OPM legend and “guitarmeister” Joey “Pepe” Smith, revered as a pillar of Pinoy rock and one-third of the seminal Juan dela Cruz band of the late 60s and 70s, passed away in the morning of January 28. He was 71 years old.
His daughters confirmed his passing via social media. Desiderata “Daisy” Smith-Owen posted: “Thank you for everything, Papa Bear ko. Thank you for being the best dad in the world… I know you’re in the best place now. No more pains, papa. I will see you in few days. I love you to the moon and back.”
Meanwhile, Sanya Smith uploaded a photo on Instagram of she and her father locked in a tight embrace, captioned with heart and cloud emoticons. (That somehow hinted the cause of his demise: cardiac arrest.)
In death, Smith will long be remembered as the king of Pinoy rock. Bands in his circles know him by other names: “Pepe,” “Piyaps,” “’Tol,” and lately, “Lodi,” among others.
Other times, he was referred to as “Speed” (while in an overseas-based band with Japanese mates) and “Juan dela Cruz”—pertaining to the groups he had been associated with around 40 years ago.
In life, Joseph William Feliciano Smith actually personified rock as a Pinoy experience, being the most visible quantity in the legendary Juan dela Cruz trio which produced the anthemic ballad “Ang Himig Natin.” According to anecdotes, he composed the haunting, airy song one fateful night in December 1974 at the Luneta Park.
The nationalistic-named band would move on to better sounding, harder rocking, bluesier masterpieces like “Balong Malalim,” “Beep Beep,” and “Kagatan.” The threesome also had up-tempo singles in “Titser’s Enemy No. 1” and “No Chance,” but “Ang Himig Natin” trumps them all by its original claim of being the true sound of a young Pinoy generation who found itself suddenly under the boot of ‘70s martial law.
More than the excellent interplay of bandmates Wally Gonzales and Mike Hanopol, Smith’s plaintive cry would define the essence of rock as a Pinoy musical genre.
In performance, Juan dela Cruz’ rhythm guitarist would just as easily descend from the throne, pretending instead to be Pinoy rock’s first jester. Everyone and everything, from the front row audience and the latest gossips, to the recreational drugs du jour, was fair game to his comedic verbal swipes.
It was Smith’s combination of high-minded rock royalty and lowbrow antics in a live setting that drove crowds to a frenzy. These ploys also kept concert promoters coming back to produce more shows, despite the ever-present risks of the elderly musician not appearing on time, going on without prior rehearsals, or being under the influence of something heavier than beer.
In all, “Pepe” Smith embodied the bitter and the sweet sides of Pinoy rock. Long live the King!
With a report from Mike Policarpio, PNA
Image credits: Rey Teves and Crole Adawag/Troika Images