Here is Eraserheads/Pupil frontman Ely Buendia as Fullybooked's Music Ambassador.
Showing posts with label eraserheads experience. Show all posts
Showing posts with label eraserheads experience. Show all posts
Tuesday, October 11, 2011
Monday, September 26, 2011
ROBIN RIVERA: The Eraserheads Album Producer Reveals the Secrets of the Classic Albums
ROBIN RIVERA: The Eraserheads Album Producer Reveals the Secrets of the Classic Albums
Categories: Features
Posted on February 23, 2009
From the electronic pages of our content partner Pulse.PH comes part two of writer Aldus Santos’ profile on Robin Rivera, the professor-turned-record producer who worked on all the Eraserheads albums. In this installment, Robin peels back the layers to reveal the recording techniques behind the classic albums. Robin Rivera also produced this band’s album.
Equal parts studio artist and logistician, Rivera always put emphasis on order and a rigorous program. He would invariably go, “Okay, Marcus, you have to work on this,” or “Ely, we’re gonna do this, so I want you to fix it already by the time you get to the studio.” Luckily, the producer shared, “When they get there, they already had an idea what they were gonna do. It was just a question of, ‘How fast can they execute their ideas?’”
The Eraserheads, needless to say, had very distinct personalities and conducted themselves very differently in the studio. “Ely would always come, and whatever he wanted to do, he had already broken it down to very, very small things. So, he would work on them one after another, these very, very little things. ‘O, what’s next?’ ‘I’m gonna do this guitar overdub.’ ‘Where in the arrangement are you going to do this?’ ‘Sir, it’s here, here, here, and here,’” he said of his singer and mainman, gesturing with his fingers like an agog child in a candy store.
On his drummer, he offered, “Raymund, because he plays drums—it was very hard to punch in drums—most of his performances were from beginning to end. They have to be practically in real time. Raymund, again, he does his homework, he knows exactly what he’s going to do—it’s just a matter of, ‘Can he pull it off?’ [For] each drum part, we’ll do about three, four, five takes. Usually, by the fifth take, he’s happy with it. I just wait ’til he says, ‘Sir, that’s the one!’”
His bassist, because of his proficiency, perhaps necessitated the least amount of looking-after, and he shared, “Buddy, every time he does a repeat, there’s very little variation.” On his beachnik guitar player, meanwhile, “Marcus naman is the opposite of Ely. Marcus doesn’t break things down to small, neat pieces; usually, it’s one big thing. I remember when we did ‘Maskara’ from Carbon Stereoxide. He showed up with this really big idea: ‘Sir, I’m going to play the entire rhythm guitar part backwards. I really practiced hard for it.’ ‘Bahala ka.’” The low-profile frontman of Markus Highway was, in his heyday, utterly unpredictable, to say the very, very least. “’Pag ganyan, you flip the tape over, and what you hear from all the previous tracks is backwards. So, you have to hear it several times before you know what you’re hearing corresponds to which section—just to know where you are! The time indicator was also baliktad, so we were computing,” the producer further elaborated on Makoy’s magic moment, emphasizing, “In Marcus’s case, it’s usually a very, very, very big idea, which, many times, makes it more difficult to pull off than what Ely does—pero, ‘pag nagawa naman, ‘Wow!’ It’s worth the trouble.”
As the boys grew in popularity, so did their creative restlessness. No longer were they simple Fender Stratocaster-loving college kids. They became, with the aid of Robin Rivera, one of the most envied studio bands in the land. From the naked, arguably lackluster aural quality of some of their earlier material—perhaps “Pare Ko,” most certainly “Tindahan ni Aling Nena,” in my opinion—they became the band to beat in studio wizardry.
“There’s one point, I remember—especially towards Natin 99—where, in addition to tape, we all had virtual tracks. They went to Japan, and they all had MDs, or mini-dics. So, they’d record at home, and we’d reload those into the studio systems. ‘Pag nand’yan na, ‘tsaka na lang mag-o-overdub si Ely ng mga stuff that was better done in the studio than at home—acoustic guitars, drums, stuff like that,” Rivera shared, exclaiming, “Anak ng tokwa, we were using twenty-four tracks on tape, and we were laying back at least twelve more into the computer, so we were running anywhere from twenty-four to forty-eight tracks per song! It was really quite amazing. ‘Ang daming gamit, o!’ And this was before PCs, ha. I can’t walk on the floor anymore because there was so much stuff.”
With the technology, of course, came the subtle decline in human interaction, prompted in part by geography. “At that point, they weren’t living together anymore. Dati kasi, they all live within four to five blocks of each other at U.P. Village. But, siyempre, at one point, Raymund moved over to Marikina—he was renting a house with his brothers; Buddy was in another house in U.P. Village; Ely was in Teachers Village naman, because he had moved out of the apartment with Marcus. They weren’t living that closely to each other anymore,” the teacher recounted, emphasizing the great leap in his boys’ circumstances, whereas, “Dati nga, eh—I remember we used to record Mondays and Thursdays yata—Ely and Marcus had the same coding day, Wednesday. I’d pick up Ely first, then Marcus. Dadaanan ko sila, tapos gigisingin ko na sila.”
Indeed, the narratives gave way to free association, and the organic gave way to the constructed. By the sunrise of Sticker Happy, the garage charm of the ‘Heads will be replaced with a much disembodied, almost alien-like sensibility. By Natin 99, that quality would reach even greater heights. However, the ‘Heads weren’t noise artists, nor were they peddlers of dissonance, and their penchant for memorable melodies and turns-of-phrase remained intact.
“People knew that they were already living apart from each other, and maybe you might get that impression, listening to the records,” Rivera guessed. “However, if you listen to the recordings alone, the objective was always to make it seem like everything was originating from one place. That was always my target. Eventually, they were able to set up their little studios at home, and that took over.” As Carbon Stereoxide swung by, it was getting clearer that, not only have the Diliman lads grown in songcraft, they have also developed as studio artists.
However, their celebrated producer shared, “To me, [my role] has stayed pretty much the same. The thing with the Eraserheads was that we recorded so many albums together that, by the latter albums, I didn’t have to tell them anymore what to do. They sort of knew already, eh.” The good professor, who around this time had just started work on his doctorate degree, would have two to three voluminous , er, volumes in the studio. As he flipped through the pages, he would be swathed in the ‘Heads’ technical banter, and he was like a confident parent letting his children loose without any fear of broken limbs or broken china, so to speak.
Needless to say, Robin Rivera had enough academic detachment to appreciate how his most popular clients became not only a phenomenon, but a standing metaphor for a well-lived life as well. “Each album has some connection to what they were going through. Ultra, Circus, and Cutterpillow were the adolescent albums. These were the albums in which you see, most of the themes are all those which happen to people who were experiencing adolescence,” he opined on the ‘Heads’ first triad of releases, continuing, “Pagdating ng Fruitcake, that was another part of their lives: they weren’t kids anymore. They wanted to do something a little more ambitious—something that still had something whimsical, but still had something different.”
“Pagdating ng Sticker Happy,” he offered of their genre-bending release, “they began traveling. They were beginning to see the world; they were getting older. Those songs had something to do with discovering new territories.” He offered the same dissection of Natin 99, saying, “They were experiencing new places, new technology—new this, new that. It’s something that only a twentysomething would write. Unfortunately, the people who started out with them—who were now actually twentysomethings—were more interested in clinging to their adolescence, because that was the part of their lives that was fun. Because, now, they’re working—and work is drudgery.”
“Mas lalo ang Carbon,” he stressed, “eh, nu’ng Carbon, parents na sila, eh! They were starting families. May burdens na, eh.”
As for the group’s dissolution? Well, all good things come to an end. “People started having their own lives. The fans had their lives to live also, so they stopped their dependence on the ‘Heads.” On a more positive note, he added, his brows meeting midway in the depth of his forehead, the memories battling for room in the producer’s restless mind, “Music was never a burden to them.”
source: www.eheadscountdown.com
Categories: Features
Posted on February 23, 2009
From the electronic pages of our content partner Pulse.PH comes part two of writer Aldus Santos’ profile on Robin Rivera, the professor-turned-record producer who worked on all the Eraserheads albums. In this installment, Robin peels back the layers to reveal the recording techniques behind the classic albums. Robin Rivera also produced this band’s album.
Equal parts studio artist and logistician, Rivera always put emphasis on order and a rigorous program. He would invariably go, “Okay, Marcus, you have to work on this,” or “Ely, we’re gonna do this, so I want you to fix it already by the time you get to the studio.” Luckily, the producer shared, “When they get there, they already had an idea what they were gonna do. It was just a question of, ‘How fast can they execute their ideas?’”
The Eraserheads, needless to say, had very distinct personalities and conducted themselves very differently in the studio. “Ely would always come, and whatever he wanted to do, he had already broken it down to very, very small things. So, he would work on them one after another, these very, very little things. ‘O, what’s next?’ ‘I’m gonna do this guitar overdub.’ ‘Where in the arrangement are you going to do this?’ ‘Sir, it’s here, here, here, and here,’” he said of his singer and mainman, gesturing with his fingers like an agog child in a candy store.
On his drummer, he offered, “Raymund, because he plays drums—it was very hard to punch in drums—most of his performances were from beginning to end. They have to be practically in real time. Raymund, again, he does his homework, he knows exactly what he’s going to do—it’s just a matter of, ‘Can he pull it off?’ [For] each drum part, we’ll do about three, four, five takes. Usually, by the fifth take, he’s happy with it. I just wait ’til he says, ‘Sir, that’s the one!’”
His bassist, because of his proficiency, perhaps necessitated the least amount of looking-after, and he shared, “Buddy, every time he does a repeat, there’s very little variation.” On his beachnik guitar player, meanwhile, “Marcus naman is the opposite of Ely. Marcus doesn’t break things down to small, neat pieces; usually, it’s one big thing. I remember when we did ‘Maskara’ from Carbon Stereoxide. He showed up with this really big idea: ‘Sir, I’m going to play the entire rhythm guitar part backwards. I really practiced hard for it.’ ‘Bahala ka.’” The low-profile frontman of Markus Highway was, in his heyday, utterly unpredictable, to say the very, very least. “’Pag ganyan, you flip the tape over, and what you hear from all the previous tracks is backwards. So, you have to hear it several times before you know what you’re hearing corresponds to which section—just to know where you are! The time indicator was also baliktad, so we were computing,” the producer further elaborated on Makoy’s magic moment, emphasizing, “In Marcus’s case, it’s usually a very, very, very big idea, which, many times, makes it more difficult to pull off than what Ely does—pero, ‘pag nagawa naman, ‘Wow!’ It’s worth the trouble.”
As the boys grew in popularity, so did their creative restlessness. No longer were they simple Fender Stratocaster-loving college kids. They became, with the aid of Robin Rivera, one of the most envied studio bands in the land. From the naked, arguably lackluster aural quality of some of their earlier material—perhaps “Pare Ko,” most certainly “Tindahan ni Aling Nena,” in my opinion—they became the band to beat in studio wizardry.
“There’s one point, I remember—especially towards Natin 99—where, in addition to tape, we all had virtual tracks. They went to Japan, and they all had MDs, or mini-dics. So, they’d record at home, and we’d reload those into the studio systems. ‘Pag nand’yan na, ‘tsaka na lang mag-o-overdub si Ely ng mga stuff that was better done in the studio than at home—acoustic guitars, drums, stuff like that,” Rivera shared, exclaiming, “Anak ng tokwa, we were using twenty-four tracks on tape, and we were laying back at least twelve more into the computer, so we were running anywhere from twenty-four to forty-eight tracks per song! It was really quite amazing. ‘Ang daming gamit, o!’ And this was before PCs, ha. I can’t walk on the floor anymore because there was so much stuff.”
With the technology, of course, came the subtle decline in human interaction, prompted in part by geography. “At that point, they weren’t living together anymore. Dati kasi, they all live within four to five blocks of each other at U.P. Village. But, siyempre, at one point, Raymund moved over to Marikina—he was renting a house with his brothers; Buddy was in another house in U.P. Village; Ely was in Teachers Village naman, because he had moved out of the apartment with Marcus. They weren’t living that closely to each other anymore,” the teacher recounted, emphasizing the great leap in his boys’ circumstances, whereas, “Dati nga, eh—I remember we used to record Mondays and Thursdays yata—Ely and Marcus had the same coding day, Wednesday. I’d pick up Ely first, then Marcus. Dadaanan ko sila, tapos gigisingin ko na sila.”
Indeed, the narratives gave way to free association, and the organic gave way to the constructed. By the sunrise of Sticker Happy, the garage charm of the ‘Heads will be replaced with a much disembodied, almost alien-like sensibility. By Natin 99, that quality would reach even greater heights. However, the ‘Heads weren’t noise artists, nor were they peddlers of dissonance, and their penchant for memorable melodies and turns-of-phrase remained intact.
“People knew that they were already living apart from each other, and maybe you might get that impression, listening to the records,” Rivera guessed. “However, if you listen to the recordings alone, the objective was always to make it seem like everything was originating from one place. That was always my target. Eventually, they were able to set up their little studios at home, and that took over.” As Carbon Stereoxide swung by, it was getting clearer that, not only have the Diliman lads grown in songcraft, they have also developed as studio artists.
However, their celebrated producer shared, “To me, [my role] has stayed pretty much the same. The thing with the Eraserheads was that we recorded so many albums together that, by the latter albums, I didn’t have to tell them anymore what to do. They sort of knew already, eh.” The good professor, who around this time had just started work on his doctorate degree, would have two to three voluminous , er, volumes in the studio. As he flipped through the pages, he would be swathed in the ‘Heads’ technical banter, and he was like a confident parent letting his children loose without any fear of broken limbs or broken china, so to speak.
Needless to say, Robin Rivera had enough academic detachment to appreciate how his most popular clients became not only a phenomenon, but a standing metaphor for a well-lived life as well. “Each album has some connection to what they were going through. Ultra, Circus, and Cutterpillow were the adolescent albums. These were the albums in which you see, most of the themes are all those which happen to people who were experiencing adolescence,” he opined on the ‘Heads’ first triad of releases, continuing, “Pagdating ng Fruitcake, that was another part of their lives: they weren’t kids anymore. They wanted to do something a little more ambitious—something that still had something whimsical, but still had something different.”
“Pagdating ng Sticker Happy,” he offered of their genre-bending release, “they began traveling. They were beginning to see the world; they were getting older. Those songs had something to do with discovering new territories.” He offered the same dissection of Natin 99, saying, “They were experiencing new places, new technology—new this, new that. It’s something that only a twentysomething would write. Unfortunately, the people who started out with them—who were now actually twentysomethings—were more interested in clinging to their adolescence, because that was the part of their lives that was fun. Because, now, they’re working—and work is drudgery.”
“Mas lalo ang Carbon,” he stressed, “eh, nu’ng Carbon, parents na sila, eh! They were starting families. May burdens na, eh.”
As for the group’s dissolution? Well, all good things come to an end. “People started having their own lives. The fans had their lives to live also, so they stopped their dependence on the ‘Heads.” On a more positive note, he added, his brows meeting midway in the depth of his forehead, the memories battling for room in the producer’s restless mind, “Music was never a burden to them.”
source: www.eheadscountdown.com
Monday, May 2, 2011
Eraserheads Was Formed In Kalayaan!
The Eraserheads are so successful today but really, they were just scruffy college students who had big dreams, and who started out in a small way beggining here, in UP Diliman, Quezon City.The year was 1987.
They were just scruffy kids with a penchant for all genre of music . 1987 was the year when Ely Buendia first formed his college band, Bluidie Tryste, from the freshmen's dorm, Kalayaan Residence Hall at UP Diliman. Band members then were Raymund Dela Pena (aka "Luci") - vocals, guitars / Ely Buendia - bass / Earl Pangilinan - keyboards / Drexis Tabiligan -drums. Their first gig was in a "protest concert" in the AS building lobby.
The Eraserheads came about because they wanted "FREEDOM", it was fitting that the band was formed, of all places, in Kalayaan Residence Hall, UP Diliman.
According to an article in the now infamous Pillbox Magazine written by their friend and then-classmate Redel Ramos, Ely Buendia and Raymund "Luci" Dela Pena wanted to form a new band so they posted audition ads at Kalayaan dorm. Raymund (Marasigan) was the first to respond. His piece was The Cure's "Hot Hot Hot". He later invited Marcus and Buddy. They jammed at Alberto's rehearsal studio behind the Nepa Q-Mart in Cubao, Q.C. Nothing happened with that audition/jam.
Raymund Marasigan,Buddy Zabala and Marcus Adoro formed their own band called, The Curfew. They had a lady vocalist named Candy Pelayo covering bands such like The Primitives, The Housemartins, The Bolshoi, Gene Loves Jezebel, and The Soup Dragons.
Ely and Raymund "Luci" formed a new band called, Sunday School. They only had session drummers and Raymund Marasigan would sometimes session for them. Wanting to focus on jazz, instead of "new wave", "Luci" eventually left Sunday School. Raymund brought in Marcus and Buddy from Curfew and joined Ely; hence the merge gave birth to a new band called, Eraserheads.
" Minsan sa may kalayaan tayo'y nagkatagpuan/may mga sariling gimik at kaya-kanyang hangad sa buhay/sa ilalim ng iisang bubong mga sekretong ibinubulong/ kahit na anong mangyari kahit na saan ka man patungo... "
And that was the beggining of something wonderful.....really.
They were just scruffy kids with a penchant for all genre of music . 1987 was the year when Ely Buendia first formed his college band, Bluidie Tryste, from the freshmen's dorm, Kalayaan Residence Hall at UP Diliman. Band members then were Raymund Dela Pena (aka "Luci") - vocals, guitars / Ely Buendia - bass / Earl Pangilinan - keyboards / Drexis Tabiligan -drums. Their first gig was in a "protest concert" in the AS building lobby.
The Eraserheads came about because they wanted "FREEDOM", it was fitting that the band was formed, of all places, in Kalayaan Residence Hall, UP Diliman.
According to an article in the now infamous Pillbox Magazine written by their friend and then-classmate Redel Ramos, Ely Buendia and Raymund "Luci" Dela Pena wanted to form a new band so they posted audition ads at Kalayaan dorm. Raymund (Marasigan) was the first to respond. His piece was The Cure's "Hot Hot Hot". He later invited Marcus and Buddy. They jammed at Alberto's rehearsal studio behind the Nepa Q-Mart in Cubao, Q.C. Nothing happened with that audition/jam.
Raymund Marasigan,Buddy Zabala and Marcus Adoro formed their own band called, The Curfew. They had a lady vocalist named Candy Pelayo covering bands such like The Primitives, The Housemartins, The Bolshoi, Gene Loves Jezebel, and The Soup Dragons.
Ely and Raymund "Luci" formed a new band called, Sunday School. They only had session drummers and Raymund Marasigan would sometimes session for them. Wanting to focus on jazz, instead of "new wave", "Luci" eventually left Sunday School. Raymund brought in Marcus and Buddy from Curfew and joined Ely; hence the merge gave birth to a new band called, Eraserheads.
" Minsan sa may kalayaan tayo'y nagkatagpuan/may mga sariling gimik at kaya-kanyang hangad sa buhay/sa ilalim ng iisang bubong mga sekretong ibinubulong/ kahit na anong mangyari kahit na saan ka man patungo... "
And that was the beggining of something wonderful.....really.
Monday, April 4, 2011
Ely Buendia XL40 on GMA
Ely Buendia is just beggining life at 40 years old, and he celebrated it with a solo, invitation only concert. The concert dubbed as Ely Buendia XL- Xtra Live at 40 took place on November 27, 2010 at the Republiq. Ely invited an all-star cast of musicians such as Hilera, Turbo Goth (they already released their debut, Destroy Us All so buy it!), Francis Reyes,Diego Mapa, Brigada and Ex-Eheads cohort Raimund Marasigan. It aired on GMA 7's Sunday Night Box Office December 12, at 10:30pm. That was a Sunday and it kept me awake, and I still have to work early the next day.
But it was all worth it. I enjoyed it immensly. Ely delivered quite emotionally.He deserved everything that he is today. He really did his homework and worked hard to reach the top. It's nice Ely knows how to celebrate life. He is 40. And that is a good thing. As they say, life begins at 40....
Special thanks to Youtuber Apzyify
http://www.youtube.com/user/Apzyify
Eraserheads - Asia Live Dream '98 Interview
Ely Buendia and rest of Eraserheads interviewed in Japan during their Asia Live Dream '98 gig.
Saturday, April 2, 2011
Rockstar Fan ng Eraserheads
Kahit na super Rockstars ini-idolo pa rin si Ely Buendia at ang Eraserheads. Isa na diyan ay ang idolo ko ring si Rico Blanco, ang gumawa ng tone-toneladang hit songs para sa astig na bandang Rivermaya.
Narito ang istorya ni Rico Blanco kung pano siya naging superfan ni Ely at ng eheads
Narito ang istorya ni Rico Blanco kung pano siya naging superfan ni Ely at ng eheads
Thursday, March 31, 2011
Eraserheads Photo Souvenirs
They are one of those great bands who compliment each other. They created a musical formula that is made such a tremendous appeal to every Pinoy listening. Each has his own role in making the whole equation work. They are four geniuses who made great musical experimentation in one laboratory.And what do they call their lab? The Eraserheads......
Eraserheads Experience - Raimund Marasigan Sings Everything They Say [live ]
This is one of the classic Eraserheads performance wherein Raimund Marasigan takes centerstage.
The event was the 1997 NU107 Rock Awards, where the Eraserheads performed Everything They Say, sung by Lemon who also wrote the song.
Raimund Marasigan, sporting his Beastie Boy getup, totally rocks out with his Beck-like moves. Ely Buendia playing bass (he played bass in his first band, Sunday School), Marcus plays guitar while Buddy programs the groovy effects and some block rockin' beats!!! What is cool about the eheads is that they are very much open to any musical idea and genre.
You can hear bits of folk, punk,reggae, jazz,blues,hiphop, techno and rock n' roll in some of their songs which is really cool. Props to drummer Raimund Marasigan for his creative efforts in making the eraserheads music more sophisticated sounding. Lemon is indeed Ely's Paul McCartney. :)
Enjoy this rare clip! eheads! eheads! eheads! (They can techno!)
The event was the 1997 NU107 Rock Awards, where the Eraserheads performed Everything They Say, sung by Lemon who also wrote the song.
Raimund Marasigan, sporting his Beastie Boy getup, totally rocks out with his Beck-like moves. Ely Buendia playing bass (he played bass in his first band, Sunday School), Marcus plays guitar while Buddy programs the groovy effects and some block rockin' beats!!! What is cool about the eheads is that they are very much open to any musical idea and genre.
You can hear bits of folk, punk,reggae, jazz,blues,hiphop, techno and rock n' roll in some of their songs which is really cool. Props to drummer Raimund Marasigan for his creative efforts in making the eraserheads music more sophisticated sounding. Lemon is indeed Ely's Paul McCartney. :)
Enjoy this rare clip! eheads! eheads! eheads! (They can techno!)
Eraserheads Experience - Calendar Girl ( Neil Sedaka Cover)
Eheads! Experience the magic all over again with this great performance as the eraserheads cover Calendar Girl, an old song written in 1961 by Neil Sedaka and Howard Greenfield. They made the song sound even cool in this classic performance, in my opinion.....
What do you think guys and gals? Pwede!!!! :)
What do you think guys and gals? Pwede!!!! :)
Wednesday, March 30, 2011
Eraserheads Experience - San Miguel Beer Homeboys Commercial
A classic Eraserheads Experience! This San Miguel tv ad bought the Apo Hiking Society and Eraserheads together!
Eraserheads Experience #3 - 3 Way sa Phone
From my friend Lui Lacnor as posted on FB:
"Memorable Experience Ko Is This Guys.When i Met ELY In 70"s Bistro.That Nigth Was A Beatles Nigth.Sa Labs Siya Nun At Pinagtanungan Ko Yung Guy Kung Start Na Ang Show At Di Siya Kumibo.Pasok Ko Sa Loob At Dami Beatles Items Na FOR SALE.I As...k The Guys Who"s The Owner Of That Many Beatles Items.They Said Was E.Buendia.& Then Ask Them Who"s Elly?Sumagot Ako Na ELY SORIANO.I Make A Joke That Time.At Di Ko lam Na Sa Likod Ko Si ELY.Then We Chatting The Nigth W/Dianne Ventura Ex Nya.So Impress Siya Nun Dami Ko Lam Sa Beatles & Collection..Dun Nag Start Ang Na Binili Ko Or Pinamana Niya Sa Kin Ang Lahat Ng Collection Niya Beatles Items ! & The Rest Was History...@ (to me)..Remember Na Usap kami Sa Pone?Maniwala Ka Lang Is Nag 3 Way Tyo Ni ELY Na Di Niya Lam.hehe"
picture galing dito
"Memorable Experience Ko Is This Guys.When i Met ELY In 70"s Bistro.That Nigth Was A Beatles Nigth.Sa Labs Siya Nun At Pinagtanungan Ko Yung Guy Kung Start Na Ang Show At Di Siya Kumibo.Pasok Ko Sa Loob At Dami Beatles Items Na FOR SALE.I As...k The Guys Who"s The Owner Of That Many Beatles Items.They Said Was E.Buendia.& Then Ask Them Who"s Elly?Sumagot Ako Na ELY SORIANO.I Make A Joke That Time.At Di Ko lam Na Sa Likod Ko Si ELY.Then We Chatting The Nigth W/Dianne Ventura Ex Nya.So Impress Siya Nun Dami Ko Lam Sa Beatles & Collection..Dun Nag Start Ang Na Binili Ko Or Pinamana Niya Sa Kin Ang Lahat Ng Collection Niya Beatles Items ! & The Rest Was History...@ (to me)..Remember Na Usap kami Sa Pone?Maniwala Ka Lang Is Nag 3 Way Tyo Ni ELY Na Di Niya Lam.hehe"
picture galing dito
Eraserheads Experience #2 - Panalo: The Beatles at Eraserheads
From Eranio Dantes via FB :
"One of my favorite Pinoy band 2nd to "Juan De La Cruz"-band,though they're far much younger than me,I can relate to their brand of music for they kin-a sound like "The Beatles".Its not that they "plagiarized" Beatles music but in some way ,...hard to explain,...they remind of "The Beatles" every time I hear their music."
"One of my favorite Pinoy band 2nd to "Juan De La Cruz"-band,though they're far much younger than me,I can relate to their brand of music for they kin-a sound like "The Beatles".Its not that they "plagiarized" Beatles music but in some way ,...hard to explain,...they remind of "The Beatles" every time I hear their music."
Tuesday, March 29, 2011
eraserheads experience : Final Set
From Sherlock Comely via Facebook :
"memorable experience ba? da huwag mo nang itanong at hindi ko sasabihin sau final concert.."
"memorable experience ba? da huwag mo nang itanong at hindi ko sasabihin sau final concert.."
AN HOUR WITH THE ERASERHEADS [Guess who got slaughtered?]
They arrive in the Inquirer in their t-shirt best, schoolboy hauteur and devil-may-care attitude that make other lesser known bands look and sound like grunge poseurs.
We are talking about our very own Fab Four (the association is a love-hate thing). The most awarded local band in the MTV era. The big crossover success story. The Eraserheads.
Vocalist Ely Buendia, drummer Raymund Marasigan and Bassist Marcus Zabala (guitarist Marcus Adoro is late) look ominously at the conference room, as we file in one by one, prompting band leader Ely to sound off an alarming: “What is this? Ba’t ang dami nyo?”
You’re in Playtime, we say. And Ely proceeds to clam up, pull his chair closely beside Raymund and assume the dog position, that is, they plant their chins on the cold long table as if preparing for slaughter. And then we wonder, will the Eraserheads be game enough for Playtime?
We spoke too soon.
Because behind the glint of their insouciant schoolboy charms lies a media-wise group with a bull---t detector turned up to overdrive. You can take their answers to our questions as plain truth or mere fallacious reasoning.
But there is no doubt that the E-heads success goes beyond creative packaging. They may look like kids on the lam, but they actually work hard just like the rest of us, perhaps even more so. Can you imagine five albums in five years all going beyond platinum?
Other bands, who benefited from their crossover hit, have come and gone or been cocooning for God knows what. Not the Eraserheads who seem to get better as they get older which, for them, is too distant a future to think about. On turning thirty someday (that is, in three to four years), Marcus says: Sana may ngipin pa ako nun.”
(I): Hindi ba kayo nagkakasawaan?
Raymund(R): Bakit?
Ely(E): Hindi naman kami mag-asawa. Hindi naman kami magsyota. Bat naman kami magkakasawaan?
I: You’re always together, day in, day out.
E: Hindi naman, tska iba-iba naman ang ginagawa namin.
Buddy(B): We try to stay as far away from each other when we’re not performing.
R: Usually magkasama lang kami onstage, unconsciously…
B: It shows that iba-iba kami ng interests, kahit sa music.
I: So anu-ano ang mga interest nyo?
B: Like me, I like watching movies. Nanood nga ako ng “Air Force One”. Masaya, magaling si Gary Oldman. Di ba sober na sya, pare?
R: Ako mahilig pa rin akong tumugtog, so marami pa rin akong ibang bands, para pagdating ko sa gig ng Eraserheads, excited uli ako. (Smiles) I play with other bands, other instruments. Some professionally, pero yung priority sa Eraserheads pa rin. Kaya kung wala ako sa E-heads, tumutugtog pa rin ako.
E: Ako sa bahay lang. Naglalaro lang ng mga games sa computer. Ngayon busy ako kasi ginagawa namin yung Pillbox magazine. Tinatapos ko yung mga articles ko, so yun lang. Saka yung script. Hirap kasing lumabas eh. Traffic! Wala kang mapapala pag lumabas ka, pwera na lang kung magtratrabaho ka. Kung wala naming trabaho, sa bahay ka na lang.
I: (To Raymund) What’s the exact color of your hair?
R: It used to be green- three weeks ago- but it has faded. (Points to the canned softdrink) Sprite green. Naggogrow kasi yung roots kaya black na ulit.
I: What do you like most about being Eraserheads?
B: The music.
R: That probably. Oh, no, not! (laughs)
E: It’s the fact that we can do, more or less, what we want now, in terms of music.I mean, we’ve been together for five years, we’ve come up with five…good albums, I think (Raymund drums the table and chuckles). Yung, it’s being able to play what you want.
I: What do you hate most?
B: The showbiz part.
E: The fact that until now we still have to kiss ass most of the time.
I: Whose ass don’t you like kissing?
E: Asses that are not very clean. (laughter)
I: All asses are not clean.
B: Some asses pretend to be cleaner than others.
E: We still have a few ambitions in life, like being able to release an international album, which we cannot do unless we kiss…
I: What do you do before you kiss ass? Do you psyche yourself up?
E: It’s not consciously kissing ass, it just happens…
R: It’s more of compromising… We have to play this gig even if we earn nothing from it. But you have to travel, and bring all your equipment and pay all your crew, just play somewhere where people will probably like you and release your album somewhere else.
I: But you can’t be Eraserheads without showbiz.
R: Exactly, but we knew that beore we went mainstream. We too up MassCom in college so we were prepared. We just don’t like it. We don’ look forward to doing those things, like doing free shows at Christmastime just to please people or not make people hate us.
B: But that was before, that’s what we used to do.
I: But that is paying your dues, di ba?
R: Something like that. But we have to pay the crew, travel, and (deal with) the traffic.
I: Is it good money?
E: It’s very good money.
B: It’s born out of, we’d like to think, hard work.
I: You have to pay taxes…
All: Yes.
E: Well we don’t want to but… (laughter)
B: Who wants to?
E: but everybody has to pay taxes.
R: We have to deal with accountants and the management…
E: Yun pa ang isang nakakainis, the business part of the…business. (snorts)
I: Do you think you have enough until you get old?
R: No, we don’t’ have enough. We could work harder but we’d rather not play everyday. Baka magsawa kami.
B: (grins) We could work our clean asses off so we could have enough, but we choose not to.
R: We could do pwesto every week or every day like other working bands. But we’d rather keep it exciting and choose the gigs we like to play.
I:What have you done with your earnigs so far?
E: We’ve bought a lot of things…
B: We’ve invested in a lot of things.
R: Our first investment was… we bought our musical instruments because we didn’t have any when we started. Next was the place where we live, the apartments, which we pay for every month.
E: We’re investing on ourselves. We formed some sort of a corporation to make it, I don’t know, to make it legal.
I: Who’s the money wisest among you?
B: That would have to be our manager. (laughter)
R: (to Buddy) It has to be you.
B: No, it’s Marcus. He’s not here so he can’t defend himself.
R: Marcus is in the stock market.
E: I guess he’s stuck in the market right now.
B: (to the recorder) Marcus, this is what you get for not being here. It’s your fault.
I: Have you finally finished your studies?
B: No. None of us has. We’ve been super-seniors since…(laughter) Mega-seniors.
R: …since our girlfriends were in high school. (laughs)
B: Since ’93, ’94.
E: You can never finish your studies. You still have to continue learning.
I: Do you think it’s important to finish your studies?
R: Yes, to please our parents.
I: Do your parents still have any say in your life?
All: Yes, of course.
E: Siyempre, hindi mo naman maiaalis yon. Once in a while they tell you to brush your teeth, sleep early. (grins)
R: We visit them but it’s hard to go home regularly. Our parents live far away. Buddy lives in Zamboanga. Ako sa Quezon. Si Marcus sa Cebu.
E: Oo, si Raymund sa Candelaria, ako sa Las Pinas. (laughter)
I: Kaya kayo nagdorm (sa UP Kalayaan Residence Hall)?
B: That’s where we met. We’ve been together since ’89.
I: Is anyone of you married?
R: No.
I: Living in?
B: Marcus isn’t here so…
E: Yes, he’s (Marcus) married and living in at the same time. (laughter). And he’s also gay. (laughter) And he loves his dog so much to the point of obsession.
I: You mean among the three of you nobody is living in?
E: Hmmm… Well, yeah.
B: I live in an apartment. (laughter)
I: With a girl?
R: He lives with two boys and three girls…
B: I live with one boy and about 5 girls so that makes me polygamous.
R: We’ve got housemates.
B: We’ve got a lot of housemates, college friends…
I: You live in with your housemates?
B: Well, separate rooms. (laughter)
I: Kasi the fans want to know.
B: Ah. We live in with our housemates, separate rooms.
I: Do you enjoy having fans following you around?
R: Not the following around. (grins)
E: We don’t mind having fans… sometimes, di ba, OK.
I: Anong worst experience nyo with fans?
R: The phone calls. (drums table)
B: You don’t get any phone calls.
R: That’s why I don’t give you (Buddy) my number. (chuckles)
B: (Shakes head) Lucky guy.
E: Oo, yung phone calls sakit sa ulo talaga, grabe.
I: How do they get your numbers?
All: We don’t know. They have means.
B: they probably work with PLDT or Bayantel.
R: They call every five minutes.
I: What do they say?
R: Nothing. Some of them just go blank and hung up.
B: Or some just play music.
I: So they want to hear your voice?
B: Probably…
R: I don’t know what they’re thinking. Some are spooky…
I: What’s the most “off thing” told you on the phone?
E: Pwede bang I-print yon? Hindi kasi naming alam kung fan eh, kasi parang deranged na siya. Pinagmumura nya ako sa phone.
B: Yeah, may mga nagmumura. Ewan, outright they just want to exercise their vocal chords. That’s the only time probably they can express their expletives. But some, their not even fans. There was this one nga na hoping nag-disband na daw ang Eraserheads and all that. That was the creepiest so far, for me.
I: Fan ng Rivermaya? (laughs)
B: Are you printing that? Girl yung tumawag.
E: Yan pa ang nakakainis sa lagay naming ngayon. I don’t know why but we’re the most maligned local band.
I: Maligned by whom?
E: By everybody. By the media… (snickers)
B: We’re a favorite target.
I: How come?
E: Case in point, yung “Alapaap” thing. They’re using it for the [Citizen’s] Drug Watch commercial, I think. Para saan nila ginagawa yon?
R: They should use “Iskul Bukol,” di ba? (“Iskul Bukol” is the defunct sitcom that starred Tito Sotto, the senator who charged that Alapaap encourages drug use.)
I: Yun ba yung nagkaroon ng Senate inquiry?
E: Tapos na yon eh. Ngayon may recent. Ginamit nila yung song.
R: They’re using the song for the [anti-] drug campaign.
I: Were you ever on drugs?
(Silence)
E: Off the record? (snickers)
B: Are we talking of prohibited drugs here?
E: Over the counter prohibited drugs or what?
I: Whatever.
R: No. (laughter)
All: No!
B: Without a shadow of a doubt, no.
I: How can you be young and not be on drugs?
R: Why, what’s wrong?
E: We’re not on drugs.
B: And we’re not young. (laughter) You know, people can get different highs kasi eh. Raymund gets a high from Sprite.
I: Why do you think you are maligned? Is it because you’re successful?
E: I guess that’s probably one of the reasons. I think there are two kinds of people in this country. There are those who cheer you up when you’re successful, and there’s the kind that pulls you down. Yung mga may crab mentality. And I think yun ang pinakaunderlying reason people are saying bad things about us, doing bad reviews of our albums just because we’re successful.
B: They don’t think we deserve it.
I: So you let this get on your nerves?
E: Well we’re trying not to let it get on our nerves, but for the five years that it’s been going on, nakakainis na.
B: Enough is enough sometimes.
I: So it somehow affects you?
R: yeah it does. Especially if you’re not a musician and you dis my album—gumawa ka ng album at mas maganda sa album ko, OK lang.
E: Oo, saka ka mang-dis.
R: Mangdi-dis ka for nothing, bulls---t! (emphatic)
B: To put it lightly, they’re way out of context all the time. They’re talking of things they know nothing about.
R: We even hate good reviews that are out of context.
I: Do you give a damn that other bands feel insecure about your success?
E: No, it’s their problem. Siguro kung kami ang insecure, di ba? (snickers)
I: Do you have groupies?
E: We have a few downstairs.
R: (laughs) Rock ‘n’ roll.
B: It’s part of the life, it’s part of the compromise. It’s part of kissing ass.
I: Do the groupies spoil you rotten?
R: (hesitates) No, we’re not spoiled.
B: Most of the groupies actually are responsible.\
R: They bring food.
I: How do you handle them?
R: Gently. (laughs) We have nice groupies. They’re from different schools.
E: Different age brackets…
B: ….different backgrounds, socioeconomic and political…
E: Different sexes.
I: How do you deal with your female fans?
E: We try to treat them nicely, as nice as we can, even though…
I: Let’s say a female fan is making a pass at you na…
R: (laughs) Nothing’s wrong with that. We don’t encourage it. (laughter)
E: But we don’t prevent them from doing anything they want to do. (chuckles)
I: What gifts do you get from them?
R: Different. Food, hopia…
B: We get tapes, videotapes, t-shirts, toys…
I: Nothing valuable, like jewelry…?
E: Valuable naman yun lahat.
I: Walang fatal attraction?
B: Nobody’s died yet.
I: You think there’s somebody on the brink?
B: The guy from Chatterbox, pare. (laughs) Natatakot na ako don. (laughter)
R: (To Ely) Yung papatayin niya si Marcus, pare, para lang gawin mo siyang katulong.
E: Ah oo, yun.
R: We have wacky fans.
B: That was part of a letter na…
R: Ayan na si Marcus.
(Marcus enters the room)
B: (To the recorder) Please remember, everything we said about Marcus is true.
M: (holds recorder to his mouth) Kung may tanong pa kayo number ko sa bahay 4346566.
I: What do you think you show best about your generation.
E: It’s the fact that our generation grew up in a very repressed atmosphere. I speak for myself…
B: You can speak for me too.
R: For both of us. (laughs)
B: You speak for all of us.
E: We grew up in the 70’s, pero we didn’t notice that…
R: Everything was locked up.
E: Na bad-trip talaga kami nung sinensor ni Marcos yung Voltes V. We were just kids, we were playing around, we were having fun with these Japanese robots for heroes.
B: Hindi tuloy naming napanood yung mga x-rated cartoons. Hanggang “Daimos lang kami at “Grendaizer.”
R: We didn’t know we had curfew. In college we found out we had curfew back then.
E: Suddenly na-invade ng politics yung world namin. I really didn’t care what Marcos was doing because I didn’t have any idea. Pero nung kinuwento sa akin ng nanay ko: “Tinanggal ni Marcos yung robot kasi daw…” Sabi ko: “Ba’t ganun?”
R: At yung mga video games sa Makati…
B: That was the last straw. (shakes head) That was really…demented.
I: And how did that carry over to now?
E: We’re still rebelling against…
B: All forms of injustices…(laughter)
E: (laughs) Oppression…
B: Censorship.
R: Probably our only political stand.
E: Yes, we’re very much against censorship. We are for free speech.
B: Pero weird ano, kasi nasa Constitution natin yan.
I: How free is free to you? As free as the Constitution allows it or…?
R: We don’t even read the Constitution. Personal conviction siguro.
B: How aware is the generation right now of the Constitution right now to start with? Siguro you should put it in that context before people start talking about freedom from oppression and all the beautiful words we can think of. So the root of the problem is, it has to be self-expression. Kids today are starting to express themselves, different ways, not always constructive but they’re learning.
E: I think the problem is, a lot of people think they can think for others, like the censors. Pero di rin natin sila masisisi, kasi there are two kinds of people—those who can think for themselves and those who cannot. And those who can’t think for themselves deserve to be influenced and controlled by others. Kaya what we are saying now is you can do what you want.
Kasi kami hindi kami grumadweyt, we wanted to form a band, we wanted to make music, so we did--- against all odds, against all norms. Hindi naming sinunod ang gusto ng pop industry. So that’s what we’re trying to prove. We’ve already proven that, I think.
Nakikita ng mga young people ngayon na you can make a difference if you really want, if you really just think for yourself. (long pause) And that Dr. Armstrong (a character on Voltes V) is very much alive. (chuckles) (Raymund laughs)
B: And the children of Dr. Armstrong are Steve, Big Bert and Little John. And Jamie is the daughter of General Robinson.
I: Naiwanan ba kayo in front of the TV?
B: Kasi may curfew noon eh. There was nothing much to do in the afternoon and in the evening.
R: Besides, there were no other channel where we lived. We grew up in the provinces. All we got was “Voltes V at five o’ clock so everybody watches it. We watched “Combat,” “Man from Atlantis.” I can sing you the theme! (hums)
I: How old are you guys?
B: 26,27.
I: Marcus, sabi nila gay ka.
M: Ha? (Raymund laughs) Galing nga ako sa parlor eh. (laughter)
I: What if you find out that one of you is really gay?
R: We don’t care.
E: Si Marcus nga eh. (laughter)
R: We’ve worked with gay people.
E: It doesn’t bother us.
I: (To Marcus) We asked them who’s the money wisest among you, they said it’s you.
M: No. Ginagastos ko nga kaagad eh. Kung masagasaan ako, magkagulo pa sila sa kalye. (laughter)
I: Wise nga. Saan mo ginagastos?
M: Sa baril. (laughter) Instrumento, gamit namin, sa kotse.
I: Where do you think you will be 10 years from now?
M: Ten years older. (laughter) Sana may ngipin pa ako nun.
E: (To his bandmates) We don’t want to be playing together pag kwan na tayo di ba, 30…?
I: What will you be in your 30’s?
E: We don’t even think that far ahead.
R: I think our managers [will handle] that for us.
I: But does it ever cross your mind you’ll turn 30 somehow?
R: Not yet, but now that you’ve pointed that out…(laughter)
E: Thanks for telling us. We’re depressed now.
R: The only future I ever think of is the future of the Philippine music industry which sucks right now. (cheers and hoots)
M and B: All right!
E: Which continues to suck.
I: why do you still say that it sucks? People have been saying that for years.
R: For a time it was going up, but some people have failed to release albums recently, some people we admire…
E: Hindi na-sustain yung excitement at momentum, ang nangyari, ‘yung mga record companies naghahanap na naman ng bagong pagkakakitaan. I mean, nale-lessen na naman yung support sa ano…
I: Bakit hindi na-sustain?
R: Ewan, theory lang siguro: “Yung ibang sumikat binanatan ng press, naapektuhan, natakot mag-release ng iba. So hold siguro muna. Yung iba baka nag-disband na.
E: There were so much hype that went along with the bands coming out na sa sobrang hype at excitement, naubos—prematurely.
R: Some bands think with rock n’ roll, you can do anything. They forgot to work. They think we’re just here smiling… But they don’t know we tour every week, we have gigs, we record…
I: So you’re blaming the other bands, not the industry?
R: It’s the whole industry, even the record companies. They won’t give enough support, they won’t make videos/ I think Filipinos are better than Malaysians or Indonesians… we’ve seen bands from other countries. We’ve seen MTV India.
I hate dissing them ‘cause they’re probably nice, but [their music’s] all the same. But they’re there, so people buy them. They support their artists. Here, we probably sell more than other people, but we don’t get as much support as the other people in other places get.
I: Pero yan ang sinasabi ng recording artists two decades ago. Up to now, ganyan pa rin?
R: Not exactly. Before us, there was even lesser support. Record companies didn’t usually allow artists to record by themselves. At least now they do. Now we have a few videos, we have MTV Philippines… and now they produce more local shows, but not yet enough to sustain the industry. Kasi kids wrote to us: “Whydon’t you play in this place, or in this place?” We can’t ‘cause promoters won’t invite us and we can’t just go in, unlike in other places. We think there’s enough talent for the Filipinos.
I: When we talk of audience or market, there’s more than enough to sustain the industry?
R: Of course. We get letters from far away, even from Alaska, Australia, the States… there’s enough variety in the Filipino style and music. We have reggae, punk-rock,hip-hop, everything. We even have disco…
I: You don’t see yourselves working na parang Rolling Stones, still playing now that they’re in their 50’s?
R: Probably business partners or golf buddies. Just kidding. (chuckles)
I: Bakit ang APO?
E: Hindi naman kasi kami pwedeng mag-host eh.
B: Saka iba naman ang circumstances nila.
R: We wish we could host, we wish we could act…
I: You can learn.
E: (shakes head) There’s no point in learning. Hindi naming hilig yon eh.
B: Probably we can make it a project of ours. We’re dealing with everything else on a per project basis. “What are we doing next?” The marketing, so we do the marketing. “What’s our next project? Are we gonna do an album?” Then we work on that.
R: Right now it’s releasing the second Pillbox, that’s our fanzine.
I: Do you think you’ve reached your peak?
R: We still have to do many things. We’re not close there yet.
I: What do you mean?
E: To be more popular than “Macarena.” (laughter)
I: So anong gauge niyo, popularity?
B: We still like to think of it as a yearly thing. The peak being the album, releasing and promoting it.
E: If we didn’t go to California, we might have been satisfied. We saw the other side, the new world, the First World. It was a very, very positive thing. We played to a packed venue, full of Pinoys. But we also spoke to a couple of black Americans.
R: They have a healthier music scene.
E: It broadened our horizons.
I: What else did you realize?
E: Na-realize namin na music is music wherever you are.
B: It’s the international language.
E: Now it’s not far-fetched for us to think na pwedeng ma-appreciate ang music naming or any Filipino performer sa abroad.
B: It’s not discontentment. It’s realizing there’s a lot more out there, a whole new experience, new cultures… so why not set it (your goals) a little higher?
I: And it’s also because you saw how the music industry is out there?
B: … It’s still the same thing.
I: But for you to make it there, you have to be based there.
R: Not exactly. Some Japanese artists are popular everywhere, like Shonen Knife and Pizzicato Five, and they’re based in Japan.
I: Why do these groups make it there?
R: Music videos!
B: It’s the 90’s phenomenon.
E: It’s the exposure they get from MTV…
R: Or any video channel.
E: But it’s a sad thing again kung uunahin nila ang music videos then ang reality ganun pa rin…
R: Nobody could understand what the “Macarena” is saying but it had airplay everywhere, di ba?
B: They had these people dancing.
R: We don’t even think people in Japan understand what the British are singing. We don’t even understand half of what the British are singing, but we like them, and we see them on videos.
I: And BMG can’t do that for you?
R: Well, they’re doing something but we don’t know yet.
B: They’re giving the support.
I: You’re the most heavily supported in the BMG stable?
R: No, they support everybody.
I: Equally?
R: We don’t measure it.
E: We can’t really say.
I: But you’re among the frontliners.
B: Well, I think it’s safe to say that for everybody some are more equal than others. (long pause) Whatever that means.
I: Ano na ang status ng alternative music scene dito?
R: We think there’s more to local talent.
E: Kasi may nakausap kami sa Singapore so na-realize namin again na mas OK pa dito ang lagay ng mga Filipino artists. Dun talagang walang local scene.
B: It’s all imported.
E: Hindi nila alam ang music nila doon. Halo-halo ang culture doon eh. May Chinese, Malay, Indian…
R: For a local artist to break sa kanila, you have to know how to sing in Malay, Indonesian…
E: … pero ang gagaling ng bands nila. Napanood naming ang mga college bands dun, ang gaganda ng mga kanta nila.
R: Grabe ang underground [bands] nila, [compared] sa ating underground scene, pero wala lang magre-release.
E: Ang BMG-Singapore, wala silang A&R department, walang nagha-handle ng local kasi wala talaga silang local. Puro foreign artists. Parang yung scene dito mga five years ago or (nung) ‘80’s, ganun yung scene nila ngayon doon, which is very sad. Nagulat nga ako, it’s an eye-opener para sa akin.
I: But it’s also interesting kasi when you say Singapore, akala mo…?
B: But it’s probably good kasi for a police state they’re picking up. And I think one edge of Filipinos talents also, yung language facility. We can use English. It’s second nature to us.
I: Yun bang “Kaliwete” single nyo tungkol sa death ng punk-rock?
R: Punk is not dead. But alternative music is still alternative music. We still listen to alternative music that is not in the mainstream.
I: Like what?
R: Drum n’ bass, techno. There’s more to alternative music than Green Day. There’s nothing wrong with Green Day, they are a great band. And Bush.
I: You’ve been cited as the Beatles pf the Philippines, kanino ba kayo mas pabor, Blur o sa Oasis?
All: Blur.
E: Mas Blur. (laughter)
B: We probably listen to both.
I: Pero Oasis is more like the Beatles. They admitted that. How about you? Would you admit that somehow, yung music nyo may pattern sa Beatles?
R: We’d like to be the Rolling Stones of the 90’s. (Grins)
E: Hindi naman naming ini-strive any kind of stature na ganun kalaki. Bahala na yng Oasis na mag-ambisyon ng ganun. They’re from England, they probably can claim that. We’re a totally different thing.
I: But how do you feel about being called the Beatles of the Philippines?
R: Flattered. And annoyed. Minsan kasi yun ang escape ng journalist. Para mas maintindihan ng ermat ko, sabihin mo na lang Beatles, when in fact we have other influences aside from the Beatles. We listen to Blur, Apo, Joey Ayala…
E: Ang nakakainis lang dun, once na ma-pinpoint na nila kung ano yung itatawag nila sa amin, dun na sila mag i-stick. “OK Beatles na yan.” Kasi nung unang lumabas kami, they were always asking us, “Ano bang style nyo? Sino bang idols nyo?” Minsan lang ako nagsabi, I admitted that I really like the Beatles…
M: (mock disgust) Oh, my god!
E: (grins) O pare, you didn’t know that ha!
M: Ikaw palang may kasalanan eh!
E: Minsan ko lang masabi then, “Yun Beatles pala! Kaya pala ganun ang tunog nila. Kaya yung next album nila, Beatles ulit.”
B: Pero I guess hindi naman natin ma-blame yung tao kasi human nature lang yan eh, mahilig mag-label.
I: Are there offers for you, especially Ely to go solo?
E: May isang TF film nga na… (laughter)
I: What could possibly cause you to split up?
E: Lahat naman kami we’ll probably make the decision, not because of any outside factor but…
R: We’ve had our share…more of musical differences.
E: okay lang siguro kung musical eh, pero wag lang personal… Yung musical pwede bang pag-usapan…
I: How to you settle musical differences?
R: We vote, for everything we decide on. Kung music, especially in the studio, we vote with the producer Robin Rivera. If it’s about management, the management votes with us.
B: We always find a quorum.
I: How about personal differences?
B: That’s a totally different thing.
M: Suntukan. (laughs)
R: We’ve had our share of personal differences.
E: Hindi pa naman nagkakasuntukan. Kurutan pa lang.
R: Mas malaki na ‘to sa apat na tao lang eh. We have the crew na probably part of the band na. Pag may bad tripan, kakausapin ka nung isa.
E: Maghahanap ka pa ng way para maayos. Kung mapag-uusapan pa naman di ba? It’s not yet time to think of selfish stuff…
R: Besides, it’s safe to say that we’re doing everything we’d like to do for the moment. Siguro not everything but close enough. It’s better than a 9-5 job.
B: It’s a 5-9 job.
I: You’ve survived change of managers.
B: No we’ve survived changes of managers.
R: Four managers.
I: Did you fire them or kusa silang umalis?
E: The first one (Ann Angala) we fired. I’d like to make that clear.
B: Yeah. The following ones fired us. (chuckles)
E: Ann got married and got pregnant.
B: The second were Jessica (Zafra) and Ernest (Mangalubnan). Jessica had a TV show. Ernest was trying to go back to school.
R: The other one is an old friend, not that old but… Dey Cabuhat and Jett Nava. We’ve had all female managers.
I: Is that a preference?
E: Yes, ‘cause we can’t take orders from… (grins)
B: Saka second nature na sa kanila ang mag-alaga.
I: Aren’t you worried that you’ll be remembered only for your music videos?
R: I don’t think so.
E: Hindi naman siguro. Tingin ko, sa music naming kami maaalala.
R: We’ve yet to do a very good music video we can really be proud of.
I: How does it feel to win the MTV Asia Viewer’s Choice Award?
R: We’re proud to represent the country, excited… Lahat na. Labo-labo eh, kasi jet-lag…
B: Pagod, but it’s one of the experiences na hindi mo maipapalit sa lifetime mo.
I: Sinong nakita niyo dun (Radio City, New York)?
R: Si Pat Smear. (snickers) Pero nakita na naming siya sa Araneta [Coliseum] sa concert ng Foo Fighters.
I: Si Cindy Crawford?
E: Tulog ata ako nun eh.
B: Nakita din naming ang Spice Gels (Girls)
E: They’re very fat. Lalo na yung isa.
M: Maliliit lang pala sila eh. Ganito lang sila o. (Shows with his hand a five inch figure)
(laughter)
E: Ang layo kasi namin eh. Second mezzanine. (laughter)
I: Who’s the most popular among you?
R: Him. (points to Ely)
Why?
E: Kasi ako yung salita ng salita eh. (laughs) It doesn’t really matter though, I mean to me, and to them, I think.
I: Walang tension sa inyo?
E: Wala, hindi naman kami Menudo eh na nagpapa-cute-an lahat. (laughter)
R: We’re not Boyz II Men.
I: Paano ang hatian ng pera?
All: Equal. Walang lamangan.
B: Alphabetical ang hatian naming. Ely gets the first share. Equal naman kaya walang problema.
E: Minsan by height, kaya ako pa rin ang nauuna.
I: Teka, di ba dapat si Marcus kasi “A”?
E: Hindi, nag-uumpisa kami sa last letter eh. (laughter)
source: Inquirer.net
Eraserheads - Huwag Kang Matakot ( live at MAD)
And then there was the MAD Show (Martin After Dark hosted by funnyman and singer Martin Nievera on Channel 2 [?])....Sorry for the glitches.Super rare kasi itong footage na to that's why I had to post it here. Astig japorms ng eheads dito. Napansin ko din ung tshirt ni ely na sinusuot pa rin niya kahit frontman na siya ng Pupil, sa mga gigs nila.
Eraserheads - Minsan ( PBA Live Performance)
Watch this class PBA performance where Ely plays a riff from an old GMA Lunchtime Drama Show called "DEAR ATE HELEN" (Hosted by the late Ms. Helen Vela)before playing "Minsan". Masa talaga ang appeal ng Eheads!!! Lupet!
Eraserheads- The Complete Eraserheads Story !!! [VTV DREDD SESSIONS]
This are classic Eraserheads Experience video!
KWENTO MUNA: I met Tita Beth (famous Tita ng Masa) who used to take care of the eheads during their early years. Natuwa sha nung nakita nya tong vid na to. Sha rin ung nagbenta saken ng Pillbox Magazines! Andami kong copies noon! Kaso ung iba kinuha ni Marcus Adoro when he played solo (the solo years) sa Bistro 70s.
Tita Beth's place is near Bistro70s (Kamias area).She feeds them "turon"(buddy's fave),Raims sandwich, Marcus's banana cue, and Ely, kahit ano daw wag lang panis!
Regarding this videos, interview and performances eto ng Eraserheads sa Club Dredd talaga from a show noong 90's sa IBC13, called VTv Club Dredd Sessions. Classic na tong show na ito in the sense that dito ko unang napanood ung mga classic bands of the 90's like The Youth, Parokya ni Edgar,Rizal Underground, The Dawn, Sugar Hiccup,Joey Ayala, Grace Nono, Francism etc!
KWENTO MUNA: I met Tita Beth (famous Tita ng Masa) who used to take care of the eheads during their early years. Natuwa sha nung nakita nya tong vid na to. Sha rin ung nagbenta saken ng Pillbox Magazines! Andami kong copies noon! Kaso ung iba kinuha ni Marcus Adoro when he played solo (the solo years) sa Bistro 70s.
Tita Beth's place is near Bistro70s (Kamias area).She feeds them "turon"(buddy's fave),Raims sandwich, Marcus's banana cue, and Ely, kahit ano daw wag lang panis!
Regarding this videos, interview and performances eto ng Eraserheads sa Club Dredd talaga from a show noong 90's sa IBC13, called VTv Club Dredd Sessions. Classic na tong show na ito in the sense that dito ko unang napanood ung mga classic bands of the 90's like The Youth, Parokya ni Edgar,Rizal Underground, The Dawn, Sugar Hiccup,Joey Ayala, Grace Nono, Francism etc!
Monday, March 28, 2011
ano eraserheads experience nyo?
May mga natatangi ba kayong picture nyo with the eheads? Kung may mga eraserheads photo souvenirs kayo,i-share nyo yan and help save the cows. Or cow girls. Whatever that means...
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