Vicor at 60: Why Vicor is now back where it started

At around this time in 1965, Vic del Rosario Jr. was going nowhere. He would turn 20 years old in a few days and did not have good prospects for his future. He had stopped going to school at San Beda College. He was jobless and drifting from nowhere to nowhere. Worst of all, some of his friends often sent his mother thinking he would one day do time in jail.

Then in December, during his family’s annual reunion at Christmastime, his cousin Orly Ilacad approached him and asked, “Magtatayo ako ng label, gusto mong sumali?”

Orly, also 20 years old, was going to be a doctor, but for the moment, he was the frontman of a combo called the Ramrods. A self-taught guitarist, he was doing quite well. He had a big following as a campus idol and had already recorded a few singles for various labels. He had decided to venture off on his own.

The music industry of that time was made up mainly of labels, licensed by foreign recording companies to distribute their products. Because of this, music in the Philippines was dominated by foreign hits. Think the Beatles, Cliff Richard, the Carpenters and the like. Local recordings made up about one or two percent of the pie, with cover versions of hit songs from abroad.

Because of his experience as a recording artist, Orly had a good idea of how the business was run. Vic, on the other hand, knew nothing at all. But in a show of daring that would characterize his future moves, he plunged into the music business. His only goal was to earn extra money to add to the regular allowance he was getting from his mother.

Orly went full-time into producing records, sometimes his own and when their budget permitted, artists that they had started adding to their roster. He made some hits. Jeanne Young with Nikey Hokey. Boy Mondragon and Rain. Victor Wood with Eternally.

Vic manned the office and went full-time into learning the business. Release cover versions ahead of the originals. Count the labels that go to the pressing plant. Sign in big-name singers to bring prestige to the label. Think Pilita Corrales, Jose Mari Chan, Helen Gamboa, Tirso Cruz III and Fred Panopio. Build up new stars. Basil Valdez, Rico J. Puno, Freddie Aguilar, Sharon Cuneta and others.

After only 10 active years, Vicor had become the label to watch and a maverick one at that. Daring to go into rock The Juan de la Cruz Band and Himig Nation. New novelty styles, Magellan by Yoyoy Villame. Disco with VST&Co. Folk with Asin. New songwriters, George Canseco, Cecille Azarcon, Vehnee Saturno and others.

Although Vic and Orly’s original investment of P4,000 had already gone beyond their wildest dreams, Vicor was not without its problems. Deals that went pffft. Overspending. The payola scandal. And like what happens with even the closest and most ideal of couples, there was unrest and boredom in the once close relationship of Vic and Orly.

It was late in 1977 when Orly left to put up his own record company Octoarts International. Vic was left to fend for himself with a mountain of debt. He had to buy out Orly’s share. His prospects were not good. But he had grown to love the music business. He had grown to love Vicor so much. He was determined to save it, whatever the cost and later grow old with it.

Vic left Vicor in 1980 to go into moviemaking with Viva Films. But Vicor was never far from his mind and in an amazing roundabout way, Viva was able to acquire Vicor in 2008. It is now back where it started in 1966 in a happy situation that Vic describes as “priceless.”