Best Albums of the Nineties

Eraserheads (From left to right: Marcus Adoro, Buddy Zaballa, Ely Buendia and Raymund Marasigan)

 
Magkabilaan, Joey Ayala at Ang Bagong Lumad (1992). A little bit of cheat here. This was originally released in the late eighties and re-issued in 1992. Two tracks from this album, “Ilog” and “Padayon” were covered by Rivermaya in their last album with Rico Blanco. Other more popular songs here are “Magkabilaan” and “Walang Hanggang Paalam”.

Yano, Yano (1994). Nevermind if Dong Abay seemed to have gone one-off wonder after Yano (i.e. Pan, Flipino) – his works are always among the decade’s best.

Cutterpillow, Eraserheads (1995). It’s not “it’s either Circus or this”. If I have to include Circus, I may also need to include Natin99, Ultraelectromagneticpop, Fruitcake and even Sticker Happy. So I have to stick with Cutterpillow.

Patak, Agaw Agimat (1997). A slew of punk, politics, folk and ska formed into sharp pointed invectives, the best of which, their tirade on then Philippine President Fidel V. Ramos. Now that's something not even Yano were able to pull off. Robert Christgau will definitely love this.

It’s Not Easy Being Green, Rivermaya (1999). Bamboo plus singles equals Rivermaya, otherwise known the country’s most popular band after the Eraserheads. That was before this. This is Rivermaya minus Bamboo plus relative obscurity equals the best alternative album (that never sold well) since Cutterpillow.

Runner-ups:

Ultraelectromagneticpop!, Eraserheads (1993)

Hand-Painted Sky, Color It Red (1994)

Circus, Eraserheads (1994)

Put3ska, Put3ska (1995)

Freeman, Francis M. (1995)

1896 Ang Pagsilang, Various Artists (1996)

Semenelin, Wolfgang (1996)

Beggar's Moon, Razorback (1997)

Natin99, Eraserheads (1999)

I Was A Teenage Tree, Teeth (1999)

Hebigat Sounds Volume One (Razorback, 1995)

Hebigat Sounds sounded just right but Inuman Sessions Vol.1 would have been more apt for Razorback's debut. From the opening motif of "Tabi Ng Bulkan" to that riff that plays repeatedly and ends "Diwata", these guys delivered bad-ass goods - equal parts booze and rock and roll. "Stand by...rolling". I took one bottle, poured half in a glass. It tasted bitter. And sweet. Kevin Roy started singing about stuff - misadventures, a drinking buddy, among other things. But the band kicked arse mainly via one-two punch of David Aguirre and Tirso Ripoll. Riffs, motifs and licks - after, over and within - riffs, motifs and licks. Sounded like each of them has got a sixth left-hand finger. Six. Fuckin. Fingers. I emptied the bottle. Dumps one cube on the head. Before he could finish his fifth song, Kevin Roy must've been drunk already. For he sang the same verse over and over. I took another bottle. Then another. And another. The band played the same verse about three times, the same chorus, three times. They must’ve been smashed already. Man, that song could have been finished two minutes ago, damn! Then I reach the bucket for another. This next bottle's already warm. The ice bucket was empty. A girl in black shirt showed up and took it. Then, I went to the bath room and tried to keep my balance as I walked carefully between tables and chairs. My feet following the beat of Louie Talan and Miguel Ortigas’ pounding rhythm. I heard Kevin Roy talk about things again - beer, jazz, ganjazz, another friend - all the shallow stuff, including his baňo song. But I'm not complaining. I came here to relax, drink beer and not talk about politics or any serious matter. For a change. I was already having tamang amats by the time I went home. Before I slept that night, I remember that fair lady in black. She took the ice bucket and never came back. Then I woke up with a massive hangover, my head hurts and felt like it was ten times heavier. Hebigat, indeed. Damn, never gonna drink again. ***

Pop U! (Eraserheads, 1991)

Not first ever indie, rather self-released cassette of dozen songs already worth a proper album. Some of which already recorded for what is now known as “garjam” demo, and half of which would later appear in their major label albums. Sound-wise, it’s a combination of pop, post-punk and whatever they heard inside their heads, muddled up ingenuously. Production-wise, it is akin to Slanted and Enchanted, albeit unintentionally. Aside from confirming that their strength is on song craft more than studio cookery and technical cockiness, it also provides glimpse into the bands’ early days. Not a masterpiece, but a rarity. The Holy Grail for die-hards and remarkable addition to any music fan’s collection. ***