The following is an interesting mix of two soundtracks and the kind of pattern they follow - different from each other in scale and instruments but yet so near to each other in their design. So near, that if it was not for scale they could have overlapped and we wouldn't even know. Its almost like the disciple has given a tribute to his master. The way Kill Bill series is to all the movies that Tarantino must have seen while growing up. And how Vishal-ji, a Tarantino fan gives him a cute-little tribute in 'The Blue Umbrella' - 'Saanp apne bill mei jaake Kill Bill-Kill Bill karne laga' and the frame splits into three with Bindiya jumping with the Umbrella in her hand, the way the Bride had held the sword!
The soundtrack that will be heard first is called 'Yeh Pal' from the recently released film 'No One Killed Jessica' (which I think is already the album of the year). It is performed by the talented Shilpa Rao and composed by Amit Trivedi. At the outset, I am a head-over-heels fan of Trivedi's music and since last many years have of course religiously followed Rahman. And I am sure Trivedi himself is head-over-heels in love with Rahman's music. Now 'Yeh Pal', the later part of the soundtrack got me hooked and reminded me of something that Rahman did a decade and a half ago and how Trivedi has actually in a way followed his icon and created something so original and yet so true to what Rahman created then. I got both the tracks together and dragged it on to the same timeline. It got me some interesting results. (The way we used to do in those smelly chemistry laboratories - mix some sodium sulphate with chloride and heat it on a burner for 30 seconds!).
Hear this concoction and we discuss further. The black screen will have some text appear - so keep your ears plugged to the headphones and intermittently do give a read.
I would recommend the reader to hear both the soundtracks from the start and one will realize the design. They both start slow with a female dusky voice taking the lead and gradually the soundtracks get launched into what you just heard. In case of 'Taal' the brief that might have gone to Rahman was 'It is a musical extravaganza' and thus he got together one of his best arrangements - right from the keys of harmonium to the digital beep. Trivedi too ends up doing with total style by adding the zing from his another soundtrack from the same album: 'Zaar zaar Aitbaar', the way 'Ishq Bina' was re-done for the second version. For fans of Trivedi, I have discussed 'Aetbaar' at length here.
Its only when we listen to Amit Trivedi's music that we realize the kind of subtle change, the man is bringing in the kind of music that we or maybe I have grown up listening to. Sounds from 'Haara' of Aamir, 'Nayan Tarse' of DevD, 'Shaam' of Aisha, 'Aazaadiyan' and 'Naav' from Udaan and 'Aitbaar' from No One…. haven't been heard during all my growing up years with music. It's like back in 1993, when we heard the flute of 'Chotti si Aasha' from Roja, we realized what we had been missing. Its a similar feeling when we hear the violence in Haara. More power to him.
The title of the post is of course 'copied' from a wonderful website that is doing awesome work on the movies. Source: Dev Benegal's tweet. And if you are a fan of movies, then this is something you will relish. Enjoy! Everything is a Remix!
Back in 2001, when I was in my hostel, there was a guy who was absolutely in love with music. A delicate strumming of guitar, a finely touched key of the harmonium or the slightest wind blown in the flute and you would automatically see him present there, at that very place where the that sound originated, with a trance-like expression on his face. And then one day, as I was humming in the hostel bathroom, he was right there standing outside with his toot brush! As soon as I came out of the bathroom holding the bucket in my hand, he came forward and looked straight towards me.
'have you learnt music?'
I didnt deny and he said. 'For the next 'god knows' how many years in this lonely hostel, in this tedious college, in this deserted town, in life's most unfriendly moments, promise me that you will sing. You will sing to your heart's content'.
I was elated. Not that someone asked me to sing, but for a junior student, who had to put up with that hostile atmosphere of that god-forbidden hostel and had to face those draconian ragging sessions, those intimidating senior students and a hell lot of extra-convoluted diagrams to be drawn in someone else's journals, that statement was a respite. I didnt particularly dislike singing, but that guy's encouragement was enough for me.
On the Freshers' Party day, the same guy turned out to be the host of the function and when my turn came on stage, as every junior is asked to perform some or the other thing, he asked me in simple words: 'Son, you need to sing!'
The professors, the academicians, the principal, the seniors all of them were there in that auditorium, 'singing here would mean that one will get a permanent tag of being a performer on the college stage', I certainly didnt need that tag - but when the same guy turned out to be the host and his request and that anticipation in his eyes, I knew that come what may, even if the whole auditorium is bored to death, I will sing for this one person.
I sang to my heart's content and got a tag of 'Bhaand' from the senior students for the coming next four years of graduation. Thus, the professors knew that when a Chief Guest of a particular function gets late, its time to call 'the Bhaand' on stage and ask him to sing or perform. In a way I loved the idea of being on stage and performing, whether people liked it or not, but I loved singing in that hostel lobby. My voice would hit those semi-plastered walls and create resonance, it would pierce through the hollow bricks and seep into the rooms, it would make the pillars sway as if they were intoxicated and for all the Aurangzebs it would provide an excuse to get out of their rooms and curse me. This is when I thought that I was good, but not so sure about the present.
That guy was in a way responsible for the name of this blog. He accidentally gave birth to 'bhaand'. But why him here, read on.
Recently, almost every netizen has been following the progress of a phenomenal show, conceptualized and made in Pakistan called Coke Studio. To know what Coke Studio is, click here.
Names like Abida Parveen, Atif Aslam, Rahat Fateh Ali Khan, Ali Azhmat, Sahi Zahoor, Shafqat Amanat and many more are performing on it and creating a whole new pallet, coloured with amazing fusion elements. The fantastic combination of live folk instruments, passionate singers, amazing musicians and contemporary sound makes this show extremely popular. Once upon a time, I had overheard my uncle telling it to someone: 'the power that Sufi music has it, is possessed by none in the world - its a straight connection to the almighty'. My uncle often sings Qawaalis for his connection to that force.
Uncle, you were absolutely right! At the cost of sounding a little off-beat, but have you ever felt like closing your eyes and keeping a particular song on 'repeat' in your playlist? And even after hearing it for the umpteenth time, you would still not feel like opening your eyes. OR If you felt that your feet have suddenly got rhythm and you circle around the speakers as if it was a holy shrine.
'ho wanga chada lo kuriyon, mere daata de darbaar diyaan'
Translation: 'Put on your bangles, girls Those that you brought from Master's shrine'
These words when sung, takes me to that kind of trance. I need not go to any temple or bow before any god or idol, such is the purity of the language, such is the purity of the sound emerging from Arif Lohar's throat, such is the purity inside me when I hear this and I sincerely hope that 'Daata' gives me that purity If I ever try to sing this!
Hear the sound below and feel elated. esp after 5min: 30s. But I suggest you hear the whole song to feel how it would be to be inside the singer's heart while he must be singing this. Also on youtube you have the translated subtitles! And not to mention, do observe the musicians while they play the instruments, its as if they are having a ball while playing this, its that emotion that music needs to bring inside you.
Now being inside some of Bollywood's music studios and seeing a few songs being recorded you come out feeling cheated. 'Are these the same songs we humm, the radio channels continuously play and they instantly become chartbusters? Why do they record everything separate, wont it be amazing to have all of them sitting together and doing the harmony?. 'Kya hai, thoda mehnat hi padega na, lekin socho kitana Anand milega dil ko.
Imagine the harmonium keys giving way to an acoustic guitar and the singer observing that transition and looking at the music director who in turn instructs the Arranger and the later asks the Flautist to join in and you standing behind that glass wall and not able to contain your excitement?
You dont believe me? Watch this Rahat Fateh Ali Khan performance at Coke Studio and most of you will gift your right hand to have a voice like that. esp hear from 3 mins to 6 mins and I assure you, you will be a changed person at the end of it.
And for Atif Aslam fans, here is his tribute to Nusrat saab's Aur Pyar Ho Gaya number 'Ek Din kahin' and truly a deserving tribute at the end of this amazing Atif aslam number 'Jal Pari'. For the tribute hear from 4 mins 30s but again I suggest, you hear the whole performance.
I can now understand how that guy felt so lonely amidst those crumpled walls and a deserted town without music, without the fountain of life. After hearing the Coke Studio sessions, one thing that I felt honestly is: forget getting up early morning to exercise, tomorrow onwards I will get up early and sing. Sing to my heart's content. Sing as if I am back in my hostel, sing as if that guy is hearing me. I know wherever he is, he is all ears for me. We went to the Rahman concert together in West Delhi. Ah, the joys of knowing that wonderful permutations and combinations of those seven letters: Sa Re Ga Ma Pa Dha Ni Sa.
Amit Trivedi, are you gonna go to Coke studio? You would be our best export combined with a folk artist from the hinterlands of Gujarat, Rajasthan or Bengal.
Thank you Rohail Hyatt for continuously putting up such wonderful performances and getting the best artists from all over. Your country needs more people like you. And so does our television producers instead of making a 4 year old sing: 'breathless' on national television and terming him or her as 'Chotte Ustaad' and making their parents go hysteric over it.
And to the neighbours, one simple message - 'Lets make music guys'. Easier said than done though, ah those Rediff commentators-wala India!
By the way did I tell you I fell in love with that girl who features near 5:21 in the 'Jal Pari' video.
