KAUFMAN - "Or cramming in sex, or car chases, or guns. Or characters learning profound life lessons. Or characters growing or characters changing or characters learning to like each other or characters overcoming obstacles to succeed in the end. Y'know ? Movie shit."
Kaufman is sweating like crazy now. Valerie is quiet for a moment - from "Adaptation".
We are all about CINEMA. That movie shit.
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Because we talk about films, dammit.
Not your sex life.
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Like us, if you have been playing the song Moh Moh Ke Dhaage from Dum Laga Ke Haisha in non-stop loop, and love to sing along, here’s something you will like – the full lyrics of the song which includes 2 unused antaras. The music is by Anu Malik and lyrics are by apna Varun Grover.
Moh Moh Ke Dhaage
VOCALS : PAPON (Male version) and MONALI THAKUR (Female version)
SONG ARRANGED AND PRODUCED : HITESH MODAK
GUITAR : ADITYA BENIA
FLUTE : NAVEEN KUMAR
SHEHNAI : OMKAR DHUMAL
And here’s Varun Grover’s note about the song – why and how –
शरत कटारिया की लिखी स्क्रिप्ट ही इतनी दमदार थी कि शुरू में ही समझ आ गया था गाने लिखने में बहुत मज़ा आएगा। सबसे ज़्यादा मज़ा वैसे सामूहिक विवाह वाली सिचुएशन पे ‘सुन्दर सुशील’ लिखने में आया जिसमें बचपन से पढ़े हुए ढेर सारे मेट्रिमोनियल इश्तेहारों का ज्ञान काम आया, लेकिन म्युज़िकली देखें तो सबसे भारी सिचुएशन यही वाली थी। प्रेम रूठा हुआ सा है, बिना खाना खाए अपने ससुराल से निकला है नयी दुल्हन को लेकर, और दोनों के बीच तनातनी सी है। ऐसे में, रात को स्कूटर पर जाते-जाते दोनों को पहली बार साथ एक सफर पे जाने का मौका मिल रहा है। शरत चाहता था यहाँ एक क्लासिकल गीत आये। अनु मालिक साब ने बहुत सी धुनें सुनायीं और हम सबको करीबन सब अच्छी लग रहीं थीं लेकिन एकदम (अनु जी के लफ़्ज़ों में) ‘ठाँ कर के लग जाए’ जैसी नहीं मिल रही थी। फिर एक दिन अनु जी ने ये वाली सुनाई जिसे सुनते ही सब कूद पड़े। गज़ब कम्पोज़ीशन, जो अन्तरे में जा के और निखर जाता है।
गाने में सफर, रात, प्यार और गुस्सा, सब है इसलिए लिखते वक्त ध्यान दिया कि ऐसी उपमाएं हों जो थोड़ी डिस्फ़ंक्शनल हों। उलझे, गिरह, तेरी झूठी बातें वगैरह। और क्यूंकि सफर का फील देना था इसलिए शब्दों को रिपीट किया – मोह-मोह, रोम-रोम, टोह-टोह। रिपीटीशन से एक स्विंग सा आता है गीत में, जैसे स्कूटर के पीछे बैठने से आता है।
मुखड़ा
ये मोह मोह के धागे,
तेरी उँगलियों से जा उलझे,
कोई टोहटोह ना लागे
किस तरह गिरहा ये सुलझे।
है रोम रोम इक तारा,
है रोम रोम इक तारा,
जो बादलों में से गुज़रे।
अन्तरा १
तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा,
तूने अनकहा, सब सुना।
तू दिन सा है, मैं रात,
आ ना दोनों,
मिल जाएँ शामों की तरह।
अन्तरा २
के ऐसा बेपरवाह मन पहले तो ना था
चिट्ठियों को जैसे मिल गया,
जैसे इक नया सा पता
के ऐसा बेपरवाह मन पहले तो ना था।
खाली राहें, हम आँख मूंदे जाएँ,
पहुंचें कहीं तो बेवजह।
(मोनाली ठाकुर वाले वर्ज़न में अलग अन्तरा)
अन्तरा ३
के तेरी झूठी बातें मैं सारी मान लूँ,
आँखों से तेरे सच सभी,
सब कुछ अभी जान लूँ।
के तेरी झूठी बातें मैं सारी मान लूँ।
तेज़ है धारा,
बहते से हम आवारा,
आ थम के सांसें लें यहां।
And two unused antaras for Moh Moh Ke Dhaage:
आ ऐसे भर जाएँ रहे खाली ना जगह
घोल दें इक सांस में आ सारा फासला
कि ऐसे भर जाएँ रहे खाली ना जगह
झील किनारे
आजा ना खेल बिछा लें,
और जोड़ें साड़ी कौड़ियाँ।
***********
कि जैसे पानी का इक मीठा सा कुआँ
हाथ जो तू थाम ले, तो छंट चलेगा धुआँ
कि मिला पानी का इक मीठा सा कुआँ।
झूठ कहानी
तेरी है सारी मानी
तू भी इशारा सुन ज़रा।
If you can’t read Hindi, click here to go to Varun’s site to read it in Roman. Also, it has the lyrics of rest of the songs.
It’s that time of the year again. And in our Rewind series, we look back at the best of the year. This post is all about the musical discoveries we made this year. And mostly non-bollywood. The songs may or may not have been released in this year. Hope you have fun going through all the links. Here are the top 14 music gems of 2014, in no particular order.
Omar Faruk Tekbilek – We fully subscribe to the maxim that if you want to travel places without travelling, do try and get hold of the music of that place first. Music would give you good insights about a place by the instruments used, texture of the sound, use/absence of electronic instruments etc. So when someone gifted me the entire collection of Omar, who is from Iran, and I played it, cliched as it might sound, I was transported to the deserts of the country. We suggest you get hold of his work and let us know if you also feel we should dig deeper into the sound of that region. Meanwhile, explore whirling dervishes here https://www.youtube.com/watch?v=Q2VR9YJDQ5Q
Sanjay Mishra – It’s surprising how much I have heard Sanjay’s work since last few years, and even then it didn’t occur to me that I must tell you about this man. A fabulous musician with top class sensibilities about the sound quality. Allow us to suggest ‘For Julia’ to get started. Would you believe that when i wrote this post last year, Sanjay Mishra’s Chateau Benares was playing in the background and still, i forgot to feature him in that list. This is what his music does, melts in the background and doesn’t intrude. Be it for a lazy afternoon or a dreamy evening, Sanjay Mishra just fits in! Thank you sir!
Nescafe Basement – Post Rohail Hyatt’s Coke Studio, there were serious attempts at replicating the setting (And the colors!) along with music on other platforms. Some were outright ridiculous and some embarrassing. What set Nescafe basement apart was its choice of music. Add to it the fact that the songs didn’t embarrass the listener and you have a winner! Varun Grover pointed us to Lari adda a year ago which was quite nice but we discovered Ankhiyan udeek diyaan this year from them and it is brilliant! Do check it out!
Jaag Musafir – Rohail Hyatt – I am not based in Pakistan nor do I claim to have any information about the music scene there. I stumbled upon this song on youtube and then searched a bit more to find this complete album, supposedly from Rohail Hyatt. The sound has Rohail Hyatt written all over it. Do listen to all the tracks if you haven’t already and be prepared to get zoned out completely! Our top find of the year, This!
Bombay Dub Orchestra – The song Mumtaaz dragged us to explore Bombay Dub Orchestra. To some of us, Mumtaaz might sound a tad filmy but that is not necessarily a bad thing. Flute and subdued vocals can weave magic isn’t it? What is Bombay dub orchestra?
To quote from their website
“Bombay Dub Orchestra was formed almost ten years ago following a trip to Bombay, India, by Garry Hughes and Andrew T. Mackay. They’d gone to record with the city’s strings orchestra a few years earlier and decided to take advantage of the relationships they’d built up with musicians in India to create their own project. It took another three years to talk about the idea and a further three years to write, record and release their debut self-titled album.” The sound is unique and their ‘stuff’ is quite addictive. We hope to hear more from them.
Bent Notes of The Bauls – When the genius of Vishwa Mohan Bhatt and Jerry Douglas come together, we sit and listen. This was released in 2013 and thanks to a famous lyricist who shared it with me this year, this folder has never been deleted since. Each and every track from this album is a gem but somehow, this particular track reminds me of my childhood morning and all good things that are attached to it. (Raga purists, please excuse me if this isn’t a ‘morning raga’, I honestly don’t care)
Susheela Raman – Queen between – Looks like 2014 was a good year for ‘everything Queen’. Susheela Raman really put her heart and soul into creating something which is different and not just for the heck of it. Susheela decided to collaborate with Pakistan’s amazing Rizwan-Muazzam Qawwal and Rajasthan Maestros Kutle Khan and Nathoo Solanki, as well as her longstanding accomplices French Cellist Vincent Segal and Producer/Guitarist Sam Mills. What came out was a sound that was unique and enjoyable. Give this a try, and recollect if something like this was attempted anytime in the recent past.
Abdullah Qureshi’s medley – You can check this out here – Pakistan is brimming with musical talent and range, this isn’t news anymore. While it is easy for anyone to hold guitar and pay ‘tribute’ to any song in their own way, Abdullah chose all the popular songs in this piece and boy did he do a good job! In spite of my generously lacking abilities to ‘gauge the correctness of a song, cross referencing it with ragas and western symphonies with a middle eastern bias thrown in’, I couldn’t for the life of me find a single instance where Qureshi went wrong in this song. Check it out!
Paban Das Baul – I wanted to write and introduce you to the music of honey gatherers, which for some reason doesnt show up as ‘play enabled’ in youtube, but you can hear it here. Again, recommended by a close friend earlier this year, it’s a pity it took me (not fightclub, but me personally) such a long time to discover his genius. Give this also a try
Sher Khan – Pathans are cute and to further this point in a unique style, Ahmed Siddiq gave us a song that made us strum the air guitar and laugh in equal measure. Check it out here – how cool is the guitar!
Rudoh – With so much of Ghazal-sque, sufi and fusion coming out of Pakistan, it took us a lot of ‘hits’ to Rudoh’s (Real name – Humayun) soundcloud page to convince ourselves of his sound. Rudoh is contributing to the electro scene in Pakistan and while I am not the greatest admirer of the sound, I have been stuck on Highlands) for a fairly long time. Interesting sound, interesting times! Here.
Asrar – Call it a sheer coincidence or God’s way of ensuring we didn’t judge a good artist just because he was subdued owing to a below par platform, much before Asrar made an underwhelming appearance on this year’s overproduced and nearly cacophonous Season of Coke Studio Pakistan, we heard a lot of his songs, and boy, were they good! Allow us to share just 3 out of the many songs of his
It really takes special talent to screw up such a good artist and in spite of the underwhelming presentation of Asrar in Coke Studio Pakistan this year, we hope he gets noticed (Bhatts, you listening?) a lot and we hear more from him. (Don’t judge his songs by the quality of the videos)
Sulk Station – As conceded above, I am terribly late at discovering some really cool ‘stuff’ (but then none of you recommended it either, so part blame on you too!). Sulk Station is band from Bangalore formed by Tanvi Rao and Rahul Giri, whose sound is essentially electronic/trip-hop (to quote their website). In spite of not being too big a fan of ‘electronic’, I couldn’t help but fall in love with Bindiya and Take me home – seriously, good sound!
Yaar Anmulle – Just look at the number of plays since the time it was uploaded in 2010 on youtube! This is what I call a Punjabi ‘purani jeans’. Essentially a ‘boy song’ but the insanely enjoyable video and super lyrics make it a riot for anyone who likes to swing to old memories. Trust me, you don’t have to be a Punjabi to understand the song. I can say that because I am not a Punjabi! Just see the video once and you will know what I mean! Sharry Mann, you da man!
So what sounds did you discover this year? Let us know in the comments section and enlighten our soul.
Not everyone listens to Jagjit Singh these days. Not everyone knows Jagjit Singh. For the those of us who have grown up with his ghazals, it is an impossible task to pick up the ‘favorite’ or ‘top 10 ghazals’ from the vast treasure-trove he left behind for us. On his 3rd death anniversary, this post is not an attempt to pick his ‘top’ ghazals.
Yours truly is known to gate-crash any music discussion about Jagjit Singh that takes place on social media platforms like Twitter or Facebook. This post is a result of my secret excursions to various discussions about Jagjit Singh and how those discussions are almost always hijacked by somewhat ‘popular’ ghazals from the man. I am enlisting few ghazals which I haven’t seen being discussed much. I have deliberately chosen albums from the later part of his life because the ‘sound’ agrees more to a first time/new listener.
1. Aaj fir unka saamna hoga – This was first featured in the album Love is blind. By the time of its release, the ‘jagjit singh album release event’ was anticipated eagerly by ghazal lovers. The mood, the anticipation all pitch perfect here, I particularly love the first antara that goes
2. Aap se gila aapki kasam – This was featured in the album ‘Unique’. Hear the helplessness in Jagjit singh’s voice when, in the first antara the part comes that goes ‘उसकी क्या खता, ला-दावा है ग़म’ and you will know what I mean. Jagjit Singh is to be credited with bringing a better ‘sound’ (thanks to his earlier days collaborator, Mr. Daman Sood, the magician sound engineer), to Indian ghazals. Hear how the violin takes you to your loved ones, everytime it appears in the ghazal. That said, my favorite part in the ghazal remains
3. Main Rahe Meena rahe – This was featured in Mirage for the first time and was an HMV release. I remember buttering my parents properly to pick up the ‘sheer magic’ version of this cassette. Sheer magic used to be a ‘better’ quality cassette by HMV. Side A, last ghazal it used to be. Just hear the rich use of rubaab in the ghazal along with the melancholic yet flirty flute to get lost in the magic of this beautiful ghazal. My favorite part remains
4. Mausam ko isharon se bula kyu nahi lete – This was featured in the album titled Sajda. The pace is delicate, the words are probing and Jagjit Singh captures the tone of a lover in a charming way which we haven’t come across since he has left us. My favorite part remains
5. Dushman ko bhi seene se lagana nahi bhooley – Yet another ghazal from the album Mirage. I rarely see this ghazal being discussed. Apart from the wonderful rubaab that starts the ghazal, hear the veiled anger of Jagjit singh in the antara that goes ‘कुछ लोग अभी आग लगाना नहीं भूले’. My favorite part remains
6. Dairo haram mein – This one comes from the magnificent album titled ‘face to face’. I haven’t come across many ghazals of Jagjit Singh which are composed in this tempo and sung with such attitude! Just hear Jagjit singh (ably supported by the wonderful backup vocalists) goes
7. Ye kaisi Mohabbat – Featured in the album ‘Desires’, was released by Weston if I remember right. Penned by ‘Gumnaam’ (Surinder malik), it pretty much would be one of the best pieces of poetry that you will come across all ghazals from the maestro. My favorite part still remains
8. Ishq ki daastaan hai pyaare – This was sung by Jagjit singh in Shimla concert If I remember right. It was then released by HMV in an album titled – Live with jagjit singh. I cannot remember any other ghazal that used a seemingly ‘ghazal inappropriate’ word like ‘pyarey’ so well. My favorite part remains
हम ज़माने से इन्तेकाम तो लें
एक हसीन दरमियान है प्यारे
9. Din guzar gaya – The ghazal that Jagjit Singh sung along with Chitra Singh. It was featured in the album ‘Someone Somewhere’. There is love, submission and pain all in one ghazal. Hear it to know why it is perhaps the most heartbreaking ghazal of this list. I can never go beyond my favorite part which remains
10. Ye Zindagi – A somewhat gloomy Nazm which was featured first in ‘Insight’. In my view it somehow got overshadowed because ‘Garaj baras pyaasi dharti pe, phir paani de maula’ and this ghazal from ‘Neem ka ped’ was also featured in the same album. If there was ever a composition that made you pause and reflect, it is this!
I can go on and on but when Jagjit Singh decided to stop on 10 October 2011, it is impossible that I would enlist anything beyond the number 10 in this post. Do suggest your favorite ‘not so popular’ work from Jagjit Singh.
Not everyone listens to Jagjit Singh these days. Not everyone explores Jagjit Singh. I wonder why.
There is a distinct smell of honesty in things which are fundamentally correct. You have got to love anything when it is done with utmost sincerity and no sluggishness. This is why we wait for Vishal Bharadwaj’s films and music. His latest offering is out, and we strongly recommend you get a taste of it. Here’s why:
So Jao – The eerie calm of a dark night perpetuated by heavy bass notes and a near mourning dead voiced ensemble consisting of Bashir Lone, Bashir Bhawani, Muzamil Bhawani, Mayukh Sarkar, Aalaap Majgavkar and others take upon themselves to scare the life out of us in this calm yet intense song. The singers might all be mourning but they are in perfect sync and you will find yourself reaching for the repeat button without a doubt. The sound of shovels attacking mother earth is impactful, to say the least. Top class!
Jhelum – Yet another dark song where the music arrangement is spread out. The magical electric guitar surprises you as it creates an atmosphere of contemplation. Vishal, helped greatly by the words from Gulzar, paints a picture of grief, the kind that will suck you and might make you sad, very sad. I might be thinking too much but then I feel the words ‘jhelum hua kharaa’ came out right from Gulzar’s heart as he reflected on the massacres he witnessed, during partition. That perpetual sinking feeling owes a lot to the wonderful Simaab Sen who has produced this song in the album. Vishal Bharadwaj doesn’t sing much in films. We wonder why.
Gulon mein rang – The thing with good poetry is that it can never be badly performed (unless of course, KRK decides to rap it). To make it even better, words have been modified and what’s better than to see Gulzar and Faiz in one song! We honestly didn’t expect much from Arijit Singh, (who is breathing these days with microphone attached to his throat) because we knew, the sound would be indistinguishable from most of his songs off late. I won’t say we were shocked and surprised with his rendition here. It is strictly average but the music arrangement takes it a notch higher, especially the hopeful note on which the song ends. Talking of this iconic kalaam, even Mohit Chauhan did it nicely here.
Ek aur bismil – With an adorable arabian touch and sufi setting, this version paints a fantastic belly dance setting in the mind. The clarinet in the song is exact and lends much richness to the song. Unlike the ‘bismil’ song (to which this song owes its title and tune) which has a podium/stage setting, this feels more intimate, street like and humble.
Do Jahaan – Call me an incurable romantic, but I cannot wait for Suresh Wadkar singing a ‘suresh wadkar वाला’ song. No, I don’t mean ‘totey udd gaye’ (ek thee dayan) sort of song. I mean ‘tere liye’ (7 khoon maaf) sorts. A lazy setting that somehow has become Vishal Bharadwaj’s forte along with Suresh Wadkar’s depth is something to look forward to. This song is exactly like that. An added bonus is to hear Shraddha kapoor’s voice which doesn’t sound processed and adds a ‘real’ feel to the song.
Aaj ke naam – After her fantastic ‘har ghadi’ in D-Day, Rekha Bharadwaj gives us a ‘by the tabla’ ghazal that has ‘tragedy’ written all over it. This is also a work of Faiz Ahmed Faiz. Vishal Bharadwaj quietly sneaks in gentle keyboard notes to give a contemporary feel to the overall setting. Since the ghazal talks of so much sadness (With the excellent use of ‘new’ words for hindi film songs like – ब्याहता), extreme caution is advised because it will leave you sad, very sad.
Khul Kabhi – Good things were said about this song by Vishal Bharadwaj himself in a recent interview on Radio Mirchi, Bombay. Perhaps what Vishal Bharadwaj didn’t estimate was the flood of Arijit Singh’s songs with whom we are playing ‘catch up’ on daily basis. This song is good and we couldn’t help feel that this should have been sung by Vishal Bharadwaj himself. No doubt that would have been the thought at the time of composing it. It is a ‘FVBV’ song all the way (For Vishal, By Vishal). Arijit is efficient and average at best, what is lacking is the exclusive, infectious feel that this tune and crazy romantic song deserved.
Bismil – The ‘stage’ song! With Sukhwinder, there is always a danger that perhaps he will sound too ‘sukhwinder’ and hijack the song. It doesn’t matter in this case because there is an army of excellent back up vocalists, and a ‘beyond awesome’ rabaab at work along with him. The song paints a dark picture of deceit with an upbeat tune. The lyrics give away everything there is to correlate with Shahid Kapoor’s anger in the film. These days when music composers take pride in saying ‘ये गाना डांस फ्लोर पे महिना भर बजेगा’ , here is a song which might become a hot favorite of people who are into stage dramas. The overall feel reminded me of ‘Sheher’ of gulaal which can also be re-created on stage with impact, if only some people are up to it. A thunderous song that gives you a feel of large auditorium. Kudos!
Aao Na – I feel Vishal Dadlani somehow saves his ‘year’s best’ when he teams up with Vishal Bharadwaj. While I still maintain that ‘Dhan te nan’ is his best, this song stands right next to it. The passion, drums and singing, all are just top notch. Did I miss anything? Oh yes, that bloody mother of a tune on guitar. I cannot write enough good things about this song. Double thumbs up!
Vishal Bharadwaj and Gulzar have given us a brilliant album that has right shades of dark, much like the background and context of the film. In a year that has been marred with too much trash and vomit inducing tracks, Haider is what leaves a lasting sweetness on our taste buds.
मैंने ग़ज़ल सुनना तब शुरू किया था जब जगजीत सिंह की एक ग़ज़ल (बड़ी हसीं रात थी – ‘दा लेटेस्ट’ एल्बम se) मैंने किसी gathering में सुनी थी. ये शायद 1993 की बात है. उससे पहले बस ‘निकाह’ की ग़ज़लें सुन कर उनका मज़ाक उडाना काफी अच्छा लगता था. जो 1993 में शुरू हुआ फिर वो कभी रुका ही नहीं. जगजीत सिंह के एलबम्स आते रहे और मैं उनको खरीद खरीद कर कंठस्त करता रहा. Teenagers के intellectual वाले sub-group में काफी प्रचिलित थे जगजीत सिंह तब. माँ पापा ने काफी चिंता व्यक्त की थी क्यूंकि मेरे एक अंकल ने कहा था ‘रूप सुहाना लगता है’ सुनो, ये सब क्या मर्सिया जैसा sound करने वाला सुन रहे हो? खैर, वो अंकल शायद अपने बाल काले करने में लगे हैं आज तक. मैं सुधरा नहीं.
जैसे मेरे फिल्म वाले दोस्त आपस में लडते रहते थे – अमिताभ या विनोद खन्ना? कौन बेटर हैं? या फिर माधुरी या श्रीदेवी? सोनम सबकी undisputed फेवरेट थी मगर किसी ने ये बात पब्लिक नहीं की थी. इसी तरह ग़ज़ल सुनने वाले ‘बाबा’ लोग भी लडते थे – मेहदी हसन, ग़ुलाम अली या जगजीत सिंह? कौन बेस्ट है? (better का आप्शन नहीं था, सब को अपने idol को बेस्ट की पदवी ही चाहिए थी). ग़ुलाम अली और हसन साहब की classical पकड़ पे काफी कुछ कहा जाता था. जगजीत सिंह ने ग़ज़ल को ‘mainstream’ बना दिया – ये बात एक आरोप के तौर पे कही जाती थी. मानो ‘ordinary’ लोगों का ग़ज़लें सुनना जैसे पाप हो.
जब जगजीत सिंह जी थे, उन दिनों काफी लोगों ने ग़ज़लें गयी. लता मंगेशकर, आशा जी, हरिहरन, पंकज उधास, चन्दन दास,विनोद सहगल, सुदीप मुख़र्जी etc. ने खूब अच्छी ग़ज़लें और गीत गा कर ग़ज़लों को जिंदा रखने की खूब कोशिश की. यहाँ तक कि मनोज कुमार के सुपुत्र कुनाल गोस्वामी ने भी ग़ज़ल गायकी में अपने हाथ रवां करने की पुरजोर कोशिश की. इनके एल्बम का नाम ‘सुराही’ था और राज कपूर ने इनको ‘लांच’ किआ था. मैंने आज तक कभी इतना बेसुरा एल्बम नहीं सुना – ये और बात है. मुझे पूरा यकीन है कि मैं कुछ नाम भूल रहा हूँ. ग़ज़लें हमेशा से हिंदी फिल्म में भी शामिल की जाती थी. इन दिनों भी फिल्मों में ग़ज़लें खूब बजी चाहे दिल आशना है में पंकज उधास का ‘किसी ने भी तो न देखा’ गाना या फिर जगजीत सिंह का सरफ़रोश में ग़ज़ल गाना हो, सब काफी मशहूर हुई.
फिर जगजीत सिंह चले गए.
पूरे तीन साल हो जायेंगे अबकी अक्टूबर में उनको गए हुए.
इन तीन सालों में, ग़ज़ल एक genre के रूप में एकदम गायब होती सी दिखी. फिल्मों में भी ग़ज़लों का use काफी कम होता दिखा. शायद आयटम नम्बर्स के शोर में ग़ज़लों का कॉन्टेक्स्ट.
रेडियो को ही ले लीजिये. एक्का दुक्का ‘होशवालों को खबर क्या’ या फिर ‘तुमको देखा तो ये ख्याल आया’ बजाकर एक खानापूर्ती करते हुए सब लोग ग़ज़लें भूलते से जा रहे है. ‘ग़ज़ल सुनने वाली ऑडियंस रेडियो नहीं सुनती’ – ऐसा मुझे बताया गया था कुछ दिन पहले. शायद ये बात सही हो लेकिन हम फिर भूल रहे हैं की ये approach सिर्फ उन लोगों की बात कर रही है जो पहले से ग़ज़लें सुनते हैं. क्या नयी ऑडियंस को ग़ज़लें सुनना पाप है? एक दो रेडियो stations ने कुछ ग़ज़लों के प्रोग्राम्स शुरू किये हैं…तलत अज़ीज़ और रूप कुमार राठोड अलग अलग radio channels पे सुनाई देते हैं, पुरानी ग़ज़लें लोगों के लिए बजाते हुए.
इस दौरान कुछ एल्बम ज़रूर आये, मगर कोई भी एल्बम पॉपुलर नहीं हुआ. ऐसा क्यों? एल्बम ख़राब थे? नहीं. मुझे ऐसा बिलकुल भी नहीं लगता. जो बात इससे भी ज्यादा disturbing है वो ये है कि काफी सारे एल्बम आये और चुपके से चले गए. कितनी बार नयी ग़ज़लें सुनने के लिए एलबम्स ढूंढे मगर जो मिला वो ६ महीने से ज्यादा पुराना निकला. कोई शोर शराबा नहीं, प्रमोशन के नाम पे एक छोटा सा प्रेस रिलीज़ और कुछ भी नहीं. हम सब में से कुछ लोग होंगे जिन्होंने शांति हीरानंद का नाम ज़रूर सुना होगा. अब अगर मैं आपसे पूछु कि आप में से कितने लोगों ने शांति हीरानंद का ग़ज़ल एल्बम सुना है? एल्बम का नाम है ‘जो आज तक न कह सकी’. गए दिनों के कुछ ग़ज़ल एलबम्स आयेे.
श्रेया घोषाल के लेटेस्ट एल्बम का sound काफी फिल्मी था मगर एल्बम बुरा नहीं था.
अमीता परसुराम ने भी कुछ ग़ज़ल एल्बम रिलीज़ किये, जो की उन्होंने खुद लिखे हैं, इनमें से एक ग़ज़ल एल्बम में रेखा भरद्वाज ने भी चाँद ग़ज़लें गयी
सुदीप मुख़र्जी ने काफी कोशिश करी है और हाल ही में गुलज़ार साहब के साथ मिल कर उन्होंने Prithvi थिएटर में कुछ ग़ज़लें present की.
शान्ति हीरानंद का एल्बम ‘जो आज तक न कह सकी’ भी एक अच्छा एल्बम था.
कुछ ग़ज़ल एल्बम जो मेरी समझ में आये, उनके बारे में यहाँ पढ़ सकते हैं आप.
मुझे पूरा यकीन है कि आप के पास कोई एक और एल्बम होगा जिसके बारे में बाकी लोगों को मालूम नहीं होगा
मैं खुद को जगजीत सिंह का काफी बड़ा मुरीद समझता हूँ. मैं ये नहीं मानता कि जगजीत सिंह के बाद ग़ज़लें बनना बंद हो जाएँगी. एक genre किसी भी artist से कहीं ज्यादा बड़ा होता है. उसमें एक ठहराव आ सकता है मगर वो रुकना नहीं चाहिए. शायद ऐसा ही कुछ हुआ था जब नुसरत फ़तेह अली खान साहब का निधन हुआ था. क़व्वाली को ‘fuse’ करना थोडा आसान है इसीलिए क़व्वाली चले जा रही है. पर ग़ज़लों का क्या?
कुछ अक्लमंद लोगों ने ग़ज़लों में फ्यूज़न घुसेड़ने की काफी कोशिश की. मैंने हमेशा ‘purists’ की ‘rigid’ सोच का मज़ाक उड़ाया है. शायद ग़ज़लों को ले कर मैं एक ‘purist’ हूँ. मुझे नहीं लगता कि ग़ज़लों में ज्यादा फ्यूज़न मुमकिन हैं. अगर आपने नहीं सुना है तो हरिहरन का एल्बम ‘काश’ सुनिए. उसकी पहली ग़ज़ल को (जिसका टाइटल ‘काश’ है’) मैं ग़ज़लों में ‘fusion’ के इस्तेमाल का milestone समझता हूँ. हरिहरन ने धुन को नहीं छेड़ा है. बस कहीं कहीं नए instruments ला कर माहौल काफी ग़ज़लनुमा बना दिया है. इससे कुछ भी ज्यादा मेरी समझ के बाहर हो जायेगा और मैं उसे शायद ग़ज़ल न मानू.
आप क्या सोचते हैं?
कोई ग़ज़ल एल्बम recommend करिए, बड़ी उदास है रात ..
Our regular music contributor Rohwit is angry. He is in full Hulk mode. Here’s why.
Background
Like every year, the entire commune of music lovers (and cynics) waited for the new season of Coke Studio Pakistan to air, and despite so many delays, it finally did. The modus operandi was different this time. It was to showcase what ‘logistics proof’ fusion can achieve thanks to technology. The melodies were handpicked by the studio and were given a twist by recording a part of it live in Pakistan and add to the same with musicians outside Pakistan, by way of post production.
The result
Clearly communicated in their press events and in Pakistan local media, the season was expected to have 8 episodes. However, much to everyone’s surprise, after episode 5 came an abrupt announcement that it was the last episode of the season.
The hate
Not many liked the new sound because of many reasons. Some were logical (stating they missed the wholesome feel to it and so forth). What took my goat was when I heard few really stupid stuff from the so called musicians who I used to adore. Calling the producer of Coke Studio a ‘corporate douchebag’ and venting out their venomous reaction seemed kind of ‘khattey angoor’ish to me because they haven’t been invited to the Studio thus far.
Anyway, here are some really stupid ‘reasons’ doing rounds with our modest replies to them. Feel free to add your reply or questions
1.The local musicians were ignored by collaborating with outside musicians
Yes, you are right. After all it is only Coke Studio Pakistan’s duty to put the entire country’s musicians on the world map. Everyone else can continue aping this movement and sing the same old compositions with shoddy camera work. More so, when the studio communicated right from the beginning that this time they will attempt next level of fusion by mixing their sound with foreign musicians, they should have totally ignored foreign musicians. Makes sense. Isn’t it?
2. In one of the song, the local musicians’ footage was cut. Blasphemy!
Very sad that in the final edit the musician got edited out. Can you ask that musician to return the cheque because apparently he was looking at a TV appearance, and couldn’t make the final cut?
3. Imagine! For listening to music we now have to see T.V.! (click here)
Err what? Please read the point allegation number 2 above. It wasn’t supposed to be about T.V, yet people are up roaring against this? Confusing. Can you repeat the question please? This time without being in the influence of substance abuse? Thank you.
4. Non musician corporate douchebag shouldn’t be the project manager of such a movement.
Absolutely right. To us he looks like a failed corporate executive. I mean why give out the music for free when you can make money by selling it? Right?
Our Submission
Coke Studio Pakistan has always been about music, and the fun the band has been creating with that music. Of course, this year they went a step ahead and tried to present their music to the world at large by treating it differently with ‘foreign musicians’. We feel the season went great and was pleasantly different from what we have all accustomed ourselves whenever a mention of Coke Studio Pakistan is made. They tried something new this year, just like they tried something new when they kick started season 1. Rather than jumping up and down literally forcing them to pre-end the season and keeping us all devoid of the experiments that Coke Studio is known for, we could have allowed them to go on.
Our folk music will always be a treasure trove. The art is to produce it and arrange it in a way that it reaches maximum people. For that, sitting with a 12Kbps file will not help. Let the art out. Let it be explored. Let people mix classical with new, serious with silly…let it all flow. Somehow whatever is good will stick. That’s the beauty of art in any form.
Like we read in an article somewhere – Past all borders, music begs for us to look deeper, when understanding the idea of what is ours. Can we do that? Or is it too tough?
If you missed our earlier post in this 2013 flashback series, here’s the list – 20 Things We Learnt At The Movies and 13 Unanswered Questions is here, Top 10 Musical Gems We Discovered This Year is here, and 15 Film Fanatics on 17 Terrific Films That Have Stayed With Them is here.
In this post, Rohwit looks back at some of the best bollywood tracks that we looped this year.
Amidst the 100 crore musical disasters, few albums and some songs tried to stand tall, and that wasn’t tough even for a slightly above average song because thanks to the automatic tunes that come pre-fed in some expensive keyboards owned by some music composers, the ‘average’ bar is pretty low in Hindi films these days.
Here is our pick of 14 songs (ok 16! ok 17!) that made us sit up and sway! The order below is not in a ranking form. Some of the points contain 2 songs. So what? We cannot make up our mind. Yes, we get confused. Music does that to us.
1. Yes, it is based on a Beethoven symphony. Yes, it has a very ‘अरे ये पहले सुना है’ feel. Still, I haven’t heard a spookier lullaby in 2013. So take a bow Kumaar for penning this superb song and take a bow Sangeet Haldipur for singing it beautifully! Yes, it is one of the best songs I have heard this year. We are indeed referring to Aaja nindiya raina beeti jaaye rey from Aatma.
2. Khamakha hee-Badal Uthiya (Prem Dehati version) – from Matru Ki Bijli Ka Mandola. It took a local Harvanyvi singer (who hasn’t appeared on the again after this album by the way) Prem Dehati to mesmerize us with raw talent and touching melody. Not many songs have the longevity to survive in playlists these days but this song will be there for a long time.
In fact it was Prem Dehati’s splendid participation in Khamakha that lifted the already superb song to a level very few could match this year.
3. Manjha (Kai Po Che!) – Every Time A.R. Rahman’s music is about to hit the scene, there is so much anticipation and Amit Trivedi enjoys the same effect on music lovers at large. So it wasn’t a surprise when this splashed all across and we were treated to this song.
Swanand Kirkire has penned one of the best songs this year in Manjha. Simple lyrics, exquisite arrangement and we cannot get tired of Amit Trivedi’s studio singing. The other two songs were no less but somehow Manjha shall always be played before the other two.
4. Tum hi ho (Arijit Singh) – So it turns out that Arijit singh is turning everything into gold just by singing it! Easily a much better film to look at than it’s first part, Aashiqui 2 had this mother of a song that was overplayed to the extent of irritation. But can you dismiss it as being one of the stickiest song of 2013? No! Why is it featured on the list? Ask yourself if you don’t like humming it. We know some of you are humming it right now.
5. Khoon choos ley (Go Goa Gone) – There is a lot of Monday hatred (or so it seems on all social media platforms), so a Monday song was long overdue. The song in my view was wasted in the film Go Goa Gone and even the half-hearted music video wasn’t promoted well. Still, this has to be one of the best ‘I hate to wake up and go to work’ song we have heard in Hindi films. The nasal start, the ‘rrrrrrrrrrr rrrrrrrrrrrrrr’ part and splendid lyrics by Amitabh Bhattacharya makes this one a treat!
6. Badtameez Dil (Yeh Jawaani Hai Deewani) – More than anything, we cannot get over the fact that Amitabh Bhattacharya used ‘dhimka falana’, ‘paan mein pudina’ and ‘moorhi bhaat’ so effortlessly! While the song belonged to RK on the screen (deservingly so), Benny Dayal is no less a rockstar to sing this with so much zest that even people with two left feet were seeing dancing at the mere mention of this song. Kudos to the brass band and Pritam for this one!
7. Raanjhnaa hua main Tum Tak (Raanjhanaa) – Yes. While many of us (including yours truly) started out disliking the million ‘tum taks’ in the song, the second half of the song, the shehnai (and the excellent use of manjeera) redeems this song and how!
Be it the faint guitar riffs or excellent Jasvinder Singh (who made a guest appearance in the song), the title song of raanjhanaa had all going for it. More so, the emperor ARR was at his yearly best in this album as a whole.
8. Ghanchakkar babu (Ghanchakkar) – Amit Trivedi was heard having a ball in this one. While the album was not bad at all, this song stood out (and was on the loop for a long time) thanks to excellent arrangement and superb back up vocals. Trust Amitabh Bhattacharya to give an insightful touch to ‘Nala Sopara’! Top class song! Muuuuuuuuuuwaaaaaaah!
9. Monta Re (Lootera) – The ‘chik chiki chik’ whispers by Swanand Kirkire, the quiet atmosphere, exquisite lyrics and a delicate presentation. This is easily the best song of the album that sounded more like Udaan part 2 than anything. We mean it in a good way. No. Really.
10. Mera Yaar – From the fantastic album Bhaag Milkha Bhaag. Javed Bashir was given a song that was right up to his comfort zone and he hit it out of the park. We loved the entire album (without the ‘andar kaala bahar kaala PAR sachcha hai sala’ part) and were relieved that Shankar-Ehsaan-Loy are back to making good music, just like the good old days.
11. D-Day – A fantastic album overall. Be it the definitive Qawwali ‘Murshid khele holi’ or the heart breaking ‘Alvida’, the album even made Mika tolerable when he attempted Dama dam mast kalandar. (Rekha Ji, सुन रही हैं ना आप?)
12. Shudh Desi Romance – Be it those tiny musical bits with Rajasthani sound or those lovely songs, Jaideep Sahni and Sachin Jigar served us a musical treat with an adorable marriage of contemporary words and folksy-dinchik arrangement. Our pick from the album will remain ‘Tere mere beech mein kya hai’
13. Ram Leela – Though the album was filled with grand arrangement and excessive noise throughout, we really liked the adaptation of ‘Mor bani thangat karey’ and Lal Ishq (without the excessive noise towards the end).
14. Dil ki toh lag gayee (Nautanki Sala) – As an album, it had a distinct ‘townie’ sound to it (much like Bluffmaster). However, what blew the socks off the senses is Saba Azad’s super hot singing in ‘Dil ki toh lag gayee’. Ignore the horrible presentation of the song on screen though. A fantastic effort, insanely melodious at all times and very very saxxxay! Sing more Saba, we are listening!
We also enjoyed :
– Early morning (Chashme Baddoor) A lot of us debate where is Sonu Nigam and why isn’t he singing more. While we do not have anything to add to that, but we loved the way Mr. Nigam was having fun singing this wonderful song from a not so wonderful remake of a classic.
– ‘SPB ho ho!’ part from the title song of Chennai Express. There are very few occasions that compare to SP Balasubrahmanyam having fun in a song.
– Ajnabi (Madras Cafe) The songs were wasted in an otherwise brilliant film but the whispering voice of Zeb left it’s mark. It’s a pity that this song went unnoticed.
Very Very Special Mention :
Padmanabh Gaikwad for singing Sapne rey sapna (from Ek Thi Daayan) . A fantastic voice that resonates innocence. We are way too tired of Gulzar saab doing splendid job every time he sits down to pen a song, so we won’t even stress the fact that we are in love with the ‘Bhoore bhoore baadalon ke bhaalu, Loriyaan sunaaye la ra ra ru’ part of the song. Hope to hear more from Padmanabh.
So which songs you looped this year? Let us know in the comments.
Continuing with our Rewind series which looks back at the best of the year. Our earlier post (20 Things We Learnt At The Movies and 13 Unanswered Questions) is here. This post is all about the musical discoveries we made in 2013. And mostly non-bollywood. We will cover Bollywood in a separate post. If you are regular reader of the blog, you probably know that if it’s music, it’s over to Rohit. The songs may or may not have been released in this year. Hope you have fun going through all the links. Here are the top ten music gems in no particular order.
1. AWAAM – So this is nothing new. A song comes out in Pakistan, and since it doesn’t belong to Atif Aslam or Shafqat Amanat Ali Khan, dies its natural death. This one came out in 2012 but we discovered it when one of you left a link somewhere in the social media. Hear it. See it too. The song is called Awaam. Artist – Faris Shafi feat. Mooroo. Apart from taking a not-so-tongue-in-cheek look at the way things are in our neighbouring state, there is a message for everyone. Check it out! Why did we feature it here? Only to neutralize that silly feeling that ‘Pakistan music is all Sufi’.
2. HARAVALI PAKHARE (Balak Palak) – Not all Marathi songs go ‘dhinchak dhichak’ as aptly demonstrated by Shekhar Ravjiani. The sheer simplicity of the composition and easy singing by Shekhar is sure to catch your attention even if you (like me) doesn’t understand the language. Have a listen, you won’t be disappointed. Also, watch the film. You won’t be disappointed there as well.
3. HAMZA EL DIN – “The celebrated Nubian musician whose rich fusion of Arabic and Nubian sounds entranced audiences worldwide and inspired colleagues like the Grateful Dead and Kronos Quartet, died Monday, May 22nd, at a Berkeley hospital from a gall bladder infection. He was 76.” That was 2006. From here. I came across his work thanks to an email from a friend in Africa. Went and searched his album Escalay and was blown away by the sheer tranquility it brings to the soul. You know how much it costs to buy it on iTunes? 9 Indian rupees. Yes. Do give it a listen and thank me later. More about Sir Hamza el din can be found here.
4. GHAZAL, the band – A fantastic band formed by Kurdish-Iranian kamencheh player Kayhan Kalhor, Indian sitarist Shujaat Khan, and Indian tabla player Swapan Chaudhuri blew me over many times round. It was formed in 1997. The attempt was (to quote the band itself) ‘to merge Persian and Hindustani concert music into a new stream of classical balladry and improvisation’. Oh yes, they were also nominated for a Grammy in 2004. iTunes is full of their music and it is best if you do buy it. This is what we stand for in music, in art as a whole. Wander around, meet people, collaborate and then present! Here is the link of one of their finest performance.
5. TASHANGI KO – Many a times I have dismissed Sabri Brothers because they sang some weird song in Pyaar kiya to darna kya. It’s not my fault that I was born late. Late enough to not know THE original Sabri Brothers. While I was busy slapping myself on that fact, Varun and Krish rathore slipped this brilliant piece of work by Sabri brothers. There is Sax, electronic guitar and a tune that can make you an alcoholic and a bad one at that! Our word – It won’t take long before a film maker laps it up or gets ‘inspired’ from this.
6. SHYE BEN TZUR – Shye Ben Tzur is an Israeli Qawwali singer who composes qawwalis in Hebrew. He was formerly part of the rock band Sword of Damocles, which he founded. After attending a concert in Jerusalem by the Indian classical musicians Hari Prasad Chaurasia and Zakir Hussain, he became interested in Indian music, which brought him into contact with qawwali. His album Shoshan features a superb song by Shubha Mudgal amongst other superb songs. Try this one and let us know what you thought?
7. CORNERSHOP – The band was formed in 1991 by Wolverhampton-born Tjinder Singh (singer, songwriter, and guitar), his brother Avtar Singh, David Chambers and Ben Ayres. The band name originated from a stereotype referring to British Asians often owning corner shops. We came across two songs from them and couldn’t stop ourselves from looping them. Hear it here
And here –
My favourite remains the studio version of we’re in yr corner and the last two words that Tjinder gives out right after he says ‘Coca cola’. 🙂
8. ALAA WARDI – While this super talented guy took the music crazy junta by surprise with his cover of Pehla nasha (here), we swayed to the simplicity of this tune right here –
9. SACHAL STUDIOS – While Asia is full of many musical collaborations, this one in particular has a very ‘finished’ feel to it. Right from the hi-tech website from where you can directly buy off the music to the music itself. Everything is in in sync and does what only music can do. For starters, please see this link
10. MASTAAN MASTAAN – The list cannot be complete without a mention of at least one song that we discovered from the movies. This relates to some movie and we need you to explore about the movie, so we are withholding the name. The tune is kashmiri, the music is infectious and the arrangement, very local (read – melodious). If only the film did well and this was promoted better! Sung by Gulzar Ganai, you can listen to the song here (check folk version).
So what have you discovered this year? Let us know in the comments section and enlighten our soul.
It’s that time of the year again. Time for a new season of Coke Studio India. That time when we will again become hopeful about it, and then finally give up, and go back to the edition of Pakistan. Aha, still not there.
Rohwit earlier wrote this post wondering if this new edition will finally deliver what Coke Studio really stands for in our neighboring country. This season opened with A R Rahman. And then? Well, play the songs and keep reading. And let us know in comments section if you agree with our views or not.
The much awaited Season 3 of the Indian Version of Coke Studio kickstarted with a bang on August 17, with none other than ARRahman and his team of musicians. The anticipation was 2 inches above sky high because of the hype that MTV successfully created with systematic ‘leaks’ and a million teasers. Let’s see if it did what it has to do and must do!
Zariya – Ani Choying Drolma sets the pace with superb bass accompanying the arrangement. She chants, and enchants! Not before long the backup girls spring into action (One of them is the Indian Idol Season 1 contestant Prajakta shukre as well). Couldn’t help but feel the girls were singing on that all too familiar ‘ishwar allah’ (1947 The Earth) tune. But that’s when Farah Siraj makes an entry and stays till the end of the song. A typical ‘hook’ in the song is missing and arrives just 2 mins before the song ends. It’s not a ‘typical’ song. It’s a prayer, a call for love and we have never experienced Tibetan chants the way this song makes you experience them. There are 3 vocal characters in the song – Ani, Back up vocals, and Farah Siraj. Farah is the ‘hook’ and she soon infects the backup girls to sing to her tune as Ani goes about with the chants. Music equivalent of the word ‘heaven’ was explored with this song and HOW! The percussion is spot on, ARR on fingerboard was spot on so much so that he was smiling, swaying, something we thought we would never see! The arrangement feels studio, Coke Studio!
Naan yen – Rayhanah calls out and while the call in itself sounded a little rough, AR Rahman brings in polish with this free flowing composition that gives the soul some rest the same way Nenjukulle soothed us in Unplugged. We would have liked a bite more from Reyhanah though. A Tamil track that makes the entire ‘language barrier’ incidental and almost insignificant. Highly recommended!
Aao Balma – Padma Bhushan Ustad Ghulam Mustafa Khan (one of the doyens of Indian classical music and the uncle of Ustad Rashid Khan) in all his glory takes the dias in this song. A Hindustani classical piece that flirts melodiously with Carnatic. The song starts delicately giving an overall feel of a beloved welcoming her lover. The sargam in between was arranged well and even though at times the arrangement dominated the voice, nothing went out of sync. The percussion in between did very little to lift the song and in my view it broke the continuity of the song. Towards the end it felt a little scattered. Will I hear it again? Not much. Will I see it again? YES! perhaps a million times! The visual delight that we have come to associate with Coke Studio is there for all to see in it’s full glory in this song. Be it the Juganbandi between Ustad and Prasanna (who makes the electric guitar sound like an electric bulbul tarang at times in the song). The grandson Faiz Mustafa sounds promising along with Murtuza, Qadir, Rabbani and Hasan Mustafa.
Ennile Maha Oliyo – The shortest offering from the episode and we wish that was longer. Issrath and Rayhanah sing the song together and you can make out easily how well prepared they are. Easy on ears, the tune will lead you to play this on repeat (just like Naan Yen) and I am referring to people who don’t understand Tamil (like me). That’s what ARR does and does it in style! The guitar man (Prasanna) flirts with carnatic notes yet again and does a huge favor on our senses. The percussion by Sivamani is fragile yet perfect!
Jagao mere desh ko – AR Rahman tries his hand in Bangla in the opening part of the song and does rather well. However, the continuous descending tone of the opening notes is what will catch your attention first. It is from there, the song goes up up and away! Fusion at its (Coke Studio) best! It is quite tough what to praise most. The superb arrangement, the excellent Suchi, the superlative backups or Blaaze. Back in Pakistan they used bohemia in turns and not together with the singers but here, ARR gets Blaaze to sing along and boy does it sound good! Of course there were some pronunciation issues and towards the end you feel the song if going a bit off track, but when you can live with someone pronouncing ‘ghut ke’ as ‘gutkhe’ here, you can certainly let go of these minor glitches. We did! And it felt superb! Try it.
Soz O Salaam – Again the three generations team up to present this song. The magician Ustad Ghulam Mustafa Khan sahab welomes us to the composition and his grandson Faiz Mustafa holds his ground well. The song could have done slight better had the words been clearer. The tune makes up for it though. Tune wise (even though the rest of the season remains to be seen), this would be one of the best this year. The ‘ARR’ continuum fingerboard adds an overall feeling of a spaced out composition which is unmatched by any other song from this episode. Ironical that this song wasn’t featured on August 17 episode (but is available here). Word has it that this will be featured on T.V. in the ‘sum up’ episode that will have one song from each producer.
With so much already being said (rightfully so, most of it) about Coke Studio India, this episode has set the right tone and it looks like we are in for a cracking season, finally! With the promising line up ahead, we have all the reasons to believe so.
It also reinforces the new formula that a lot of music shows would want to imitate….’When in trouble, call Allah-Rakha Rahman’
F.i.g.h.t C.l.u.b 