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JUAN DE LA CRUZ Psych/Prog LP SUPER SESSION WOW
Performed by Mike Hanopol and Wally Gonzales with session drummer Nides Aranz-Mendez (Joey Smith,
regular drummer of the JCB was so wasted he was not able to perform).
One of their best LP where they performed live at the University of the Philippines Theater.
1st Pressing, this one has the embossed logo on the cover jacket.
Made in the Philippines and produced by SUNSHINE RECORDS. Copyright by VICOR Music Corp.
Includes the songs:
SARAP NG BUHAY (Mike Hanopol, Wally Gonzalez)
KAGATAN (Mike Hanopol, Wally Gonzalez)
LANGIT (Mike Hanopol, Wally Gonzalez)
GREAT PINOY ANTIQUITIES (Mike Hanopol, Wally Gonzalez)
HIMIG NATIN (Joey Smith, Mike Hanopol, Wally Gonzalez) <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />
Vinyl is in good condition with very light scratches, which is common to this type of record.
Scratches do not affect the music. Jackets have wear, stain with dirt on both side covers.
Have rugged edges at the bottom portion and small pen marking at the back cover. Some color restoration on cover.
Had been plastic covered for protection. Labels are relatively clean with minor spindle wear. Still a desirable copy.
Very difficult to find and highly sought after among serious collectors of Philippine Progressive Rock.
It is considered their best album produced. This was the time that the band reached its PEAK and was given the title KING of PINOY ROCK. Still a rarity despite its condition.
Influenced and inspired by Brit-rock triumvirate, Cream, the third JDLC installment combined the power of Wally’s lead finger-pickin’, Mike’s throbbing bass lines and Pepe’s racing drum pounding. The result: a brief but heady musical engagement, that left a lasting legacy in Filipino rock.
Idea then was to form a rock band—not pop or folk but rock as real as it could get—that would play all-original Tagalog songs. “After we wrote a song for a show called Himig Natin in Luneta,
JDLC’s maiden LP, Himig Natin, was recorded in two nights since they dished out recording bucks themselves.
Buying block time in DZRJ, they turned Wednesdays into special JDLC nights for one month. Thus, the whole album was handed over to Vicor Records on a silver platter.
Rak ‘en Rol sa Ulan, Mamasyal sa Pilipinas, Beep Beep, Balong Malalim, and Himig Natin are just but a few of JDLC’s songs that laid Fil-rock’s foundation. Other albums include Maskara (1974), Super Session-Live at the UP Theatre (1975), Greatest Hits Live (Live Concert in Cebu), The Best of Juan Dela Cruz Band (1980), and Kahit Anong Mangyari (1981).
JDLC was a cut above the rest.. They didn’t dabble with grand upstaging antics nor follow any dictates from guys in business suits. “The JDLC was the ultimate high as musicians, because they played how and what we wanted to play.
But the stage was too small even with just three people on it. With young, prolific musical artists, a split was inevitable. It was a time of experimentation, and that’s what the group set out to do—individually. While the electrifying advent to fame with Himig Natin underscored JDLC’s zenith, the break-up just the opposite. “Each just went his own way.”
And the Pinoy rock movement they launched ended. JDLC’s train reached a station and everyone got off;
the blazing trail was too fiery for others to successfully follow.
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