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Ishq Lamhe Feat. Ustad Rashid Khan – Music review

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Ghazal as a genre has been on a decline since last few years. Blame it on high decibel promotions that other ‘non ghazal’ albums get or the general lack of interest from the music companies, but it is not far from reality to assume that ghazal albums are way too few.

I dug up some old releases and came across this album that tries hard to keep the genre alive

Ghazals are penned by  Ameeta Parsuram “Meeta”

INR 150 on iTunes

Vocals are by none other than Ustad Rashid Khan, his daughter (who makes a debut) Suha khan and Ameeta Parsuram “Meeta”

The entire album has an element of stillness which is well paced out musically and lyrically. Take for example Mujhe irshaad sung by Ustad Rashid Khan, the excellent music arrangement and well spaced out treatment ensures that it becomes easier to listen to Ustad Rashid Khan when he is not taking long taans. Poetry is top class and even though the ghazal is nearly 10 minutes long, you do not feel the weight of the duration and that is a big plus, given that so many ‘items’ camouflaging as ‘ghazals’ these days make you wish they get over with as soon as possible. Pyaar karu ya na karu is a nazm/recitation in the voice of Meeta and is actually a rejoinder to one of her nazms which was featured in the album Irshaad. You can read about it here.

It’s a breath of fresh air (albeit the lyrics are too painful) to hear real poetry that conveys pathos the way only a nazm can convey.  Haan wohi lamhe introduces Suha Khan and you will be pardoned to think that she starts the ghazal in a very shreya ghosal-ish fashion. The music arrangement is contemporary yet spaced out, which is a relief. The tune is easy on the ears and you are sure to like this debut by Suha. Kambhakht dil ne is sung by Ustad Rashid Khan. The use of Sarangi all throughout the album is top class but it is sweeter in this ghazal. The wordplay again is delicious. I would have liked a bit more emotion from Ustad ji because to me he sounded slightly flat in this one. Nevertheless, this is a brilliant ghazal.

Talaash starts with delicious mix of flute, violin and guitar only to be complemented by Meeta’s voice and Suha Khan takes it on from there. Fluid tune and simple singing has kept this ghazal quite hummable and that is just about it. Dastak and Jawab-e-dastak are both nazms which are voiced by Meeta and it’s quite an interesting experiment to feature two tracks that complement each other. Although I must add that the recitation and it’s tone is quite similar to the ones featured in Irshaad. That said, the words hit you hard with their weight and it’s a pleasure to hear such Nazms. Ye kya sochna has brilliant Sarod and violin starting it and Ustad Rashid Khan lending his voice. He sounds much more comfortable in this ghazal and the feel of the ghazal is intact, undiluted. The ghazal touches upon the loss of a beloved and how everything feels incomplete as a result of that. Labon pe ishq concludes the album. Meeta brings in the ghazal and Ustad ji tries his best to accommodate ghazal gayaki to his already perfect self. The only thing off-putting to me was the music arrangement which came off as cluttered to me at times. The lead up to the first line of antra is done by Meeta.

All and all a must have album not only to listen to Ustad Rashid khan singing ghazals but for the simple reason that this one tries to stay close to the genre of Ghazal that is fast dying. You need an example of that? This album was released in April, 2013.

You can listen to the album here

 

Music review – AB – An album by Abhijeet

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AB
Lyrics – Sameer, Abhijeet
Music – Abhijeet
Times Music
INR 96 on iTunes
 

The album starts with Koi raja na thee rani with mellifluous singing by Abhijeet, exactly the way we remember him. The song has a quaint charm of the times gone by, when we used to look at the inlay cards of the cassettes to find out the song from Abhijeet just so that we can hear them and then sing them to impress girls in our college. Composition wise, the music setting doesn’t intrude with Abhijeet’s singing and am sure that is intentional. Not that it’s bad in anyway.

We then come across Bujhe Bujhe, the only song that is penned by Abhijeet in the album. Although the singing is as you would expect it to be, at times you can feel that the arrangement is cluttered a bit.

Yet another song that will remind us of 90s, Gul chand sitare is pleasant to the ears and has the trademark Abhijeet singing. Lyrics by Sameer are quite venomous for the lover who has probably ditched her lover. The music arrangement could have been better here.

Pankhuri ki palki has good amount of guitars to keep company to Abhijeet who sings well but the lyrics have a major 90s block and the song fails to register. Just a song that would play as you would complete whatever you are doing without taking much notice of the same. The song is not intrusive, mind you and that is largely due to hummable tune and Abhijeet’s singing.

Reh jaate hain has about 9 minutes long and is paced very well. The song is filled with emotions and is not your typical ‘romantic’ song which we come to expect from Abhijeet. It’s a song from a loving parent to her/his offspring and is done beautifully! It is that song in the car which, when it plays will have everyone quiet and may be sobbing as they remember their parents but noone will change the song.

Zara Zara is a peppy offering that I felt was quite plain and didn’t affect me at all. May be it was put to smoothen out the heaviness after the ‘reh jaate hain’ song. In spite of a relatively better arrangement than most of the songs of this album, the song just didn’t register. The lyrics are

The song Na lafzon ki zabaani starts with the trademark ‘hey hey hey’ from Abhijeet. The whistle that follows is a tad embarrassing and should have been performed better. The lyrics are trademark 90s and the setting is sober. The only thing that will stay with you is that it reminds you of a good old hindi film song.

I don’t know about you but I am terribly nostalgic about 1990s and this album took me back to those good days of audio cassettes, ‘mix tapes’, dubbing etc.

Had Abhijeet tried anything else, I would have said ‘Perhaps he should have stuck to his Bollywood soothing style’. In this case, I am actually thankful that he stuck to what he is best at. The album has a soothing undertone mostly and I would recommend it as a ‘buy’ simply because of the era it took me back to. If you are not a 90s kid, even then listen to it to find out how the songs used to sound when dubstep and cheap remix templates weren’t used to compose songs. It was released on 9th May 2014.

You might not want to listen to this simple album daily, but you will not be disappointed to have this in your car as and when you go for long drives.

Abhijeet, Sing more!

You can listen to the album online here

Music of Ankhon Dekhi

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Ankhon Dekhi
Lyrics – Varun Grover
Music – Sagar Desai
Times Music
INR 72, iTunes
 

The album starts with aaj laagi laagi nai dhoop and the song arrests you thanks to the beautiful Sarangi. Kailash kher can sing songs like this one even when he is fast asleep and dreaming french dreams, so that is nothing new that he effortlessly cruises through this song as well. The song has a hummable feel to it.  Next up is Aayi bahar and again what strikes in this peppy song is the brilliant use of khartaals in the beginning and the superlative Sarangi in this song that has a nomadic feel to it. Kailash kher lends his voice to this song and sings it well. My second pick of the album Kaise sukh soyein is composed with so much love that it shows.  Sung superbly by Ronkini Gupta, this one is or keeps! Yaad saari features Kailash kher (again!) along with some good backup vocals. The atmosphere is insightful and even though the song fades out way too soon, the catch is in the lyrics….yaad meri galtiyon si khaley re khaley…Very nice! Hakka bakka has a brass band start and it adds to the comical treatment throughout. It’s good to hear Shaan after long especially when he goes off-key in between (intentionally). You won’t hear this song in discos but be rest assured, it will add to the pace and feel of the film. Mansheel Gujral sings Dheeme re which is best song from the album. Heart breaking lyrics treated to some exquisite music arrangement. I found the feel of babul morai in the lyrics but that could be just me. Find it yourself.

With projects like Ankhon dekhi, you can be rest assured that the music of the film adds to the storyline and takes it further (in most cases) rather than presenting audience an ‘item’ to ogle and forget later. Sagar desai has presented a decent album to us that is hummable and won’t jar the pace of the film.

I have few issues with the album

1. Kailash kher, SO much of Kailash kher makes the album very ‘Saiyyan-Allah ke bande’ predicatable

2. Why no song by Namit das? Mr. Kapoor reply! 🙂

My picks – Dheeme re, kaise sukh hoyein and aaj laagi laagi nai dhoop

Ankhon dekhi

Humnasheen – Ghazals by Shreya Ghosal

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Shreya Ghosal has teamed up with Deepak Pandit to give us a ghazal album Humnasheen.

The album starts with Ye Aasman. With rich music arrangement (that remains so throughout the album), this ghazal is treated like a typical ghazal and that’s a relief. The ghazal has just the right amount of ‘thehraav’ that you come to associate with ghazals, real ghazals. The use of violin in between reminds us of those Jagjit Singh Ghazals during the golden period of ghazal gayaki. Shreya is predictably at ease in higher or lower notes and her neat singing takes the ghazal higher. The use of Mohan veena is exemplary as well.

Naam likh kar has a soothing start thanks to a delicate tête-à-tête between Sitar and Guitar. The tête-à-tête continues well throughout the ghazal. The ghazal is slow and treads well. With good amount of pauses, this ghazal is reserved for those long evenings when you have memories as your companion.

Ye dil jo has a flute beginning. It’s refreshing to hear a ghazal composed like this in 2014 because such efforts are on their way southwards. The use of tabla and the overall feel of the song (and tarana in between) will enthrall you if you are one of those who like ghazal and not a techno fest with ‘slow’ singing.

Raaton ko The ghazal starts with Shreya’s tarana. This is a pure romantic ghazal and the able use of Sitar and Tabla among other things paints a perfect picture of the same. I somehow didn’t like the use of violin in this ghazal though.

Maahi rok na has a delightful beginning, almost thumri like. It’s a delight to hear Shreya reciting those lines in old fashion gayaki. Sarangi finally makes an entry in this geet. Keeping the overall pace of the album, this one falls flat to my ears. (The sarangi riff in between does remind you of ‘maine to tere tere ve chareya doriyan’ part of Patakha guddi!). The digital claps in the background worsen the effect. Passable track.

Meri Talaash starts like one those old songs which were sung by talented singers in big halls. Even though the irritating claps do make a continuous appearance in this song as well, the classy singing by Shreya along with a splendid Sarangi saves this ghazal.

Shamma jalti rahi starts with Shreya again melodiously reciting lines in good old style of gayaki. The treatment of this ghazal appeared a tad filmi to me but there is decent amount of stillness (mainly due to the structure of the tune) to make up for that. Will I listen to this again? No. Is it good? Yes.

Kuch rishtey will hold your attention due to it’s lyrics and sitar. The flute and singing of Shreya Ghosal is, as expected brilliant.

After the 2011 released Irshaad, I couldn’t find a single ghazal album that I would be happy to put my money on. Finally, Humnasheen breaks that jinx and everyone associated with the album should be proud of this effort which sticks to the brief (of ghazals) more often than not and doesn’t miss a note.

Highly recommended for ghazal lovers and lovers of ‘slow’ songs yo bro! 🙂

Lyrics credit

Ye aasmaan – Manoj Muntashir

Naam likh kar – Vaibhav modi

Ye jo dil pyar ka – Manoj Muntashir

Raaton ko – Ahmed Anees

Maahi rokna aaj (geet) – Manoj Muntashir

Teri Talash – Manoj Muntashir

Shamma jalti rahi – Manoj Muntashir

Kuch rishtey – Ajay jhingran

Jagjit Singh – The Master And His Magic (New album)

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Last year on October 10, music lost Jagjit Singh.

Sony has released this album to ensure some more ghazals reach out to us that were previously unheard by most of us.

The album starts with Tu Ambar ki Aankh ka taara and Jagjit Singh announces something that is impossible to put in here. This track is essentially treated like a ‘geet’ and is a live recording. Simply treated, easy lyrics. The second track Dekha jo aaena starts with a brief commentary by Chitra singh. This is a track that Jagjit Singh has sung many a times in other live concerts earlier. Still, this track starts with an alaap and instantly tugs at your heart. Brilliantly penned and as usual exquisitely executed by the maestro. The next ghazal jao ab subah honay waali hai also starts with an alaap by Jagjit Singh. A new ghazal and even though the context, treatment, lyrics and theme is not related to the ‘savere savere’ ghazal (featured in the album ‘Come alive with Jagjit singh’), I was instantly reminded of that ghazal. This ghazal however, is sad and heartbreaking, a genre that Jagjit Singh excelled throughout, without a doubt.

Ro lete to achcha hota sounds very familiar tune wise. Simple tabla and minimal guitars with the velvet voice of Jagjit Singh. The Santoor makes the setting even more familiar to the ears. The is the shortest ghazal (little over 4 minutes) of the album. Some might call it sad, some might call this soulful…decide for yourself when you listen to this beautiful composition. Aahon mein asar starts again with a brief commentary by Chitra singh. It is a crime for me to ‘pick a favorite’ from the album, but this ghazal is what we ‘devotees’ identify Jagjit Singh with. Liberal use of Violin, breathtaking words (light ghungroos in the background). If you are reminded of the ‘Mukhda’ from the ghazal ‘Aankhon mein jal raha hai kyun’ (From Marasim), listening to this ghazal, don’t be surprised.

Rone se ishq mein aur bebaak ho gaye  is quite easily an old (or not a recent) recording and you can identify it by the voice quality. Sitar is a bonus although I wish the recording was clearer. Stillness isn’t a plus point of this track. Slow, yet in a hurry…never losing the sense melody anyway. Tu jo aa jaaye has the typical ‘By the harmonium and violin’ beginning and then sounding mildly like ‘Dhoop mein niklo ghataon mein naha kar dekho’ (from Sajda), the ghazal just quietly captivates you. Insanely romantic and sung very intimately by Jagjit Singh.

The ever so golden Ghalib nazm Wo firaq aur wo visal kahan gets a different treatment (And a new set of lines which weren’t present in the Mirza ghalib album before). Composition is very by the strings. The atmosphere that Jagjit Singh creates with this one is melodiously pensive.

This is not a review. It can never be.

Just a celebration of another new set of pearls that we have come across from someone who kept on fooling us by making us believe that he is singing with his voice…whereas what we heard always was his heart that took over the microphone and mesmerised us, made us smile and made us weep…

A ‘must have’ album for those who know his body of work and a ‘should have’ album for the rest.

Sir Jagjit Singh, Thank you for the music.

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