MANILA, Philippines—It has been 20 years since we first heard Ogie Alcasid’s debut hit single, “Peksman.” Back then, piracy wasn’t so rampant because it wasn’t easy to mass-produce cassette tapes. So, Original Pilipino Music (OPM) enjoyed not just robust sales, but massive artistic growth, as well. Ogie’s latest album, “The Great Filipino Song Book,” reflects that era’s treasure trove of musical niches and riches.

Recently, we talked to the popular singer about his latest collection during the Taal, Batangas run of our “Birhen ng Caysasay” musical. He told us that he has always been in awe of the rich diversity and unique melodic beauty of Pinoy music. He explained: “I want to help keep OPM alive—that’s why you hardly hear me sing remakes of foreign standards and Hollywood-penned pop tunes. After all, we have so many lovely songs that deserve to be heard by the new generation of music lovers!”

Jukebox tunes

In the ’80s and early ’90s, Filipino music buffs didn’t rely heavily on Hollywood for their musical fix. If radio-friendly ballads and slow-rock jukebox tunes ruled the airwaves, so did dance tracks and love ditties with liltingly catchy arrangements, memorable melodies and witty lyrics, like “Peksman,” Dingdong Avanzado’s “Tatlong Beinte-singko,” Regine Velasquez’s “Urong-Sulong,” ZsaZsa Padilla’s “Point of No Return,” Archie Dairocas’ “’Pakita Mo,” Chona Cruz’s “Working Girl” and Sharon Cuneta’s “AM Ka, FM Ako.”

Ogie’s hefty 16-track album contains gems from that glorious musical heyday, like Louie Ocampo’s “Yakapin Mo Ako,” Ryan Cayabyab’s “Nais Ko,” Florante’s “Handog,” Charo Unite and Ernie dela Peña’s “May Bukas Pa,” “Willy Cruz’s “Doon Lang” and “Kahit Na,” George Canseco’s “Ngayon” and Cecile Azarcon’s “Sana Ay Ikaw Na Nga.”

When we asked the prolific singer-composer what his favorite song was in the album, he replied: “I like Vic Sotto’s composition, ’Kung Sakali,’ which was recorded by Pabs Dadivas in the ’70s. Vic is known more as a comedian, but he’s also a talented composer.”

Our top picks are Dero Pedero’s lushly lyrical “Bawa’t Sandali” and Rey Valera’s timeless ballad, “Kung Tayo’y Magkakalayo.”

Ogie shared this bit of trivia: “Nonong Pedero’s composition was really the precursor of the Karaoke craze. I remember buying a copy of the song on its 45rpm vinyl-single format. Its flipside contained an instrumental version of the song, which was later called a ‘minus one.’ The rest is history.”

Guest singer

With his stirring, no-frills interpretation, Ogie also manages to give “Kung Tayo’y Magkakalayo” a personal tweaking, with no little help from guest singer, Regine Velasquez—his musical muse—who soothingly and exquisitely hums in the background.

The album showcases the singer’s maturity as a performer. He is seldom caught taking the easy route of resorting to ear-splitting vocal theatrics just to win an audience’s approval—although he’s just as vocally capable as the rest of the country’s shouting-and-shrieking singing pack. But, he chooses to focus on storytelling and straightforward singing. Even better, he mostly sticks to the songs’ melodies, which, in the first place, don’t really need a lot of vocal “reinventing.”

Yes, Ogie’s time-polished technique and natural musicality allow him to occasionally break away from a tune’s melodic pattern (although those curlicues in “Ikaw Lang Ang Mamahalin” are less than seamless), but he doesn’t abuse his steely, sturdy pipes. If many singers use lung power to interpret their songs, Ogie uses his heart to make them come alive!