1. Jhoom Jhoom dhalti raat (Lata Mangeshkar)

Kohraa (1964) featured the ethereal Waheeda Rehman as the mysterious rake Biswajeet’s second wife who’s haunted by his dead wife. Based on Alfred Hitchcock’s Rebecca (1940), the chilling ambience of this film was sublimated by the producer Hemant Kumar’s vintage music. Lata Mangeshkar’s Jhoom jhoom dhalti raat heightened the feeling of ominous dread in the plot. Montages of the dead woman’s spirit wandering the night in this song were exquisitely expressive. Waheeda Rehman as the Indian version of Rebecca was vulnerable, adamant and very beautiful. Kohraa was one of the superior supernatural thrillers of the 1960s where the actors respond to a particular plot rather than peripheral attractions such as songs and romance.

2. Mujhe apni duniya mein wapas bula lai (Noor Jehan)

Deewana (1964) was perhaps Lollywood’s first ever horror film. It was made way back in 1964 and took its inspiration from the Invisible Man and The Spiral Staircase. Sabiha was cast in the role of an insomniac and the film despite starting off with a certain amount of promise soon deteriorated into an insufferable bore. The intriguing aspect of the film plot that involved the marauding psychotic invisible man was completely ignored while the audience was tortured by an uninteresting romantic plot involving Sabiha, Ejaz and Ilyas Kashmiri.

However, the film had some awesome songs composed by Bengali music director Muslehuddin. It has been noticed that whenever Noor Jehan collaborated with music directors from East Pakistan (whether Muslehuddin or Bashir Ahmed), the result was magic and this song is no exception. This particular ghost song sung by Noor Jehan and chorus and picturized on Nasreen (with Zurain in the frame) was the highlight of the film. Muslehuddin’s was very good with using chorus voices, and in this song he created “that” ghostly effect by blending the chorus effectively with the main voice

3. Rahoun mei thari mein nazrein jamaey (Noor Jehan)

One of the finest ghost films coming out of Pakistan, Ghoonghat (1962) was composed, produced and directed by Pakistan’s ace composer Khurshid Anwar. In this song he used Noor Jehan’s voice effectively to create the mysterious ambience. The ringing of temple bells at the beginning of the song and the use of chorus (one of the best use of chorus in my opinion) further enhanced the haunted atmosphere of this song.

The biggest technical achievement of this film at its time was to create the atmosphere of mystery that has been captured in the outdoor location sequences. It was comparatively much easier to create such an effect on the artificial sets, where the studio lights were under the control of the cameraman and a limited space facilitated the manipulation of artificial mist. But to successfully launch such a venture in the wide expanses of a mountain was an achievement which Lollywood could well be proud of.

4. Kahin deep jaley kahin dil (Lata Mangeshkar)

Bees saal baad (1962) was based on Sir Arthur Conan Doyle’s classic novel The Hound of the Baskervilles. This ghost song was the highlight of this film and credit should be given to both the music director Hemant Kumar and singer Lata Mangeshkar for creating the spooky/haunted atmosphere required for such mystery/thrillers.

This song also remains a milestone in Lata’s career because she fell ill in 1962 and thought she would never be able to sing again. In Lata’s own words

“In 1962, I fell very ill for about three months. I thought I would never be able to sing again. One day, I woke up feeling very uneasy in my stomach. And then I started throwing up — it was terrible, the vomit was a greenish color. The doctor came and even brought an x-ray machine home because I could not move. He x-rayed my stomach and said I was being slowly poisoned. We had a servant in the house who made the food. Usha (Mangeshkar) went straight into the kitchen and told everyone that from that moment  on, she would do the cooking instead. The servant sneaked off without telling anyone and without collecting any pay. So we thought someone had planted him there. We didn’t know who it was. I was bed-ridden for three months and was so weak.

I will never forget Majrooh Sahib’s kindness to me during those difficult times. He came at six in the evening and sat by me every day for three long months. He ate whatever I ate and recited poetry and read me stories. We talked and laughed together. I thoroughly enjoyed this company.

When I was feeling well enough to sing, the first song I recorded was Hemant Kumar’s ‘Kahin deep jale kahin dil.’”

5. Kahan ho tum saheliyoun (Noor Jehan)

Although technically not a ghost song.. but the singing, the delusions/hallucinations the lonely and sick heroine is going through by being imprisoned in the haunted mansion is enough the create the disturbed and chilling atmosphere required for ghost songs.

Again Khurshid Anwar collaborates with Noor Jehan and chrous to create this spooky song for mystery/suspense/thriller Hamraaz (1967). The cobwebs, the burning candles, the delusions that her friends are dancing and singing with her, the deep sickly breaths and most of all the haunted humming done by the chorus immerses us into chilling audio-visual experience.

Note:- For a change I didn’t include Lata’s omnipresent “Aayega aanewala”. Although it is one of my favorite songs, I don’t think that song needs any introduction – Ummer Siddique

A scene from Kohraa (1964)

Mehdi Hasan at an art exhibition – Photo courtesy of Asif Noorani

It was not until Mehdi Hasan: The Man and his Music, the book that I conceived, compiled, edited, partly wrote and almost entirely rewrote, hit the bookstores that I realised the great singer’s popularity hasn’t receded over the years. Though the stroke that paralysed him ten years ago has left him at best wheelchair bound and at worst bedridden, and he has neither performed nor recorded for a decade, he remains a yardstick by which all other ghazal singers are judged. The slim volume, laced with photographs, most of them unpublished, and accompanied with two priceless CDs, has been a bestseller and very soon work may well begin on the second edition.

Mehdi Hasan: The Man and his Music happened when I realised that there was no book on one of the greatest icons of the subcontinent in our times. Some of his admirers in India often sent requests for anything on ‘Mehdi sahib’ which they could read and give a pride of place on their bookshelves.

When I decided to take a plunge, the one major problem was, and still is, that the icon cannot communicate. His answers, if any, are in one or two words. His family members are scattered and difficult to contact, except for a son in Karachi who is generally inaccessible. “But”, as I wrote in the foreword of the book, “I discovered to my surprise and, of course, pleasure that people like composer Robin Ghosh in Dhaka, Raza Ali Abidi in London, Rakhshanda Jalil in Delhi and Raza Rumi in Lahore agreed wholeheartedly to contribute to the book at short notice. Then there were singers like Runa Laila, Jagjit Singh, Abida Parveen, Nayyara Noor and Tina Sani, who spoke enthusiastically about their association with the vocalist from whom they have drawn inspiration.”

EMI Pakistan, which had been forced into hibernation by pirates and are back in action, were invited to become a partner in the project, which they did so happily. They have a great collection in their archives, which they are indexing. I recalled that in 1976, a two-evening concert, featuring the ustad, was held in Lahore. The recordings later released on audio cassettes are in my personal library. The stereophonic recording was superb. I selected six best ghazals, which appear on CD 1, without being abridged or pruned.

The second CD features in addition to his exquisite film songs, a duet with Nazakat and Salamat. Mehdi Hasan is a match to the well known exponents of classical music and scores over them and sounds sweeter. Another surprise number is his superb rendition of a Bulleh Shah kafi. Then there are splendid recitations of a thumri, a Rajasthani folk song and Heer. The tracks on both the CDs are digitised. Before I forget let me add that the second CD begins with a tribute paid by the well known Indian singer Jagjit Singh to the uncrowned king of ghazal gayeki.

Back to the book, its contents in the context of text and photographs offer a wide variety. If there are serious articles on the contributions of the singer to ghazal gayeki and film music, there are brief tributes paid to him by the likes of Dilip Kumar, Noor Jehan, Naushad and Lata. There are also interesting anecdotes like the one when he reassembled his harmonium, which was dropped by someone while being carried to a concert, in a matter of few minutes. “Don’t be surprised. I was an auto mechanic once and had assembled a number of tractor engines. Assembling a harmonium is child’s play to me,” he told his relieved audience.

No less interesting is the short piece by Shaukat Sheikh who recalled how “Gulon mein rang bhare” was originally recorded by HMV to issue as a record but on director Khaleel Qaiser’s insistence the ghazal was included in his movie Farangi. That became Mehdi Hasan’s signature tune. Once when some one requested Faiz to recite the ghazal at a mushaira he quipped “Woh ghazal to ab Mehdi Hasan ki hogai hai. Aap unse sunye.”

I have listed 30 of his finest ghazals and 30 best film songs, as also some ragas on which he has based his popular ghazals. A list of awards, won by the singer, has been included in the book too.

Among the rare photographs published between the covers is the one where he is seen with his first wife. He looks happy but the glint in his eyes when he is seen with other females is naturally not there. He also appears in the company of other celebrities.

With two legitimate and well recorded CDs, the book is quite affordable. It has been priced Rs. 695. An imported book of this nature would have been no less than Rs. 1,500.

Liberty Books, the publishers of the book, are trying to make it available outside Pakistan. Let’s hope that becomes possible soon – Asif Noorani – Source – Dawn.com

Golmaal 3 (2010)

Golmaal, Golmaal Returns and now Golmaal 3 – I wonder what is up with Bollywood’s obsession with sequels? But I am not complaining as long as it’s something worth watching and listening to. And considering how Shree Ashtavinayak Cinevision has a repute of bringing out movies to remember, one can keep high hopes from Golmaal 3.

Bollywood’s first trilogy Golmaal 3 stars Ajay Devgan, Tusshaar Kapoor, Arshad Warsi and Kareena Kapoor. Its plot revolves around the lives of two bunches of siblings within a family and their hatred towards each other. The surprising thing is that even though this family lives together, eats together and prays together, they still can’t stand each other.  All we have been told yet is that this quirky family promises to deliver us some hilarious moments, ageless romance and a few heartwarming scenes. They say it is going to be a journey of excitement, madness and love. Oh and since it is Golmaal 3 they claim to have thrice the fun, thrice the magic, and thrice the laughter. Whether their claims turn out true or not, only time will tell but for now we have the music of Golmaal 3, which released recently.

K.K, Anouska Manchanda and Monali Thakur come together to do the music of Golmaal 3. The album opens with (as expected) ‘Golmaal’ and you get to hear ‘Golmaal Golmaal’ all over again. The feeling of déjà vu persists throughout the song and if you don’t really concentrate you might not feel you are listening to something new. The song sure is easy on the lips but what’s the point of making another version of the same Golmaal which has been heard way too many times already when you don’t add freshness to it?

The next track in the album, ‘Apna Har Din’ talks about how you should live each day like it’s your last and enjoy to the max. This track basically sums up the entire story of Anjaana Anjaani in five minutes. It also talks about how the world is selfish and you shouldn’t care about it and only live for your loved ones. Though the concept is nice, Pritam’s music is a major disappointment in this song and even Shaan and Anushka couldn’t save the song.

‘Ale’ sounds better than the earlier tracks in the album but still isn’t what you would call fantastic. Sung by Neeraj and Antara, ‘Ale’ seems like an attempt at a club song but it fails to give off that foot tapping, clubby vibe. It might still appeal to younger people since it’s made for them and highlights how a bunch of friends and have made their own path and live life according to their own terms but I doubt it will find a place in anyone’s favourite playlist this season.

Pritam has added two remakes in this album – ‘Yaad Aa Raha Hain’ and ‘Disco Dancer’. The lyrics of these are exactly the same as the original numbers except the beats have been experimented with to give that Pritam touch to them. While Bappi Lahiri sings ‘Disco Dancer’, it is Sudesh Bhosle who comes behind the mic for ‘Yaad Aa Raha Hain’. ‘Yaad Aa Raha Hain’ might not amuse you but Bappi Lahiri has proved that even at this age, he sure can sing!

The last track in the album, ‘Desi Kali’ is a (much needed) dance track and a pleasant or the only surprise in the Golmaal 3 album. It is high on rhythm, full of beats and easy on the lips, which is why this is one of those songs that you just ‘get’ upon hearing it once. Neeraj and Sunidhi Chauhan have done a great job with the vocals. Sunidhi’s vocals stand out as soon as the song starts and help make it more listenable.  This song has the potential to become popular among the masses and you might see some creative people dancing to the tunes of ‘Desi Kali’ in the upcoming shaadi season. It wouldn’t be wrong to say that ‘Desi Kali’ saves Golmaal 3′s album from being a complete failure.

The album also includes a remix version of ‘Desi Kali’, ‘Apna Har Din’ and ‘Golmaal’ but there’s nothing special about the remixes. The only difference is the increase in the tempos of the songs. The originals are better (if they could be called that) than the remixes any day.

To be honest, the music of Golmaal had a lot of promise, which it failed to meet. Now let’s wait and see if the movie itself meets the expectations of viewers or not – Hafsah Sarfraz

Love Aaj Kal (2009)

‘I Will Survive’ – Gloria Gaynor

Here’s perhaps the best break up song of all time; anyone who has been dumped and then had their lover return to them after months are bound to connect with this classic break-up song! It’s one of the most popular songs and almost everyone has heard it and found it to be extremely precise and on the dot. “I should have changed that stupid lock/ I should have made you leave your key/If I had known for just one second/you’d be back to bother me” are only some of the extremely hilarious lyrics from this brilliantly crafted song. Not only will this song make the listener laugh, but it will also pump them enough to act out the lyrics, by acting tough and telling the loser to get the hell out: “Go on now go/walk out the door/ just turn around now/ ‘cause you’re not welcome anymore” Why this song stands out: Because it’s not simply a song humiliating the ex-lover, but it’s a song teaching the victim to be strong, and to stand up on their feet.

‘So What’ – Pink

The fact that the song is by Pink should speak volumes about the kind of break-up song this might be. Pink is edgy, rebellious and pretty darn straightforward. Therefore when she sings about her break-up, she makes sure that she is partying it up and having an amazing time now that she’s finally free. “So what, I’m still a rock star/I got my rock moves and I don’t need you/And guess what, I’m havin’ more fun /And now that we’re done I’m gonna show you tonight/I’m alright, I’m just fine and you’re a fool”

However, she does get her 15 seconds of self pity and grief, where she does sing about how she did everything she could have for the dude, but then quickly she resumes back to her ‘so what?’ attitude. Why this song stands out: Because she is trying to get over the grief by having a good time, and even though it still hurts her a bit, she realizes the need to wipe her tears, and quickly move on.

‘Tere Pyaar Mein’ – Kaavish

Here’s a song for those who perhaps like more than 15 seconds of self pity. While it’s an incredible melody, sung beautifully by Jaffer Zaidi, it is also perhaps everyone’s favourite break up song because even though we all like to act tough, the truth is, at that moment, one just wants to feel sorry for themselves. Therefore people are more likely to listen to songs, which are particularly sad, something they can honestly relate to. ‘Tere Pyaar Mein’ is about a man who is clearly devastated at his loss, and can’t believe it’s all over, after all the things he did for the relationship. “Teri yaadein/ woh saari baatein/tu he bata kaisey bula doon/ kise kahoon aye bewaafa /dil kis tarah toota mera” Even though it’s not highly recommended you listen to this song too much if you’re suffering from heartbreak, (it’s bound to bring some tears) But the song itself is very beautiful to listen to and definitely everyone’s favourite guilty pleasure. Why this song stands out: Jaffer Zaidi touches the right chords with his soulful vocals. You would want to listen to it even if you haven’t broken up!

‘Everybody Knows’ – John Legend

Finally! A realistic and sensible song about how to react after you’ve just broken up. John Legend perhaps says something which nobody has ever said: “ And I hope one day you’ll see nobody has it easy/ I still can’t believe you found somebody new/ but I wish you the best, I guess.” Is he actually saying something nice to the person who left him?! That’s why this song is in this list. ‘Everybody Knows’ is about the man being reasonable as he sings about how he should have gotten a second chance, because relationships aren’t easy for anyone, and have to be worked upon. Nobody knows what the secret is to having everything perfect, but sometimes you just have to live with the fact that no relationship is perfect. He eventually ends on a good note, wishing her the best with her future. Why this song stands out: For the first time we hear someone being sensible after breaking up!

‘Chor Bazari’ – Love Aaj Kal

Last but not the least: here’s to breaking up Bollywood ishtyle! This is perhaps the most unusual break up song because the two ex-lovers are singing ad celebrating their freedom and being happy about it. Not only are they celebrating, they are dancing! Where else does that happen other than in Bollywood, where every emotion is communicated by a song with choreographed dance moves? They are laughing about how they don’t have to worry about the other person anymore; they don’t have to do all those couple-y rituals like being insecure and complimenting each other all the time. “Taarif teri karna/Tujhe khone se darna/ Haan bhool gaya ab tujhpe/ Din mein chaar daffa marna.” It’s catchy, it’s upbeat. The content will make you laugh, and the song will make you want to get up and do some Bollywood dance moves. Why this song stands out: It’s a song about people who are actually okay after their break-up because they’ve realized that they are better off not being upset about all these random silly things! – Manal Faheem Khan

Tees Maar Khan (2010)

For all those who loved Main Hoon Na and Om Shanti Om, it is time to rejoice! Farah Khan is back with her world of cinema, which gives a new definition to a huge star cast, extravagant sets and costumes, larger than life fictional characters, extremely filmy stories and upbeat soundtracks. Farah’s latest offering, Tees Maar Khan is a thriller garnished with a Bollywood tadka, releasing on December 24. Considering how Farah never seems to disappoint, the year 2010 couldn’t have a better ending for Bollywood.

Tees Maar Khan is a comic escapade, which stars Katrina Kaif as an aspiring actress and Akshay Kumar as a con man who steals, cons and cheats all with such boldness that even shame shies away from him! He and his gang, which includes Dollar, Soda and Burger have managed to keep the police, world over, on their toes. Then one fine day international antique smugglers, the Johri Brothers, assign Tees Maar Khan the most important con job of his life. The job involves robbing antiques worth Rs 500 crore from a heavily guarded moving train. To find out whether Khan along with his girlfriend, Anya (Katrina Kaif) and their gang succeed to pull off the greatest heist in history we will have to wait till December 24. Till then we have the soundtrack of Tees Maar Khaan, which has been composed by the superb team of Vishal Shekhar.

To begin with the album has five original tracks and an overabundance of remixes. There’s almost a remix for every track, which is slightly disappointing. Vishal Shekhar should be the last ones relying on remixes. The album has some high and low notes. Read on to hit the high notes and avoid the low ones.

The album opens with ‘Tees Maar Khan’, the title track. This is a very interesting number for many reasons. The fact that Sonu Nigam has given 54 different voices to this track is one of the reasons. It is Bollywood’s sardonic and melodic take on James Bond’s signature tune which is mixed with Bollywood tunes from the ‘70’s and ‘80’s and the lyrics revolve around the character sketch of Tees Maar Khan. Squeaky, electronically tuned with loads of comical sounds makes this one artistically hilarious. The end of this track has dhol beats in it. There is a remix version of ‘Tees Maar Khan’ in the album too. The remix is more bubbly and fast-paced. Both the original and remix have foot tapping tunes which makes you want to press the repeat button for sure.

Next up, in the album is the much talked about Katrina’s item number, ‘Sheila Ki Jawani’. They have advertised it to be the item song of the year and the kind that you haven’t heard before. Well, I will have to agree now that I have heard it a couple of times and seen the video too. The tune of this track seems to be a fusion of desi and urban vibes. Sunidhi Chauhan’s racy vocals stand out even with the energetic tunes. All that can be said just yet is that you will forget poor old “Munni” after listening/watching to ‘Sheila Ki Jiwani’. The remix which is more hip hop and highly pulsating with the sounds and the grooves, is just as good as the original but such songs make me wonder what is Bollywood’s obsession with item songs?

Farah Khan’s films are incomplete without classic Indian songs and that’s exactly what the next track in the album is. ‘Wallah Re Wallah’ sung by Shekhar, Shreya Ghosal, Kamal Khan, and Raja Hasan is a pure qawwali track. This is precisely the reason why it might not appeal to the masses but nevertheless the tune is energetic. Despite that ‘Wallah Re Wallah’ does not make a first impression. You might have to listen to it a couple of times before it grows on you. Even though I cannot understand why, this track has a remix too, which was completely unnecessary. The remix doesn’t impress either.

The album regains its strength with ‘Baday Dilwala’ after a disappointing track. This catchy number is a mixture of English and Hindi lyrics that stand out amidst the fast beat. ‘Baday Dilwala’ is sung mainly by Sukhwindar, who I might add, has done a tremendous job with the vocals making it sound nothing less than perfect. Shreya Ghoshal has also contributed her sweet voice to this track and even though she has a limited part, she has shown a unique side of hers. The lyrics are also very interesting mentioning the most unexpected things like gossip and Filmfare. Coming back to the tune, this is the kind of track that makes you want to get up and tap your feet. Needless to say, you will get to see lots of people dancing to ‘Baday Dilwala’ in the next shaadi season. The remix continues with the fast beat adding a few more energetic notes to the original one. Both are superbly done and trademark Farah Khan songs!

‘Happy Ending’, the next track in the album, is another trademark of Farah Khan’s cinema. This track is made for showing end credits and brings together some of the major contestants from various music talent hunt shows including Abhijeet Sawant, Harshat Saxena, Debojit Saha and Prajakta Shukre at the vocals. If I had to pick out the low notes of this album, ‘Happy Ending’ would be one of them. Though it doesn’t put you off from the track but it doesn’t instantly get you addicted either. The tunes in the introduction sound like acknowledging everyone, wishing everybody success in their future endeavors as the curtains fall to show ‘THE END’. And this is probably exactly what this track will be about in the movie.

The album promises cheerfulness in every track but since it has only five original tracks, it leaves the listener wishing for more. Nevertheless, ‘Tees Maar Khan’ – the title track, ‘Sheila Ki Jawani’ and ‘Baday Dilwala’ are the highlights of this album! – Hafsah Sarfraz

Vintage Favourites - Part 1

Vintage Favourites - Part 2

Vintage Favourites - Part 3

Vintage Favourites - Part 4

1. Ashok Kumar

2. Juthika Roy?

3. Saraswati Devi

4. Surendra

5. Pankaj Mullick

6. Ashok Kumar

7. Pankaj Mullick

8. Probably Kanan Devi?

9. Probably Khursheed Begum?

10. Shamshad Begum

11. Noor Jehan

12. K.L. Saigal

13. Suraiya

14. ?

Also help me identify two more unknown singers from black and white era.

Who is she?

Who is she and the guy next to her?

Avraga by Kazak

Who is Kazak, the band? Their debut album was released by Fire Records as part of a two-record deal a few months back, but coming across their album Avraga was still a surprise. During times when publicity either makes or breaks music acts, it is simply surprising to note that Kazak didn’t register on any radars, in Pakistan at least. In Canada, where the band hails from, they seem to have a solid fan following. Well, they have a fan following. 316 people, at the time of print, like their Facebook page.

At first listen, the album goes down easy. It is old-school rock, nothing fancy. But that is a fact that works against the band as well; their music becomes something that you can leave on, on the radio and forget all about. It is music that fades into the background without really making an impact. In fact the only bit of interesting trivia to be had from Avraga is that the band has two songs called ‘Yakeen’ on the album. The rest, as they say is history – but not eye-popping, page-turning history.

There is also a rap track on the album, ‘Damn’ with Mark Spitz. It is slightly more furious than the rest of the songs on the album. ‘Damn’ is the kind of song that might have become really popular in 2003 – back in the day when Limp Bizkit was still popular with the really young kids. However one has to wonder what a track like ‘Damn’ is doing on an album that is so predominantly rock. One might argue that the band is trying to show off their versatility but the song seems a tad out of place in the entire set.

‘Damn’ is still a better choice to place in the selection made available on the album, than the very last track on Avraga, ‘Get On’. The song begins with a sample from the Bollywood oldie ‘Hamein Tumse Pyar Kitna’ and then segues into one of those hip hoppy, pop tracks that Raghav and the Bombay Rockers are so popular for making. ‘Get On’ is kind of like imagining Mizraab suddenly breaking into any of Omer Inayat’s songs. Which is also kind of a stretch of an example, as Kazak does not rock as hard as Mizraab. Did I just say ‘rock as hard’? I guess listening to Kazak’s music and reading their interview/profile simultaneously can do that to a person.

The band’s philosophy can be understood in the words of Fayed, guitarist for Kazak. “When writing a song, we think of Kazak and how the song will reflect back on us, as well as the message we’re trying to send out to our fans, Kazak creates songs filled with the emotions, feelings, and reactions that the South Asian community is too afraid to admit or talk about.” Although exactly what those emotions are, we cannot really comprehend through listening to Avraga – the songs on the album are a hotch potch of angst, love, lust, and the occasional confusing tune thrown in for good measure.

Case in point, ‘TeLIEvision’, the lyrics of which belie the title of the song – “Kaisa hai yeh pyar/ Samjhana/ Tu hai wo saza/ Jis ke hum ghulam.” What the word television, or taken with the band’s emphasis on the ‘lie’ bit in the title, has to do with the song, one cannot fathom. Musically the song is cut and dried rock, although the drums on this track, as well as others sound a bit generic, as if a prototype of the kind of drums to be played on the album were developed and then used generously throughout the tracklist. However, Fayed and the band are made confident that they are reaching out to their target audience, as they “get e-mails from fans who say that a song we’ve written reflects exactly how they feel, and they’re happy to know they are not the only ones who feel or think this way.”

The first track on the album, ‘Yaad – Remember’, is a song about recovering from heartache, only it is a story told in a very rock ‘n’ roll way. The song begins with a bit of poetry being recited and then breaks into drums and guitars, promising a solid rock ride. What lets this song down is the vocals. Fezz’s vocals are just very slightly off-key, but just enough to put the whole song off-kilter.

The next track, ‘Tu- You’ is in the same vein as ‘Yaad’, and sometime in the middle of the song, Fezz breaks into an English bit, which mystifies one as much as the protagonist in the song is mystified by the eyes of the “foxy lady” whom he wants as a lover. To be fair, this is not a bad song, as aren’t any of the songs on Avraga. They are all songs it is clear a lot of hard work went into.

Kazak doesn’t seem to be a band just trying to hastily pull together an album to get their 15 minutes of fame. They have apparently been working the local music scene in Toronto with their “zing of South Asian” music – but it just seems arrangement-wise, they are walking a few steps behind the Pakistani music industry. Take for instance Ali Azmat’s Klashinfolk. A purely rock album, it is far more sophisticated than what Kazak has offered us. What Kazak sounds like is a jacked up version of Awaz circa ’93, or a super-weak sounding version of Junoon from their Talaash days. Which is ironic as minor digging reveals that Aamir Hassan, the executive producer on Avraga has worked with Awaz, as well as Junoon on Inquilaab.

Overall, Avraga is an average sounding album, but it holds promise of better things that the band can do with their skills.

Kazak can be followed on www.kazak.ca, or their fanpage on Facebook – Amina Baig

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar with Rekha, Usha Mangeshkar and others on her Birthday party on 9th October 2010

How do you define the journey?
I feel God has sent me to earth to sing. I started singing when I was five, but I don’t think I’ve worked as hard as many other people.

Why do you say that?
After 1947 when I started playback singing, the work never stopped. Before that it wasn’t easy. I used to travel by train from Grant Road to Malad and then save money by walking instead of taking a tonga to the recording studios. I thereby saved 50 paise to Re 1 which I used to buy vegetables for my family. I was the sole bread-earner after our father passed away.

That must have been really tough on an adolescent girl.
I missed out on my childhood. I had to work hard, but I was immediately given a place in playback. One of the earliest composers to support me was Master Ghulam Haider. When he was told that my voice wouldn’t suit the heroine in a Dilip Kumar saab starrer Shaheed, he gave me songs in Majboor. Then other composers like Anil Biswasji, Khemchand Prakashji and Naushad saab came forward to sign me. From 1947 onwards there was no looking back.

There has never been a rough patch in your 65-year-long career?
I’m blessed. Nowadays I’ve almost stopped singing film songs but I enjoy singing and I continue to do the work I’m comfortable with like the recent Hamuman Chalisa and my forthcoming project with my brother. When I look back I see nothing I’d like to change.

What about your infamous rift with Mohd Rafi?
I’ll tell you what happened. We had a Musicians’ Association in the 1960s . Mukesh bhaiyya, Talaj Mehmood saab had started a campaign for artistes to get royalty so that they would have a comfortable old age. Main to leti thi royalty but I also wanted other artistes to get it. Rafi saab was instigated into opposing my campaign. In a meeting among musicians he said, ‘We get money for what we sing from producers and that’s the end of what we get.’ When he was asked his opinion Rafi saab turned to Mukesh bhaiyya and said, ‘I guess this Maharani here will say whatever has to be said.’

He meant you?
Yes. I said, ‘Of course I am a Maharani. But why are you calling me that?’ He said in front of everyone at the meeting that he won’t sing with me. I turned around and said, ‘Yeh kasht aap kyon kar rahe hain? Main hi nahin gaaongi aapke saath.’ I stormed out of the meeting and called up every music director to inform them that I would thereafter not sing with Rafi saab. We didn’t sing together for almost three years.

What about the alleged differences between you and your sister Asha Bhosle?
We’re sisters. The fights were because of her husband who was against me.

Composers gave all the heroines’ songs to you and all the supporting actresses’ songs to Ashaji …
Not always. What about so many films where only Asha sang all the songs? In fact OP Nayyarji worked only with her. Even some of Burman dada’s scores had only Asha’s vocals.

That’s because you and SD Burman had a fight.
I didn’t sing for him for sometime. Someone had caused mischief. Burman dada said, “I won’t have Lata sing my songs.’ I said, ‘I won’t sing for you.’ Asha sang all the songs for Burman dada during that period, even for Waheeda Rehman who insisted on me singing for her. Then one day out of the blue, Burman dada phoned me and said he wanted me to sing Mora gora rang lai le and Jogi jab se aaya tu aaya mere dware in Bandini. It was his son RD who brought us together. I remember Burman dada specifically told me that Mora gora rang was written by a promising new poet, Gulzar.

Who was your favourite composer?
I liked singing for Salilda (Salil Chowdhury) because his compositions were very challenging. I also loved singing for Sajjad Husain saab, then definitely SD Burman dada and RD. But in my opinion the biggest achievement was by Shankar-Jaikishan. With Raj Kapoor’s Barsaat they changed the way we looked at playback singing.

At one time you were accused of indulging in a melodious monopoly?
Once I was even asked if I tampered with the equipment during other singers’ recordings. Bataiye main kyon aisa karun? I never bothered with what other singers were doing. When Runa Laila came to India for the first time, I went to her first recording and everybody said I was just indulging in dikhawa, that in fact I had gone to see how she sang. Runa Laila met me with lots of affection. Later she too was poisoned against me. Even some male singers accused me of trying to stop them from singing.

Which heroines did you enjoy singing for?
Nargis, Meena Kumari, Madhubala, Nutan. I’d modulate my voice according to their personality.

Among today’s actresses for whom do you enjoy singing for?
I like Rani Mukerji and Kajol but I miss the camaraderie that I shared with the earlier heroines. I really miss Kishore Kumar, also Rafi saab, Mukesh bhaiyya, Shankar-Jaikishan and Madan bhaiyya who fought with me when I couldn’t be with him for raksha bandhan. That sense of apnapan is gone.

Any unfulfilled dreams?
I wish I had given more time to learning classical singing. Lekin jo hua woh bahut hi achcha hua. What I want is that future generations of Mangeshkars keep my father’s legacy alive. My niece Radha and nephew Baijanth are singing well. I wish they make a name for themselves.

Do you miss having your own children
Not at all. My siblings’ children are mine.

(This interview was conducted in 2009)

Nashad listens intently as the golden-voiced Lata Mangeshkar sings one of his compositions

Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a   re-hash of familiar tunes.”

This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if am a plagiarist, I am one unconsciously.

With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.

Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday.

I believe in popular music, music which people will like, humming and singing it in their homes—in moments of joy or sorrow. I try my-best to keep my compositions free from complicated “alaps,” “tans” and those notational cascades which the man-in-the­-street (who has no musical training) cannot easily remember and hum.

Film music, to be good and popular, must always be the result of team-work. The ego of the music-director as well as that of the lyric-writer needs to be suppressed completely, even to the extent of accepting suggestions from everyone in the unit.

In the music of one of my forthcoming films, the appeal of the songs owes much to suggestions made by the producer and mem­bers of his staff. One of the tunes owes its origin to an air I heard the office-boy humming!

The producer was no professional musi­cian, but I discarded two of my best tunes to fit in a completely different third one based on his suggestions.

I am glad that I do not live in an ivory tower and am not deaf to the music of ordinary people, I say to myself : “If this is the kind of music they love, it is absurd to give them a high-brow composition. Both in rhythm and structure,  I stick rigorously to what is popular, even at the sacrifice of my own preferences.

Such film music can be planned scienti­fically and with precision. My first job usually is to sit with the director and determine the musical “situations”. Once these are agreed upon, I start composing the melodies, in harmony with the “mood” of those situa­tions. Then the lyricist writes the words of the approved tune.

After the song has been recorded, our work is ended and it now depends on the director to make or mar it in his picturisa­tion of it. This, indeed, is a hurdle all film music must take.

Everyone has listened to film songs which sound good on the radio, yet have been “murdered” by poor picturisation. Every­one, too, has heard songs which on the air have sounded mediocre and of no particular merit, yet have been things of beauty in the film—thanks to clever directorial work. A really good song, given to a good director to picturise, seldom fails to go over in a big way with the public.

It is thus necessary for a music director to be careful in signing his contracts. It is important to him to make sure that the film for which he is employed to provide music will be directed by a competent man, so that not only are his songs not “murdered” in transcription to the screen but any possible shortcomings in them are glossed over by good picturisation.

Consequently I have always studied the directors of the films for which I am to provide music. One knows that one’s songs are safe with them and gain in appeal from attractive picturisation..

To these men, too, my tunes often sound “vaguely familiar”! But, then, what tune doesn’t ?

With only seven notes, six ragas, thirty-six raginis—but we’ve just gone over that! – Naushad (August, 1955)

Atif Aslam

Atif Aslam is on cloud nine these days. Reason: his project Peace through Music in collaboration with the members of Guns ‘n’ Roses and songwriter-guitarist Lanny Cordola, members of bands like Giuffria, House of Lords and Magdallan (also known as Magdalen after Ken Tamplin’s departure) is on full song.

Atif has already penetrated the Hollywood and Bollywood markets, but with this project the pop icon bags further glory. Images on Sunday recently caught up with him for a chat regarding the project, his future plans and new Bollywood ventures, along with his thoughts on the recent floods in Pakistan.

Q. How has the response been to the project?

A. Amazing. A lot of musicians are really excited about jumping onto the project. Artistes who want to play at different places with different people will have a lot to explore through it.

We started off with a team of three and after the jam session, we are five at the moment. We have many artistes who we expect to join in with the likes of Saeen Zahoor, Abida Parveen, etc., from Pakistan and Matt Sorum, Gilby Clarke, etc., from the West. However, nothing is finalised yet.

Q. Some basic details of the project?

A. It’s about how the Americans should see the brighter side of Pakistan which they haven’t as yet. This is why it’s called Peace through Music. The point of teaming up with American musicians was that there was no better way than that of music to let people from both the sides know what either of them thinks about the other. It’s not just going to be single song; it will be a documentary, a DVD that’ll include the backstage footage of the performances, studio shoots, etc. We will come up with new seasons every year.

I have recorded a couple of songs. One is in Punjabi and another one is called Pakistan. Then there is a beautiful melody, Dreamer Awakes, by Lanny Cordola that I will sing with different famous musicians and artistes.

The songs that I have recently composed are the English track Adam’s Coming out of Heaven and the Punjabi Ek Mein Ek Tu.

Q. How many tracks do you plan to compose?

A. You never know, we might come up with 15 songs, 10 on the CD and the rest on DVD.

Q. When will the project be completed?

A. We haven’t decided a specific date because we don’t want to limit our creativity due to time constraints. When one gets time duration, one becomes very restricted and hence creativity suffers. However, we probably plan to launch it by the end of next year.

Q. Will it be launched season-wise?

A. Yes, but that depends on the response of the first season.

Q. Are you planning to shoot any videos?

A. We haven’t shot a video for this project however we recently shot one for The Sonic Peacemakers Project in Swat for a song called We Will Rise Again composed by Todd Shea in English and myself in Urdu. Urdu lyrics were penned by Shahzad Aslam. It was a great experience.

For this project, there will obviously be many videos but at this time, we are looking for resources because the scope of the project is very big.

Q. Which international artistes are you planning to take onboard?

A. There are many. We have spoken to Chris Martin (Cold Play), Bono (U2) and solo act, John Mayer.

Q. Which local artistes have expressed interest in the project?

A. There are many. To name a few, Strings, Noorie, Saeen Zahoor, etc.

Q. Is this project in competition with Coke Studio?

A. Well, you never know. It might become a part of it. It’s just that we are not going to be egotistic about it. We just want the musicians to come together, be it under any banner; it’s about cultural exchange.

Q. What’s next on your agenda?

A. I will be going to the US to meet up with different inspirational people like humanitarian and writer Greg Mortenson, who wrote the book Three Cups of Tea: One Man’s Mission to Fight Terrorism and Build Nations … One School at a Time, which was about building schools in Gilgit; and author Beo Zafar who wrote the book, The Dreamer Awakes. One of our songs has the same title as that of her book.

Apart from that, Lanny Cordola is going to come to Pakistan and we will be recording a couple of new songs. The idea is to bring the cultural tone with string instruments such the violin, etc. We are constantly exchanging compositions and verses.

Q. You donated your collaborated song with Strings, Ab Khud Kuch Karna Parega, to Azm-i-Alishan. How is the feeling?

A. I thought it would be better if we donated the track to some youth forum because our youth is very distracted right now. I want to create an awareness that we have to do something on our own. We don’t need resources for cleaning up our homes, roads, putting smiles on our faces, etc.

Q. How have you been involved in flood-relief activities?

A. I visited Swat and Charsadda with Todd and Lanny. I am involved with different NGOs and we are sending trucks of food and other items of need to the affectees.

Q. What are your future plans?

A. I will be touring Australia soon.

Q. Any Bollywood projects coming up?

A. A few acting offers are there. I didn’t like one of the scripts. Nothing is final though.