FRANCO: Superstar lineup puts the ‘rock’ back in rock ’n roll

Also from The Manila Times

Superstar lineup puts the ‘rock’ back in rock ’n roll
BY PAUL JOHN CAÑA Contributor

People have started calling them a “superband,” but for the members of Franco, it’s a term that makes them very uncomfortable.

“For us this is just another job. We don’t want to be called a ‘supergroup,’” says guitarist Paolo “Ocho” Toleran. The Queso axeman is joined in Franco by Gabby Alipe and Janjan Mendoza of Urbandub, Buhawi “Buwi” Meneses of Parokya ni Edgar and frontman and band name source Franco Reyes.

For almost two years, there were murmurs of this all-star lineup that played rock music as it should be played—raw, unhindered, uncompromising and powerful. Franco would pop up intermittently in surprise gigs around the city, but never quite got together long enough for a proper introduction. Until now.

On Saturday night, Franco launched their much anticipated debut album at Eastwood City Central Plaza. Catching all five of the superstar rockers at one time was an event itself, and prior to the show they had time to tell the story of Franco, the band.

“We’ve all known each other for more than 10 years,” Toleran says. “We all lived in the same village. Of course Gabby and Janjan knew each other way back from Cebu.”

“I’ve known Franco for close to 15 years,” Gabby says. “He’s a musical genius. It was actually Janjan who all got us together and suggested we jam a few songs.”

“In the beginning it was like that, just jamming,” Meneses adds. “Then MCA offered us the chance to record the album.”

But before then, the band members had to convince Reyes, who was then based in the United States and only flew back to the motherland from time to time, to come home for good.

“Most of my loved ones are here, and really the Philippines is home for me,” he says “As they say, home is where the heart is.”

Despite all coming from different bands who are all established in the mainstream, it was not difficult for the five friends to come together to produce new music. The mix of different styles—hard rock, pop, funk and even a little reggae—all came together and became the “Franco sound.” “It’s positive music,” Gabby says. “The lyrics carry positive vibes. There’s a message to every song.”

At the Eastwood Central Plaza, fans snapped up the album for the chance to meet the band and snag that much coveted autograph. Taking to the stage, Reyes, who wrote and arranged all the songs in the album, could not help expressing profound gratitude to everyone who’ve helped in some way to bring him and the band to where they are now.

“Salamat sa pagtangkilik sa musikang Pilipino [Thanks for patronizing Filipino music],” he said.

Franco went up onstage in front of a packed Eastwood Central Plaza. With layered guitar riffs, a booming bass and incessant drumming, the band played the kind of rock music we rarely ever experience in this day of pop star divas, rap and hip hop hybrids and lukewarm, tasteless rock star wannabes. The melodies weren’t lost in the ear-splitting rhythms and head-turning grooves. Reyes vocals soared over the instruments, like the cooler version of Chad Kroeger.

Alipe, already a master front man with his work with Urbandub, let his Franco brother bask in the spotlight and was content in providing the occasional backup vocals. Standout tracks that would soon undoubtedly adorn countless Facebook walls and quoted on Twitter status messages include lead single “Castaway,” the rasta-infused “Touch The Sky” and latest single “This Gathering.”

Time will tell how this new project will work out, especially since all the band members admitted that, unlike the old days, it’s not the easiest thing in the world to get all five together to play. But for those thirsting for some genuine OPM rock music without the bull and the fluff, the eponymous album is a must-own and will satiate any longing for ball-busting, ear splitting rock and roll.

FRANCO: Superstar lineup puts the ‘rock’ back in rock ’n roll

Also from The Manila Times

Superstar lineup puts the ‘rock’ back in rock ’n roll
BY PAUL JOHN CAÑA Contributor

People have started calling them a “superband,” but for the members of Franco, it’s a term that makes them very uncomfortable.

“For us this is just another job. We don’t want to be called a ‘supergroup,’” says guitarist Paolo “Ocho” Toleran. The Queso axeman is joined in Franco by Gabby Alipe and Janjan Mendoza of Urbandub, Buhawi “Buwi” Meneses of Parokya ni Edgar and frontman and band name source Franco Reyes.

For almost two years, there were murmurs of this all-star lineup that played rock music as it should be played—raw, unhindered, uncompromising and powerful. Franco would pop up intermittently in surprise gigs around the city, but never quite got together long enough for a proper introduction. Until now.

On Saturday night, Franco launched their much anticipated debut album at Eastwood City Central Plaza. Catching all five of the superstar rockers at one time was an event itself, and prior to the show they had time to tell the story of Franco, the band.

“We’ve all known each other for more than 10 years,” Toleran says. “We all lived in the same village. Of course Gabby and Janjan knew each other way back from Cebu.”

“I’ve known Franco for close to 15 years,” Gabby says. “He’s a musical genius. It was actually Janjan who all got us together and suggested we jam a few songs.”

“In the beginning it was like that, just jamming,” Meneses adds. “Then MCA offered us the chance to record the album.”

But before then, the band members had to convince Reyes, who was then based in the United States and only flew back to the motherland from time to time, to come home for good.

“Most of my loved ones are here, and really the Philippines is home for me,” he says “As they say, home is where the heart is.”

Despite all coming from different bands who are all established in the mainstream, it was not difficult for the five friends to come together to produce new music. The mix of different styles—hard rock, pop, funk and even a little reggae—all came together and became the “Franco sound.” “It’s positive music,” Gabby says. “The lyrics carry positive vibes. There’s a message to every song.”

At the Eastwood Central Plaza, fans snapped up the album for the chance to meet the band and snag that much coveted autograph. Taking to the stage, Reyes, who wrote and arranged all the songs in the album, could not help expressing profound gratitude to everyone who’ve helped in some way to bring him and the band to where they are now.

“Salamat sa pagtangkilik sa musikang Pilipino [Thanks for patronizing Filipino music],” he said.

Franco went up onstage in front of a packed Eastwood Central Plaza. With layered guitar riffs, a booming bass and incessant drumming, the band played the kind of rock music we rarely ever experience in this day of pop star divas, rap and hip hop hybrids and lukewarm, tasteless rock star wannabes. The melodies weren’t lost in the ear-splitting rhythms and head-turning grooves. Reyes vocals soared over the instruments, like the cooler version of Chad Kroeger.

Alipe, already a master front man with his work with Urbandub, let his Franco brother bask in the spotlight and was content in providing the occasional backup vocals. Standout tracks that would soon undoubtedly adorn countless Facebook walls and quoted on Twitter status messages include lead single “Castaway,” the rasta-infused “Touch The Sky” and latest single “This Gathering.”

Time will tell how this new project will work out, especially since all the band members admitted that, unlike the old days, it’s not the easiest thing in the world to get all five together to play. But for those thirsting for some genuine OPM rock music without the bull and the fluff, the eponymous album is a must-own and will satiate any longing for ball-busting, ear splitting rock and roll.

The Beat Master - A Review of Timbaland's Shock Value II show

I kind of like this review. From The Manila Times 

Justin Timberlake and Jojo join Timbaland’s Shock Value Tour II
BY PAUL JOHN CAÑA

The wait was excruciating.

The Mall of Asia concert grounds opened hours before the shadow of any foreign artist was seen onstage, but crowds started coming in before the sun had even set to get as close to the stage as possible. They probably had no idea it would be hours before the marquee act would turn up.

The Timbaland Shock Value Tour II featured in-demand producer, rapper and star-maker Timbaland.

PLDT-Smart brought in the Grammy-winning Virginia-native, along with teen singer Jojo and a certain Justin Timberlake (you may have heard of him) as a fundraiser for its corporate foundation. After endless loops of concert sponsors and advertisers were flashed on the big screens, a short video of what the concert was about was shown. Funds raised would help in rehabilitation projects for schools and households affected by typhoons Ondoy and Pepeng. “Special thanks to Timbaland, Jojo and Justin Timberlake,” the end title card of the video flashed.

There was some irony in the fact that a concert that was organized for a worthy cause would be held at the exact same time that the world was celebrating Earth Hour. While millions of homes and commercial establishments switched off for one hour to send a strong message about energy conservation and sustainable practices, a gigantic production involving an untold amount of electrical power was underway.

To be fair though, the concert hosts (composed of eight, yes, eight, different radio deejays) did lecture the crowd about the significance of Earth Hour. The warm-up act, a dance number by popular group the Philippine All Stars, managed to get the crowd worked up, although it took almost another hour before the main act, Timbaland himself, took to the stage at a quarter to 10 p.m., well after the end of Earth Hour.

Timothy Mosley—a.k.a. Timbaland or “Timbo”—ambled onstage amidst grateful applause. “I’m about to put on a show for you all, and I’m very glad to bring it first here to Manila,” he said. With that the stage came to life. Gigantic screens played video and computer graphics in tune with the electronic beats that melded seamlessly with the music from the live band behind the artist. Perhaps those that were in the silver section and farther away may have had a totally different experience, but for those who were close enough, it was nothing short of a sensory overload.

With the eye popping visuals, beats that could be felt, not just heard, Timbaland managed to blur the lines between a hot, thumping dance club and a full-on concert experience. The music traveled from giant speakers straight to the bloodstream, causing limbs to shake, feet to dance, arms to wave and heads to bop. Movement became involuntary. Only deaf people would have been immune to the earth shattering grooves, and even that’s doubtful, as the music made the earth move, literally, and they must have felt the vibrations and would have probably danced along, too.

Doll-faced Jojo, with her shampoo-commercial ready hair, performed a duet with Timbaland midway through his set, and performed her single “Too Little, Too Late” solo. The 20-year-old visibly struggled through parts of the song but was nevertheless rewarded with appreciative howls from the audience. Too bad that was the last the crowd saw of her; it wouldn’t have hurt anyone if she did just one more song.

Timbaland gave off the aura of a skillful conductor ably manipulating his orchestra. He was a master at working the crowd, upping the ante and building up to a monstrous climax. And the payoff at this show was undoubtedly Justin Timberlake. Arguably the biggest male pop star in the world today, the former boy band member first made his presence in the concert felt through teasing voiceovers. There were mad screams then, but when he finally materialized, vocal chords ripped and eardrums shattered. The show may have been Timbaland’s, but there was no denying who audiences really came to see.

Timbaland and Timberlake are frequent collaborators (the former produced the latter’s second album, Futuresex/Lovesounds, as well as many other singles and tracks), and their chemistry onstage was undeniable. Audiences, particularly the females, were in a state of near-ecstasy. But when it was the Grammy-winning singer’s solo turn at the spotlight, there were no complaints. Timberlake performed a limited set (he was after all, only a guest at Timbaland’s show), but audiences appreciated that he did some of his biggest hits, including a very explicit “Cry Me A River,” a slow version of “What Goes Around, Comes Around,” and the grand finale, perhaps the one song that many that night were all waiting to hear. “I retired this song but, f**k it I love you guys so much.” And with that he launched into his massive hit, “Sexy Back.”

If there was anybody there who wasn’t moving before, that ended it. With Timbaland providing backing vocals, JT brought the house down with the song. Fireworks lit up the night sky during the number, but for once, hardly anyone glanced back; all eyes were locked onstage, where the real pyrotechnics was happening. It was an incendiary performance, and even music purists “allergic” to pop must have been feeling it. Unofficial sources pegged the final count that night at the SM MOA at 75,000, and there is little doubt that every single one was bringing “sexy back” or at least, was trying to.

Nobody liked the agonizing delays, but ultimately, JT made sure he was well worth the wait

The Beat Master - A Review of Timbaland's Shock Value II show

I kind of like this review. From The Manila Times 

Justin Timberlake and Jojo join Timbaland’s Shock Value Tour II
BY PAUL JOHN CAÑA

The wait was excruciating.

The Mall of Asia concert grounds opened hours before the shadow of any foreign artist was seen onstage, but crowds started coming in before the sun had even set to get as close to the stage as possible. They probably had no idea it would be hours before the marquee act would turn up.

The Timbaland Shock Value Tour II featured in-demand producer, rapper and star-maker Timbaland.

PLDT-Smart brought in the Grammy-winning Virginia-native, along with teen singer Jojo and a certain Justin Timberlake (you may have heard of him) as a fundraiser for its corporate foundation. After endless loops of concert sponsors and advertisers were flashed on the big screens, a short video of what the concert was about was shown. Funds raised would help in rehabilitation projects for schools and households affected by typhoons Ondoy and Pepeng. “Special thanks to Timbaland, Jojo and Justin Timberlake,” the end title card of the video flashed.

There was some irony in the fact that a concert that was organized for a worthy cause would be held at the exact same time that the world was celebrating Earth Hour. While millions of homes and commercial establishments switched off for one hour to send a strong message about energy conservation and sustainable practices, a gigantic production involving an untold amount of electrical power was underway.

To be fair though, the concert hosts (composed of eight, yes, eight, different radio deejays) did lecture the crowd about the significance of Earth Hour. The warm-up act, a dance number by popular group the Philippine All Stars, managed to get the crowd worked up, although it took almost another hour before the main act, Timbaland himself, took to the stage at a quarter to 10 p.m., well after the end of Earth Hour.

Timothy Mosley—a.k.a. Timbaland or “Timbo”—ambled onstage amidst grateful applause. “I’m about to put on a show for you all, and I’m very glad to bring it first here to Manila,” he said. With that the stage came to life. Gigantic screens played video and computer graphics in tune with the electronic beats that melded seamlessly with the music from the live band behind the artist. Perhaps those that were in the silver section and farther away may have had a totally different experience, but for those who were close enough, it was nothing short of a sensory overload.

With the eye popping visuals, beats that could be felt, not just heard, Timbaland managed to blur the lines between a hot, thumping dance club and a full-on concert experience. The music traveled from giant speakers straight to the bloodstream, causing limbs to shake, feet to dance, arms to wave and heads to bop. Movement became involuntary. Only deaf people would have been immune to the earth shattering grooves, and even that’s doubtful, as the music made the earth move, literally, and they must have felt the vibrations and would have probably danced along, too.

Doll-faced Jojo, with her shampoo-commercial ready hair, performed a duet with Timbaland midway through his set, and performed her single “Too Little, Too Late” solo. The 20-year-old visibly struggled through parts of the song but was nevertheless rewarded with appreciative howls from the audience. Too bad that was the last the crowd saw of her; it wouldn’t have hurt anyone if she did just one more song.

Timbaland gave off the aura of a skillful conductor ably manipulating his orchestra. He was a master at working the crowd, upping the ante and building up to a monstrous climax. And the payoff at this show was undoubtedly Justin Timberlake. Arguably the biggest male pop star in the world today, the former boy band member first made his presence in the concert felt through teasing voiceovers. There were mad screams then, but when he finally materialized, vocal chords ripped and eardrums shattered. The show may have been Timbaland’s, but there was no denying who audiences really came to see.

Timbaland and Timberlake are frequent collaborators (the former produced the latter’s second album, Futuresex/Lovesounds, as well as many other singles and tracks), and their chemistry onstage was undeniable. Audiences, particularly the females, were in a state of near-ecstasy. But when it was the Grammy-winning singer’s solo turn at the spotlight, there were no complaints. Timberlake performed a limited set (he was after all, only a guest at Timbaland’s show), but audiences appreciated that he did some of his biggest hits, including a very explicit “Cry Me A River,” a slow version of “What Goes Around, Comes Around,” and the grand finale, perhaps the one song that many that night were all waiting to hear. “I retired this song but, f**k it I love you guys so much.” And with that he launched into his massive hit, “Sexy Back.”

If there was anybody there who wasn’t moving before, that ended it. With Timbaland providing backing vocals, JT brought the house down with the song. Fireworks lit up the night sky during the number, but for once, hardly anyone glanced back; all eyes were locked onstage, where the real pyrotechnics was happening. It was an incendiary performance, and even music purists “allergic” to pop must have been feeling it. Unofficial sources pegged the final count that night at the SM MOA at 75,000, and there is little doubt that every single one was bringing “sexy back” or at least, was trying to.

Nobody liked the agonizing delays, but ultimately, JT made sure he was well worth the wait