized today as VST & Co."