asin

Salt Of the Earth

Something spooky happened while Lolita Carbon and PendongAban Jr. - half of the legendary folk-rock group asin - were recording what was to be their comeback album. Everybody was taking five, and the recording engineer had left the studio to take a leak. There was no one at the console when the tape started running by itself, and everyone in the room heard the familiar high, thin voice of SaroBañares coming through the monitors. Hairs stood on end. It had been eight years, almost to the day, when Bañares - a founding member of the group - had been gunned down in a Cotabato bar by a drunken patron, allegedly for refusing a song request. Bañares' death effectively put an end to the glorious, turbulent 12-year roller-coaster ride that was Asin.
Or so everyone thought.

Many strange things were happening in the studio, recalls Lolita Carbon. We are at the '70s Bistro, where a packed house is keenly anticipating her first public performance with Aban as Asin. The occasion is the launch of Pag-ibig, Pagbabago, Pagpapatuloy..., the first new Asin album since 1983's "Himig ng Lahi", "Sometimes, when Pendong and I blend, we can hear another voice joining us. We know that's Saro." Not everyone could hear the ghostly third-part harmony, and it could well have been a cruel trick played by their memory. But everyone saw the tape turn itself on to play Saro's song. "We felt he wanted that to be part of the album, kasi farewell song niya 'yon saAsin," says Aban. Bañares had, in fact, recorded "Sa MalayongSilangan"; one early dawn in 1991, after an all-night recording session with Lokal Brown, a supergroup that included members of Asin, the Jerks and Cocojam.

It was just Saro accompanying himself on acoustic guitar, singing about finding a better place further on up the road, further East. Like many Asin songs, there was an edge of sadness to the lyrics, as well as the hope that home lay at the end of the road. The song never made it to the Lokal Brown album, however. In fact, the group itself fizzled out soon after and two years later, Saro was dead. "Sa MalayongSilangan" remained in the vaults of Ivory Records, waiting for the right time. Asin was formed in 1977 in the wake of the folk boom that followed Freddie Aguilar's unprecedented international hit "Anak". The record companies were looking for a "female Freddie Aguilar"; They thought they found her in Lolita Carbon, who was fronting a folk group called Salt of the Earth. The other members were her then-boyfriend Saro Bañares, Nonoy Pillora and Pendong Aban Jr.

Rechristened Asin, the group soon recorded their eponymous debut, and it became immediately clear that this was no mere Freddie Aguilar clone, but a distinctive new voice in Pinoy music. Asin scored a series of hits with "Ang Bayan Kong Sinilangan"; "Masdan Mo Ang Kapaligiran"; "Itanong Mo Sa Mga Bata"; "Pagbabalik" and "Himig ng Pag-Ibig" More importantly, they pioneered in the incorporation of ethnic instruments and social themes in pop music.

In their prime, Asin was one of the biggest acts in the local music scene. Their records have never gone out of print (pirate Asin CDs still sell briskly on Metro sidewalks) and their songs are still jukebox staples in the provinces. But the members' passion for their music often spilled over into their personal lives. The band soon became as famous for onstage fistfights between members as for their songs. "Ganoon talaga ang nature ng Asin," reflects Aban. "Parang love-hate relationship. Minsan nagkakasuntukan sa concert mismo. It was part of our youth - mainit pa ang ulo."

Tensions within the group came to a head and they broke up in 1979, only to reunite in 1983. But by 1990, the acrimony between the members was such that they finally called it quits. Bañares' murder in 1993 seemed to have closed the book on Asin. Nobody could have predicted that the final chapter had yet to be written.

"Hinogna (It's ripe)"; is Carbon's answer to the question on everyone's mind:: Why bring back Asin? Why now? Resurrection is a tricky business, especially when it comes to something as tied in with youth and the spirit of the age as pop music. The debacle of the Juan de la Cruz Band's much-hyped reunion two years ago was a stark example of why most bands should stay in retirement. No one wants to see their idols fat, balding and struggling to remember the lyrics to 20-year-old songs. Not unless they still have something vital to say. Carbon and Aban clearly think so.

"Call of nature na rin na bumalik ang Asin," says Carbon. "It's right for the situation."

Two years ago, Carbon and Aban shared the stage for the first time in nearly a decade, on the same bill as the Eraserheads. They were struck by the fact that the audience spanned two generations: kids there to see the Eraserheads, and their parents who came for Asin. "Nagulat kami na nakaka-relate pa rin sa mga kanta namin ang mga bata (We were surprised the kids could still relate to our songs)," says Carbon. One gig led to another, and quite naturally, the idea of reforming Asin and recording a new album emerged. Further encouragement was given by Vicor Records, Asin's old label. In keeping with the two-generations theme, the label was now run by the son of the man who had signed Asin to their first contract in 1977. Things kept falling into place. The plot moved like a sequel: "Twenty Years After" Or "Still Crazy" The pair next journeyed to Boracay to seek out the other surviving member of Asin, Nonoy Pillora. Pillora gave the project his blessing, but for personal reasons declined to join.

On March 18, the two went to Cotabato to perform in a concert commemorating the eighth death anniversary of SaroBañares. The occasion was made all the more joyous because the courts had recently sentenced Saro's killers to life imprisonment. Justice had finally been served, after a seemingly interminable wait. "Dinalaw naming siya (We visited him)," recalls Carbon. "Binalita namin na gagawa kaming album. Ganoon ka-magical ang pakiramdam. Dala-dala namin ang spirit ni Saro pagbalik namin (We told him we were making an album. That's how magical it felt. We're bringing Saro's spirit in our comeback)." The next day they were back in Manila, in the studio, working on the album. The incident with the tape left little doubt that they had brought something back with them from Cotabato. Any lingering doubts were laid to rest when Asin took the stage at '70s Bistro. Opening with a medley of old Asin songs, Carbon and Aban conjured up the old magic. Carbon was in particularly fine voice, her instrument - aged like fine dark rhum - still capable of raising the hairs on the back of one's neck. For years, Pendong has held down Friday nights at the Bistro with his band Ang Grupong Pendong, and it showed in his onstage confidence and the ease with which he tore into the numbers.

Asin opened with a seven-minute symphonic medley of their hits titled "Dalawang Dekadang Asin" which also leads off the new album. Then, in the middle of the set, they sang "Sa Malayong Silangan," the familiar voice of Saro on tape blending with Lolita's and Pendong's. For one brief moment, the three-part harmonies brought back vivid memories of the old days. If no lighters were waved in the air, it was only because people were too engrossed in the performance. Posthumous collaborations often give off a faint whiff of necrophilia, hallowed though the practice is with dead rock stars such as Jim Morrison, John Lennon and Bob Marley having been exhumed by surviving band members for another run at the charts. But in the case of Asin, there is instead a sense of completing something which had been left unfinished.

Just before she went onstage, I asked Lolita if the years had changed their view of life or their music. She replied: "Hindi pa nagbabago ang sitwasyon, paano magbabago ang pananaw namin? (The situation hasn't changed, how will our outlook change?) We won't stop singing 'Masdan Mo Ang Kapaligiran,' 'Magnanakaw,' 'Ang Bayan Kong Sinilangan, 'Limot na Bayani' until things change. We will continue to sing the same old songs."

By Eric S. Caruncho ©

Asin adds flavor to music again

By Remy M. Umerez
Inquirer News Service

FOLK singers are of a different breed. For one, they will perform in venues where Pops Fernandez will never dare to tread. In the ?70s, the hottest hangout for lovers of live folk music was the Hobbit House in Malate. These days it is Bistro ?70s on Anonas Road in Quezon City. The more accessible the venue is to people, the better it is for folk music. Never mind the ventilation. Folk singers seem to worry little about their mode of dressing and couldn?t seem to care less if their hair badly need a shampoo. Its the songs that matter most to them. Their songs say a lot about where they stand regarding particular issues. Their singing is tantamount to the late LinoBrocka?s fighting for freedom of expression. One singing group that became popular for their "socially relevant" songs as well as for their soulful sound is Asin, which is making a comeback in the recording field courtesy of Vicor.The group originally wanted to be called Salt of the Earth, a phrase found in the Bible and which means hardworking people.

The triumvirate of Pendong Aban, Saro Bañares and Lolita Carbon became widely known for such songs as "Itanong Mo sa mga Bata" "Pagbabalik," "Himig ng Pag-ibig" "Ang Bayan Kong Sinilangan" and the prophetic "Masdan Mo ang Kapaligiran." The rape of Nature that Asin sang about in "Masdan Mo ang Kapaligiran" is actually happening now. Several factors, both professional and personal, contributed to the scattering of the Asin members. The killing of Saro has got to be the biggest blow for the group.But the artist in them refuses to die and, after years of separation, Asin is back. Much of the credit for the return should go to the Vicor executives.The newest Asin album is called "Pag-ibig, Pagbabago, Pagpapatuloy" It is a continuation of the more than two decades of the Asian saga and advocacy. It is as if Asian and its followers never parted at all.This is the eighth Asin album. It opens with a seven-minute overture of Asin's two decades of music. Fourteen certified Asin hits are rolled into one musical masterpiece, with a brilliant arrangement that uses ethnic instruments and guitars.The banner song, "Ang Mahalaga," deals with the basic needs like food, shelter and jobs that man needs even as he strives to attain peace and unity. "Panibagong Bukas" offers a glimpse of hope for peace and an end to chaos, rivalry and war. "Sa Malayong Silangan" is the last song to have been written by Bañares, who had recorded it on a demo tape. The jolting "Pagbabago" says:

Lolita, the main voice behind many of Asin's hits, still possesses that raspy, throaty, powerful singing voice. Music wizard Pendong Aban plays the acoustic rhythm guitar and also does vocals. Together, Carbon and Aban continue to add their own peculiar flavor to Philippine music.

By Remy M. Umerez
Inquirer News Service

Asin goes on the musical road to peace
November 09, 2001
By Nonie Sarmiento
Inquirer News Service

Folk rock legends

IF there's one image that can restore a cynic's faith in Pinoy pop music, this is probably it Lolita Carbon, Pendong Aban Jr. and the rest of the entourage are having a quick, no-frills late afternoon meal of tuyo and sardinas with their bare hands. Folk rock legends Asin have worked up an appetite, having just played a two-set gig in Tulugan, a small, sleepy village nestled near the foot of Mt. Kitanglad, the country's second highest mountain and home to the Talaandig tribe of Bukidnon. Why they're somewhere in the heart of Mindanao and not in the NGO-flavored haunts of Metro Manila just as they've released their newest album in years may puzzle some, but it does seem to be the logical way to go. Because that's the most obvious thing here: between Mindanao and Asin is an enduring love affair. And right now, Asin is wooing its muse, the group's serenades echoing throughout the corners of this island in the form of a tour.

"Pagmamahal, Pagbabago, Pagpapatuloy . . . Pangkatawhay" is a peace caravan to promote the band's recent record "Pag-ibig, Pagbabago, Pagpapatuloy," as well as to spread the message of peace and harmony in the often-volatile environment of Mindanao. Marrio Mapanao, the tour organizer, says "tawhay" basically translates to "calm" and "tranquil" and it can also mean "wholeness" or "fullness of life."

The tour was organized by sayapkulturanhong advocacies, an NGO based in Cotabato, and is sponsored by Smart Communications, Air Philippines and the band's record label Vicor Music. After Bukidnon, Asin pushed on to Midsayap, Cotabato on Oct. 19, Banaybanay, Davao Oriental on Oct. 22, DavaoCity on Oct. 25 and ButuanCity on Oct. 27. The second phase of their Smart-sponsored tour will resume after a short break.

Asin is known for penning enduring folk anthems and also for being controversial. This reunion has been the third since they came out with their first album in 1978. After a brief parting of ways, which saw Carbon forming her own band, Asin came back in 1983 with "Himig ng Lahi." By 1989, the band dissolved once more, only to meet up as members in the powerhouse group Lokal Brown. By 1991 and after the tragic death of main songwriter SaroBañares, the other members had finally decided to close the book. Until now, that is. As the story goes, Carbon and Aban Jr., who had by that time formed the ethnic-rock band GrupongPendong, met up sometime last year and decided to give it one more go. Months later, here they are, eating dried fish. "Masmaigi-iginangayung tour namin ngayon," shares Carbon. She remembers Asin's first tour during the early '80s when they had to bring their own sound system and road people. "Lahat, sariling pawis unlike ngayon, nandyan na tumutulong yung Smart and the other companies. Medyo hindi na kami nahihirapan." Still, it's too early to tell--their Bukidnon gig, which coincided with the Talaandig Day celebrations, has only been their third. The band kicked off their tour in Santa Cruz, DavaodelSur, and moved on to Upi in Maguindanao last Oct. 7. The latter gig in particular had been a very encouraging one for the band, which, aside from the two remaining members, is composed of bassist Onie Badiang (of BagongLumad and Yano), guitarist Lito Crisostomo (of GrupongPendong) and multi-sessionist drummer Howie Villareal.

'Dangerous' gig

The band relates with a laugh that when the local newspapers came out with a feature on them, the headlines screamed that Upi was the most dangerous place in Mindanao. It contrasted perfectly with what the tour was all about. "Ito yungsinasabinilang most dangerous place kasi halo yungkultura," says Aban Jr. "May Muslim, may Kristiyano, maymgalumadnaTiduray..." (They said it was the most dangerous place because of the mix of cultures. Muslims, Christians, the Teduray tribes...") It was vindication of sorts when around 10,000 people came to see them--a massive crowd unheard of in a place that has been marred by armed conflict. Like a local version of Woodstock, people--students, NGO workers, church workers, farmers and workers--had hiked and hitchhiked to the four-hectare St. Francis High School plaza.

The concert was the culminating activity of the centennial celebrations of the Episcopal Church in the Philippines. "Biyaheng langit talaga," beams Lolita. ("It was really a trip to heaven.") The road to Tulugan in Bgy.Songco, Lantapan, Bukidnon, however, was more like hell. They had to cross mountain ranges, where in some places, even buses weren't able to pass. In fact, they share, they were more apprehensive about getting stuck in the middle of nowhere rather than encountering military or MILF checkpoints. Their friends back in Manila were the ones worrying, texting them regularly through Smart cell phones. The band just shrug off these anxieties. "Ako hindi talaga ako pinanganak sa Mindanao pero mas home ko pa ito, eh," says Carbon. "Mas dangerous ang buhay sa Maynila," adds Aban Jr. When pressed to compare their audiences in Manila and in Mindanao, Aban Jr. says there really isn't much of a difference. "Yung crowd sa Manila yung mga intelektwal na nakakaintinding problemang Mindanao, yung problemang lupa, human rights... Swak na swak talaga ang mga kantang Asindiyan." ("The Manila crowd is composed of intellectuals who understand the problems of Mindanao, problems concerning land and human rights . . . The songs of Asin really fit to a T")

The added dimensions now that they're playing in Mindanao is that the intellectuals have been replaced by the very people who have been the inspiration for their songs, from classics like "Masdan Mo ang Kapaligiran," "Balita" and "Ang Bayan Kong Sinilangan" to cuts from their new album like "Ang Mahalaga" and "Sa Malayong Silangan" a song recorded by the late Bañares, which they've re-recorded. If, in Metro Manila, the songs of Asin as welcomed for their nostalgic and folk elements, in Mindanao, these are pulsing with the social issues of the present. Add to the various causes of Asin issues concerning indigenous people, which is why this particular gig within the ancestral domain of the Talaandig is an important one for the band. Aban Jr. casually mentions a lesser-known song of theirs, "Ludima," which is about an indigenous person and the problems of his tribe. "It sounds political pero ang mga ancestral domain, saka nila talaga dapat" ("It sound political but ancestral domains should really be theirs.") Aban knows what he's talking about because he and his wife Chat are adopted members of the Talaandig, having been welcomed into the fold after they did some research on the tribe's dances in 1996. During that time, the Talaandig were celebrating after winning a case against a pharmaceutical company that had entered their territories without permission.
When asked if the varying audiences has affected their performances, Aban Jr. remarks: "Hindi naman namin aim talaga yung a, maraming tao, nagwa-wild, naglulundagan! Sa amin, masaya na kami kahit gaano kokonti basta tumagos." ("It's not our aim to be playing before a big crowd going wild. For us, it's fulfilling enough to play for a small crowd as long as we get the message across.") Whether it's playing for a mixed urban crowd of 10,000 or for a tribe of a hundred families, these folk heroes know that in the end, they--the band and the audience--are there because of the songs.

"Mas gusto namin yung ganoon. The song remains the . . . song," Carbon quips.
"Basta tandaan natin, ang Asin, hindi yan nakalutang," adds Aban Jr. "Ang Asin, naka paa na sumasayad sa lupa." ("We should remember,Asin has its feet set firmly on the ground.") And, in this particular instance, eating sardines with the salt of the earth.