THE WIDESPREAD success of Pinoy alternative music in the 1990s was due to the pioneering spirit of local clubs that first allowed bands to play whatever they liked. At the time, there were only three clubs that mattered in Metro Manila: Mayrics, Club Dredd, and ‘70s Bistro.
Their storied pasts intertwine with one another, including the musicians who would gain cult-figure status or fame along the way.
It was Mayrics along España across UST that openly supported talented struggling musicians by giving them regular playing dates. One of them was the reggae band Cocojam.
Through word of mouth, a full-house audience of college kids and professionals came to watch Cocojam on Friday nights. They found it uncanny that lead singer/guitarist Rolly Maligad not only sounded but also looked like Bob Marley.
The Jerks took Saturdays as Mayrics’ main attraction. In the wee dawn hours after the band had ended its set, the crowd would spill out on the sidewalks, sitting around and talking how the Jerks truly rocked, wishing Chickoy Pura, its leader, could sign his band to a record deal.
Both Cocojam and the Jerks went on to record their own respective albums. But Cocojam disbanded shortly after releasing its first and only original work, while the Jerks still play weekly gigs to this very day.
These moments were not lost on a group of UP alumni, who had the guts to pool in their savings, rent a cramped second floor building unit on Scout Tobias St. in Timog, Quezon City, and open Red Rocks – the precursor of Club Dredd.
Red Rocks was a hotspot of young rock-star wannabes who found the perfect place to hone their rough performances and test their originally written songs. It became the hangout of the Eraserheads, Color It Red and dozens of other bands that were eventually signed up by the major record labels. At Red Rocks, a then unknown Joey Ayala held his first sold-out gigs for three successive weekends.
But the place was not earning enough, forcing the original owners to sell their shares to the rich kid who supplied their sound equipment. He took over and renamed it Club Dredd, which, by the time the scene was going big, was transferred to a more spacious location on EDSA near P.Tuazon in Cubao.
And that was when such groups as Parokya ni Edgar, Yano and the still-on-a-roll Eraserheads began performing to hordes of ecstatic fans, who also bought their albums by the hundreds of thousands. At Club Dredd, Joey “Pepe” Smith’s homecoming gig after being released from jail grossed unbelievable sums for his band.
While all this was happening, another group of UP alumni, all weaned on ‘70s folk-rock, thought it was high time they open their own club. They called it D’ 70s Bistro on Anonas, Project 2, QC.
It became the refuge of those who found Club Dredd too punk and noisy. Soon many acts worth their artistic salt were drawn to ‘70s Bistro. This inspired the owners to produce the biggest alternative music event of its time, the 12-hour marathon concert “Pamorningan: Bistro Sa Amoranto.”
Club Dredd has since closed shop, but Mayrics and 70s Bistro remain open and have since been joined by another club called Conspiracy along Visayas Avenue in QC.
Conspiracy is described as a garden café, owned by more than 100 shareholders from a circle of musicians, writers, artists and their friends. Its original incorporators are actually some of the acts that once played Mayrics and ‘70s Bistro for beer money.
What other factors make up the success of a club that relies on live music to bring in the crowd? Is it the type of music played on a particular night? Is it the pulutan ordered with the beer? Does it even matter whether ambience or character attract the kind of people who go there.
Speaking of ambience, we don’t think Mayrics, ‘70s Bistro, or even Club Dredd in its heydays had the kind of “atmosphere” we now find in clubs along Malate row, for instance. The Dredd on EDSA was dark and grimy, pretty much like a seedy beerhouse sans the bored waitresses. And before undergoing recent makeovers that also improved their old lousy sound systems, Mayrics used to resemble a one-lane bowling alley, while ‘70s Bistro was as hot and humid as a sweatshop.
One Philippines asked the ‘70s Bistro manager and the Conspiracy mastermind what keeps their respective joints jumpin’ these days.
One Philippines: What does ‘70s Bistro have that the others don’t have?
Renard Bartolome (70s Bistro manager): Could be the feeling that once you’re there, you can be yourself, feel at home ka agad, di ka na kailangang magpa-impress coz nobody would care anyway (hwag ka lang manggulo). Di ka kailangang “politically correct” para ma-in ka sa 70s Bistro. Nakakatuwa dahil maraming customer-friends na nagke-claim na “bahay nila ito”. At marami ring customers from long ago na bumabalik. I think it’s also about the special relationship between the place and the artists. Naging tambayan na ito ng mga musikero.
The most memorable moments in the past and in recent years?
Syempre the “Pamorningan” concert on our very 1st anniversary. Also the three productions (’96, ’98, 2000) of “Jesus Christ Superstar.”
The most embarrassing incidents.
Couldn’t think of any.
Couldn’t think of any.
Hottest live performers these days?
Pinikpikan, Mishka Adams.
Menu bestsellers?
Pizza, pasta, sisig
How much cash do you need to have a good time?
Entrance is usually P150 (with 1 complimentary drink); beer is P44,food P80-200.
Conspiracy
One Philippines: What does Conspiracy have that the others don’t have?
Joey Ayala (Conspiracy mastermind): The combination of: an art gallery, a great outdoor space complete with moon and stars and gently waving banana and palm fronds, an Intramuros-like entrance, a “real” colonial house, intelligent programming, a diverse and vibrant community that keeps us open and tells us what to do.
What type of customers has it been attracting?
First Quarter Stormers, anarchists, hippies, writers, painters, musicians, filmmakers, Fil-Ams, Can-Ams, visitors from all over the globe, millionaires, NGO and GO workers, people who believe in optimizing potential and having a good life.
Hottest live performers?
That’s a difficult question. My temperature tends to rise as the evening grows late. We all wax and wane, and the days have something to do with audience attendance. Joey Ayala Fridays are usually good even when he’s in a surly mood and Cynthia Alexander Saturdays are blest by Krishna – because people generally like to hang out on those days. Gary Granada’s Mondays usually have some sort of meeting happening earlier in the day. Noel Cabangon Wednesdays are pretty steady too. We all get on a roll, and we all have our slump, paranoid evenings as well.
Menu bestsellers?
Tofu in nori paper, fish tempura, Three Stooges (tatlong pulutan, isang daan), crispy pata, sizzling tofu, red wine, beer, sisig, angel hair pasta, sinuglaw.
The most memorable moments so far?
For me, the formal opening on December 8, 2003. The place was packed with people and good vibes and we could do no wrong.
The most embarrassing incidents?
Two things:
1, isang lasing na armadong pulis incident that had customers and staff climbing neighbors’ walls.
2, not really an incident, more of a condition: our status as official noise polluter of the neighborhood. Sorry po! We’re doing what we can, just can’t afford the airtight soundproofing you would like.
How much cash do you need to have a good time?
P100 gate fee, P100 for pambara at panulak, charm and wit, good company.
What have you learned from the business of running a club?
Solid accounting and management practices make artistic/cultural and community life possible at a level of comfort and sustainability that pleases all involved: creators, consumers and participants of creativity.•
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