Martin sings the classics

I do not know if Martin Nievera knew it then or if he has realized it by now. His latest album Kahapon… Ngayon is his most daunting recording assignment ever. And that is aside from having to struggle with the refined Filipino language in the lyrics, let alone, singing one Cebuano song. That would have been a treat to watch. But also little things like when did he find out that buhangin means sand? Does he know that the paraisong parisukat of the song is actually a shoebox? But these bits are really all just fun parts.

Seriously though, the fact is that with the album, Martin finally sets foot on the holy of holies of Filipino music and he is the first of his generation of song artists to do so. Then he has taken on a popular line-up. He performs songs that were either born during the ‘70s era or which were composed back in the ‘50s or ‘60s but which enjoyed successful revivals during the ‘70s Manila Sound period. This puts him at a huge disadvantage.

How do you cover the iconic Kapantay Ay Langit recording by Pilita Corrales? How do you do justice to Buhat after that phenomenal selling rendition by The New Minstrels? He did very well with Basil Valdez’s Say That You Love Me but Kastilyong Buhangin and Paraisong Parisukat belong to a different league. The nuanced simplicity of these old melodies requires a sensitivity that is all but fast disappearing among our singers.

Difficult. But I am happy that Martin took on the challenge. The last time this happened was when Basil Valdez came up with his collection of Filipino classics and that was over a decade ago. Daring Basil went as far back as Nicanor Abelardo’s Bituing Marikit. Maybe someday Martin will do the same. That is mine the classics deeper. Songs have to be heard to remain alive and these classics are dying fast what with kids today listening only to the beats of foreign-club hits and local songwriters trying to provide them with their versions as local alternatives. Hopefully, Martin’s clout will be able to spark renewed interest in these great compositions.

The contents of Kahapon…Ngayon deserve complete mention: Buhat by Mike Velarde and Dominador Santiago; Bato Sa Buhangin by Ernani Cuenco and Snaffu Rigor, first recorded by Cinderella; Buhay Ng Buhay Ko originally by Leah Navarro, composed by Prudencio Pedero; Kastilyong Buhangin by George Canseco, first sung by Basil; Kapantay Ay Langit by Pilita also written by Canseco; Saan Ka Man Naroroon by Restie Umali with lyrics by Levi Celerio; Basil’s Paraisong Parisukat composed by Ryan Cayabyab; Gaano Ko Ikaw Kamahal popularized by Celeste Legaspi and written by Cuenco and Celerio; Maalaala Mo Kaya by Constancio de Guzman; Ikaw also by Velarde and Santiago; the Visayan Usahay by Gregorio Labja; and Hindi Kita Malimot by Josefino Cenizal.

Now, Martin does not have the orchestral assistance that Pilita had with Doming Amarillo for her Philippine Love Songs series or that Basil had with Ryan Cayabyab’s San Miguel Orchestra for his Filipino classics. But I say, good for him as he wisely goes the opposite route with light pop arrangements focused on the guitar or the piano by a young batch of arrangers. This proves so effective for the song, particularly the likes of Buhat and Maalaala Mo Kaya that come off like soulful haranas.

But of course, because this is a Martin album, there has to be big showstoppers. Hindi Kita Malimot with its big choir is somewhat of an overkill. All it lacks is a kettledrum. Or is there one? But this is forgivable because it is the album closer and you know how Martin has always liked to end things on a booming note. However, Buhay Ng Buhay Ko, probably one of the best cuts, comes off beautifully. Great choice. Just perfect for Martin and I so missed this song.

Ikaw is what I call the Nievera cut. No not Martin, but Bert. Maybe because his father has a version of the song, Martin here is the closest he has ever been to his father in any of his recordings. Think white sharkskin suit, light bolero dance steps. Very suave. Sounding breathy. Utterly fascinating.

Two days later. Album is holding up nicely with every listen. Favorites are also changing. Today, these have become Gaano Ko Ikaw Kamahal and Maalaala Mo Kaya. As far as songs are concerned, there are no throwaway cuts in it. Martin’s singing and arrangements are perfect for the concept. This is shaping up to be the best album of his career. I will see if I feel the same next week. If I do then I hope a Volume 2 will be in production soon. OMG! Martin just revivified his career.