Damn, I wish somebody would give this band a big bag full of money and stick them in a state-of-theart studio with all the best equipment. They are one of a kind. Playing with both traditional Filipino instruments (electrified), and a more “modern” (whatever that means, nowadays) kit, their sound is an enjoyable synthesis of traditional string sounds, rock and roll, pop, funk and jazz.
I first saw the Bobby Banduria Band play on an outdoor stage in San Francisco. All the band members wore the traditional white embroidered Filipino “barong tagalog” shirt. The traditional apparel was offset by the appearance of Bobby himself, who leapt onstage wearing leather pants, a black wig all awry, aviator goggles, and generally acting like a wildman.
Recently, when I listened to the first song on Shiny Silver Jeepney, “Pandanggo ni Bobby,” I was reminded of my youthful days of mandatory Filipino folk dancing (my mother made me do it). The “Pandango” is a traditional Filipino folk dance derived from the Spanish Fandango. But this version of the song had an “edge” to it that evolved surprisingly into a rhythmic track that reminded me of Brubeck’s “Take Five.” OK, now imagine “Take Five” played with a small stringed instrument that sounds like a mandolin. Yup, it’s hard to describe.
Can we say “eclectic”? Sometimes they sound like early 1960s elevator music with funk. There’s always a strong rhythmic feel; sometimes there’s a rock and roll backbeat, and sometimes they slide into cool jazz. In their latest album, the rudiments of conversation, volume 6, Fernando Funk even scats in “Juan Tamad.” But what’s different is their use of traditional instruments: the banduria (similar to a mandolin) and octavina (imagine a small guitar that plays an octave lower than a mandolin). A lot of bands are experimenting with sounds from the past, whether it’s the 60s or 70s, punk, or Texas swing. Many of them sound like they are just recycling another retro trip, but Bobby Banduria adds to the mix something it didn’t have before — Filipino American cultural history and music.
Bobby’s vocals have a low-key, ironic tone that’s not unpleasant. Maybe it comes from his past life as comedian, Kevin Camia. In “Brown-Skin Lady,” his voice gives a humble, humorous touch to a song that might otherwise be too sweet. In “Burn,” it takes on a rougher edge which feels exactly right. There’s a sense of humor in both the rudiments of conversation volume 6, and Shiny Silver Jeepney, that’s refreshing. Sometimes it’s in the subtly ironic turn of Bobby’s voice, or in the outrageously sleazy “Barry White” introduction to the seduction song, “Chin Droplets”:
…Bobby? He’s in the back of the mansion right now, just busy in the stable; one of his thoroughbreds is giving birth. Don’t worry; he’ll be right with yo fine self…Mmmmmm! My, that’s a beautiful color you’re wearing…
Both Shiny Silver Jeepney and the rudiments of conversation volume 6 (where did volumes 1 through 5 go?) are short albums, containing only five songs each. Nevertheless, they are accomplished, surprising, sometimes funny, and often lyrical (listen to Dr. Boogie Night’s piano and G’s violin on “Let Go My Jewels.”). It’s well worth your time and money.
