The Vicor story (Part 2)

From then on, aside from discovering new talents and reinventing big names, Vicor also became known for nurturing the careers of Filipino composers. The offices which had expanded into the entire floor of a building, still in the Raon area, were a beehive of activity where revered names in Filipino music like Levi Celerio, Constancio de Guzman and Mike Velarde were constantly present. And so were George Canseco, Jose Mari Chan, Dennis and Rene Garcia, Willy Cruz, Ryan Cayabyab, Tito Sotto, Rey Valera, Louie Ocampo, and others who would help propel FiIipino music into its Golden Age in the ’70s.

The public’s growing interest in local talents and the Marcos government’s desire to help the local artists shine prompted Vicor to get into exciting new developments.  Foremost among these was the establishment of the first music publishing company in the country, Bayanihan Music Philippines, Inc. (BAMI), to professionalize songwriting. For the first time, composers got to own their songs and to be paid royalties for the use of their works. Along with a government ruling that required all radio stations to play a minimum of four Filipino records every hour, the creation of BAMI resulted in a spate of new original compositions.

By that time, Vicor had also become the most successful independent record company in the country. Vicor was the little kid on the block that took on the majors and won.  Aside from a seemingly unending line-up of hit releases, a stellar roster of singers and songwriters, a publishing arm with a fast-growing catalogue, a concert division promoting local and foreign acts, it had also been appointed Philippine licensee of labels like CBS, RCA Victor, Motown, Disney and others. 

Sadly though, the pressure brought about by Vicor’s rapid rise to the top also exerted a toll on the friendship and business partnership of Vic del Rosario Jr. and Orly Ilacad. The pair decided to separate on 1977. Orly left and founded his own entertainment company, OctoArts International. Vic remained with Vicor, which by then was already playing a most important role in the massive growth of Filipino music.   There was no question anymore that it would dominate the next decade.

Though now left alone to continue Vicor’s growing legacy, Vic did not miss a beat. Surely, there was no shortage of talent. Every local singer actually wanted to be part of the prestigious label’s umbrella. One of these was an unknown singer named Freddie Aguilar. His song Anak was one of the finalists in the first Metro Manila Popular Music Festival (Metropop) in 1978. Pressure was strong among the organizers to have a big name star interpret the song. Vic though, decided to give the Olongapo rocker a chance. He signed up Freddie and released Anak. The song did not win the Metropop but Anak and Freddie became big hits all over Asia and parts of Europe. The song was translated into over 20 languages and went on to become the most successful recording in Philippine pop music history, with a record that remains unsurpassed to this day. 

Not long after this, Vic would make another important discovery in the then 12-year-old Sharon Cuneta. Like Victor of a decade ago, Sharon did not look like she would make the grade. Unlike Pilita Corrales, she did not have the makings of a chanteuse. Unlike Nora Aunor, she had never sung her lungs out in a singing contest. And unlike the ingenues of the time, she was tall, poised, spoke English and got chauffeured around in a gold Cadillac. 

There was no way that the masses, the biggest market for local recordings, would be able to relate to her. But then, Vic went again for gut feel instead of statistics. He was right. By the time her second single Mr. DJ was released, Sharon was on her way to becoming the future Megastar.  No one saw that she would eventually play a major role in Vic’s new career as a movie producer after some unsound decisions forced him to leave Vicor in order to save the company.

Vic formed Viva Films with Sharon as his first star. And with Vicor, which was then under the Cultural Center of the Philippines (CCP), as his music marketing partner, he steered Viva to the top of the motion picture industry. Out of this period came some of the most enduring themes in Philippine movie history by George with Basil Valdez, Gaano Kadalas Ang Minsan; Willy with Sharon, Bituing Walang Ningning and a new batch of artists and songwriters that included Odette Quesada, Farewell for Raymond Lauchengco and Gary Valenciano with Growing Up in the landmark youth flick, Bagets.

Given his experience, connections and uncanny knack for the job, it was no surprise that Vic soon formed his own record company in 1988. It flourished easily enough and continues to be a dominant force to this day. Vicor, though scaled down from its glory days, remained in the business. It continued to make its share of hits most notable of which was Aiza Seguerra’s phenomenal selling Pagdating Ng Panahon.

Despite the success of Viva Records though, Vic could not find it in his heart to totally end his association with Vicor. So, when the label became available in 2008, he readily jumped at the chance to once more gain ownership of all of Vicor’s recordings. The Vicor story has come full circle. Those precious masters, all 50 years worth of them, along with the memories of generations, are now safely stored in the Vicor vaults, ready for everyone’s listening pleasure. It is a treasure trove of recordings that serves as a testimony to Vicor’s significant role in the history of Philippine music.