TRACK #12: BIYAHENG LANGIT

Throughout Bukas Palad’s 21-year history, the group has worked with a host of Filipino artists, and the experience has been most rewarding. We have performed many times with the likes of Basil Valdez, Dulce, and Nolyn Cabahug in various concerts, and have sung back-ups in recordings with Ariel Rivera, Anna Fegi, Roselle Nava, and Karylle, among others. Jim Paredes has invited us to sing in several of his commercial jingles, and Ryan Cayabyab had once called on us to guest in his weekly show. Jose Mari Chan, The CompanY, and the Bolipata brothers have agreed to guest in our concerts, while Cooky Chua, Jett Pangan, Regine Velasquez and Lea Salonga have accepted our invitation to sing our songs.

There are many others yet with whom we have shared a recording booth or concert stage with, but the one artist with whom Bukas Palad has enjoyed the most opportunities for collaboration must have to be Noel Cabangon. Noel has recorded in two of our albums, interpreting SA TINGIN MO (Let Your praises Be Heard, 2003) and SANLIBONG BUHAY (God of Silence, 2005). We have sung back-ups in some of his recordings, and he has immortalized a couple of songs written or arranged by Bukas Palad members for the Jesuit Music Ministry. Noel has guested in several BP shows singing our original songs, and once, while watching him perform at 70s Bistro, he invited us to perform on stage. Noel and Bukas Palad have also appeared together in the MTV of PAGHAHANDOG.

This year, we collaborate once more with Noel contributing to Bukas Palad’s latest album, his song, BIYAHENG LANGIT.

Based on Chapter 25 of Leviticus, BIYAHENG LANGIT speaks of celebrating the Jubilee year—announcing through a blast on an instrument made from a ram’s horn, the recovery of every household’s absent members, the return of land to its former owners, the emancipation of slaves, and the remittance of all debts. Noel writes:

“Ipagbunyi ang taong mapagpalaya, patunugin ang tambuli ng galak
Gawing banal ang sansinukuban sa kagandahang-loob Niyang dumatal

“Bayan, buong siglang ipahayag ang pagparito ng Diyos nating dakila
Pag-ibayuhin ang ginhawang dulot ng balitang mapagpalaya”

I had the privilege of arranging Noel’s song while interpreting with my ears the spirit behind the verses that had inspired the composer. Yes, I wanted a celebratory feel and so opted for a track that people could certainly groove to. However, I was avoiding sounding danceable but flippant. To me, while the song speaks of jubilation for God’s love, it has a seeming “protest” feel to it:

“Kalagan ang lahat ng mga bihag ang inusig ng makapangyarihan
Buong bayan ng Diyos ay palayain sa mga bisig ng gahaman

“Sumulong tayo sa lupang pangako at kapit-bisig tayong maglakbay
Katarungan ni Yahweh, itaguyod laban sa panlilinlang
Puksain ang ugat ng pagkabulag at durugin ang mga tanikala
Ipahayag na ngayon ay mamamayani, kagandahang-loob ng Diyos”

I do not know if dance-rock is a legitimate musical genre, but that’s the sound I was aiming for. Add to that some synthesizers plus the choral voices of Bukas Palad, and there you have the cacophony of sound that occupied my head while working on the song.
Two weeks ago, I bumped into Noel at the studio while he was working on yet another song. He asked me about my treatment of his song. Unable to describe it, I simply offered him one word: SECRET.

It is a challenge collaborating with one of the most successful songwriters of this generation, especially since I know Noel has dedicated his art and life to causes with a purpose. He is a board member of Freedom from Debt Coalition (FDC), and is involved in the campaigns of World Wildlife Fund, Greenpeace, Amnesty International, and Global Call to Action Against Poverty.

The opportunity of working with a man of this caliber is quite rewarding.

BIYAHENG LANGIT
Disc: Inspirational
Music and lyrics: Noel Cabangon
Instrumental and vocal arrangment: Norman Agatep
Featuring Bukas Palad on vocals with descant by Candice Cabutihan-Cipullo

TRACK 11#: NO BETTER REST (Xavier's Theme)

Those who have made a spiritual connection with such songs as PILGRIM’S THEME, ALL SHALL BE WELL, EMPTY SPACE or FAR GREATER LOVE, may find themselves being touched once more by yet another collaboration from Fr. Manoling Francisco, SJ and Fr. Johnny Go, SJ. Bukas Palad is soon to release through its album, HINDI KITA MALILIMUTAN, the song NO BETTER REST (XAVIER’S THEME) from the two Jesuits.

I believe this shall be the third version of NO BETTER REST. Maybe 10 years ago, I was approached by Fr. Mano to arrange the original version, which was going to be the soundtrack of a scene in a documentary Fr. Johnny was producing on the life of St. Francis Xavier. Cholo Mallillin was invited to interpret the track.

Even then, it was easy to be mesmerized by the song’s stirring melody and poignant story. I was directed to mimic through music, the sound of an epic voyage—a journey aboard a mighty vessel that would traverse the calm seas and weather the toughest storms. And why not? NO BETTER REST captures the thoughts and desires of Xavier as he crosses the globe and dares the waves to seek out the poor and sick and to spend his time in ministering to their needs. Yet while occupied all day with such incessant labors, he would spend the greater part of the night in prayer:
“Give a sign, what’s on your mind
And I’ll leave my world behind
If you bid me so, wherever I go
I’ll find you there I know
Always before me you go
Both near and far, there you are
My one bright shining star
Well here I am at your command
Lead be my your hand.”

Years after the documentary was produced, another version of the song was created, this time as arranged by good friend Gino Torres and interpreted by alumni of Xavier School in Greenhills, Marvin Ong and Carlo Tanseco. Once again, through new voices, the story of Xavier would be narrated—his travels to the East, and how despite the difficulties that beset him, he would leave behind him a flourishing church wherever he went, guided by the hand of God:

“For even through the darkest night you’ll be my light
And there upon the strangest tongue I know I’ll hear your song
In every stranger’s gaze I will see your face
And I’ll go on ‘til every race falls into your embrace.”

Another year, another version. Childhood friend and multi-awarded arranger Marvin Querido was chosen to lend his touch to NO BETTER REST, which Bukas Palad has recorded this year for our latest album. We were young boys still when Marvin and I learned to play the keyboards and were coached by our respective mentors to begin arranging music; even then, Marvin proved to be a far more talented musician. Late last year, I slipped him a note briefing him on the song, but in truth, the note carried the same brief handed to me 10 years ago. This time, however, we encouraged Marvin to push the big voyage feel with rich strings and brasses, and to make more pronounced the song’s ebb and tide, its crescendos and decrescendos. No less than BP tenor, Reggie Regala, was challenged to interpret the track.

On August 25, BP shall be performing NO BETTER REST during our album launch of HINDI KITA MALILIMUTAN. Again, we shall hear Fr. Manoling’s and Fr. Johnny’s moving song. But certainly, no matter how many times Xavier’s story is told and retold, its message of intense faith and consuming love for God remains forever relevant.

“For there’s no better rest in this restless world
Than to hear and do your word.”

NO BETTER REST (XAVIER’S THEME)
Disc: Inspirational
Music: Fr. Manoling Francisco, SJ
Lyrics: Fr. Johnny Go, SJ
Instrumental arrangement: Marvin Querido
Vocal Arrangement: Palan Reyes
Featuring Reggie Regala on vocals with the Bukas Palad

TRACK #6: Noel Miranda's Give The Lord Glory

Give the Lord glory and honor!
Give the Lord glory and praise!
Give the Lord glory and honor, glory and praise!

Bukas Palad’s Catholic Mass Media Awards nominee, (for his song WE ARE YOURS, interpreted by Lea Salonga) Noel Miranda, is certainly among my favorite BP composers. Ok, so he was my student and beadle in 1988 during my first year of teaching at the Ateneo de Manila High School, and even then, he was a diligent student who took his piano lessons quite seriously. But really, biases aside, I am impressed with the work he has been churning out lately, especially because of his insightful lyrics and intelligent sense of music. It is no surprise then that Noel (pictured in this blog entry with fellow BP members Candice and Shine) has two songs being recorded for Bukas Palad’s latest album, the first of which is GIVE THE LORD GLORY.

O sing a new song to the Lord!
O sing to the Lord, all the earth!
Tell among the nations His glory
And His wonders, to all now proclaim.

I did ask Noel about his thoughts on this song of praise, and here is what he has this to say:

“GIVE THE LORD GLORY was one of the first liturgical songs that I composed—it was actually sung in a mass back in 1996. I was a member of the Jesuit Volunteers Philippines then, and was assigned to Santa Maria Catholic School. Some of us teachers were requested by the Santa Maria Parish to sing regularly during the 10AM Sunday mass. To make our mass a bit more special, we decided to assign a cantor to sing the responsorial psalm. If there was already an existing song we knew for the Sunday psalm, we would simply learn and use this song.

“On our second week as a choir, however, the psalm for the liturgy was Psalm 96 and we didn't know any song based on this psalm. Over the week, I tried to compose a simple tune for Psalm 96 and GIVE THE LORD GLORY was born. I actually served as cantor that week. In other words, kinanta ko ito in public.”

Give the Lord praise, all you peoples,
Unto Him glory and power!
Give the Lord the glory of His name.
Bring an offering and enter His courts.

Based on an existing psalm, GIVE THE LORD GLORY is a perfect choice for congregations to sing after the first reading or even as an entrance hymn since it invites devotees to come and worship the Lord. Its fluid melodic lines and distinct rhythmic style encourage all to burst into song. It is infectious and uplifting, a real mood setter to get people ready to celebrate in the Lord’s name.

“My original peg was a song from the Broadway musical, "Once On This Island." If you hear the original instrumentation, it's really a bit choppy with a mild Caribbean feel. Siyempre may lilting flute like the peg. Another peg is a little known alleluia by David Haas titled, "Stand Up Friends," which also has that choppy, syncopated, Caribbean feel. Yun bang parang magwo-work kung tugtugin sa steel drums.

I wanted the song to be sing-able so I kept the melody very simple. Tapos the verses are just a slight variation of the refrain theme.”

Come and let us worship the Lord!
Let all the earth tremble before Him!
Proclaim to all the nations: God is king!
He governs His people with justice!

GIVE THE LORD GLORY promises to be among the songs Bukas Palad will be singing in the many masses we will be attending. We hope that soon, you will be joining us in this song to gather and sing praises to God our Redeemer.

GIVE THE LORD GLORY
Disc: Liturgical
Lyrics and Music: Noel Miranda
Instrumental Arrangement: Palan Reyes
Vocal Arrangement: Jampao Reyes and Palan Reyes
Vocals: Roy Tolentino and the Bukas Palad Music Ministry
Featuring Norman Agatep on percussions and Toto Sorioso on guitar

TRACK #5: Gary Granada's Hangganan

In a concert where we first sang Hangganan, a violent thunderclap threatened to end our performance abruptly. That was in the early 90s, but those of us in the show remember still how shaken the audience in the Ateneo High School Chapel seemed, and how the hairs on our backs suddenly lifted in the middle of the song. On hindsight though, maybe the weather had no part in this. Hangganan is after all by Gary Granada; and where there’s a Granada song, goosebumps are never far behind.

Unknown to many, Gary had been involved in Bukas Palad’s 2nd album, Pasko Na! As producer of that project in 1987 and having recorded all songs at StudiOne of Praise Incorporated, I was advised by the studio to have our reels mastered at Unison Records, at the Broadway Centrum Complex along Aurora Boulevard. Unison was being run by Gary. Together, we mastered each and every track of the album.

He had many kind words for Pasko Na! yet never realized then how thrilled I was to have heard all that as I was already a big fan. Neither was he to know that Bukas Palad would soon be singing his songs including Our Father and Earthkeeper, which we eventually performed in a concert in Sorsogon (with Gary also as a guest) and later recorded in our album, Let Your Praises Be Heard. This year, we immortalize his Hangganan in our 20th anniversary album.

Forget that his songs are always in perfect meter and rhyme. Or that his melodies are simple yet sheer genius. What it is that makes Gary’s music so memorable are his deeply poignant lyrics; and Hangganan is no exception. Here he speaks of how all things come to an end:

“Kagaya ng isang dula
Minsang ito'y umpisahan
Kung pa'nong mayro'ng simula
Ay mayro'n ding katapusan
Ang awit mang naririnig
Larawan bang namamasdan
Lahat ng bagay sa daigdig
Mayrong hangganan”

And if all things find their limit, shall we who fashion our lives to gain more, find ours?

“Ang iyong lakas ay may humpay
Huhulaw bawat halakhak
Sa salawahang tagumpay
Huhupa rin ang palakpak
Bakit ka ba patatangay
Patutuksong pag-abalhan
Ang bukas na hinihintay
Baka nga di mo pa datnan”

He thus concludes with a simple piece of advice:

Hangga't di mo natagpuan
Ang puno't dulo ng buhay
Lahat ay masasayang lang
Mawawalan din ng saysay
Hanapin mo ang Maylikha
Dahil Siya ang kahulugan
Nagwikang Siya ang simula
At ang hangganan

It takes solid conviction to write music like Gary Granada’s. His songs and messages of God’s unending love will last many lifetimes.

HANGGANAN
Disc: Inspirational
Lyrics & Music: Gary Granada
A cappella arrangement: Norman Agatep
Vocals: Mystery guest singer with the Bukas Palad Music Ministry

TRACK #4: The Love of God Endures Forevermore

Rica Bolipata Santos and Palan Reyes share with me their respective thoughts on writing this track and arranging it for Bukas Palad's 20th anniversary album. Not only are these two ultra gifted in what they do; they are also friends whom I can coerce on occasion to do the unthinkable--like contributing to this blog. Meanwhile, I have yet to twist the arms of Icar Castro and Lou Grant Tan and convince them to reveal their experiences of recording the song, THE LOVE OF GOD ENDURES FOREVER MORE. People...my guest bloggers, Rica and Palan.

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The Love of God Endures Forevermore
Rica Bolipata Santos

I believe in having a theme song.

Oh there’s the regular theme song you share with someone. Maybe the love song you first danced to. Maybe it was the song playing in the mall when he first reached for your hand. Or maybe it’s the song that nursed you back into couplehood.

But, that’s not what I’m talking about. The theme song I’m talking about is akin to an anthem. It’s what anchors your walk everyday. It’s what keeps you steady, with your eye on the future. It best arrives when you’re taking a walk and your feet naturally move to an internal rhythm. I have found out that one’s walk is attuned to the spirit of the heart and that the song that comes to mind is the perfect song for the heart’s state.

These days, for me, that song is The Love of God Endures Forevermore. Let me tell you a bit about how this song was born.

On a regular day, Manoling Francisco texted (a fact which is already worth talking about because Mano is not prone to texting unlike us lesser beings…) and invited me to write a song with him. He said that he already had the music and just needed help with the lyrics. You must know that to refuse would have been impossible and foolish. One does not pass up the chance to write a song with an icon!

The last time I had ever written a song was back in grade school. In love with words, I had the naïve idea that I could make music for it. Of course, this was foolhardy. I quickly abandoned that career path and concentrated on the part that made the most sense to me – playing with words.

Mano and I met at Loyola House of Studies and in my mind, we would simply be brainstorming, tossing ideas to each other and that it would take us at least a month to get to some kind of product. Lo and behold, he tells me as soon as I arrive (which was at 2 pm) that we had until 5 pm to finish the song! Behind him was the exit door and truth-be-told if Mano had not been blocking the way, I would have been out of there in an instant.

You see nothing is more overwhelming than a lack of faith in oneself. But then, I looked at clear-eyed Mano and made the decision to rest on his faith in me. He explained to me the song, almost fervently, and pointed the Psalm we would be basing the song on (Psalm 136).

I knew that Mano constantly troubled over the travails of the country. His work kept him constantly in touch with all kinds of Filipinos so he has intimate knowledge of the common man’s desire to have faith in the Kingdom of God. When faced with poverty, hunger, and that great big word that underlines everything INJUSTICE, it becomes difficult to find the hand of God. This song was a promise, a constant reminder that the love of God is stronger, the love of God is constant, the love of God has steered humankind and continues to steer us to goodness, the love of God endures forevermore.

The song is plaintive, historical even, of the paths we have taken as a people. Underneath its chords a tension is revealed. This tension lies in the humanness of people in the face of God’s infinite wisdom. We cannot see as far as God sees and this fact is troubling. The challenge to see it as sacramental almost seems impossible. I thought of the psalmist’s world of a thousand years ago and felt one with his world. He too struggled and yet he still chose to proclaim: “Praise to the God of Gods, Praise to the Lord of Lords.”

But the song is also joyful. It is a reminder of God’s love and Grace. It speaks of God’s qualities as a creator who loves and that ironically enough, that which troubles us (his infiniteness) is also what comforts us. The chorus replies to each refrain: the love of God endures forevermore-An acknowledgment of this greatness.

To write a song is to be in touch with one’s stand in life. Although I was, in essence, only rewording what had already been written, I could not create a new version of something I did not understand. In one refrain, the psalmist says: “Out of great love Yahweh heard their pleas and freed them from their captivity. Fed them manna and water from springs.” Manna and water no longer appear in our modern times. But they do appear in other forms, and I have witnessed that and so now I too am Psalmist.

This is my anthem now as I walk my gift of life. In times of confusion, in times of great despair, in times of dryness, in times of plenty, in times of loss, in times of darkness, my feet walk the walk of truth. I pound the steps with certainty and peace. I say it like a mantra: the love of God endures forevermore.

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The Love of God Endures Forevermore
Palan Reyes

Arranging this song was a challenge. First, its refrain sounded too much like Humayo't Ihayag. Second, its verses had three different melodic lineunrelated in synchopation to each other. And third, it had to sound joyous yet be solemn enough to be used in liturgical functions.

Since the task of arranging was given to me, I decided to use as my peg the theme song of the BBC show, Talking Movies, which features a piano-bass-percussion trio. In this song, I used a 4-part chorus with 2
soloists accompanied by grand piano.

When I recorded the accompaniment, I also wanted to get a gritty, spontaneous feel of a live performance. That's why we also invested in renting a parlor grand from Lyric Pianos one weekend. If I'm not mistaken, this was the first song I recorded that day. One problem I encountered was how to deal with a noisy sustain pedal. This was solved by propping the bottom with cloth and playing barefoot. The other problem was how to play it without mistakes, which is the base of a pianist who was arranging the song practically as it was being played. Nevertheless, I was satisfied with the results.

Towards the end of the song you may hear some murmurs and handclaps intended to highlight a "party-like" atmosphere. A praise song such as this works well in the spirit of fellowship and in the context of a celbration of God's love for His people. I wish to stress not just the devotional aspect of this liturgical song, but also its social dimension. We worship WITH other people as a community of believers.

THE LOVE OF GOD ENDURES FOREVERMORE
Disc: Liturgical
Music: Fr. Manoling Francisco, SJ
Lyrics: Rica Bolipata Santos, based on Psalm 136
Vocals: Icar Castro, Lou Grant Tan, and The Bukas Palad Music Ministry
Instrumental and vocal arrangement: Palan Reyes

TRACK #3: Now You're Healed

If my memory serves me right, I’ve collaborated with Jandi on 10 songs to date: 3 Christmas tunes, 5 U.S. tour anthems, 1 song by Fr. Manoling with some 4 others (Jandi and myself included) working on the lyrics, and 1 contest entry I wrote with Chito Salazar but which Jandi agreed to perform on competition night only after revising the lyrics himself. Diva.

Because he is quite a gifted writer, I give in to Jandi’s strange requests, especially now that he is based in Virginia and I in Manila. It is difficult drafting songs together when we are so far apart; that’s why we go out of our way to make things work. I would first compose the music, which I’d then deliver to him for his lyric-writing. But during the 90s, sending audio to the U.S. was a nightmare—I would resort to mailing him a cassette or sneaking the tape in the baggage of traveling relatives. After a week, he would fax me the words, but because I needed confirmation on the phrasing of some verses, he would call at odd hours to sing me the song.

Fortunately, technology evolves quickly, and now it is easy to develop a demo and send it to Jandi from my laptop. Whew. And neither of us has to pay for courier or long distance charges, or even deal with irate relatives. That’s how it went 3 years ago when we wrote NOW YOU’RE HEALED for Bukas Palad’s 2004 U.S. Tour.

Those days, I was already heavily influenced by Kirk Franklin, and was aiming for a soulful gospel ballad sound. I wanted a simple but powerful refrain with a distinct R&B groove—one that could stir listeners emotionally with its melody and move them almost physically with its rhythm. After working on my demo, I sent an mp3 file to Jandi’s email address and waited nervously for the customary week; it was early March and Bukas Palad was set to leave for the U.S. in April.

The wait was well worth it. Based on Matthew 8:23-9:28, Jandi’s wonderfully provocative lyrics recount four miracles performed by Christ—three stories on how Jesus healed the afflicted, and one on how Jesus calmed the raging storm. But more importantly, the lyrics remind us how those who witnessed these miracles were saved by their profound faith. Two refrains read:

“Do you believe He’d bring her back to life?
Back in your arms that fight each strife
that ushers in the peace God wills for her in life?
Your grieving heart sought Him out—
Now she’s healed!

“Do you believe he’d stand and walk again?
Your faith in God had triumphed when
You brought him slowly down to trust in God again.
Your humbled heart shouted out—
Now he’s healed!”

The song also voices out our deepest desire to be healed by Christ during our personal storms:

“Without a warning come the fiercest storms that change
the calm and quiet that we have known.
That’s when we feel alone—when waves of doubt surround
to cause us fear like we have never found.
You, our mighty Lord, save us Lord!
Please let the tide subside deep inside.
Help us, be our guide!”

Performing the song in 2004 was no easy task. I have this bad habit of arranging vocals in a way that makes singers physically feel what the lyrics convey. So you can already imagine what Bukas Palad goes through when we sing about “the fiercest storms.” Because the melody and message are quite intense, I feel it inappropriate to sing the song lightly. And because the arrangement is designed to communicate such passion, the experience can be exhausting. In fact, when we whisper the last line, “Now you’re healed,” we are literally drained and relieved, and can only thank God we survived. And that’s what we did last Saturday when we finally finished recording the vocals of NOW YOU’RE HEALED.

NOW YOU’RE HEALED is an ardent demonstration of faith via song. The track will not be soothing and solemn. It will disturb and provoke. But hey, it’s among my favorites from the ones Jandi and I have collaborated on.

NOW YOU’RE HEALED
Disc: Inspirational
Music: Norman Agatep
Lyrics: Jandi Arboleda
Vocals: The Bukas Palad Music Ministry
Instrumental and vocal arrangement: Norman Agatep

TRACK #2: Sa Batong Ito

I think I’ve just coerced myself into writing about all 20 tracks of Bukas Palad’s soon-to-be-released 20th anniversary album. While I am not going to run out of material for sure, I worry that I may lose steam in the process. So let me take the effortless route and tell you about one of the easier tracks to discuss—a song, which to me is perfectly solid: SA BATONG ITO.

It is one of 5 winners of the BAYAN, UMAWIT songwriting competition mounted last year by BP. Written by Fr. Benito Justiniano, SA BATONG ITO was among the pile of CDs and audio cassettes assigned to me for first auditioning. Having been attracted to what I heard, I introduced the song to the rest of the panel during our deliberation session in short-listing entries to the contest. After that forum, the song was given semi-finalist status.

Frankly, when I listen to a song, I am first drawn to the melody before I am to the lyrics. And this was no exception; SA BATONG ITO does have a powerful hook and energetic spirit. It has that kind of refrain that enjoins all to sing along by the sheer simplicity of its tune and impact of its rhythm. It is moving yet pushing, charming yet commanding. It has all the charisma and rallying power of a speaker who seduces you into action. Couple that with memorable lyrics like these, and you’ve got a winning song:

“Sa batong ito, itatayo Ko ang aking bayan!
Sa batong ito, titipunin ko sila’t babantayan!
Sa batong ito, kaligtasan ay siyang makakamtan!
Sa batong ito, pag-ibig Ko’y laan!”

Weeks after we had declared the winners of the contest, it was time to assign tasks in preparation for our album production. Naturally, I volunteered to arrange SA BATONG ITO as I had an instant liking to it. The challenge, however, was to piece together the voices and to score the music in a way that would enhance the inherent strengths of the song.

So I set myself to work. The choral arrangement you will hear in the album is uncluttered; much of it is in unison and only the final refrains are in full chorus, so listeners can focus on the message and not the arrangement per se. The other objective of course is to make the track as congregation-friendly as possible so choirs that fall in love with the song (as I did) may get to sing it easily and with full confidence. Mind you, however, that the coda is quite grand, to be in synch with the temperament of the song’s powerful message.

The minus one is an interweaving of instruments common to many churches: guitar, piano, flute, organ, shaker. Ok, you will hear an accordion somewhere, but that’s my personal tribute to Fr. Eddie Hontiveros, SJ, who encouraged me to pursue arranging liturgical music. But over-all, the instrumentation is churchy. And why not? The song after all speaks much about the Church Christ built.

SA BATONG ITO will make a great communion or recessional hymn. I can already hear congregations declaring their faith and singing in chorus of God’s promise:

“Sa batong ito, kaligtasan ay siyang makakamtan!
Sa batong ito, pag-ibig Ko’y laan!”

Yes, Alex, I’ll get you an audio sampler as soon as that’s ready.

And kudos, Fr. Benito! I hope to meet you one day.

SA BATONG ITO
Disc: Liturgical
Music & lyrics: Fr. Benito Justiniano (with additional lyrics from Roy Tolentino)
Vocals: The Bukas Palad Music Ministry
Instrumental and vocal arrangement: Norman Agatep