Minggu lalu dan minggu ini saya rindu sekali pada satu lagu yang dulu sering saya dengarkan waktu saya masih kecil; saking sukanya saya pada lagu itu, ketika alm. bapak merekam suara saya untuk pertama kali, saya nyanyikan lagu itu. Dengan kekuatan YouTube, akhirnya saya temukan lagu yang saya rindukan itu, bahkan sekaligus dalam album orisinalnya yang ditransfer dari piringan hitam dengan cermat oleh bung John Kwa Indonesia, yang sebelumnya dikenal telah pula mengunggah diskografi lengkap Koes Bersaudara dan Koes Plus. Lagu yang saya kangeni adalah lagu pertama di album bertajuk Favourite’s Group Vol(ume) 4, yang dirilis sekitar tahun 1974 (umumnya album-album pop Indonesia pada masa itu tidak berangka tahun).
Seingat saya, lagu ini pertama kali saya dengar bukan dari Volume 4, tapi dari kaset kompilasi bertajuk The Very Best of Favourite’s Group. Almarhum bapak membeli kaset itu karena seleksi lagunya sangat bagus dan lebih banyak berfokus pada formasi klasik Favourite’s Group (dijelaskan sedikit di bawah), formasi yang paling ia suka. Saya mulai ikut-ikutan memutar kaset itu dan menyukai banyak lagu di dalamnya, di antaranya lagu “Aku Tak Berdosa” ini, “Ma Onah”, “Cinta Monyet”, dan “Cari Kawan Lain”.
Jadi, siapa saja sebenarnya anggota formasi klasik Favourite’s Group? Favourite’s Group pertama didirikan pada tahun 1972 atas cetusan A. Riyanto, pencipta lagu, pemain kibor, dan produser veteran yang telah menulis banyak lagu sukses pada 1960an dan awal 1970an dan mengiringi beberapa penyanyi di studio rekaman bersama band-nya 4 Nada; beberapa penyanyi yang paling sukses ditanganinya adalah Tetty Kadi dan Arie Koesmiran. Formasi pertama Favourite’s Group bisa dikatakan adalah 4 Nada yang berganti nama, dan ditambah Mus Mulyadi sebagai penyanyi utama (walau A. Riyanto ikut pula bernyanyi beberapa lagu). Formasi pertama hanya bertahan sampai album pertama mereka usai direkam. Is Haryanto (dram) dan Harry Toos (gitar) bergabung untuk rekaman album kedua, dan Mus Mulyadi mengisi posisi gitar bas, instrumen yang ia mainkan sewaktu masih bergabung dengan band Ariesta Birawa. Tommy WS (bas) bergabung untuk album ketiga dan seterusnya, dan lengkaplah formasi klasik Favourite’s Group. Formasi ini awalnya hanya merekam dua album, Volume 3 dan 4, sebelum Mus Mulyadi memutuskan untuk fokus bersolo karir. Formasi ini kemudian bereuni pada tahun 1978 dan merilis beberapa album hingga pengunduran diri Harry Toos pada tahun 1989.
Lagu “Aku Tak Berdosa” dari Volume 4 ini mungkin lagu Favourite’s Group’s yang paling (atau mungkin salah satu yang paling) psikedelik dan bergitar. Lagu ini dibuka dengan melodi gitar sederhana yang berulang selama setengah menit yang mendadak dipotong oleh distorsi gitar satu not, diikuti dengan gitar ritem yang terdengar mirip “Hi Ho Silver Lining”-nya Jeff Beck Group. Lagu kemudian berlanjut dengan lirik utama yang dinyanyikan oleh A. Riyanto dan Mus Mulyadi, lirik dan melodi yang membius saya sewaktu saya kelas satu SD dan memutar kaset ini hampir setiap hari sepulang sekolah. Refrain lagu ini dinyanyikan oleh A. Riyanto yang sepertinya terlalu memaksakan pita suaranya untuk mencapai nada tinggi, tapi menurut saya justru inilah bagian paling krusial sekaligus paling menggelikan dari lagu ini. Bagian refrain lagu ini kemudian mendadak pindah ke bagian bridge yang sangat sepi, dan sangat psikedelik, sebelum kembali lagi ke refrain. Lagu ini diakhiri dengan solo gitar Harry Toos hingga akhirnya menghilang dan selesai. Singkatnya, ini adalah lagu keren dan unik dalam katalog lagu Favourite’s Group; lagu ini cenderung lebih keras dengan aransemen yang lebih longgar, cukup berbeda dibandingkan lagu-lagu balada mereka yang cenderung simfonik atau lagu-lagu upbeat mereka yang terasa lebih ringan dan umumnya dipengaruhi unsur musik keroncong atau dolanan Jawa.
Selama bertahun-tahun sejak tahun 1989 saya berusaha memahami maksud lirik lagu ini (lihat di bawah), tetapi terlalu banyak interpretasi bermunculan di benak saya. Apakah ini lagu tentang dosa asal (original sin)? Apakah ini lagu tentang kepolosan manusia di tengah alam, dan kemudian membandingkan dirinya dengan kepolosan alam? Apakah lagu ini ungkapan terima kasih pada Tuhan atas anugerah hidup dan penebusan dari dosa? Entahlah. Saat ini saya sebaiknya menikmati saja lagu keren ini.
Aku Tak Berdosa
Siapa yang berdosa
Tak dapat ku berkata
Siapa yang bersalah
Siapakah harus berdosa?
Siapakah harus dicela
Bila rambut panjang terurai?
Mengapa tidak kau restui?
Mengapa tidak kau hayati
Indah dan bebas dan alam ini?
Pohon lebat daunnya
Begitu pun rambutku
Telah diciptakanNya sejak dahulu
Di mana tempatku berdiri
Indahnya alam kunikmati
Syukur pada Tuhan Yang Esa
(Ulang *, Bridge, Refrain 2, dan *)
The Mercy’s are a pop band formed in Medan, Sumatera Utara, Indonesia in the late 60s. They were one of the bands that gained considerable popularity after the wake of Koes Plus. During their heydays in the 70s, they were considered among the top five bands of the era, along with Koes Plus, Panbers, D’lloyd, and the Favourite’s Group. Much like the other four bands, they continue to enjoy lasting success and recognition through a number of hit songs, re-released and remastered over the years by their record label, Remaco. Some of the members of the band have been elevated to legendary status as they charted lasting impact in the history of popular music in Indonesia.
Depending on the sources on the net, The Mercy’s formed in either 1965 or 1969. The band’s name was said to derive from the popular nickname of Mercedes-Benz cars, the Mercy. It was possible that the band formed in 1965, yet they did not fare well until 1969, when they secured a contract for a string of gigs in Malaysia and Singapore. At the time, a great number of Indonesian bands and singers had been contracted for playing in public places in Malaysia and Singapore, sometimes for months. The first of these bands were The Peels, which included future prog luminary Benny Soebardja on guitar, whose tenure in 1967 resulted in a local best-selling live album as well as a handful of singles, mostly covers on Indonesian traditional and popular songs. The trend of Indonesian musicians touring Malaysia and Singapore started from then on to the early 70s, with a number of these bands and singers eventually signing recording deals with international record labels, such as RCA/Victor and Philips.
The line-up that had been set to play in Malaysia comprised founding members Rizal Arsyad (rhythm guitar), brothers Erwin (lead guitar) and Rinto Harahap (bass guitar, vocal), Iskandar (lead vocal, keyboards) and Reynold Panggabean (drums, percussion). Prior to their departure, Iskandar left the band to concentrate more on his studies in medicine. The remaining members of the band rushed to find the replacement and installed Charles Hutagalung to fill in Iskandar’s spot. Charles proved to be a dependable member and soon became key to The Mercy’s success in both performance and recording. The band’s tenure in Malaysia lasted six months, with the band performing covers of Indonesian popular and traditional songs with originals thrown in here and there for good measure. They enjoyed lasting popularity in Malaysia, resulting in some of their albums released by Malaysian labels in the 70s.
Going back to Medan from Malaysia, with cancelled Singaporean tour dates and Charles becoming a full-time member, the band seek to secure a recording contract. Following in the footsteps of Panbers, a fellow Medan band whose first album had made considerable national impact, The Mercy’s made a move to Jakarta in the early 70s. Rizal refused to move with the band and chose to continue his study in Germany.
After a series of sessions, it was clear that the band’s main songwriters were Charles and Rinto, with few contribution from Erwin and Reynold. However, the “leader” of the band was always Erwin Harahap, as was also stated later on the sleeves of their albums. Charles and Rinto each had a fair share of writing both sentimental, slow songs and more upbeat, rock n’ roll tunes which was showcased in their early efforts, particularly in the first two albums (later re-released by Remaco in 2003 as a single-cassette split album). Seeking to diversify their sound, which was by then dominated by Charles’s organ sweeps and Reynold’s percussive attack, the band asked Albert Sumlang, an aspiring saxophone player, to join in. In the band’s first album, Albert’s expressive, soaring and sometimes wailing saxophone work can be heard on a number of songs. Albert also contributed one song to the first album, “Kisah Seorang Pramuria,” one of the band’s career-defining songs.
The band eventually secured a contract with Purnama Records and in 1972, their first album was released to much fanfare. The upbeat songs, such as “Di Pantai”, showcased what The Mercy’s were made of. It was, however, the band’s slower, more melancholic songs that fared better: “Tiada Lagi”, “Kisah Seorang Pramuria” and “Love.” The success of “Tiada Lagi”, their first single, was interrupted by a fellow Medan band, Judas, claiming that the song was theirs. To this day, however, the song still belongs to the Mercy’s back catalogue. “Kisah Seorang Pramuria” was considered to be their runaway success and perhaps their career-defining song. It was the song that people today identify most with The Mercy’s. It has all the trademarks of the band’s career: Charles’s nasal voice and Farfisa riffing, Albert’s meandering saxophone work and the sense of balladry supported by narrative lyrics told in first person which was to become The Mercy’s lasting style. The band also started their trend of inserting a song with English lyrics in their albums with the song “Love”, known for Charles’s and Albert’s emotional delivery on their instruments.
The second album followed a year later with pretty much the same formula and met with pretty much the same success. By the third album, the band had pretty much established a stable formula: lots of the trademark ballads with a few upbeat and jamming-oriented songs such as “Woman” and “Tak Mungkin” sometimes showcasing their rock n’ roll, blues and hustle roots. During this era, the band accumulated a lot of following and was even voted as the most popular band by several magazines and polls, including the poll conducted by the Armed Forces (!), considered the most prestigious popular music poll at the time.
At the height of the band’s popularity, Albert was fired in 1974 shortly after finishing the band’s eighth album, citing personal and musical differences. The band decided that they could go on without Albert and moved on as a quartet. After Albert’s departure, things got more laid back in the band’s quarter, thus allowing Charles to form a short-lived project called Ge & Ge (Genial and Gentlemen), whose musical output was not drastically different from The Mercy’s. The project, however, enjoyed moderate success with the single “Hanya Satu,” which sometimes finds itself amidst a compilation of The Mercy’s songs, despite being performed by an entirely different band. Rinto traced back his Malay and Batak roots and experimented with traditional music. This was evident later in the band’s three volumes of pop Melayu (Malay pop), released perhaps to cash in on the success of Koes Plus’s pop Melayu albums. Koes Plus were The Mercy’s label mates as The Mercy’s switched labels from Purnama to Remaco from their eighth album onwards. However, being more in touch with Malay and Batak musical tradition, The Mercy’s Malay pop outputs were drastically different from Koes Plus’s. While Koes Plus rejected to release a Mandarin-pop-influenced album, The Mercy’s agreed on releasing a Mandarin-pop-styled album, sometime at the end of their recording career. It was at this point also The Mercy’s re-recorded their early hits without Albert, with Charles’s organ and Erwin’s guitar solos replacing Albert’s parts. The session resulted in sleeker and more polished versions of their songs. The results of this session were later used for many of the band’s greatest hits compilation albums, thus diminishing Albert’s role in the eyes of many late listeners of the band except for a handful of songs.
By 1978, it was clear that the band had become a shadow of their former selves. The balladry formula was no longer tried and true, but rather a tired one. Their ballads have become sappier yet less emotional. The return of Albert and the release of their final studio album, Mimpi, did not save them from calling it a day. By late 1978, the members parted ways and minded their own business. Charles chose to pursue his solo career and did not revive Ge & Ge. Rinto and Erwin became songwriters and producers for other musicians, establishing Lollypop Records, with Rinto becoming a more influential figure in pop music. Reynold ventured into the realm of fusion dangdut with his then wife, Camellia Malik, in an outfit called Tarantula. Albert continued on as a session saxophonist and ventured cafes in the Netherlands at times.
Twenty years after the breakup, the band chose to reunite and tour the nostalgia circuit. The reunion resulted in a live album and a karaoke album with old songs in new arrangements. They toured extensively with great success with Charles particularly in good spirits after recovering from stroke. One of their most memorable post-reunion performances was the televised sold out concert at Ancol, where they shared the stage with their contemporaries, D’lloyd and Koes Plus. The band’s newfound success was cut short, however, by Charles’s death in 2001. Realizing that they could never replace Charles, the remaining band members parted ways once again.
The legacy of the band lives on to this day, thanks to Remaco releasing a number of greatest hits albums and inserting the band’s songs into select compilation albums of Indonesian evergreen hits. In 2003, Remaco also remastered and re-released the band’s first six albums, whose rights were previously owned by Purnama Records, finally giving a chance to the younger generation to grasp The Mercy’s original, rawer sound. In January 2005, the band’s Rinto-penned ballad, “Ayah,” was reworked as “Aceh” and released as a single from the charity album for the 2004 tsunami/earthquake disaster in Aceh. The single was performed by a number of well-known Indonesian singers, including Ariel of Peterpan and Candil (then) of Seurieus.
Rinto hinted in an interview that The Mercy’s were never dissolved, but the band’s reunion is rendered improbable due to the apparent absence of Charles and that, at the time, there was nobody suitable enough to replace him. However, the final fate of the band was seemingly sealed by the death of Albert Sumlang in 2009. Concerts to honor The Mercy’s musical legacy have been held sporadically at times, with the latest held in November 2012, joined by Rinto who jammed with the sons of Albert Sumlang.
It is never an understatement to say that The Mercy’s have lasting impact on popular music in Indonesia. Along with Panbers and D’lloyd, they were the main proponents of Malay music influence in Indonesian popular music, which can be traced in a number of Indonesian bands today. The members of The Mercy’s are also astute in continuing their band’s legacy. The Mercy’s were influenced by Batak pop music and they also, in turn, influenced Batak pop music. This was continued by Charles Hutagalung through his activities in Batak pop music circles, making him a respectable figure in the development of Batak pop music. Rinto Harahap almost single-handedly revived Indonesian sentimental pop in early 80s and brought an unprecedented number of mostly female Indonesian sentimental singers to fame. This move has led him to both fame and notoriety. He, along with other producers following in his footsteps, was blamed for over-sentimentalizing pop music, resulting in sappy and counterproductive songs which were banned (!) by the Ministry of Information in the late 80s. However, to many musicians today, Rinto is respected as a great songwriter and producer and his great contribution to The Mercy’s and Indonesian pop music in general has been honored by two tribute albums by younger musicians.