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Thursday, November 15, 2007
Wednesday, November 14, 2007
Dopahar Dhuan
Kabhi Kisiko Muqammal Jahan Nahin Milta,
Yeh Aisi Aag Hai Jisme Dhuan Nahin Milta..
Yeh Aisi Aag Hai Jisme Dhuan Nahin Milta..
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Friday, November 2, 2007
Song Reviews By Samir Shah
Chayn Se Humko Kabhi Aapne Jeene Na Diya Song rendered by Asha Bhonsle and Music Direction by O.P. Nayyar Movie : Pran Jaye Par Vachan Na Jaye (1974)
Instruments used in this song...
1. Bell like sounds
2. Mandolin
3. Guitars
4. Flute
5. Piano
6. Small group violins
7. Lead violin
8. Sur Mandal (harp)
One voice and 8 instruments is all it takes to produce one of the best songs ever. The song begins with the bells, guitars and mandolin. The bell sound is loud clear and melodious giving spiritual vibrations, behind the bell are the chords on the guitar which provide the base and the mandolin strings give ripple like effect to the bell vibrations. The solo flute without any chords accompanied by the harp lays the foundation for the entry of the voice led by the piano. The first rhythm/chords are next heard on the syllable bhi in kabhi. The flute before "chaand ke rath" and especially after "raat" is like a lonely heart wailing at night.
The mood of the song encompasses the past, present and future, there is fariyaad but no complains, sadness yet contentment, there is clarity in doubt, there is bechaini in chain, fullness in emptiness, life in death... many dual emotions captured so beautifully in the composition rendered to divine perfection, .... just FEEL. Enjoy...
(their last recorded song, together. Song of death or song of life?)
Some music sensitive mother, please let me know whether the feel of this song is similar to that at the time of cutting of the umbilical cord? (kya karein, reverse gender issue... ;) hota hai, hota hai).
Humne To Dil Ko Aapke Kadmon Mein Rakh Diya Song Duet By Asha Bhonsle & Mohammad Rafi Movie : Mere Sanam (1965) Pukarta Chala Hoon Main Song By Mohd. Rafi Movie : Mere Sanam (1965) Diwana Hua Baadal Song Duet By Asha Bhonsle & Mohammad Rafi Movie : Kashmir Ki Kali (1964) Jee Chahta Hai Song Duet by Asha Bhonsle and Mohd. Rafi Movie : Basant (1960) Mujhe Dekh Kar Aapka Muskurana Song by Mohammad Rafi Movie : Ek Musafir Ek Hasina (1962) The song begins with four notes played on the guitar, followed by a 10 second violin piece which is repeated. In all 22 seconds piece. The beauty of this piece is the neatly concealed flute. The flute is not easily audible in the first 10 second piece on the violin because it is playing alongwith the violin. One can make out a layer alongwith the violin but the flute is not individually audible. Then in the repeat violin piece the flute plays the contra thus separating out from the violin, therefore, audible. A careful listening reveals that the guy playing the flute has played it as if his life depends on it, i.e. perfect. The flute guy has only 10 seconds to play each time, a very insignificant role, yet he plays it to perfection. In those ten seconds he has surpassed "time". On most occassions all of us feel that ten seconds is too insignificant, too short, too less and so we give less than our 100%. So, we allow time to run our life. On rare occassions like this one, an unknown artist has given 100% to something insignificant, less and short, thus going beyond time, adding Godliness to the whole thing. Instead of himself becoming insignificant he has made time insignificant. One may need repeated (gaur se) listenings of the opening piece to fully appreciate this aspect.
Later, as the song progresses, the voice takes over the role played by the violin and the violin plays the role of the flute. When the singer is singing, the violin plays the lead and contra alternately. The scale of the violin is altered to contrast the male and female voice of the singers. All well thought out and executed delicate intricacies and balances. A rare composition, allowing full expression of the wonderful lyrics, set in waltz, the effect of the brush (3-6) on the drumset giving variation to waltz, the santoor contrasting the sitar, the two sets of tablas to get the right depth of tonal quality to the bass, and Ashaji trying to sound like the violin at the end of the second antra for variation and to add to the continuity of the song ! Amazing ! Enjoy !This song is picturised possibly on the Jammu-Srinagar Highway. The road lined up with trees on both sides, mountains in the background. A group of girls on bicycles and The hero Vishwajeet in an open jeep. The opening of the song with guitars, mandolin, santoor, triangle ghantis, surmandal...all these are blended beautifully to create melody out of the bicycle bells sounds, the santoor covering the beautiful background landscapes. This is one song where Rafi saab is made to sing without using any harkats. he has sung just the chords, flat. Possibly because the hero/actor had less expression than the erstwhile Shammi Kapoorsaab or Johnny Walkersaab. That Rafisaab has managed to create melody without using harkats and the fact that this song is a huge hit even today and appeals to all generations, speaks volumes for both the composer and singer.
The use of light/heavy sitar/sarod to signify "ghata utar ke aa gayi zameen pe" and the single chords played by the flute in the lead are noteworthy. The claps at the end of the song are used in two tones? Add life to the song even while parting? Great detailing, superb balance!
A very unique and rare composition/singing, which is also very popular. Hats off to Nayyarsaab for demanding flat singing from rafisaab, without compromising on melody and to Rafisaab for obliging.
Happy Listening !The first words of the song are "Oho Ho Oho Ho Aahaha...Yeh Dekh Ke Dil Jhooma".
Kya dekh ke dil jhooma? That "kya" is painted by the opening piece on Sitars, Mandolin, and Sarangi/Cello, the sitars depicting bountiful nature in Kashmir with slightly overcast skies, the mandolin has a bit of nasal sound which signifies wet weather or wetness as in nami in the air. The sarangi/cello represent the virginal feel about the fresh Kashmiri beauty both as in nature and as in the heroine.
Note the way the "maaaa" in jhooma is said in the second instance in the song. Listen carefully it will touch you to tears almost. The sitar piece that follows has two sitars, one of which plays straight while the other gives variations. the notations are simple because two sitars are playing and because nature has to be depicted with simplicity, the thrust being on the punch generated by two sitars. The follow up by the straight but longish piece on flute and cello is for the camera to explore the depth of the landscape in the yonder, again sitar to bring one back to base, followed by "aisi toh meri taqdeer......" the tone of Rafisaab's voice is as if he is still wondering as to whether he deserves someone as good as the heroine, as if it is all a dream, so much in awe and happy at the same time, with an attitude of gratitude.
The Taarshehnai piece that follows expresses extreme pain and pleasure at the same time, like losing something and gaining something, like the delivery of a child by a mother who experiences extreme pain while delivering and bliss on beholding the child, like a rock being torn apart by a stream of water springing from within the rock, the pain that the rock feels and the bliss on beholding the gushing divine, pure water.
Ashaji then sings for the heroine and expresses the other side of the feelings. the lyrics say it all "sailaab mere roke na ruka, jeevan mein machi hulchul aur bajne lagi shehnai" sailaab is like a tidal wave which destroys everything that comes in its path. Shehnai is symbolic of happy feelings, marriage as in finding new, never before felt feelings. Ashaji always tries to pack something extra in the sense that the second time she says "tinake ki tarah main beh nikli" she tries to make her voice and harkats as much in sync with the sitar as possible.
In the last antara the dexterity with which Rafisaab has changed the tone of his voice is just superb. In a sad tone he says "barson se khiza ka mausam tha, viran badi duniya thi, (twice) and then "haathon mein tera aanchal aaya ke bahaar aayi" in a very happy, positive tone. Very smooth, supple, quicksilver shift in gears. Would do even a Schumacher proud!
This is a simple song of girl teasing the boy. The way Asha says "jee chaa-hata hai khainch loon tasveer aapki". The break-up of the word chaa-hata with a very subtle harkat (see how she pauses for a microsecond between "chaa" "hata") followed by an obvious harkat on khainch are unbelievable but so true as gold. Rafi is no match. Simply filling in.
Asha is in terrific form and has gone for the kill throughout the song. There are so many tones used, combining the mixed feelings of love and masti. Each time a different variation in singing without altering the feelings. In some places the singing may be in different note (sur) not necessarily the correct sur but the feeling generated makes it sound like the perfect sur.
The flow of the song is like "zulf ki chhaon mein chehre ka ujala lekar" Phir Wohi Dil Laya Hoon with very little space between the mukhda and antara.The song begins with a simple humming. As if the singer is lost, confused. The singer is drunk on alcohol, unsteady speech, steps. He needs to drink to get enough strength to confront his beloved who has rejected him, to speak up his mind.
This song is so radically different from normal compositions. Least music and maximum effect.Just the tabla and guitar are audible with soft violins in the background, which come to the fore with the sax in the interlude. The flute played in the interlude after "yaa ke diwana" caresses, creates sympathy for the singer. Rafisaab at his supreme best. He has put life into this song. The measured words like a drunk but not a trace of arrogance, no sarcasm, no hatred. When he says "muskurana" followed by "Ho!" it is as if in all the sadness a silver lining of the memory of the smile is relived by him. Each word uttered in this song is perfectly balanced, measured yet sounding natural. Simple expression of true feelings of love. The deliberation, easily visible in "khayalon mein khoyi khoyi" is perfect to suit the situation. The song has been composed in a laid back mood. How well Rafisaab has utilised the huge spaces afforded by the meter/composition! Not letting go of the mood of the song even for a moment. The tone of the voice so real, so correct. Arguably one of the best compositions/singing. This song has no precedent, no antecedent. ORIGINAL. One song I could die for.
Travel Travails
Trip To Himachal Pradesh - Travelogue
Samir Shah (India, 21/09/07)
My first trip to Himachal Pradesh was in 1977. Dalhousie-Khajjiar-Chamba-Dharamshla-Palampur-Mandi-Manali-Rohtang-Kulu-Kufri-Shimla-Kasauli-Bilaspur. My first experience of what heaven could be like...
Besides the Dhauladhar, which is an acknowledged part of Dalhousie, the Kalatop which is now a sanctuary, it was the constantly changing colours of sky which occcupied most of my attention... so many colours to the sky! Fascinating! We were put up on one of the upper storeys of Hotel Meher (if I recall correctly), the winding paths suddenly opening up to allow a glimpse of the majestic Dhauladhar, the small little market, the beautiful flowers on kalatop, the sparse but "quality" population. Yes, more than anything else, the people were as close to "human" as one can be... Cheers Himachalis!!!
11/26/06
The winding, shaded road to Khajjiar, going downhill, with occasional views between thick forest cover giving a glimpse of lush green fields in small terraces on the mountains, neatly dotted with clean, slate roofed cottages of deodar and pine wood. In between at two places there was a rivulet flowing right across the road as if demanding it's right of way, the driver of our vehicle struggling to find a safe spot to cross the water. The journey was so pleasant that we did not realise it had taken more than an hour, when we finally arrived at Khajjiar. There was just one building that housed the HPTDC Hotel Deodar (if I remember correctly), a few rooms, it was perched right on top of the bowl shaped meadow, lush with green grass with thickly pine-forested hills on all sides, the dark green of pines in stark contrast to the lush green of the lawn. A small pond in the middle of the meadow, a temple, a cottage (PWD Rest House) and another cottage at the far right hand side end were the sole occupants of this paradise. Spent one whole day just staring at this view, taking it all in, alongwith the quiet stillness, no other sounds (it has paid me rich dividends, can replay the whole scene with sight, sound, smell, feel even today after 30 years). On the first day, thought one could stare like this for a whole life and not get tired. However, the next day, walked up the hills to explore further and to have a glimpse from the other side. Did not run into anybody while trekking for a good four hours, a few squirrels and rabbits were always there but no humans. There were no shops, no reataurants, no one trying to sell anything. the HPTDC hotel staff treated us like family, and we felt at "home". Confirming, that Himachalis are one of the warmest people one can come across. Heaven on earth!
On day three, with a heavy heart had to proceed to Chamba...
11/29/06
After Dalhousie and Khajjiar, Chamba felt warm and a bit of a let down on arrival. We went to the museum, saw the famous "chamba rumaal", while we were getting tired of the heat and sun and getting a bit irritated, suddenly a strong breeze started blowing, bringing dark clouds with it. It started drizzling and the place just opened up like a beautiful flower. the water was chilly cold, the smell of raw earth, the clouds, everything seemed to change within minutes. We took shelter in a restaurant overlooking the river Ravi, I think. Such was the change that one got the feeling that of the three Chamba was the better?! When we were leaving Chamba, came across a young girl who was knitting a floor mat out of a centimeter thick yarn of chindis cut from used plasic bags of various colours. The most creative recycling of plastic, so pretty was the half finished mat! Once again, the creative Himachali scored over all else.
12/7/06
The scenic journey continued throughout, enroute to Dharamshala. The Hotels were full so we decided to stay at Palampur, a decision that we never regretted. Majestic Dhauladhar and the nicely pruned tea gardens, different shades of green, the heady smell in the air. A quiet town. Next day we proceeded to Manali via Dharamshala and Mandi. The road was carved out of the mountain with the river Bias on the other side accompanying throughout the journey from Mandi to Manali. Quiet, serene at some places, gushing at most places. Pristine waters. On the way we stopped by the river just to touch the water and take in the fresh air alongwith the landscape. One of us who had been there before offered a prize to whoever could sit in the river for five minutes. I tried, but man, was the water cold? It was ice. 20 seconds was all I could manage.
After almost a day's journey we reached Manali.
12/19/06
By the time we reached Manali it was almost night. Thus far, throughout the tour, we had started off early morning. By 7am we would be on our way. Most distances were covered in 4 to 5 hours. Reach the destination by noon, occupy the room, freshen up, have lunch, relax for a couple of hours, in the evening go out, walk around a bit, gather local info, visit the market, feel the place, go back to the hotel, have dinner and after preparing the next day's sightseeing plan, retire for the day, was the routine. This, many in our group of 16 found a bit stressful initially, especially the waking up in the early morning cold and embarking upon the journey but this routine started working so well that we all started enjoying it. The advantages were many... the weather was cool, we were having the local aloo paratha - dahi, lassi, milk etc. for breakfast at some dhaba instead of the toast butter, cutlet, omelet, corn flakes - milk menu offered by most hotels. It was more suitable to both the stomach and the pocket. Any delays like puncture etc. could be easily dealt with. Less traffic on the roads. The sunrise made sightseeing much more attractive in the early morning than say the noon. Therefore, arriving Manali after almost a 12 hour journey, late in the evening, was not something that we were used to. The limbs were tired from balancing the body on curved roads, the stomach felt churned, plus we did feel a bit dizzy and bored despite the nature and scenery...
The first impressions of Manali were not that great, especially after having seen so much alrerady, aching limbs due to the long journey, not finding accomodation in the Log Huts or the other HPTDC property etc. etc. We were forced to check into a private hotel. The smell was not very good. The sight was even worse. Plus we (children/non couples) were all put up in one dormitory while the couples had a room each to themselves, simply because there were not enough rooms available. When I hit the bed, I realised that the mattress had a hole in it, right in the middle, exactly where the lumbar would be. Switching ends, inverting the mattress, did not work. The previous guest had very neatly cut a nice hole and taken all the cotton out of the mattress. Late in the night there was no substitute mattress available. Stuffed some T shirts there and managed to sleep. At the break of dawn, the body rested, reached out to open the window, to find a snowcapped peak staring back at me. The effect was electric. Grabbed a pair of jeans and T shirt and strolled out in the open. The fresh cold air bit at first but it was a great feeling.
Later that day we did the local sight seeing... Hidimba Temple, Vashishtha Hot Water Springs etc. etc. A majority of the afternoon was spent sitting by the Beas River, perched on a rock, with feet dangling and feeling the water every now and then while staring at the beautiful landscape, with the sun and the clouds playing hide n seek and changing colours of the sky and snow peaks into different shades of orange, the dense forest on the mountain slopes, different shades of green, the play of light and shadows in the crystal clear waters of River Beas... the "sinking-in" feeling!
We left early morning the next day to Rohtang Pass. The weather was very uncertain and we were lucky that the road had opened after a typically inclement weather. Enroute to Rohtang, the geography, the flora and fauna changed every now and then The green forests turned to treeless black rock mauntains with starkly contrasting snow peaks. As we turned a corner we saw snow on the mountain wall. We started screaming wildly, enough to irk the driver who turned back and said "yeh toh kuchh nahin hai aage bahut milegaji". On arrival at the pass there was snow and alongwith it there was sun, thin air, low pressure, with piles of clothes on the body. Most of us had a slight difficulty in breathing, we were perspiring inside with heavy clothes, caps, while it was cold outside, the glare of the sun in the snow. Not such a happy feeling. Someone rushed out of the vehicle and scraped a ball out of the hardened snow and threw it at us. Boy, did it hurt? Like a rock. Huh! Sab ki hawa nikal gayi. Luckily for us a local Himachali passing by, understood our plight and he offered us boiled potatoes that he was carrying, wrapped in a towel. After initial hesitation one of us had it and it felt really good. Soon all of us put all sabhyata behind us and had those potatoes. It really worked wonders. We sort of got equalised and started enjoying all over again. Later we learnt that smelling camphor also helps in such situations. Nothing has ever tasted better than those potatoes. Thanks to the kind Himachali soul!
12/24/06
The weather which was nice and sunny suddenly changed to cloudy, thunderclaps and a light drizzle. Everyone rushed to the cars. It was a good three hours after our arrival but time was either frozen or just flew past? It felt like heaven on earth, after the initial acclimatisation problems were sorted out. On the way back was glued to the window, taking in the view, the sounds, the smell, the feel of the air, all together. Who knows if and when will ever come back?
On reaching Manali we had hot tomato soup, rested in the afternoon (it was tiring), spent the evening in the small local market.
Next day we were off to the other side of the River Beas on to Naggar. It was a funny name in the sense it was like naming a city CITY! It was about an hour's drive and boy, was the place tranquil? That's the first impression one gets on arrival in Naggar. It's a small town with Roerich's castle, now a museum as the main historical attraction. Naggar is very quiet, thickly forested with pines, overlooking a valley gorged by the Beas. As we came out of the museum, the road was on the edge of the valley. A shepherdess (gujjar lady) was having her siesta on the edge. If turned she would fall in the valley. Her back was towards us while she was facing the valley. Fast asleep. Not a care in the world. True Faith in the Almighty. We made some noise to wake her up, as a knee jerk reaction, but soon gave up when we realised that she knew what she was doing. Our conditioned minds cannot accept such acts of Faith and consider it naive rather than brave?!!!! Again, another colour of the true Himachali!
Jan 8th 2007
From Manali we proceeded to Shimla. On arrival we were greeted by a city which was most happening, after so many days in quiet towns. We soon realised that the city was packed, there was not enough accomodation for all of us in one place and there was scarcity of water which was available in bucketfuls. We moved on to Kufri. In those days Kufri was like a village. There were no great resorts then. We spent a night in Kufri, another in Kasauli which was very pretty indeed. We briefly touched Bilaspur but it paled in comparison to all that we had already seen. Back to Delhi and then Bombay. I made a promise to myself that soon I shall visit this land of Gods again. It took another sixteen years before I could set my foot again on Himachali soil is another matter. the experiences I had then, changed me radically. Bliss!!!!
1:38 am
Flash Forward...
circa May 1993.
The last vacation I had was in 1987 when had visited the US of A. To someone who vacations at least once a year, that was a long and tiring pause. Those were hectic days work wise and was feeling jaded. Managed to find two weeks of time in between and grabbed a package deal to Manali, Mandi, Kangra, Palampur, Dharamshala, Dalhousie, Khajjiar and Chamba, all thrown into a neat bundle in a newspaper ad. Fell for it straight away. Before I could count ten, was in Manali Resort. Manali had grown leaps and bounds. Manali resort was a fairly new property built on the banks of the Beas. The roar of the river audible in the room. Was so enamoured and charmed by the river, started spending a few hours daily, just being by the river, listening to it, seeing it, feeling it. (Flashback, had developed this ability/habit of talking to trees, communicating with them).
On the third evening while sitting on a rock by the river with the advantage of placing my feet in the water or placing them on the rock when it started feeling too cold, was taking all the natural beauty in, the trees, the sun, the mountains, the sky, the snowcapped peaks... was feeling drenched with love showered from all and sundry mentioned above. A thought crossed my mind that I should try and communicate with the river just as I did with trees. The next fifteen or twenty minutes were spent in trying. No headway at all. It did not work with the river. I decided to stop after that. Suddenly, it started. As I was listening to the roar of the river, as I closed my eyes, the river started communicating. I opened my eyes, pinched myself, well I was awake, in fact awakened! There were sparks happening inside my head where the ears are, I could see the mouth of the river from where it started as a tiny trickle and slowly grew into tributaries, right upto the point where it was sheer force, where I was sitting. All this with my eyes closed. As I opened my eyes, I saw the currents, the fizz.....
1:48 am
An overwhelming feeling of jumping into the river almost overtook all my education, logic, sensibility. Somehow managed to overcome the urge, but the purest feelings of love continued to fill my whole being without a break, in waves, one after another. This went on for quite some time, until I decided to quit. The analysis had started as to what had just happened, the brain was left totally flummoxed, with absolutely no clue as to what was happening and unable to control the rest of my being from partaking in this BLISS.
True bliss. Slowly, gently, I retreated and sought permission to leave from the river. Later, I concluded that this experience was "spiritual identification with nature" and left it at that. It surely was an eye opener. A blissful one.
That one experience has changed the way I look at nature. While the vibes one gets from River Beas at Manali are like those of a blushing gushing teenager, a bit shy, full of energy and innocence, the vibes one gets from River Ganga at Rishikesh are like those of an eternal, all pervading mother.
Humne To Dil Ko Aapke
Humne To Dil Ko Aapke Kadmon Mein Rakh Diya
Song Duet By Asha Bhonsle & Mohammad Rafi
Movie : Mere Sanam (1965)
The song begins with four notes played on the guitar, followed by a 10 second violin piece which is repeated. In all 22 seconds piece. The beauty of this piece is the neatly concealed flute. The flute is not easily audible in the first 10 second piece on the violin because it is playing alongwith the violin. One can make out a layer alongwith the violin but the flute is not individually audible. Then in the repeat violin piece the flute plays the contra thus separating out from the violin, therefore, audible. A careful listening reveals that the guy playing the flute has played it as if his life depends on it, i.e. perfect.
The flute guy has only 10 seconds to play each time, a very insignificant role, yet he plays it to perfection. In those ten seconds he has surpassed "time". On most occassions all of us feel that ten seconds is too insignificant, too short, too less and so we give less than our 100%. So, we allow time to run our life. On rare occassions like this one, an unknown artist has given 100% to something insignificant, less and short, thus going beyond time, adding Godliness to the whole thing. Instead of himself becoming insignificant he has made time insignificant. One may need repeated (gaur se) listenings of the opening piece to fully appreciate this aspect.
Later, as the song progresses, the voice takes over the role played by the violin and the violin plays the role of the flute. When the singer is singing, the violin plays the lead and contra alternately. The scale of the violin is altered to contrast the male and female voice of the singers. All well thought out and executed delicate intricacies and balances. A rare composition, allowing full expression of the wonderful lyrics, set in waltz, the effect of the brush (3-6) on the drumset giving variation to waltz, the santoor contrasting the sitar, the two sets of tablas to get the right depth of tonal quality to the bass, and Ashaji trying to sound like the violin at the end of the second antra for variation and to add to the continuity of the song ! Amazing !
Enjoy !
| Humne To Dil Aapke... |
Pukarta Chala Hoon Main
Pukarta Chala Hoon Main
Song By Mohd. Rafi
Movie : Mere Sanam (1965)
This song is picturised possibly on the Jammu-Srinagar Highway. The road lined up with trees on both sides, mountains in the background. A group of girls on bicycles and The hero Vishwajeet in an open jeep. The opening of the song with guitars, mandolin, santoor, triangle ghantis, surmandal...all these are blended beautifully to create melody out of the bicycle bells sounds, the santoor covering the beautiful background landscapes.
This is one song where Rafi saab is made to sing without using any harkats. he has sung just the chords, flat. Possibly because the hero/actor had less expression than the erstwhile Shammi Kapoorsaab or Johnny Walkersaab. That Rafisaab has managed to create melody without using harkats and the fact that this song is a huge hit even today and appeals to all generations, speaks volumes for both the composer and singer.
The use of light/heavy sitar/sarod to signify "ghata utar ke aa gayi zameen pe" and the single chords played by the flute in the lead are noteworthy. The claps at the end of the song are used in two tones? Add life to the song even while parting? Great detailing, superb balance!
A very unique and rare composition/singing, which is also very popular. Hats off to Nayyarsaab for demanding flat singing from rafisaab, without compromising on melody and to Rafisaab for obliging.
Happy Listening !
| PUKARTA CHALA HU M... |
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