wit Ng Puso
Martin Nievera
EMI Music Philippines

The challenge in doing remakes is justifying resurrection of beloved dead. To make a mess of is akin to unholy, like yielding Frankenstein; one that, indeed, would've been better off untouched and just relived in memories.

Fortunately, Martin is master of the game. Since early the 90's, he had been making whole albums of versions with Platinum successes. These are bannered by his "Forever" trilogy that each sold at least 150,000 copies. Martin has knack of choosing the right songs (not too recent, not too old, not too sappy to leave listeners cold) and infusing new in nostalgic with his trademark Broadway-ish style of singing.

The right titles we again see in "Awit Ng Puso" but the vocal styling is unusual. In the 17-track collection of versions of OPM culled from the 70's, 80's and early 90's, Martin hardly moves from midrange except occasionally (e.g. the finale in "Without You"). He also does not deepen his voice unnecessarily nor inundate endings of lines with vibrato. We like it.

Like a tall bamboo that bends low when the wind blows, Martin in "Awit Ng Puso" has never been a more amazing artist than when he tries to make himself accessible to as many as possible. Who doesn't know that he could show off vocally? But he, who has one of the most recognizable and mimicked voices in OPM, doesn't because he chooses not to. There is power in control; greatness in humility.

The last time we heard Martin sing this way all the way was in his standards album a couple of releases back. But then, the songs there were written in such a way that predetermined the speak-easy, crooning-style. As far as originals go, he does the same in but a handful (e.g. "I'll Be There For You").

But albums like "Awit Ng Puso" are a different case. Since songs have already been done in the past, there's pressure to exceed predecessor or publicly perceived point becomes moot. Yet instead of going over the top, Martin takes another route of quiet impact.

Letting the strong melodies and lyrics of songs shine hold listener's attention versus the singing, he exhibits reverence in retaining what's intrinsic.

Thus, even though "May Minamahal," "When I Met You," and "I Think I'm In Love" are recast differently arrangementwise, these remain breezy. "Without You," "Sana'y Maghintay Ang Walang Hanggang" and "Kailangan Kita" still ache sweetly with longing. "Closer You And I" and "I Believe In Dreams" dawns wonderment in possibility as such were intended to.

Martin is a singer who understands the real worth of his OPM picks as timeless force. By not bridling or hampering its' nature, he allows the music to work its magic; the voice merely a conduit. It's called respect.

Applause for the great vocalist; a thousand times more for the intelligent one.

Martin is both and in "Awit Ng Puso" he reminds us that sometimes, less effort leads to more compelling outcome.

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