The CompanY’s Moy Ortiz shares songwriting secrets

MANILA, Philippines — Call him an accidental songwriter, a tag he certainly will not mind. Before he started writing more than 400 songs to date, The CompanY founder and lead singer, Moy Ortiz, didn’t have any idea he could string beautiful music and words together.

He started writing professionally in 1990, after being forced to come up with an original song for The CompanY’s debut album, ‘Yun Na, under Ivory Records that was released in 1991.

The late songwriter, Margot Gallardo, came up to Moy and asked him, “Don’t you do back-up vocals when you do vocal arrangements?”

Moy shared, “Margot figured, kami ni Babsie Molina, the fact that we do counter melodies in our vocal arrangements, I could also write songs.”

Babsie is also a songwriter who co-wrote The CompanY’s hit, Muntik Na Kitang Minahal, with Edith Gallardo. Babsie is known as the “queen” of back-up singers, along with Sylvia Macaraeg and Kitchie Molina.

“You know, your vocal arrangement, that is a form of composition,” Margot told Moy. “Why don’t you just give it a go and try your hand at writing songs?”

At that time, Moy didn’t know that he could write songs. He surprised himself when he wrote the lyrics and the melody for Tell Me Tonight.

“I knew that I could arrange,” Moy said. “I knew my core skills, but I think because of who I was at that time, I think I was extremely self-critical with anything that I created. I did not have the nerve to be a composer because from the start, I would self-edit and self-sabotage. I fell into songwriting accidentally.”

After five years struggling and trying to get a recording contract, The CompanY inked a contract with Ivory Records. Their then-managers, music couple Louie Reyes and Cesar de la Fuente, were instrumental in securing their recording deal.

“At that time, we were already asking our colleagues in the industry for songs,” Moy disclosed. “They were excited and happy for us. Deadlines were about to come and still, no songs were being submitted. The direction was pop-jazz for The CompanY’s debut album.”

This year, The CompanY turns 36. “It’s unbelievable,” Moy beamed. “Thanks to Him (God) and to our audience. Our last lockdown this year, March to June, after our Valentine Roadtrip concert, was our longest break. Sapilitan pa ‘yun. It didn’t take a pandemic to stop us.”

Moy acknowledges that life and God take you to different detours. “Listening to Tell Me Tonight after 31 years, it’s not terrible,” he maintained. “It’s not bad. I started with my initial songs as derivative. But I think for every person who creates something and is inspired by your heroes, whether or not they are musicians, painters, dancers or any artists, you start emulating. It’s not a sin to emulate, and get the best bits and parts of the work of your heroes.”

Moy’s “heroes” are easily identifiable. He doesn’t care if they are old school. There’s Burt Bacharach, whom he adores at 92. Moy also names Michel Legrand, Jimmy Webb, Joni Mitchell and Michael Masser. “I’m very, very influenced by these people,” he said.

For his local counterparts, “Tapos na tayo sa tatlong C,” Moy asserted. “(National Artist) Ryan Cayabyab’s works sound like Bacharach’s. Listen to them. George Canseco and Willy Cruz are our counterparts for Michel Legrand.”

Meanwhile, Moy’s songwriting idols — Louie Ocampo and Odette Quesada — sound like Michael Masser. “Louie and Odette are my musical heroes whom I revere and respect wholeheartedly,” Moy affirmed.

After teaching music composition in summer workshops under Trumpets and at Mint College in BGC (Bonifacio Global City), Moy recently introduced Songwriting from a Songwriter, a 10-episode video on demand (VOD) workshop.

His first workshop was actually the idea of Stella Sison, one of the managers of Stages, The CompanY’s management company. “When the lockdown in March 2020 happened, by the end of May, we realized it looked like the pandemic would last long,” Moy insisted. “So, we had to pivot and do other things. Stella suggested that I come up with 10-minute snippets of songwriting or vocal lessons online.”

Moy painstakingly worked on the 10-episode Songwriting from a Songwriter, for 11 months. “It was the most difficult thing I ever produced in my entire life,” he shared. “Those who can afford it can readily buy the 10 episodes for P5,000. Pero dahil masikip ang pera ngayon, you can get the particular episode that you like, per episode at only P599.”

Producing, filming, writing and editing inevitably became a one-man team for him. “Many times, I wanted to quit,” he disclosed. “Filming an episode would sometimes take two nights at four hours each. Kung mali ang grammar mo, magkamali ka, mababa ang energy, I had to retake. I had to buy a new phone because wala ng space ang old phone ko when I was filming. Napakamahal, but it was a good investment.”

Filming it in his house, Moy did his own lights, bought gear and equipment, and put on his own makeup. “The killer part was editing each episode,” he lamented. “I spent four to five days editing. Mas mahirap pa than to produce a concert at Solaire.”

Carlo Orosa and Stella Sison are part of the team in Stages who helped Moy, and he cannot be thankful enough for their support. “They are there to market the songwriting workshop,” Moy said. “This is exclusively marketed by Stages digital products.”