In December 1978, the air at the Rizal Memorial Football Stadium was thick with sex, drugs, and rock n’ roll, at the New Moon Concert, one of the first big events to celebrate Filipino rock music. Bands on the bill such as Sampaguita brought the glam, while Heber Bartolome’s folk music created a more laid-back atmosphere. It was on that same night when Juan Dela Cruz took the stage and personified Filipino hard rock with their beefy guitar riffs, pounding drums, and gruffy vocals roaring at the microphone. At a time of strict rules and repression during the Philippines’ martial law years, music was a powerful form of protest.
The trio — composed of Mike Hanopol, Wally Gonzales, and Joey “Pepe” Smith — were a force to be reckoned with. By then, Juan Dela Cruz had already released three albums: Up in Arms (1972), Himig Natin (1973), and Maskara (1974). This period marked the peak of what would come to be known as the golden age of Filipino rock, which often blended elements of hard, psychedelic, and blues music.
If there was one person who defined that golden age, it was Smith with his distinctive sound and enduring rebellious spirit. His stage presence as the band’s drummer, combined with his bold persona, played a key role in shaping the genre, inspiring generations of Filipino musicians thereafter.
Hours before their performance, Smith, with his long straight hair, bell bottoms, and unbuttoned floral shirt, was interviewed by the concert’s documentary team. He was goofing around and being free-spirited. Yet, despite the charm and confidence, Smith was uncertain of the future of rock ‘n’ roll. When asked what he’d do without the band, he joked, “Magiging organizer at bouncer sa club.”
The Underrated History of Pepe Smith
Before securing his legacy as a rock icon in the Philippines with Juan Dela Cruz, Smith began as a drummer and vocalist for the beat rock ‘n’ roll band Eddie Reyes and D’Downbeats in the 1960s. In 1966, they made history by opening for The Beatles in Manila, while friends and family dubbed Smith as the “Mick Jagger of the Philippines” due to his mannerisms.
In 1970, Smith teamed up with guitarist and bassist Shinki Chen and Masayoshi Kabe to form Speed, Glue & Shinki. Though the band lasted only two years, they made a lasting impact on the psychedelic scene in Japan, especially with their 1971 debut release of Eve — an album whose fuzzy, drenched guitar work, groovy bass lines, slurred vocals, and Smith’s thunderous drumming bears an atmosphere that is both hazy and gritty.
A year later, Speed, Glue & Shinki released their self-titled sophomore album under the Atlantic Records imprint. Kabe eventually left the band and was immediately replaced by Smith’s longtime collaborator, Hanopol. This shifted the band’s sound: The beats were stronger; guitars and synthesizers were more resonant and experimental. Their performances were less sloppy and more direct, with powerful chops that was lacking in their debut release. Shortly after Speed, Glue & Shinki broke up in 1972, Smith and Hanopol formed Juan Dela Cruz — a homecoming for both musicians who wanted to make a difference in the Philippines.
On January 28, 2019, at age 71, Smith died of cardiac arrest. From his time with Eddie Reyes and D’Downbeats to his short yet impactful affiliation with the Japanese psych scene, Smith was a pioneer in the development of rock music in the Philippines. Smith was its poster boy — a musician with an unabashed attitude that is still felt to this very day.
Correction: An earlier version of this article incorrectly stated that the New Moon Concert took place in Quirino Grandstand in Manila. In fact, the open-air edition of the New Moon Concert took place in Rizal Memorial Football Stadium. The article also incorrectly stated that Smith went AWOL during his service in the US military. Despite Smith’s father being American, he had never been to the United States, and thus could not have served the military.