THE RUDE MAYNILA SESSIONS THIS OCTOBER

The Rude Maynila Sessions is back this October. Join Bisikleta Productions as we feature some of Manila's finest as well as most promising up and coming bands to look out for. This 9th of October, Saturday at 8 in the evening we will be bringing the groove merchants of heavy soul JUAN PABLO DREAM originally the brainchild of Tropical Depression and Put3ska keyboardist Bing Austria. His main goal for his band was to take on Hitsville USA employing the help of some of the talented musicians of Bulacan's third wave ska scene. (Bulacan by the way is a goldmine when it comes to third wave ska and a mecca for hardcore) After a few years and a couple of albums later they are back from a brief haitus from the scene and will be performing again together with the rude boys of Angono non other than NEIGHBORS also known as Neighborhood back in the 90's. Speaking about this band, As I vividly recall Luis "Weslu" Guiang (he and original Put3ska vocalist Raymond used to hangout in Angono with the boys) and I talked about these lads way back in the mid Y2K over a cup o' joe whilst listening to some Italian ska band in my house and him saying that this is the next ska band to watch out for during Put3ska's peak in the 90s justifying that the band has the musicality and knowledge of what ska is all about including a vast record collection of Jamaican music to boot .

It's kinda surprising if you take a look at it, Put3ska and Neighbors is somewhat similar to The Specials and Madness. Put3ska has been marred with lawsuits and internal conflicts between band members and constant line up changes occurred after the release of their sophomore effort and so does The Specials, while Madness on the other hand goes on a different path they take a break and whenever they felt like it they regroup cut an album and even organizing an event called Madstock exclusively dedicated to all the Madness fans worldwide.

Neighbors is doing just the same, they are just bubbling underneath the surface, they had gone on an indefinite leave of absence, And every year they usually celebrate their anniversary performing under the radar undetected just within Angono and nearby towns. They are collectively and individually active in the scene via organized events called Rudies All Around featuring local ska and reggae bands within Angono and nearby towns with Neighbors at the helm of that event. They do scooter events under the guise of the Angono Round Up. And they are actively participating in the local underground DJ scene as Sound Blasters via Manila Soul All Nighter giving the Mods, Soul Boys and Rudies a dose of ska, soul, reggae and everything else in between and now they are back to give us what Angono Ska Explosion is all about.

If you think boys and girls that we are just giving you these two great bands think again....BUT WAIT THERE'S MORE!!! PinkCow and Steady Movin' Beat's side project THE STRAYGUNS will be playing their own take on traditional ska with a punk twist, don't call this Ska Punk because it ain't ska fused with punk, just imagine a bunch of punk rockers going to JA and messing up the instruments at Studio One and you will get the picture. The Sneekers other band called COUNT KUTU AND THE BALMERS will also be there serving us the flavor of the Caribbean in the form of the grand daddy of ska, Mento music. And also on the bill MOBSTER MANILA (A little unknown musical fact about this band, some of the members were nephews of the late self taught jazz great Bobby "The Wildman" Enriquez.) these cats had been in and around doing the underground and mainstream routes peddling ska music to the unsuspecting masses since the early 2000.

Also on the bill are street punk rockers TARTARS from Bulacan, G2 & THE BUNDOCKS from Angono bringing their sun drenched Cali reggae vibe best known for their song Dream Cloudy featured on Jam 88.3's Doobie Nights reggae compilation CD. Indie darlings THE PINSTRIPED REBELS (with Sid on drums of the politically charged punk rock band Einstein Chakras) THE MIGHTY KIDS representing Cavite City bringing their brand of ska punk, and last but not the least the rude girls and rude boys of Skaville Malabon EARTHLINGS.

The Rude Maynila Sessions is produced by Bisikleta Productions this is a monthly event held at the infamous Sazi's Bar formerly Mayric's a cozy little place were bands gained legendary status. Held every second Saturday of each month featuring well respected veterans as well as new bands that plays ska, punk, mod, soul, oi! and music that we feel like featuring. Regardless of what others might deemed a bit off in this kind of setting. We don't fucking care. We are giving you what you need not what you want. So if you feel you are one of them, then sod off!

For a measly sum of 60 bucks you will get an ice cold beer, loads of great music, no bollocks just a ton of positive vibes plus the beer is dirt cheap, the pub grub warms the belly and the folks who maintains this place is like family. Let us support these great bands and hope to see y'all there. And by the way, we are giving away Bisikleta Productions compilation CDs selected by A Boy Named Hil to the 20 early patrons.

PUNK O' RAMA

I come from a background of liking different types of music that took a different route instead of gaining mainstream airplay they choose to get off the beaten path and choose to go underground because of their do it your self ethos.

I always experienced some issues regarding the underground scene some say that in this day and age of the worldwide web and the Ipod generation the scene had began to go mainstream and that D.I.Y. no longer exist. I understand such reactions and criticism to a degree. While some of you readers out there may or may not agree to what I am saying about this long standing debate that the scene still exist or no longer does. Here are some points that the underground music scene will still thrive and will continue to do so as long as there will be conventional norms existing there will always be a counterculture that reacts against it.

While the term comprises a range of different musical genres, they can typically share common values, such as the valuing of sincerity and intimacy; an emphasis on freedom of creative expression; an appreciation of artistic creativity. Underground artist are allowed to make whatever the hell they want without mainstream record labels pushing them around.

Underground music have a non-conformist reputation. It is different the fact that hardcore, metal and ska gives things you just generally don't get from other types of music. Their songs can be moving in ways and at levels that other music types virtually never are. It is true that some of the artist from the underground scene had gone mainstream and is commercially viable. But just because the mainstream had caught up with the music that does not mean that the underground music scene is dead one example of music is Ska.

Ska has arrived in three musical waves, beginning in Jamaica in the 1950's and 60's as a home-grown version of rhythm-and-blues performed by collectives of former jazz musicians like the Skatalites. The music traveled to England along with Jamaican blue-collar laborers, quickening its tempo as it mixed with punk and working-class youth sounds in the 1970's. A second wave of interracial ska bands, including The Specials, The Selecter and the English Beat, first appeared on England's Two-Tone label a label that successfully melded punk and ska in the 80s, registering in America as a quick spark on the pop charts that spark gave way to the 90s third wave that slowly ignited an international fire. But as popular as ska is getting, it's still surprising how many people don't know it. And most major record labels doesn't know how to market this type of music. So the people behind the third wave scene began marketing the music themselves which gave way to some trusted record labels like Moon Ska, Jump Up and Stubborn records which is a real, honest-to-goodness, truly independent DIY label.

Today Ska is probably the biggest underground network going right now There is punk and anger and frustration in it. And now it's still growing and going off in different directions next to punk rock but instead of going with the tide some artist tends to choose the slower, rootsier side of finding success. The other ones that choose to go with the flow and go mainstream eventually ending up as a flavor of the month. One of the strengths of ska is that the foundation is so simple but so effective that it can endure a lot of changes but still maintain a relationship to the original style. Ever since the birth of Ska in Jamaica you can see the Do It Yourself ethic during the glory days of the sound system in order to get the most attention from the audiences at the dance halls you have to play the most updated, rare music on hand, hence Studio One was conceived releasing records locally and independently devoid of any outside major label backing eventually gaining mainstream recognition but during its early days in the U.K, BBC radio wont play any Jamaican music because they deemed the music crude little did they know that the working class youth of England will embrace this music and will call it their own. Its popularity can be credited to the west indies settlers who brought the music and the working class British youths - The mods who bought those records through small record labels like Blue Beat and small independently run record stores like Peckings in London, But despite all the attention it got the music's popularity is minimal compared to pop music that gained worldwide success that so much so that it retains it street credibility up to now and still loved by the people in the underground music scene. I doubt without the mod movement people like Bob Marley and other Jamaican artists would have become the stars they did and that in some way they helped the music to become so popular around the world.

Underground communities can be particularly sensitive to environmental changes because their core principles are often difficult to clearly define. To some, DIY is artistic, heartfelt music made by people that have a sense of their influences done in a setting that is not aggressively commercial There is no grand philosophical consensus as to what constitutes DIY music, but scenes are birthed when local population agree on what “it” should be, and who “yourself” is ought to be. People congregate, networks are formed, ideas are exchanged, and art flourishes.

Today D.I.Y. still flourishes globally and here in Manila the underground music scene is alive and well contrary to some people whose belief is that the scene is dead and had gone above ground. One testament to that is this collective known as NO PUSH COLLIDE they have been doing the rounds since early 2000 with no major backing, no commercial media write ups, no corporate sponsors what so ever just pure do it yourself. They will be doing an event called PUNK O' RAMA, this coming Tuesday, September 28, 2010 at Headstock Bar located at G. Araneta, corner Quezon Avenue, Quezon City.

Featured in the show are some of the well known bands within the underground punk and ska community as well as some of the well respected bands that have break on through the mainstream music scene but still has their roots firmly planted in the underground scene. and giving back to the community in which they came from Bands included on the bill are EINSTEIN CHAKRAS, BAD OMEN, THE OUTCOME, GOOD ITEMS, THE SNEEKERS, GOOD FRIDAY, SHUFFLE UNION, THE EXSENADORS, COFFEE BREAK ISLAND, THE STRAYGUNS, UMBLE UNO and THE STEADY MOVIN' BEAT.

The event is absolutely free but due to an unfortunate incident No Push Collide is urging those who will attend the show to bring along some relief goods for the Robleza family mishap The family is well known within the younger generation of punks in the community, their house is a favorite local hangout for graffiti artist, punks and musicians alike located in Karapatan Street, Blumentritt, Manila dubbed as 4th Door, Unfortunately it got burned down last week. Please do come and show your love and support. for the community as well as for the Robleza family Show starts at 8PM. the show is free but please bring your tolerance with you.

NATTY UP DEM HEAD

“Mi si nuff a dem a natty up dem head fi get exposure, But a real Rasta Man nuh run down riches like Dover, Dem impersonating Rasta, But mi Rasta friend dem seh bun up a Rasta imposter Natty up dem head fi ketch a hype up, Seh dem a rasta, but Rasta livity dem nah hoist up, Wha’ kind a food that dem a bite up, Dem seh dem a Ras, what kind of girl that dem a wife up” - Konshens

A documentary of ABS CBN's The Correspondents entitled Pinoy Rasta which tackles the so called Rastafarian culture in the Philippines. This was banned by the MTRCB for featuring the actual smoking of marijuana of a young man in the presence of his father who, in turn, confessed that he smoked marijuana with his son occasionally.

The documentary was about a movement called Rastafari, a Jamaican religious practice adopted by some Filipinos as a way of life. Those interviewed were reggae artist from Budoy of Junior Kilat, Papadom, Reggae Misstress, Brownman Revival and Eurasia. They say that reggae goes hand in hand with the Rastafarian culture which was founded in Jamaica in the 30s.

At the course of the documentary people were interviewed randomly in reggae bars. and it clearly shows that they are misguided. These individuals doesn't knew what Rasta really meant they just went there to experience the vibe. Eurasia the first Filipino band to play reggae music in the late 1970's said that there are some misconceptions regarding this movement. Some people think that rastafari is all about Bob Marley worshiping and ganja smoking. Nothing could be further from the truth.

Most shallow minded folks took it as a fashion statement and wear wristbands the color of the Jamaican flag without even knowing what it meant. The colors of the flag meant that red stands for the blood of the martyrs in the black struggle for liberation, gold for the wealth of their African homeland and green symbolizes Ethiopia's beauty and lush vegetation. These individuals also uses ganja under the religious justification defense and all the monetary benefits one may get from this has caused it to become a fad and had given the rastafari movement a bad reputation due to these misguided rent a dreads.

When some of them were asked why they are sporting a dreadlock the reply was that they just wanted to look cool. Rastafarians grow their hair into dreadlocks because it is a part of the Nazarite Vow. though not universal among, or exclusive to, its adherents Rastas maintain that locks are supported by Levicticus 21:5. To them the hairstyle symbolizes the mane of the lion in the Lion of Judah.

The most famous practitioner of this movement was Robert Nesta Marley of The Wailers. This monotheistic new religious movement that arose in a Christian culture in Jamaica in the 1930s is said to believe that Jah is a being in the form of the Holy Trinity they say that Emperor Haile Sellassie I of Ethiopia is a manifestation of Jesus Christ. They hold that the smoking of cannabis enjoys Biblical sanction, and is an aid to meditation and religious observance.

Most people used rasta as an escape goat to use cannabis and this is in fact true. Some of the people in our country use that excuse without even knowing the ideology behind it. If they believe they are "rastas" then they should be strictly vegan and rejects the use of alcohol kinda like a punk rocker that adheres to the straight edge lifestyle, but unfortunately most of them are carnivores and drank like a fish.

Reggae music was the voice of the people a voice coming from the heart as they say. This music shouts for change in our society not only in Jamaica but the whole world in general. It is quite disheartening that some had misused reggae as a fashion, Reggae music is what took Rastafari to the world and Rastafari took Reggae music to the world. The people who have used rastafari as an excuse to abuse cannabis reflected a negative image for the movement but for Chang of Reggae Mistress she was optimistic and glad because of the boom in the scene telling the interviewer "that it is good that the music is here rather than not having it here"

Even though the sound and the message is different, referring to old OPM songs that were revived and turned into reggae versions. Brownman's front man reacted to that and said that they are just going with the tide and are just doing songs that the masses wanted to listen to, "if people wanted love songs so be it, let us give it to them." All of the personalities behind the music agreed in one point that there is no such thing as a real Pinoy Rasta, that devoutly follows what the rastafarians do all over in Jamaica.

Dino of Brownman Revival confessed that he is not associated with the Rasta, movement Papadom of Tropical Depression said "i tried but i really couldn't do it". All these people who are associated with reggae and rastafari movement all wanted one thing, and that is they don't want the people to forget what the true message and purpose of the music is which is peace, love and social action. So to the guy who sports a dreadlock and lights up a big spliff and think that rastafari is a fashion statement think again don't pretend to be what you are not. Rastafari is cool a poser is not. If you wanna bun a one just be yourself and make sure to pass that kutchie.

LAST SEPTEMBER 11TH @ SAZI'S BAR

After the much applauded PiliSkaPinas' 2nd Manila Ska Fest its seems that people cant get enough of the skanking rhythms that reverberated at Cubao X last September 4th, still fresh from their hang over from that shindig people trooped down and swarmed in at Sazi's bar last September 11th to attend The Rude Maynila Sessions to get their monthly dose of ska, punk rock and oi!

Present that evening were regulars and newbies anxious to see and hear the featured bands for this month as new band hailing from Cavite City, Finger Trap opened up the nights festivities as they deliver their own brand of 3rd wave ska to the masses the band has chops considering its been only a month or so since their formation.

Next to be on stage were Bulacan based street punk band Tartars formed during the late 90s this band had gone through several line up changes and usually when this happen some of the music that the band dishes out are lackluster. but despite the changes the band still packed a wallop and retain its intensity the skinheads in attendance can attest to that with raised fist and football chant like sing along.

I cant keep track of the bands that was on stage because i was all over the place trying to keep things in place and taking care of the door so i can not give you readers a blow by blow account of what transpired that evening but all i knew is that The GoSignals rocked the house! I had heard their new originals and it was fucking magnificent. Better watch out for their upcoming album hopefully to be released this year so lets keep our fingers crossed.

Tagaytay based ska band GoForTheGoat did an awesome set that the crowd started to haul their ass from their seats and started to skank and Francis from PinkCow got too drunk and was unable to play the guitars and do the vocal choir resulting to a microphone for all melee and uncontrollable all girls body slam and pushing on the part of the female crowd so i had to cut short PinkCow's set.

Anyway here are the pictures from the last Rude Maynila Sessions taken by Michael Alvin Gianan. This coming October 9 at Sazi's Bar we will be featuring NEIGHBORS, G2 & THE BOONDOCKS, MOBSTER MANILA, THE MIGHTY KIDS, EARTHLINGS, COUNT KUTU & THE BALMERS, TARTARS, THE PINSTRIPED REBELS and possibly the band that's composed of former members of The Sex Militants, Deceased and Put3ska will be playing in the next Rude Maynila Sessions so see y'all there.

THIS IS BOSTON NOT LA

This a documentary film that explores the early Boston Hardcore music scene from the years 1981 thru 1984.

For information about xxx ALL AGES xxx, visit the film’s fan page: www.facebook.com/AllAgesTheFilm

THE MOST EXPENSIVE SOUL RECORD EVER

This is the story of the rarest, most-wanted soul record in history and the fascinating journeys that the two known copies of the record have taken since one was borrowed from the Motown record library in 1976 by a notorious Los Angeles based bootlegger and the other was purchased from the original pressing plant, ARP in the late 1970’s by a legendary Motown collector. Both copies have gone through a total of 9 different owners over 31 years making it one of the most fiercely collectible records in history.

In April 2009, one of the two known copies in existence is being put to auction where it is expected to become the most expensive record ever auctioned.

A Brief History

In the early to mid 1960’s Frank Wilson was a moderately successful Producer/Artist/Singer-Songwriter who was working with West Coast acts like Mary Love, Connie Clark and the Autographs plus early Motown acts like Brenda Holloway, her sister Patrice Holloway and Chris Clark. By mid 1965 Frank was just about to embark on what he thought would be a successful career as a solo artist for the increasingly powerful Motown group. His first release, “Do I Love You (Indeed I Do)” was scheduled to be released in December 1965 when Berry Gordy, the founder of Motown, decided that Frank would be better suited as a Producer/Singer-Songwriter working behind the scenes at the busy label. Frank reluctantly agreed realising that to disagree with Berry would effectively kill his career anyway. The pressing order at the ARP pressing plant was haulted immediately with orders that the initial pressing run was to be destroyed save for a reputed 3 copies which were sent to Detroit and a further reputed 3 copies which were to be retained by the pressing plant. Frank then embarked upon a highly successful ‘behind the scenes’ career as a Producer and Songwriter at Motown working with acts like Stevie Wonder, Smokey Robinson, Marvin Gaye, Brenda Holloway, The Temptations and Diana Ross & The Supremes amongst others whilst writing or co-writing such successful songs as “You’ve Made Me So Very Happy”, “I’m Gonna Make You Love Me”, “Up The Ladder To The Roof”, “Stoned Love” and many others.

The unreleased Frank Wilson record(s) then got filed into the Motown Record Archive with the remaining three other copies retained at the ARP pressing plant.

Motown Records eventually moved to Los Angeles in 1972 and the Record Library was re-located to the West Coast headquarters of Motown, where, out of the 3 copies which had been sent to Detroit in 1965, a single copy remained in the master library.

In the summer of 1976 a UK based Northern Soul DJ called Ian Dewhirst moved to Los Angeles and met up with an L.A. based Record Dealer/Collector called Simon Soussan. Soussan was notorious for previously bootlegging Northern Soul records but had re-invented himself as a legitimate businessman and fledgling record producer. Dewhirst and Soussan decided to collaborate on co-producing a Disco record – a medley of old Motown tunes which was eventually called “Uptown Festival” with the name Shalamar given to the studio group.

In the course of trying to get the record signed to a major company, Dewhirst dropped in to the Motown offices to try and make an appointment (as “Uptown Festival” was a Motown medley). Whilst he was in the reception he met a young Promotion assistant called Tom DePierro. Tom invited Dewhirst into his office where they played the Shalamar record which Tom then passed to Suzanne DePasse – the then Head of A&R at Motown. Dewhirst and DePierro agreed to keep in touch until they heard back from Suzanne.

In the intervening weeks, Dewhirst’s 6 month visa was about to expire, so he instructed Soussan to continue the talks with Motown. Soussan subsequently met DePierro and had a couple of meetings with him before Motown declined the Shalamar track (which was eventually signed to Soultrain Records where it subsequently became a million-selling hit). . However, Soussan remained in touch with DePierro following the success of the Shalamar release realising that DePierro had access to the Motown vaults. On one of his subsequent trips to the Motown offices, Soussan managed to get access to the Motown archive library where he then ‘borrowed’ a number of recordings and acetates. Among the records he ‘borrowed’ was the single promotional copy of Frank Wilson’s “Do I Love You (Indeed I Do)” which was from the master library. It would be the last time that Tom DePierro or Motown would ever see the records and acetates again.

When Soussan got home and listened to the record, he realised that he had a major Northern Soul hot property which had never been heard. Within weeks Soussan had some acetates cut and sent the record to some Northern Soul DJ’s in the UK under the title “Do I Love You” by Eddie Foster. The record immediately took off in the UK and became an instant hit on the Northern Soul scene, primarily via plays by Russ Winstanley at the UK’s biggest Northern Soul venue at the time, Wigan Casino. Soussan subsequently then bootlegged 2000 copies of the record on his Soul Fox label and sent them to the UK where they quickly sold out. Meanwhile Tom DePierro was unaware of this activity and was being rebuffed by the smooth-talking Soussan whenever he requested the items to be returned (it should be noted that Simon Soussan had a long history of obtaining goods and records by deception and was notorious within record collecting circles for his devious tactics).

By the early 1980’s Soussan’s luck was beginning to dry up, his record productions were less successful and he required some urgent surgery for a stomach ulcer which had plagued him for years. In order to raise some quick cash, he agreed to sell his record collection to a UK entrepreneur and business associate called Les McCutcheon.

Les eventually acquired the records and promptly forgot about them for several years until a chance meeting with Nottingham record collector called Johnathan Woodliffe resulted in Johnathan buying the record and discovering that the Eddie Foster record was actually Frank Wilson. Johnathan realised that he had one of the rarest records of all time and kept it for a while before eventually selling it to Northern Soul DJ and entrepreneur Kev Roberts.

Kev then kept the record for 10 years before eventually selling it to his then partner in Goldmine Records, Record Dealer and Collector Tim Brown, for a then mouth-watering £5,000.

Meanwhile, on the other side of the Atlantic ocean, legendary Detroit Collector, Motown engineer and archivist Ron Murphy managed to obtain a 2nd copy of Frank Wilson from the owner of the ARP pressing plant, where the initial handful of copies of “Do I Love You” were first pressed. Ron was informed by the owner of the plant that only 6 sample copies had originally been pressed with 3 copies sent to Motown and the remaining 3 kept in the archive at the plant. However, of these 6 copies, 2 were destroyed when the plant was told they only needed to retain one copy of each record in the archive and to save space they destroyed all but one copy each of everything they’d manufactured. This last remaining copy was the one which Ron purchased from the owner of the plant. Ron eventually sold the record to Toronto based Record Dealer and Collector Martin Koppel who eventually sold his copy to his UK partner and fellow Collector Tim Brown, who by now was in possession of both of the known copies of “Do I Love You”.

Tim then sold the copy obtained from Ron Murphy via Martin Koppel to DJ and Record Collector, Kenny Burrell for the then-staggering sum of £15,000 in 1997.

Now, after a further 12 years, Kenny’s copy will be auctioned by the world’s premier Record Dealer and authority on rare records, John Manship.

Since the original discovery of the record in 1977, only two known promotional copies of “Do I Love You (Indeed I Do)” have ever surfaced – both of them being ‘relieved’ from Motown’s library and Motown’s then pressing plant. No other copies have ever emerged despite the record being the most sought-after record ever on the collecting scene.

The history of the record would indicate that it has every chance of establishing the Guinness Book of Records highest price for a 7” legitimate record (as opposed to an acetate).

KEB DARGE & LITTLE EDITHS LEGENDARY ROCKIN' R&B ALBUM

Another rockin' compilation has been put together by celebrated crate digger Keb Darge the man who is always ahead of the curve of the taste makers with the assistance of his wife, Little Edith and between them they've selected a set of tunes that are raw and dirty. The album is out to expose lesser known or forgotten lights of R&B music from the 50s and 60s.

Here's a sample of whats in store for all you R&B freaks.

BRING BACK THAT WARM ANALOG SOUND

Have you ever wondered why vinyl records sound so great? There are some factors that contribute to a great classic record. One is that its sonically done in analog and you cant argue that in the 60's and the 70's some of the best sounding albums were recorded in analog.

In today’s musical climate, where heavily produced pop songs dominate the charts and airwaves, Digital equipment makes things faster, which can cut down on studio costs the main appeal of digital is it’s quick and easy to edit. But for a lot of people the faster editing capabilities of digital tend to outweigh the fact that the recordings themselves lack the character hence digital takes the soul of an artist.

Some bands and hip hop groups are now going against the grain and trying to replicate the classic sounds from the early 60s through the 70s bands like The Aggrolites, Sharon Jones and The Dap Kings, The New Mastersounds and People Under The Stairs their records drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. If you think those bands are retro think again they are just bringing back the soul that was lost in the process when digital took over.

One particular person that is championing the analog sound is Liam Watson, owner of Toe Rag Studios, The studio began in 1991 the idea is to build a studio like it was in the 60s with all the analog stuff and vintage music instruments. Nostalgia perhaps? Maybe not He isn’t interested in what’s trendy, his techniques reflect the sounds of the 60s and 70s and haven’t changed since.Toe Rag along with a bunch of analog studios the likes of Tardis, Akron Analog & Echo Mountain is unusual in that it specializes in recording in the traditional, old-fashioned way that just goes to show that you can't mess with old school. In the sea full of sewage Toe Rag Studios smell like roses.

TONIGHT AT SAZI'S BAR

Tonight at Sazi's Bar we are bringing you 12 bands of ska, oi, punk rock and mod. The Rude Maynila Sessions will be featuring THE GOSIGNALS if you are not familiar with this band, well you are one sorry ass poop. The band is a favorite amongst the mod scene their music is an equal mix of mod, power pop and punk. If you still don't know them by now, well it 's time to name drop some bands in which they came from, the band consist of Private Stock and Throw members. Now that's something worth hearing and seeing don't you think so?

Next on the list is a band that was formed during the mid 90's EINSTEIN CHAKRAS A politically charged punk band that is so diverse that they can be seen performing along side protest / folk singers the likes of Jess Santiago and Noel Cabangon.

Also on the bill are new bands coming in to add flavor to The Rude Maynila Sessions community. Ska band from Cavite City called FINGER TRAP, Manila's ska punkers 12xU, and Oi! band from Bulacan TARTARS. And of course the mainstays PINKCOW, STEADY MOVIN' BEAT, THE SNEEKERS, THE EXSENDADORS, EARTHLINGS, THE OUTCOME and GOFORTHEGOAT.

For a measly sum of 60 pesos you will get to hear these bands plus you will get one ice cold beer for doing that. So swing by at Sazi's Bar tonight to see whats the fuzz is all about. One more thing PiliSKApinas goodies will be on sale at the gate so if you missed last Saturday's Ska Fest now is the time to make up for it. Show starts at 8 see y'all tonight.

KEEPING THE FAITH

Another round of floor stompers coming your way on October 2 at B Side stay tuned.

THE RUDE MAYNILA SESSIONS THIS SEPTEMBER

If you still cant get over last Saturday's PiliSKApinas' 2nd Skafest we are giving you another blast of The Rude Maynila Sessions this coming Saturday, September 11 at 8PM. Swing by at Sazi's Bar to hear and see The GoSignals, Steady Movin' Beat, PinkCow, The Sneekers, Finger Trap, Earthlings, GoForTheGoat, The Outcome, Einstein Chakras, 12xU, The Exsenadors and Tartars live and direct.

The show will be a mixed set of Ska, Punk and Oi! So be there!

BEERS AND CHEERS TO PILISKAPINAS

PiliSkaPinas had done it again raising the bar last Saturday night as I hold witness to a historical musical event that unfolded. The event billed as The 2nd MANILA SKA FEST. The first one was held last 2008 if I'm not mistaken as I fondly remember that rainy night that they asked me to emcee the show.

And now I am back for another round of duty, hands down to the folks at PiliSKApinas , mainly Mae of Shuffle Union for upping the ante! I had noticed that the vibe is somewhat different this time around because during the first year it was somehow tense, nervously waiting for something unnecessary to happen, a fucking drunk bonehead moron almost ruined the show last time. But now it's much more relaxed probably because a camaraderie amongst the people within the scene is slowly building up that I felt kinda at ease now rather than before. This is a good sign for the things to come that evening. With a bottle of beer in hand i surveyed the surroundings and lo and behold! Cubao X was once again invaded by skinheads, rude boys, mods, casuals and punk rockers as the regular patrons of the place mainly hipsters and fashionistas and wannabes with their 80's throwback threads, glow stick electro muzak and cowboy boots stood in awe.

As sharply dressed people spend their weeks worth of wages dancing and singing along to the bands as they laughed and drank copious amounts of alcohol. I saw long lost friends that i knew from way back passed by me as I nodded and shook their hands and giving them high fives. Old faces abound and so does young bloods as far as my eyes can see with their Fred Perrys', Ben Shermans', Lonsdales' and Doc Marten boots. The whole place was beaming with nothing but fun fun fun! Take note that the beer at Mogwai and the other shops that sold beer was already gone before the whole shebang ended. I've noticed that these always happen when the sort of people who loves ska and punk rock comes along Cubao X. (case in point Bisikleta Productions and Trash Radio Manila's Louie Louie event and PiliSkaPinas's 1st Manila Ska Fest).

For those of you who have no idea what ska is all about you can easily Google it and watch it at Youtube but there is nothing much satisfying and much more enjoyable when you experience it first hand instead of staying at home, sitting in your chair staring at your computer screen and dream and drool about it I strongly suggest you get off your ass and buy some records and go and support your local ska band.

But just to give you a hint here's a little information about how this music began in the Philippines and the birth of ska and Jamaican music in general. During the 60s you can hear the great comedians Panchito Alba and Dolphy singing a song about family planning under the guise of Toots and The Maytals's song called Monkey Man and the star for all seasons Vilma Santos rendition of Millie Small's version of My Boy Lollipop done originally by Barbie Gaye and Vilma Valera a Filipina singer and actress sang a Desmond Dekker tune (go figure it out). and in the early 80s a group of pre teen singers named The Nailclippers sang Pass The Dutchie a song originally done by The Mighty Diamonds then in the 90's you could hear ska at the movies where in Vic Sotto together with the late great hip hop artist Francis M, Michael V and Richie D' Horsie spoofed Prince Buster's produced song Oh Carolina by The Folkes Brothers and of course not to forget Yoyoy Villame's original version of his hit song Magellan with his band The MB Liner Rondalla is influenced by ska's grandaddy - mento. The music itself in the beginning when it landed to our shores was more of a novelty thing but Reggae on the other hand is more on the serious tip since day one bands like Eurasia, Coco Jam and Tropical Depression sang about politics and everyday life of the common man but as the years progressed what had been deemed as a novelty thing it would later evolve into a more serious form of music picked up by the people who loved Jamaican music mainly the skinheads and punk rockers.

In the 80's as punk rock took a hold of Asia the music began to take shape via Brave New World Concerts, groups like The Lost Boys who arguably is the first ska band in the Philippines during that year. Punk band Betrayed were the very first to embraced reggae, Skavengers and Skalawags embraced ska. (members of the band consist of Tropical Depression, The Jerks and Tame The Tikbalang) These pioneering bands planted the seeds of ska. This music would eventually gain more local adherents in the 90s through the greatest band that consolidated it was none other than Manila's finest Put3ska comprised of Philippine's punk and reggae stalwarts that things starts to fall into place.

Fast forward to 1998 A couple of British expats namely Northern soul enthusiast Shane Cosgrove and Darryl Skataba Orchard along with members of Put3ska developed a monthly event called Club Ska Manila through this endeavor the ska scene was further developed This music was worshiped by its new found disciples and clubs like Mayric's (now called Sazi's Bar) and Club Dredd went from strength to strength as if there was no end in sight. The type of people who attended these venues is crucial importance to the scenes strength and future development. They were generally like-minded escapist who refused to be directed by the music and fashion barons that proliferated the airwaves. They had their own ideas of what good music was and what shit was. Ska bands slowly coming out of the woodwork eventually due to the tireless efforts of the men and women behind Club Ska Manila some of the bands that came from that time period will eventually put out independently produced records by the time Y2K had started groups like Jeepney Joyride, Skabeche, Shuffle Union and Coffee Break Island to name a few. Through this the scene burst wide open gaining commercial ground a sign of a bright future to come but the scene had a bad reputation during those days violent fights broke out too much aggro threatens to halt its growth.

As the years progress so does the scene continue to flourish gone were the days when some people have second thoughts on going to a gig to watch a great a ska band play that's because of the tumultuous past it had represented back in the day. Today the torch bearers spearheaded by like minded people consisting of the old and the new have picked up the pieces and learned from the past mistakes and is now determined to keep it from happening again.

The fire is still burning as the scene had sprung from left to right from north to south, east to west you can hear ska music from Cebu City, C.D.O. down to Bicol region and Baguio City. The Rudies All Around from Angono started to do events, Bisikleta Productions and Skamax, Tellayouthska crew from Batangas City and To People Who Ska from Bulacan and small underground collectives scattered all around Metro Manila. They are now the keepers of the flame they helped propagate this addictive form of music for us to enjoy now and hopefully the next generation will pick up and then pass it on to the next.

The seeds were sown by these people who took Jamaica's finest export and called it their own. Big thanks to the people who had bled, lived, breathe and fight 24-7 365 days of the year for this music in keeping it alive and well. Last Saturdays festivities is a positive sign that the bad things that had happen in the past is best kept in that era. I hope things will be much bigger, brighter and better in the near future, time to move forward everything is changing but let us not forget the tradition that had kept this scene alive for years and is continuing to do so.

As i have said last Saturday that its much fun and much better if all of us can get along this time around. Now is the time to stop the hate and the petty bickering within the scene. Now is the time to give the middle finger to the outside forces that threatens to malign the scene that we all love. The Specials sang that It doesn't mean you've got to hate him It doesn't mean you've got to fight. Being mean and intimidating doesn't earn respect in my mind bullies are intolerant of contrary opinion, domineering and rather cowardly so please stop it now. After all you are not that different from the person beside you, who love listening to ska, punk rock, reggae or whatever music he or she is listening to. If you take a closer look at it is all the same. All things are related in one way, shape or form all we have to do is to respect each other through this it will guide our morals and eventually gain respect. As Desmond always say U-N-I-T-Y. and so does Sham 69 shouted if the kids are united we will never be divided.

Big up to PiliSkaPinas for the uber wonderful night! And thanks to the bands and the crowd who kept their cool. Nuff' respect! I raise my beer to all you mates! CHEERS!






if you wanna know more about what PiliSkaPinas is all about its humble beginnings and where will it be heading in the future do check this site: http://clubskamanila.multiply.com/journal/item/1