Wednesday, May 20, 2026
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Reviving a family’s long-lost soundtracks

More than 40 years ago, five siblings would sit around with guitars in their small home in Makati, writing songs about love, growing up, and their hopes for the future. They had no idea that those old tunes, once packed away and nearly forgotten, would one day come to life again.

That dream finally came true with the release of Mga Awit sa J.P. Rizal, the debut album of Melladys. The name “Melladys” comes from their last name, Mella, combined with their love for music.

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“This all started when we were young and just wanted to write our own songs. We were college kids hoping to one day hear our music on the radio. But then life happened. We had to let go of the dream for a while,” said Ramel Mella during the album’s press launch.

The group is made up of five Mella siblings—Alejandro Khasim (who passed on in 1984), Ynocencio “Ramel” Mella, Gabriel “Thaib” Mella, Lolita Shaira Mella, and Ephraim “Tahir” Mella. They first started making music in the 1970s under the name “Tanglaw,” back when they were teenagers living near J.P. Rizal Street in Makati, which was the inspiration for the album title.

Years later, Tahir, now based in the U.S., brought up the idea of revisiting their old songs.

“We thought, why don’t we finally record and release them? Since I was still in the Philippines, my brother told me, ‘Find someone who can help us make it happen,’” Ramel continued.

That “someone” turned out to be legendary jazz musician Johnny Alegre.

Alegre, known for his bold and creative style, didn’t just record the songs—he gave them new life. He brought in some of the country’s best-known musicians, including Medwin Marfil of Truefaith, Jazz Nicolas of The Itchyworms, Mikey Amistoso of Ciudad, as well as Noel Mendez, Joey Puyat, Rommel dela Cruz, Paolo Manuel, and Kakoi Legaspi, among others.

“I didn’t want to just produce the album—I wanted to give it direction. So we created a full concept: music with a story,” Alegre shared.

The songs reflect the Mella family’s background—from their roots in Sorsogon, to their life in Manila, to their late mother, who came from a royal Muslim family. Each track tells a story that’s close to their hearts.

The opening song, “Ikaw Ako,” features singer Marga Jayy and a heartfelt guitar solo with a touch of Indian influence, played by Jazz Nicolas.

“It was the first song we recorded. Very melodic. Very emotional,” Alegre added.

Other songs like “Between” and “Kailangan Ka” include vocals by Mark Weinberg (formerly of the band Passage), while Mikey Amistoso sings and arranges “Ito’y Para Sa’Yo.” The tracks “Tampana” and “Panaginip” explore deeper themes like reflection and longing—feelings that Melladys know all too well from their decades-long journey with music.

Another track, “Panaginip,” arranged by Ria Villena-Osorio (formerly of Bamboo), has become a popular wedding song in the U.S. thanks to its lush string arrangement.

“It reminds you of that high school crush—the one who felt too far out of reach,” Alegre said.

The whole album brings back the feel of classic OPM but with the freshness of modern artists.

For Melladys, finishing the album wasn’t about becoming famous. It was about finally closing the loop on a dream they once set aside.

“We forgot about the songs for decades. But now that we’re retired and have time to reflect, we realized we still had that passion,” Ramel shared.

It’s not an album chasing hits, but a heartfelt tribute to the past—a reminder of the days when every family gathering had someone playing guitar and every young person had a dream in their heart.

Now released under Backspacer Records and backed by audio brands like Koyama and Wharfedale, the album will be available on vinyl and digital platforms. But for Melladys, the music’s real home is in people’s memories—especially those who remember the golden age of OPM.

“We’re not trying to change the world. We just want to remind people that songs made with love and honesty can still find their place, even if it takes 40 years,” Alegre stated.

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