Lumilipas ang panahon.
Kabiyak ng ating gunita.
Ang mga puno't halaman,
bakit kailangang lumisan?

Pana-panahon ang pagkakataon.
Maibabalik ba ang kahapon?

The folk song 'Kanlungan' is actually of romance as a metaphor for the environment. But on television, it provides the musical backdrop for well-crafted vignettes of Filipino family values. Children respect their elders, families coddle together in a word lit by capiz windows and Amorsolo sunshine. Then the clincher at the very end betrays its intent: two golden arches against a red backdrop proclaim it as a McDonald's television commercial.

For the clueless idiot-box junkie, it is just the theme song for the latest burger ad. But for fans of Pinoy folk music, it is Noel Cabangon's stab at mainstream success. To Jesuits, it is their front man spreading the gospel. For a number of leftists, it is their endeared love anthem of the last decade selling out to a leading symbol of cultural homogenization and American imperialism.

But there's so much more to Cabangon than this one song and he has so much more to say.

Hindi pula't dilaw ang tunay na magkalaban.
Ang kulay at tatak ay di syang dahilan.
Hangga't mas marami ang lugmok sa kahirapan,
at ang hustisya ay para lang sa mayayaman.
Habang may tatsulok at sila ang nasa tuktok,
Hindi matatapos itong gulo.
''Tatsulok'

Cabangon has been raging against foreign military intervention, child labor and environmental degradation for the last two decades. His songs can be as didactic as a teach-in on liberation theology and the national democratic front. He's paid his dues as a musician in the anti-dictatorship struggles. Along with the likes of Joey Ayala, Chikoy Pura, Jess Santiago, Pendong Aban and Gary Granada, the man has been at the vanguard of Pinoy rock's social conscience. From the streets of Edsa Dos to the beaches of Pampanga to the mountain tops of Sagada, NGO and Civil Society advocates have come to know, through the years, that Cabangon will always be there for them'whether it be for the plight of sea turtles or for the return of the historic Balangiga church bell. He's a member of Akbayan, Amnesty International and Green Peace.

So why is Cabangon getting so much flak from 'selling out'?

Setting the record straight

Before any more leftists flame him and pin blame on the numerous Internet message boards, it is high time to kill a few urban legends in the make. Thus, the facts are:

1. The song was composed by Rom Dongeto and recorded by the duo Buklod, of which both Cabangon and Dongeto were members in 1994.
2. They were the ones approached by an ad agency, not the other way around.
3. Though he was abroad at the time, Dongeto consented via e-mail to Cabangon, with the latter having the final say on the use of the song.
4. The client for whom the song was being bought for was not initially disclosed. Though the identity of the client later became apparent, the duo allowed the use of the song all the same.
5. The parting of ways in 1994 of Cabangon and Dongeto was more for artistic growth and had very little to do with the fratricidal split still going on within the leftist movement. And though the two are identified with different ideological leanings, they remain good friends.

Why did he do it? 'Why not?' opines music legend Joey Ayala on the matter. 'I would have done the same.'

Cabangon has no regrets regarding his decision; he does admit, however, to being 'disturbed' by all this talk. Those accusing him of selling out are perhaps unaware of his continuing dedication to advocacies dear to him. Cabangon retorts that the left is too possessive about one of their own. "Masyadong tayo-tayo (It's too clique-ish)."

According to Cabangon, his motivation for allowing the commercial use of the song was "to open up doors beyond the confines of the left." After all, if only the activists get to hear such songs, it would be as useless as preaching to the converted.

If getting his message across to a wider audience is his goal, then Cabangon is succeeding. He draws yuppies enamored with the current fad for acoustic live music as well as veteran activists wanting to listen to someone who knows what he's talking about. His engagements take him from the tie-dye crowd of 70's Bistro to the trendy mall brats of Podium's Dome Café. Already those new to the world of environmental advocacy have taken the song "Kanlungan" as their anthem. His music videos can now be seen on Isla advocacy channel as well as Studio 23's MYX.

It can be argued that Cabangon is the face of Pinoy folk rock today. He's got the moxie. He's got the "K". It's about damn time he showed a new generation what real acoustic music sounds like.

Live, like thunder and rain

To hear Cabangon sing live on a regular basis is to have a weekly epiphany. His guitar tunes are warm, clear and emphatic. His voice can both sooth and sear, as called upon by the song at hand.

As soon as he plays, the clatter and the din of chitchat settle, as devoted ears give Noel their full attention. His microphone stand often sprouts a bulging bouquet of haphazardly folded paper napkins; each wad wedged on the steel pole is a request from his audience.

Most call on him to sing his own compositions. Fans know his lyrics by heart. His repertoire also includes covers of Bob Dylan, James Taylor, Sting, Dave Mathews and John Mayer.

But by far the most magical moments are when a random rock veteran among the crowd such as Cookie Chua of Color It Red, Bayang Barrios of Joey Ayala's Bagong Lumad or Mike Villegas of Rizal Underground joins Cabangon on stage for a rendition of one of his songs. Though Cabangon sees himself a folkie, his originals are flavored with blues, reggae and even bossa nova jazz.

The title of Cabangon's second solo album Medjas is a play on words. Just as his first album title Pasaklye hinted at its urban content and blues-rock style, his new album has a decidedly jazzy flair. There are also elements of bossa nova, blues and gospel that color this new album. Noel's penchant for experimentation reflects this artist's continuing efforts to grow and expand his music. With every song that he pens and every note he strums, his number of fans can only grow.

La Union native, batang Kyusi as well

If one recognizes Noel's rousing and infectious reggae anthem 'Panawen' as Ilocano, it should come as no surprise. The man was born in La Union where the dialect is lingua franca. He was born on a Christmas day in 1963, hence the name Noel.

Music runs deep in his family. His father, as well as all his four brothers and his sister, all sing and play instruments. His early influences were Jackson 5, the Beatles, James Taylor, Paul Simon, and Crosby, Stills and Nash. He picked up his first guitar at the age of 10. That his fingers dance on the six strings with such verve and gusto is due to a lifetime's worth of strumming.

Cabangon has always been a bit of a choirboy since his high school days in Kamuning, Quezon City; so it should come as no surprise that he sings hymns for the Jesuits who have produced his last two albums. Especially now that he has a 6-year-old son and a devoted wife, he is very much concerned with spirituality. Some of the tracks in his latest album Medjas deal with his relationship with the Supreme Being; his fears and hopes for his child's generation are a recurring theme in all his albums.

Cabangon supported himself through college by playing in folk houses such as My Father's Mustache. His Bachelor of Arts degree became superfluous as he decided to devote himself totally to music.

It was during his college days in the city that he first got involved in Civil Society. He was invited by Rom Dongeto to become part of Bukluran ng Mapagpalayang Musiko or Buklod, which was originally a cultural troupe of the nationalist Alliance for Justice and Democracy. Later, Buklod evolved into a folk duo. Buklod released three albums, all of which helped create a loyal fan base for Cabangon.

Nag-iisa sa isang sulok.
Nag-iisip ng malalim.
Para bang may problemang
di maunawaan.
''Samu't-Saring Larawan'

Still in the struggle

'Folk singers are marginalized,' says Cabangon, adding to the empathy he feels for those he sings about. Some of his best songs paint vivid and stark snapshots focused on the common man'be they the travel-worn jeepney driver celebrating another day's toil or the lonely fisherfolk's wife accepting the uncertainty and danger of her man's work.

Mga batang palaboy
nagkalat sa lansangan
mga kamay na nakasahod
naghihintay ng baryang mahuhulog.
Ang iyong nakikita,
kawalan ng pag-asa.
''Kawalan ng Pag-asa'

He also sings of loneliness, heartaches, and the fears of a father for what kind of life his son might someday live. His lyrics also portray the bigger picture with broad strokes and tender anthems.

Anong dulot na halaga
ang hatid sa mundo ng digma?
Sa mga musmos at walang malay
anong pag-asa ang naghihintay?
Nawa ay mamayani
ang pag-ibig sa bawat isa.
Ang mundong ligtas at payapa
ay maaring magawa . . .
''Kapayapaan sa Sanlibutan'

As alarmist and didactic as some of his songs are about issues such as agrarian reform or muro-ami fishing, others just hit you in the gut with their disarming honesty and humor.

Isang araw ang laking gulat ko.
Ang aking tuwa ay di maipinta.
Sa wakas nagtagpo ang ating mga mata.
Naglakad ako papalapit sa 'yo
Naglakad ka rin papalapit sa 'kin.
Heto na ako, iba ang sinalubong mo!
''Tinitiis Ko'

Cabangon's commitment to rural, environmental, and political advocacies are not limited to his lyrics or his album themes. His truths are carried out in his actions as well. As perennial a fixture as he may seem at folk houses and cafes, people often find him in far off places giving concerts for various advocacies. Just recently he was found in Baguio for an environmental concert of Tanggol Kalikasan. He was also spotted in Lucena in support of opposition to MMDA plans for a dumpsite. This particular people's resistance effort prevailed. Cabangon, along with Joey Ayala, recently protested in front of the legislature to draw attention to the plight of Filipino migrant workers.

Cabangon has been consistent and steadfast to his own character. His actions as well as his music speak well of this man. It's about time a broader audience got the chance to listen to Noel Cabangon, whether it be through hamburger commercials or protest concerts.

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Discography of Noel Cabangon

If the name of Noel Cabangon is new to you then you have got a lot of catching up to do. His devoted fans know many of his songs by heart.

Going through Cabangon's albums, one will be made aware of the growth and experimentation of this artist with different genres, as well as his steadfast commitment to social issues. Nearly all of albums have a clear thematic style and content.

Cabangon's best songs are in Tagalog. It in this medium that he turns a tune into a visual medium of great detail and clarity. He portrays with unflinching honesty the plight of common people. He also has a penchant for anthems that paint broad strokes. These are great for rallying people to certain causes, but not as stirring as the songs that provide detailed snapshots of a single life. Some of his most infectious tunes are those that dabble in blues rock, reggae and bossa nova. Listening to Noel Cabangon can be a toe-tapping, lap-slapping and finger-snapping experience.

Bukid at Buhay (Buklod)'This album is extremely pastoral in content and feel. Noel Cabangon's voice is tightly woven into a breath-taking three-part harmony with Rom Dongeto and Susan Magno Fernando. The song 'Buhay ay di Singganda ng Pangarap' is a gem that contrasts colorful melodies with the bitter truth of its lyrics.

Tatsulok (Buklod)'The duo of Cabangon and Dongeto do rock, blues and reggae with heartfelt gusto. The album is the most militant and didactic of the lot. Leftist harangues of the kind found in teach-ins are turned into in-your-face lyrics. Songs that rant against military bases or nuclear power plants may seem dated but others such as 'Isang Kwento ng Ating Panahon' and 'Tasulok' still ring true. 'Tumindig Ka' is great reggae fun but the heart-wrenching 'Lea' is the most endearing by far.

Sa Kandungan ng Kalikasan (Buklod)'The environment is the focus of this album. The now often heard 'Kanlungan' comes from this collection. 'Usok' and 'Maynila' also stand out for their great hooks.

Lost Generation and Karapatan Pangtao (Buklod)'These two compilation albums contain Buklod songs are great for the diversity of artists they contain.

Pasaklye'Noel Cabangon's first solo album has a clear urban theme and the best songs have a blues-rock feel to them. 'Dalampasigan ng Puso' is by far the best track. The Ilocano reggae 'Panawen' will get you on your feet.

Medjas'The title of Noel Cabangon's latest album hints at his flirtation with jazz. This is the most well produced album, thanks to Bob Aves. 'Samu't saring Larawan' is as catchy as any Ryan Cayabyab classic. 'Tinitiis Ko' hits the spot with its candor and humor and is Noel Cabangon at his very best. -- Rome Jorge www.manilatimes.net