They wanted to be called a gospel choir. I told them "No, you're not!" "You're St. Genevieve's Choir," I insisted. End of story. (".)
That was many years ago, of course.
They love to sing gospel songs and they are very good at it. I wish they were purely a gospel choir coz they'll be good at it.
I see my self in them; they love music and they love to sing. The only difference between them and me: I'm comfortable with the same old songs I've learned when I was a youngster and don't tire of singing them. Them? They're more aggressive and open to learning new songs (which is really admirable)... only, sometimes to a point of learning too many in so short a time. End result? They never learn enough songs by heart.
I mean, second nature. Memorized that would last a lifetime.
Needless to say, that's just my personal observation. For all I know, they could be masters of what I haven't heard yet! (LoL)
While me? I bore myself to death even with just a single song... until that said song becomes me and I that song. Sometimes I feel like I'm the one - or wish that I was the one - who wrote that very song I'm trying to become. Get the drift?
Well, I'm not really that stagnant or stuck with the oldies. In fact I'm very open to creativity or newly "hatched" music... but that's because songwriting happens to be one of my most treasure gifts - or hobby - that I never seem to run out of new music. Even more so learning new songs all the time.
A special "thank you" to St. Genevieve Chorus for accepting the request for the possibility of singing my original compositions at the celebration of my 25th to the Priesthood. To Mr. Ryan Rhodes, the music director, for tirelessly teaching the choir the music, almost all of which are "strange" to their hearing as many of them have been "shelved" for the longest time since their inception (LoL). Although a number of the tunes, like, "Glory To God," "Touch Of Heaven" and "Dear Jesus" are quite familiar to them and the parishioners as they have been taught and sung quite frequently in our parish. To all the choir members for deligently - and with enthusiasm - trying to "crammed" all the songs in so short-a-time that I didn't even bother to suggest how those songs are better expressed in singing. The choir had done enough and that was more than enough for me. And I really appreciate.
Believe it or not, I'm no proponent of perfect music. Don't get me wrong, I love good and great music. But I love it even more when people - choirs included - sing their hearts out, without regard to the possibility of making mistakes or not singing the right tune. Even more when they empower people to sing and lead the singing... and they become just the congregation choir! (Do you believe it's possible?)
As far as loudness is concerned, I never forget what an old mentor used to say when I was in my previous parish in Metairie, "If you think you're out of tune, sing louder all the more!" I happen to share the same sentiment in terms of singing for God. Period.
That's what I call great music. Great church music!!!
If God would have envisioned perfect music to His praise and glory, He would have none to do with earthly choirs. The angels alone (Sola Angela bwahaha!!!) would have been perfect!!!
POPE DECLARED YEAR OF THE PRIEST TO INSPIRE SPIRITUAL PERFECTION
By Carol Glatz Catholic News Service
VATICAN CITY (CNS) -- Pope Benedict XVI declared a year of the priest in an effort to encourage "spiritual perfection" in priests.
The pope will open the special year with a vespers service at the Vatican June 19 -- the feast of the Sacred Heart of Jesus and the day for the sanctification of priests. He will close the celebrations during a World Meeting of Priests in St. Peter's Square June 19, 2010.
The pope made the announcement during an audience March 16 with members of the Vatican Congregation for Clergy.
He met with some 70 participants of the congregation's March 16-18 plenary assembly, which focused on the missionary identity of the priest and his mission to sanctify, teach and govern.
During this jubilee year, the pope will also proclaim St. John Vianney to be patron saint of all the world's priests. At present he is considered the patron saint of parish priests.
This year marks the 150th anniversary of the death of this 19th-century saint who represents a "true example of a priest at the service of the flock of Christ," the pope said.
St. John Vianney is widely known to Catholics as the Cure (parish priest) of Ars who won over the hearts of his villagers in France by visiting with them, teaching them about God and reconciling people to the Lord in the confessional.
In his address, Pope Benedict said the priestly ministry consists of total adherence to the ecclesial tradition of participating "in a spiritually intense new life and a new lifestyle which was inaugurated by the Lord Jesus and which the apostles made their own."
Priestly ordination creates new men who are bestowed with the gift and office of sanctifying, teaching and governing, he said.
The pope underlined the necessary and "indispensable struggle for moral perfection which must dwell in every authentically priestly heart."
The pope said he was calling for the special year for priests in an effort to foster the priest's yearning "for spiritual perfection, upon which the effectiveness of their ministry principally depends."
"The awareness of the radical social changes over the past decades must stir the best ecclesial energies to look after the formation of priestly candidates," the pope said.
This means great care must be taken to ensure permanent and consistent doctrinal and spiritual formation for seminarians and priests, he said, specifying the importance of passing down, especially to younger generations, "a correct reading of the texts of the Second Vatican Council, interpreted in the light of all the church's doctrinal heritage."
Priests must also be "present, identifiable and recognizable -- for their judgment of faith, their personal virtues and their attire -- in the fields of culture and charity which have always been at the heart of the church's mission," he said.
"The centrality of Christ leads to a correct valuation of ordained ministry," he said, adding that, without priestly ministry, there would be no Eucharist, no mission and even no church.
Therefore, he said, it is crucial to make sure that new bodies or pastoral organizations are not set up "for a time in which one might have to 'dispense with' ordained ministry based on an erroneous interpretation of the rightful promotion of the laity."
"This would lay the foundations for further diluting the priestly ministry, and any supposed 'solutions' would dramatically coincide with the real causes of the problems currently connected with the ministry," he said.
Arranged and produced by Romeo C. Mascariñas Romimash Studio, Tagbilaran City
Mastered by Roy Tutor at Sound Garage Tagbilaran City, Bohol, Philippines
1 A priest forever, a priest for life Called to serve, to live and die. Through many years and happy tears, God's joy abounds, His grace supplied.
2 A priest for always, a priest I am, In poverty I am to be; A good example for all to see - Salt of the earth, light to be seen.
Chorus: You called me to proclaim your goodness to the world, Make peace with everyone, uniting all as one; May all the sacraments, in your most holy name, Lead us to holiness - the mark of priestly bliss.
3 A priest for Christ, a priest for love, A priest for all, that's who I am; One blessed vision in Christ our God For all his chosen, anointed hands.
(Repeat Chorus 2x)
Coda: May all the sacraments, in your most Holy Name, Lead us to holiness - the mark of priestly bliss.
I have to stop all my blogging today - and probably for the coming days - just to give this new song a listen. I mean, my undivided attention. But also, to give you - all y'all - an opportunity to simply enjoy the music of our dear friend, songwriter extraordinaire, Romeo "Meo" Mascariñas, as he once again shows his prowess in song creation with his vintage and punchy guitars, the overall arrangement and what-have-you.
"I'd like to imagine doing a solo concert at Wimbley Stadium in U.K. in front of a million list'ners. Is that too much to dream of? Ahihihi..." (Meo)
HERE I AM
Words by J. Roel Lungay
Music by Romeo C. Mascariñas
Mastered by J. Roel Lungay (with iZotope OzoneMP & New Blue Softwares)
1 I can hear the silence When I walk into the room; I can feel the cold air When there's really no one there. It's almost like a whisper When I heard you call my name; I see light from a distance And rain does start to fall.
2 I can see some shadows In a darkened room; I can sense emotion, I can smell your breath. Suddenly there's movement, Suddenly there's life, Suddenly I see you; I hear music in the air!
Chorus: Here I am, here I am. Here I am right before your eyes. Here I am, here I am. Yes, I am... I am, I am. I am music, music is what I am!
(Ad Lib 1)
3 I long to write some music, I long to reach your heart; Pouring out some melodies, Like an angel by your side. Nothing more I love to hear Just to see you there; Nothing more I ever dream Than to kiss your hair.
Chorus: Here I am, here I am. Here I am right before your eyes; Here I am, here I am. Yes, I am... I am, I am I am music, music is what I am.
Bridge: I am here with you (Here I am, here I am) Love to be with you (Here I am, here I am) Anywhere with you (I will go be with you) Everything is new (When I really am with you)
Take it from me. Tagbilaran is truly a city that never sleeps contrary to some blogs that claim otherwise.
A city as buzzling as this locale Tagbilaran perhaps is more suited to be tagged as a 'compact city' in a province full of life and activities in general, but not a Sleepless-in-Seattle distinction of urbis plotted in some movies, nor a reputation NYC has had since time immemorial.
Nightlife considered - but not highlighted - this proud city can claim a comparable accolade as a widely-stopped and extensively-explored destination, whose tourism effort is second-to-none (whether it's at par with international standard is of course another issue) relative to its neighboring islands or cities: eight flights a day to and from the capital city of Manila, a flotilla of fast and pre-modern crafts mooring at its dockside, an endless sight of the so-called pumpboats or outrigger canoes (and motorized ones, too) conveying island-hoppers from one to the other, the seemingly infinite cavalcade of tricyles (they're truly inventive!) that could give you the impression of them as either nuisances or works of art on parade (or perhaps even the Christian church's way of spreading God's good news), the always-streamlined versions of the old thames and open-sided buses (which are long gone!) and sights of endless procession of people like those you find in truly mega-cities, that sometimes you're almost tempted to scream and shout, "what-in-the-world-has-happened-to-this-place!" An ultra-modern version of a pueblo transformed into a ciudad almost in overnight fashion! Heck! There's no such thing anymore as peace and quiet, or people taking "siestas" in this otherwise ghost town that it used to be. But what a super-lovable place this place is!
Artistic and colourful tricycles all too often bearing a Saint's name or a quotation from the Bible
Open-sided buses that were popular in the 50s, 60s, 70s, 80s and even in the early 90s
Ergo, with just these facts I can already re-claim the idiosycratic reputation of Tagbilaran as a non-sleeping city.
While the local population has long been influenced by the so-called "night wingers" (my personal definition of "bat" people), most of Tagbilaran's citizenry, I should say, are still a well-disciplined lot not too different from those who came from the provincial towns. They are mostly hard-day workingpeople who for the most part don't waste their time and pockets going around window-shopping and all (again it's an altogether different story for those born in the X and Millenia epochs). Or perhaps because of the country's economic woes, again, since time immemorial, the majority still avoid this luxurious habit of munching around what with this extensive lists of "tourists" food or cuisines you see everywhere, and yet most people could hardly afford to do so. Or perhaps it's their no-nonsense approach to life the fact that there are other pressing needs or financial obligations that are first and foremost on their list. It's true, while life is worth celebrating, the list of activities and celebrations are simply piecemeal.
My second ergo, needless to say, is that most people still hit the bed quite earlier than what most young people tend to do on a nightly basis.
As to the young generation of the era X and the Millenium, hitting the flat bed anywhere between midnight and jogging time at 4 A.M., needless to say is a far and strange thought to behold. It's a "cultural slang" that never seemed to have crossed their innocent minds. Kuno. Or perhaps they maybe just acting like adults asking the young but with a weird inexplicable look in their eye as if they've never been young or teen-agers once. Or is it that playful and youthful look too ignorant to fathom what some lie-ing-parents pretend to claim to have not gone through when they were their age? But, needless to say, these strange and vulnerable lots do really exist among us, much like the multitude that seem to scatter way deep into the night in mega cities like Hongkong, Manila or Bangkok. The so-called children of the night. Literally. These strange lots, however, are not the people I'm talking about... that make a city not sleep or what-have-you. After all, these people, too, will eventually will succumbed to deep lethargy after you give them a few hours to find their way home. (LoL)
Tagbilaran - a city that never sleeps is an altogether different story and conversation. It's state of mind, so I've heard...
Music Revisited, Volumes 1 & 2 are compilations of original works written by Boholano composer-musician, Fr. J. Roel Lungay, from 1978 to the present, some of which were in collaboration with other lyricists. "AMC Theme," So You Think I'm Crazy," "Mariam," and "9th of September" were all written while still a student in the Philippines; "Sailboat," while on a vacation to Destin, FLorida, in 1988 - they comprise the earlier works of Father Roel.
Music Revisited, Volume 1 was published in 1995 to help raised funds for the Paring Bol-anon, USA Foundation whose mission was to help poor but deserving seminarians in Bohol, Philippines. Music Revisited, Volume 2 album, produced from 1995-1997, on the other hand fell short of being released.
The shift of Father Roel's early influences, from classical-choral-pop-rock influences to the country genre has been quite obvious in these 2-album sequences that may signal another shift in his songwriting preferences. His more recent works,"Revelry of Christian Music" (1996) and "Christian Art Songs" (1997-1998) have toned down in beat and rhythmic style as more of his more recent works now thrive on something spiritual and inspirational.
Producers: Steve Thomas for Lakeside Productions and Gerry Peters for Midi Magic (Nashville, Tennessee)
Vocals: Steve Thomas, Ray Barnette, Rebecca Freeman, LeNaye Pearson, Juli Maners
Guitars: Steve Thomas | J.T. Corenflos | Andy Reiss
Piano/Keyboards: Catherine Styron | Gerry Peters
Harmonica: Jim Hoke
Bass: Steve Thomas
Steel Guitar: Doyle Grisham, Steve Thomas
Fiddle: David "Puddin" Russell
Executive Producer: J. Roel Lungay for Fro's Music
Nashville guitarist, J. T. Corenflos, who played in one of Martina McBride's album, Tim McGraw, Alan Jackson, Trace Adkins, Rascal Flatts, Brooks & Dunn, Hanks Williams, Alabama, Kenney Rogers, etc.
Catherine Styron, one of Nashville's best session pianists. She played for some of Nashville's best: Blackhawk, Garth Brooks, Kathy Mattea, Ronnie Milsap, Merle Haggard, Sharon Moore, etc.
Doyle Grisham, one of Nashville's best steel guitar players whose credits includes the very best: Jimmy Buffet, Randy Travis, Reba McIntire, England Dan & John Ford Coley, Dr Hook, George Jones, Dan Seals, Kitty Wells and many others. He currenly plays for the Coral Reefers
We hope this simple blog expresses in some shape or form what we are trying to portray: sharing with you this exciting adventure we're currently undertaking that was almost totally unplanned, to say the least, lest it's been lurking around in our subconscious without us even knowing it. Needless to say, the very moment it dawned on us the direction this diversion (hobby) was leading us to, 'twas almost an automatic progression for us to jumpstart the engine in search for a better understanding of what the implications are this so-called songwriting partnership got us into. Sometimes we wonder if this is just plain coincidence or maybe some kind of providence? We'll see!
WHAT AND WHO IS RORO MUSIC?
"Roro Music is a combination of two musical minds - Roel & Romeo - both of whom are true Dagohoy-blooded Boholanos. It's a collaboration founded on years of friendship, common life experience and shared interest but whose current musical quest and aspiration go beyond the limits and boundaries of some home-grown and culturally-embraced influences of the present time (pop culture), in pursuit of something new and unfamiliar, yet very special (we're going country!), in the hope of breaking new grounds (for future performing artists), creating fresh perspectives (for budding songwriters) and laying new platforms for many ipodcasters (modern music lovers) to enjoy, celebrate and tread on in the many years to come."
Year 2009 is a trailblazing year for us as we embark on a new musical venture we've never tried before - collaborative songwriting and self-publishing. It's a dream we never dared explore in years past when our minds were clear, pure and innocent (LoL), and our imaginations, ambitions and dares were kinda at its peak (huh!). Even though we're both musicians who grew up - and played sports - together, and whose passion for music is beyond anyone's knowing and description, our respective musical journeys have never really crossed paths before except at informal and not-so-formal gatherings (e.g. barkada gatherings, music club gigs, etc) where one played and the other appreciated, in company of boyhood friends. Thirty something years, as a matter of fact, such life's arrangement seemed to be the soup du jour of a lifetime between us from years 1976 to 2008. Then 2009 came and all of a sudden and boom! (forgive us for sounding too cocky and ambitious, hahaha), but like an old friend said at one time, an "Ala-Lennon-McCartney/Bernie Taupin-Elton John" meeting of minds and hearts almost instantaneously became the rule of the day and of our newfound fervor... writing songs together!
(May 8, 2009) - Today I received the news from a friend, a former parishioner at St. Rita in Harahan, LA, that one of my songs was included in an debut album by an upstart Christian music recording artist out of New Orleans by the name of Lorraine Hess. Without thinking twice I made a run to the closest Religious Gift Shop in town to see/hear it for myself and it turned out to be true. Wow! The song was really there with my name on it and my insignificant Fro's Music Publishing. What a blessing and what an honor; at first I thought it was Celine Dion on the cover album (dreaming!); she looks just like her. Hehehe!
(August 14, 2009) - While the whole province and many of her reveling citizens were in the midst of all the fanfares of the SANDUGO celebration and TBTK's grand homecoming this past July 2009, unbeknownst to many was a core of few people com-
missioned to put together something we can all be proud of and celebrate about. For the first time, ever, in its 12-year history,
TBTK had not only come up with a new soundtrack to sing, dance and jumped for joy, but had also attracted a host of young Boholano musicians to share with us the richness of their talents as well as entertain us with a variety of their musicality Bohol has always been known for. (Fro)
TIGUM BOL-ANON, TBTK's official theme song launched in 2009 on the occasion of its fourth grand reunion, reflects the Boholano's penchant for original creations and love for music. Complemented by the works of young Boholano musicians, this album is undeniably rich in musical variety that places Bohol at the forefront of the music industry.
1 There’s a highway down the road People trav‘ling, young and old Which direction I don’t know but I was told… It’s called the road to nowhere.
2 There’s a dude in jet-black hair With guitar and picking tunes Where he came from no one knows but I was told… He came from road to nowhere.
Refrain: There’s a road to nowhere Many people standing there. Road to nowhere, I wanna do my dancing there; Like a marketplace It’s crowded and you can’t hear It’s a road to nowhere Really, road to nowhere.
Bridge: Down that road you can’t show your face, Expect to be embraced. I was told you are on your own Or you can hit the road!
3 Love to travel down that road, No return and no regrets, Love to tell my kids one day when I am old I’ve been to the road to nowhere.
Coda: Like a marketplace It’s full of crowd, but then It’s a road to nowhere. Yeah, really road to nowhere. Like a marketplace It’s full of crowd, but then It’s a road to nowhere. You bet, it's road to nowhere.
The thought of putting together a music album for my 25th priestly anniversary was almost a laughable idea. First, I don't believe I can really sing even though I love to sing (And, yes, I am proud of my singing!). Second, I thought the idea of me recording songs, like I did in the mid-90s, had become almost obsolete after I lost all my recording gears during the flood caused by Hurricane Katrina in 2005. Worse yet, that very same year, months before the storm, I was diagnosed with thyroid cancer; and the succeeding surgery almost took care of my penchant for singing because I lost my voice for almost four months. I never thought I'd be able to sing again. I could only thank the good Lord for giving me back my voice even if it meant I wouldn't be singing again. Who would have thought I'd be singing again (sans the off-keys here and there), and, more so for my silver jubilee.
Celebrating 25 years of priesthood brings to mind a lot of things. Good things. Tremendous blessings! The gift of faith, the privilege of priesthood, two wonderful parents in mom and dad, nine wonderful siblings, a strong family orientation from both sides of my family - grandparents, uncles and aunts and cousins to the _th degree. Hordes of them! Not to forget the many bishops and priests who have been my inspiration, mentors and brothers over the years, the parishioners from my former and current parishes. And friends - I’m proud to have some of the best around - for support and friendship along the way. And to the ones who showered all these wondrous gifts on me, our Almighty God and Father, our Lord and Savior Jesus Christ (the Big Boss), the Spirit “helper” and “guide,” and, last but not least, our Blessed Mother, whose insistence and invitation made me say my own "fiat." To all of you I say my biggest THANK YOU! (Fr. Roel)
This Soundclick album is a collection of compositions written by Boholano composer (tunesmith), J. Roel Lungay and co-writers (as noted on each song) and performed by Nashville artists: Rebecca Freeman, LeNaye Pearson, Juli Maners, Ray Barnette and Speer & Son. The repertoire of this album range from popular to country to christian to rock and honky tonk.
Piano and keyboards - Catherine Styron, Gerry Peters
Guitars - Steve Thomas, J. T. Corenflos, Andy Reiss
Fiddle - David "Puddin" Russell
Steel Guitar - Doyle Grisham
Arrangers - Steve Thomas, Gerry Peter, J. Roel Lungay
Produced by Steve Thomas for Lakeside Productions and Gerry Peters for Midi Magic
Executively produced by J. Roel Lungay for Fro's Music | PB Music Int'l | Foreign Brain Music
Mass of Rita (Youth Mass) is an HRS-recorded collection of Liturgical settings written, arranged and performed by the Rev. J. Roel Lungay while stationed at St. Rita of Cascia Church in Harahan, Louisiana. Mass parts and a selection of Psalmodies were written for use primarily of the youth choir under the tutelage of Father Roel.
A publication of this Mass settings, with complete notations and chords, was also printed in 1993 for use of the parishioners and accompanists.
CREDITS: (taken from the Cassette Album cover)
All texts are excerpts from the English translation of "Lectionary for Mass" (c) 1969, International Committee on English in the Liturgy, Inc. (CEL); excerpts from the English translation of "The Roman Missal" (c) 1973, ICEL. All rights reserved. Used by permission
All music is composed, aranged, performed and sung by Fr. J. Roel Lungay. Music Copyrights (c) 1992 except as otherwise noted) by J. Roel Lungay and St. Rita Chuch, 160 Imperial Woods Drive, Harahan, LA 70123-4998. All rights reserved.
"Gospel Acclamations for Lent (#3, #4): Text Copyright (c) 1969 by I.C.E.L., 1275 K. Street, N.W.., Suite 1202, Washington, D.C. 20005-4907. All rights reserved.
"Glory to God," "Amen (A Capella)," "Our Father," and "Lamb of God" : Music Copyright (c) 1982 by J. Roel Lungay and St. Augustine Major Seminary, Tagaytay City, Philippines (From the hymnal "MISASMA").
"Holy", "Memorial Acclamations" (#9, #10), "Acclamation to theLord's Prayer" (#14), "Psalm 51" (#29) and "Isaiah 35" (#52). Music Copyright (c) 1983 by J. Roel Lungay. Administered by A.C.L.M., Archdiocese of Manila, Philippines. (From the book, Hosanna Volume 3).
"Memorial Acclamation" (#8). Music Copyright (c) 1989 by J. Roel Lungay, St. Philip Neri Church, 6500 Kawanee Avenue, Metairie, LA 70003.
Produced by PB Music Ministries for St. Rita Church Youth Chorus, Harahan, Louisiana
Recorded, mixed and engineered by Fr. J. Roel Lungay at Fro Audio, 160 Imperial Woods Drive, Harahan,LA 70123
Cover printed by Brennan's Printing, Harahan, Louisiana