by Jojo Soria de Veyra
TWELVE SONGS
Pulubi. The DSWD has one of the lowest budget appropriations in government, and it's also true that job employment has too many requirements (UP grad, female, 30 years old below, good-looking, etc.), not to mention an unstoppably rising unemployment rate seems to be every new regime's pride. So although it's also true that syndicates have been running beggary turfs in Manila, I'm yet inclined to believe there are still real beggars out there, so, okay, I can still empathize with this piece during the rush hours, office-ward and homeward, putting aside Aguilar's country-glam hat and vest.Alaala. Part of an obvious triptych cognizant of the Filipino Catholic celebrations of the family, this country-rock song is the ode to the father, while Anak occupies the tribute-to-parenthood middle panel and Ina the abstract depiction of and plea for a mother-loving memory in the third panel. Alaala's narrative poignancy goes around a final paternal advise that goes, "tulungan mo ang iyong sarili" (through pagsisikap in school), referenced as a most memorable moment by the song's narrator by virtue of the repeat qua "refrain". Here's a father then whose prime offer to a son is shaped by an admonishment to "go help yourself". This is not at all ludicrous and must be understood in the context of loving parents placed in poverty-stricken times (or in the ghettoes of New York) who see a rare opportunity for their son to work on. Despite the advise, the pop gives in to his son's wish to pursue a venture in music and travel; in turn, "Freddie" in the song acts heroically when he recalls the virtue of the earlier unheeded advise, despite his success after the rebellion, singing, "saan man siya naroroon, mga payo niya'y tataglayin ko."
Anak. A variation on the prodigal son story, the visceral lines of forgiveness came through three climactic lines in this international hit of a narrative: "at ang una mong nilapitan/, ang iyong inang lumuluha,/ at ang tanong, 'Anak, ba't ka nagkaganyan?'"
Ina. This may sound like a lame exploitation of Anak's success, but in our Mama Mary'd culture carries much weight, albeit abstracted.
Bayan Ko. Probably the most emotional recorded rendition of the country's virtual second national anthem. Putting aside the rumor (and ironic context for a "national hymn") that the copyright to the song does not belong to the composer.
Buhay. Opening with heartbeat thumps, here's a song that provided many Filipinos comfort in the philosophical thought that each individual carries with him the pangs of living, be he rich or poor. However, Aguilar probably realized his primary audience and kowtowed to them with the safe "kahit ang mga mayaman,/ ay di lubos ang kanilang kasiyahan" (underscoring mine), following it up quickly with humor in "Sa buhay ng mahirap ay gayundin,/ lalo na't kay dami mong mga utang."
Buhay Nga Naman Ng Tao. Another produce of Pinoy developmental rock, espousing social values while obliquely critical (consciously or not) of the Marcos' regime's excesses.
Bulag, Pipi at Bingi is probably Aguilar's most biting social criticism, so much so that Imelda Marcos requested it be excluded from the Metro Manila Pop Song Festival roster of finalists.
Higit Sa Lahat, Tao. Churned out during a time when everybody was doing sermon-songs, Aguilar produced (or re-popularized) one of the most populist slogans in Philippine history, and thus in Philippine political songwriting. Listen to the lyrics and ask, might this flair of addressing an audience have influenced two-time presidential aspirant Raul Roco's later speechwriting?
Kinabukasan. Granted, for many unemployed this may have been Aguilar's insensitive and unpatriotic composition. But by writing about laziness, he may have unwittingly produced a song about the downside of Pinoy filial tightness that allows lazy dependents to prey on the industriousness of other family members.
Magbago Ka. Even before a number of American rockers came out to campaign against drugs and saying "no", Aguilar was already sporting this sermon-song against vice to Pinoy street teens simply by exploiting again his Anak motif.
Problema. "Kaya ang dapat nating gawin, maglibang-libang at ating limutin." So goes Aguilar's advice in an earlier piece called Buhay. Extending this turf further for a later song, the country-folk artist produced a ticklish rib poke of an oeuvre that however avoided the "novelty song" trap. This was not always a good listen, especially coming from a Marxist standard, but now and then it seemed to be terribly useful to many a confused mind and probably saved lives in the squatter areas. :-) (4/04)
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