The Magic of Indian Ragas - Favourite Hindi Songs !

Music gives character and energy to the film. There are people who watch movies only for its songs even though the film script, its casts and director would be not be of their liking. The songs in the movie resonate various moods, stir emotions, and most importantly play a pivotal role in the narrative. It’s not just the song but even the background score that adds to the narrative. Although few directors have experimented and have been fairly successful to showcase movies without songs, but watching a Bollywood movie without good songs is akin to eating food without salt!

Often film songs get popular even before the film is released. There was a time when people would walk humming these songs in theatres and as soon as the song was being played on the screen, people would whistle and sing loudly. But these days you hardly get to see such acts and unfortunately even the film songs albeit released early are seldom alluring and interesting.

But have you ever wondered why the songs composed before 90’s still appeal to us?

Well most of these songs had amazing lyrics, and were sung by legends. Even the lip sync by great actors on the screen appeared surrealistic. These songs were composed by legendary music directors and many of them were based on Indian Ragas. Although there are cases of few music directors plagiarising music from other cultures, but most of their songs were original and continue to remain etched in our memory forever.

While there are many raga based songs sung by the inimitable Talat Mahmood, Manna Dey, Mohammed Rafi, Kishore Kumar, Mukesh, Suresh Wadkar and other male singers, I have endeavoured to list below some of my favourite songs sung by female singers along with their ragas. These ragas have been borrowed from various blogs. Most of these songs convey various emotions of love, happiness, tranquility, sorrow, lust, longing, devotion, separation, dream etc. These songs transcend not just gender but even generations. Indeed a good song is infectious regardless of language, age, religion, gender, caste and creed.

Before I enumerate the list, let me confess that I know very little about ragas and of course I haven’t even received any formal training in Hindustani classical music. My mother and wife are trained classical singers and whatever little information not knowledge I have gained is through my discussions with them. When I was in primary school, my mother did attempt to teach me harmonium and even introduced me to a Guru who tried his best to teach me classical singing however as a child I preferred the cricket bat and soccer rather than playing with the Tanpura and Tabla. Over the period of time and thanks to Radio and films, I managed to develop a profound liking and appreciation for music including Hindustani classical.

Perhaps one of the reasons why the old songs are still popular is because they tend to liven your mood and this is only possible if the songs are based on Ragas. Whilst the songs are made on many ragas, the most common ragas used in Hindi films are the following:
Pahadi, Khamaj , Pilu, Kirwani, Bhairavi, Yaman , Shivaranjani, , Kedar, Lalit, Jhinjhinoti, Charukeshi, Darbari Kannada, 7. Malkauns, Bihag, Bageshree, Des & Darbari Kanada

Typically Classical music comprises of ‘Sur’, ‘Taal’ and ‘Laya’, based on appropriate 'Raag'. In its simplest form, the Tabla renders ‘Taal’, harmonium/ other instruments - ‘Laya’, while the singer resonates ‘Sur’- meticulously and melodiously bringing the language or expressions to life.

Indian classical music is based on 'Raga' which is a rhythmic expression of a mood. Raga is not a scale or a tune or a mode. It is more like a framework that binds all these things together. Each raga has a name and generally has an associated time of day when it is best performed, depending on the mood it projects. Ragas ‘induce an emotion’ in the song and can be recognised through patterns.

Identifying or appreciating a raga does not require any formal training. The best way to identify a raag is to listen to a song and ask someone to identify its Raga. Learn this raga, by listening to the song and try humming along with it. Then turn off the song, and try humming along the same tune, but with variations. After some practice, you must start searching for songs that may appear similar or have similar pattern to the song whose Raga you have just learnt. The other method is to listen to the instrumental music.

Pakaad or bandish are the most dominating notes of a given raga. Each raga has its own bandish. If two songs sound similar then they would have same bandish and thus belong to the same raga. It is also said that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer. This is because as you go farther from the source of vocal sound, you do not listen to any words from the song, but you only hear the dominating notes or bandish of the song. Once you hear the bandish, you can easily recognize the raga of the song.

Every Raga is derived from some Thaat or Scale. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. All the thaats mentioned above are also ragas; and yet a thaat is a very different musical entity from a raga.

Khamaj - Raga Khamaj belongs to Khamaj Thaat and rendered in the late evening.
Bhairav - Raga Bhairav is an early morning Raga and belongs to Bhairav Thaat.
Todi - Raga Todi is a morning Raga and belongs to Todi Thaat.
Bilawal - Raga Bilawal is also a morning Raga and derived from Bilawal Thaat.
Asavari - Raga Asavari is a late morning Raga and belongs to Asavari Thaat.
Poorvi - Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends.
Marwa - Raga Marwa is a dusk/ early evening Raga and derived from Marwa Thaat.
Kalyan - Raga Kalyan is an evening Raga and belongs to Kalyan Thaat.
Kafi - Raga Kafi belongs to Kafi Thaat and usually rendered in the late evening.
Bhairavi - Raag Bhairavi belongs to Bhairavi Thaat and is a morning raga.

Exponents of Indian classical music say that an entire life span is too short to learn about Indian classical music. Perhaps that is the beauty of this music. Nonetheless lets not stop ourselves from delving into it and the best way to immerse and appreciate is by listening to film songs based on ragas. Here’s my favourite list of raga based film songs:

1. Piya Banwari - Raaga Bihagda - sung by one of my all time favourite singer Asha Bhosle, Gulzhar’s lyrics, Panchamda’s melliflous music and filmed on the irrestible Diva and Queen of Bollywood- Rekha.
2. Jaise Radha Ne Mala Japi – Raag Bhairavi - Lata’s honeyed voice and Mumtaz looks incredibly beautiful and sensous.
3. Ajeeb dastan Hai Yeh – Raag Puria dhanshree
4. Zulmi Sangh aakh ladi – Raag Pahadi need to be verified
5. Aaj kaal Paaon Zameen Par Nahi Padte Mere – Raag Lalit
6. Rim Jhim Gire Sawan – Raag Pilu
7. Silli Hawa Choo Gayi – Raag Puria Dhanshree
8. Raina Biti Jaye, Shyam Na Aye - Raag Lalit
9. O Sajna, Barakha Bahara Ayi – Raag Khammaj
10. Naa, Jiyaa Laage Naa Tere Bina Mera Kahin - Raag Malgunji – sung by Lata didi in Hindi and Bengali. Salil Choudhary’s masterful composition in both the language.

11. Jaa Re, Jaa Re Ud Jaa Re Panchhi- Raag Bhairavi – Lata Mangeshkar soulful singing. Another Salil Choudhary masterpiece. Also check out original composition sung by Lata in Bengali
12. Tujhse Naaraj Nahi Zindagi Hairan hu main – Lata – Raag Pilu…Although the male version of Anup Ghosal is more soothing.
13. Aja Re, Paradesi - Raag Bageshri
14. Bainya Na Dharo- Raag Charukesi
15. Tu jahan jahan chalega, mera saya saath hoga - Raga Nand (or Anandi)
16. Is Mod Se Jate Hai - Raag Kalyan
17. Jane Kya Baat Hai – Lata – Raag Bhairav
18. Aur Kya Ehde Wafa Hote Hain – no idea about the Raga
19. Roz Roz Daali Daali Kya Likh Jaye.... Raag Kalyan.
20. Prabhu tero nam jo gae phal - Hum Dono Raga: Dhani
21. Tere Bina Jiya Jaaye na- Ghar – Raag Kalyani – Duet but Kishore only sings one stanza
22. Mose chal kiye jaye hai re hai hai dekho saiyan beiman – Raga: Jhinjhoti
23. Chura liya hai tum ne jo dil ko, nazar nahin churana sanam........Raag Pilu
24. Ye Dil Aur Unki – Raag Pahadi
25. Bada Natkhat Hai Re Krishna Kahaiya – Raag Khammaj
26. Jhoothay naina bolay - Raga: Bilaskhani Todi
27. Mora Gora Ang Lai ley – Raga – you should tell me ?


Each song mentioned above is incredibly beautiful. Whilst everyone will have their own favourites, there is a possibility that some of these songs will be part of your favourites as well. There will be many good songs which I may have inadvertently missed but please do let me know so as to add in the list. While it has been little challenging to list down which is the best song amongst all, however based on the some combination like the quality of rendition, the degree of semi classical / classical music, lyrics, singer, the ragas and variations used including the actors on whom the song is screened, I have been able to identify my preference. The main purpose of listing these songs is merely to listen to them again and again ...so as to enhance my knowledge on ragas.

Like movies and books, music is one of those enriching, expensive trans-generational tools that anybody can appreciate. So next time you hear a song, try and hum it and search for a similar song so as to identify its raga.


.

Some Chayageet – Soulful Music of a Bygone Era !...

Whether it is the newspapers, TV news, reality shows, FM radio, and even the advertisement hoardings, almost anything you watch or hear it is replete with news about bollywood, celebrities, their latest flicks and the latest hit songs. But during the days of good old single channel and the great Doordarshan, apart from Sunday movies, Chayageet was the only programme that provided glimpses of Hindi silver screen on our old Black and White idiot box…it really brought soulful music into our living rooms.

There are so many beautiful old songs and it is difficult to select the best out of them. However here's some treasure for you...some of my favourites...

These songs are epitome of evocative emotions, good lyrics, soulful music, brilliant cinematography, amazing direction and simplicity and are indeed a treat for someone who wants to learn about film making, and romance !..

Zulmi Sang Aank Ladi – Film Madhumati - Vjyantimala’s elemental beauty haunts you and she dances her heart out.. Supported by wonderful coordination from village belles…. And handsome Dilip Kumar at his best... http://www.youtube.com/watch?v=xugaLJCRR5w

Mora Gora Aang Lai Ley – Film Bandini – The Maestro Bimal Roy’s classic international award winning film. Salil Choudhury’s music and Gulzar’s first song… What simple and yet amazing poetry…. The cinematography and direction is incredible….beautiful Nutan and her expressions are simply seen to be believed. An actress who conveyed much more with her beautiful eyes….just a look or fleeting glance. No wonder Lata Mangeshkar singles her out as the heroine whose expressions came closest to suggest she was genuinely singing the song herself!
http://www.youtube.com/watch?v=8v5VCev5Sgs

Uden Jab Jab Zhulphe Ter- Film Naya Daur - A splendid movie …not to be missed …this feet tapping song by Mohammed Rafi and Asha….lyrics by Sahir … is immortal …Dilip Kumar and Vjyantimala dance their heart out… http://www.youtube.com/watch?v=xSoYs6BvXQ8

Accha ji mein hari – Film Kala Pani - Both the song and ethereal beauty Madhubala are irrestible and enchanting. Asha has performed incredulously and Madhubala’s acting brings out different emotions … http://www.youtube.com/watch?v=XOypYdeJBIE

Dil Tadap Tadap ke kehen raha – Film Madhumati- Vjyantimala personifies dancing and Dilip kumar at his best …magic of Mukesh, Lata and legendary Salilda…http://www.youtube.com/watch?v=te0ZdZ1ndyw

Chod do aanchal – Film Paying Guest – A sweet romantic duet by Kishore and Asha… Ever green Dev Anand flirting with ravishing Nutan.. look at her large ear rings…appears as sliced lemon dangling and later another new set of rings are seen… http://www.youtube.com/watch?v=qOTs0EqVgj8

Ajeeb Dastan hein Yeh – Film – Dil Apna Aur Preet Parayi…Shankar Jaikishan’s haunting music…Shailendra’s lyrics and Lata’s honeyed voice coupled with Eternal beauty – Meena Kumari…her expressions and the song keeps playing on your mind for a very long time…Nadira looks beautiful and Raj Kumar attire reminds us of our uncles from old family albums .. http://www.youtube.com/watch?v=eJLdL5_QkVo

O Sajna Barkha Bahar Aayi-Film Parakh- the magic of Shailendra, Lata and Salil Choudhury…makes this extremely difficult composition melodious…the sound of sitar is simply majestic http://www.youtube.com/watch?v=m2wjW36dPVk

Ja re Ud Ja Re Panchi – Film Maya – Lyrics by Majrooh Sultan Puri and again the combination of Lata and Salil Choudhary….Mala Sinha another eye candy in Hindi films… http://www.youtube.com/watch?v=ytyoj0CU0Nc

Ae Dil Kahan Teri Manzil – Film Maya – the lyrics actually present a philosophy and brings out the human sufferings ….http://www.youtube.com/watch?v=k4iWTECF1bE

Tera Mera Pyaar Amar – Film – Asli Nakli –Directed by the talented and great Hrishkesh Mukherjee…Lata and Shankar Jaikishan combination…..Look how gorgeous Sadhana looks..reminds me of my mother who braided gajjra( flowers) in her hair and the picturisation is simple and yet touching… http://www.youtube.com/watch?v=NAh_0Mv09tA

Dil ka Bhawar kare pukar – Film - Tere Ghar Ke Samne - Remember Kate Winslet in Titanic ..standing on ship board with her hands wide against the breeze….see a similar shot in this song ….Nutan and Dev Anand bring a new dimension into romance…Nutan’s simplicity, her sharp prominent nose and height enhanced her looks … BTW, when was the last time you saw a big girl joyfully hopping and descending the stairs …perhaps in college…and look how she blushes and covers her face when our hero proposes http://www.youtube.com/watch?v=0WZBBqGAkUM

Hum Hai Rahi Pyaar Ke – Film Nau Do Gyrah – S.D. Burman at his best. The whistling sets it apart from other songs. An immortal rendition by Kishore Kumar. Debonair Devanand drives down Fatepur Sikhri, Taj Mahal, on the streets of Delhi and in the hinterlands of Central India to reach Mumbai …. http://www.youtube.com/watch?v=YvWPx63CYAQ

Aankhon mein kya ji – Film - Nau Do Gyrah – the beautiful Kalpana Kartik and Handsome Dev Anand bring on screen the magic of versatile Asha and rocking Kishore Kumar http://www.youtube.com/watch?v=uX3yLYhi0gY

Yaad Kiya ne dil ne kahaan ho tum – Film Patita …Lata and Hemant Kumar and Shankar Jaikishan music and lyrics Hasrat Jaipuri .. http://www.youtube.com/watch?v=DVPxPcxvB18

Tum Mujhe Bhool Bhi Jao – Film Didi – deep, meaningful lyrics by Sahir….A masterpiece by legendary Sudha Malhotra and artistic Mukesh…http://www.youtube.com/watch?v=lU30FxQy2gU

Tum Apna Ranjo Gum – Film Shagoon – enjoy the lyrics and the piano….Khaiyam’s music and supposedly sung by Jagjit Kaur ..http://www.youtube.com/watch?v=CkLWWWuJa6s

And finally let me end this Chayageet by urging you to enjoy this masterpiece…

Abhi na jao chod kar - Dark eye brows, prominent cheek bone ..typical Sindhi beauty…Sadhana..And her famous Sadhan Cut…. http://www.youtube.com/watch?v=Rnh8GgsOpm4

BlueGrass, Alison Krauss, Robert Plant - Sublime and Invigorating Music !....

Isn't it strange...the music stores in Mumbai do not stock DVD of this amazing talented musician - despite winning 28 Grammy’s - more than any other singer?

Surprisingly the store attendants haven’t even heard about this singer! ...Wonder, where will I get this album ….and when will Gen- Y realise -there is music beyond bollywood, hip-hop and rap? About time, they train the ignoramus attendants in these outlets….

And so here I am, again glued on youtube listening to this glorious Bluegrass Country musician. Check this - One of the finest string performances - http://www.youtube.com/watch?v=GYhlXdxbAXc – Choctaw..

Bluegrass Country music is a blend of American, Irish and Scottish music…based around acoustic stringed instruments viz; mandolin, acoustic guitar, banjo, fiddle….

Perhaps some of you know who this talented musician is …yes the immaculately dressed lady is a legend. Alison Krauss, born in 1971, blessed with silken, saccharine, dreamy, high pitched voice that delicately trebles and caresses your soul. And her band the UnionStation, conservatively attired creates spectacular magic that haunts, reverberates and captures your heart. Check out the song that got me hooked http://www.youtube.com/watch?v=TvDaoWrYWxg – goodbye…

The album I am searching – Raising Sand. A spellbinding album that brings two icons – Robert Plant and Alison Krauss - out of their comfort zone, letting them trusts their instincts and create some enchanting music … Legendary Robert Plant -with his sonorous, soothing, slithering, and sublime vocals redefined and created the reverential, erstwhile rock group- ‘Led Zeppelin.’

Check out http://www.robertplantalisonkrauss.com/site.php?content=raising_sand and enjoy all the numbers – albeit you can start with ‘Rich woman’,‘Gone, Gone, Gone’ and later ‘Please read the letter’…Raising Sand resurrects delightful melody ....and these two brilliant singers complement each other wonderfully well. Producer Burnett backs the singers with an amazing orchestra, superb guitar of Marc Ribot and the brilliant percussion of drummer Jay Bellerose.

I must thank my wife for introducing me to this singer. I am sure Alison will leave a profound effect with her talent andmusic. Check out http://www.youtube.com/watch?v=32_BE6Pf6x0 – stay ..and do enjoy this number http://www.youtube.com/watch?v=QjsjZWlRVvo

Enjoy..

Mir and some Ghazal Mausiki...

“Hazaaron Khwaaishen aisii, ki har Khwaaish pe dam nikale
bahut nikale mere armaan, lekin, phir bhii kam nikale” - Ghalib

I suspect, the advent of private channels, reality shows, hip-hop, have diminished the popularity of Ghazals and Mushaira. And I hope Ghazal gayaki doesn’t become nayaab (rare). Thanks to Mehdi Hasan, Farida Khanum, Ghulam Ali, Jagjit Singh, Rajendra Mehta, Anup Jalota, Talat Aziz, Chandan Das, Hariharan etc, for making Ghazal - abaad (prosper). The singers have rightfully become famous but, ironically the writers haven’t ..Afsos!

Although, I am yet to pick the finer nuances of Urdu, but it hasn’t precluded me from enjoying ghazals. It’s not just the mausiki (rendition) and music but the verses and mood in ghazals that captivates the ardent ghazal lovers.

Typically Classical music comprises of ‘Sur’, ‘Taal’ and ‘Laya’, based on appropriate 'Raag' and this siqafaat (culture) is beautifully followed in Ghazals. In its simplest form, the Tabla renders ‘Taal’, harmonium/ other instruments - ‘Laya’, while the singer resonates ‘Sur’- meticulously and melodiously bringing the rich Farsi / Urdu expressions to life.

For the uninitiated, Ghazal originated in Iran and introduced in India by Moguls (12th century). Amir Khusro Dehlavi pioneered Ghazal in North, but it received patronage from rulers in Deccan. Basically a ghazal is a short poem (not more than 7-8 couplets) in the same meter (Beher – Length of a sher) and comprises of Matla, Radif and the Makta. Matla is the opening verse and Radif – repetition of common words, e.g. second line of all the Sher's must end with the same word/s. Makta often includes (Takhallus) pen-name of the poet and it often describes the poet’s state of mind and /or his belief.

Now we have heard of The legend - Mirza Asadullah Baig Khan, pen name Ghalib / Asad. Have you come across the work of his closest rival - poet Zauq? While they had immense respect for each other, both of them unequivocally admired and acknowledged the supremacy of Mir Taki Mir sometimes spelt as Meer.

Mir, born in Agra much before Ghalib is known as ‘Khuda-e-Sukhan’ (God of verse), the Shen-shah of Ghazal and Urdu Shayari. Mir’s poetry is easy to understand and its simplicity adds to the effect, and leaves the listener spell-bound. Ghalib himself admits about Mir’s prowess.

This is what Ghalib says:
Rekhta ke tum hi ustaad nahin ho "Ghalib", kahte hain agle zamane mein koi Mir bhi tha..
[Rekhta = Urdu] - (You are not the only master of Urdu, Ghalib; they say, there used to be a Mir in the past)

Indeed Mir remains a - Nazir (unequalled / matchless)…Thanks to Samir for sharing this beautiful Mir ghazal -“Dekh To Dil Ki Jaan Se Uthtaa Hai .… Check out - mellifluous, honeyed rendition from King of Ghazal mausiki - Mehdi Hassan http://ashq.wordpress.com/2009/06/06/dekh-to-dil-ki-jaan-se/

Incidentally my wife reminded me, the same ghazal plays in background in Late Kamal Amarohi’s epic ‘Pakeezah’ (pure / clean)…Its sung by talented Naseem Begum a.k.a Naseem Bano Chopra. http://www.youtube.com/watch?v=TbrX3traykU&feature=related

Another Mir’s famous ghazal “Patta patta, boota boota, haal hamaaraa jaane hai” and “Dikhai Diye Yun- film Bazaar.

Now every ghazal lover regales on Ahmed Faraz - Ranjish Hi Sahi….Mehdi Hassan’s immortal rendition. By the way, the rendition by Runal Laila and Talat Aziz is equally brilliant. Other popular compositions by Faraz include: Badan Mein Aag Si Chehra Gulab Jaisa Hai & Phir Chhidi Raat – film Bazzar

Ghulam Ali, Jagjit Singh, and others have popularized Ibn-e- Insha, Kabir, Faiyaz Hashmi and Nida Fazli. Like Mir, these poets also use simple words. I simply love this Faiyaz Hashmi ghazal – Aaj Jane Ki Jid Na Karo in Farida Khanum silken, unique voice http://www.youtube.com/watch?v=-J4jgctq8h8

Although Ghalib, Zauq and Faiz Ahmed Faiz relied heavily on Persian idioms/ metaphors... but don’t stop listening…..its sheer joy…and over the period of time you might understand the meaning…albeit I am still trying ..

I am sure these saaqib (sublime) bazm-e- ghazals, will make you say, “Subhan-Allah !!!” and hope this art doesnt diminish. Until then, let me take your Rukhsat with this amazing couplet:

“Sau kos say ba-zabaan-e-qalam baatein kiya karo aur hijr mein visaal kay mazey liya karo”- Ghalib
{From hundred of miles, talk with the tongue of the pen and enjoy the joy of meeting even when you are separated}…

Tasleem and Shabba Khair

Michael Jackson - A Tribute to the Legend !

Wanna be starting something” reverberated, the feet moon-walked, the limbs produced break dance and Pop music came of age.

'Billy Jean’ resonated around stadiums, ‘Dirty Diana’ danced, 'Liberian girl' screamed - 'Leave me alone' but Michael insisted ‘The girl is mine’.... Soon People began to 'Come Together' influenced with his songs while his popularity 'Healed the World' and gave them a song – 'We are the World'

Sometimes popularity can be ‘Dangerous’ and ‘Bad’…it makes you erratic and do things that stirs critics and everyone to sadly judge you as ‘Black or White’… Often it makes you ‘Cry’…. No matter how much you try, you find it difficult to ‘Beat It’ from the clutches of its fate…of past mistake…but legends always make their life a ‘Thriller’, isn’t it?

Despite all these, his fans around the world will say, “ I just can't stop loving” - Michael. If it wasn’t for Michael Jackson, his break dance and moonwalk, the Indian film industry would have never seen the amazing talent of Javed Jaffery, Prabhudeva and even Hritik in Main Aisa Kyun hoon…

Sadly…The Emperor of Pop and the Legend- Michael Jackson is no more ….but his songs will continue to unite people from different cultures, different generation, will remain immortal and an inspiration for millions of fans….

May God Bless his soul and May it rest in peace…Amen..

Raised on Radio !...

At a time when 24 hours water supply and maids weren’t available, the lady of the house would wake up to the sound of water gushing through the tap and so did my mother. In the next 90 minutes, she would complete the household chores and rush to work.

Interestingly one of her task included switching on the radio. The vacuum tube valves would take few minutes to glow and will be followed with faint hissing and loud static. With some fine tuning, the static disappeared and the soothing A.I.R.’s immortal signature tune, composed by Walter Kaufmann, trebled through the house awakening everybody and perhaps the entire nation. It was 5: 30 a.m. time for Dad to rush to the milk center.

The signature tune ends, Vande Mataram resonates from various radio sets and the lights in few homes across the colony become brighter. Soon an energetic voice greets listeners, “Su-prabhat” on Mumbai (Bombay) ‘B’ 558 htz i.e. 537.6 meter. On another frequency, an equally vibrant voice blurts, “Su – Prabhat, Medium wave, ek hazaar chawalis hertz par yanni do sau satyaassi dashmalam teen meter per yeh Vividh Bharti ki vigyapan prasaran sewa ka Mumbai Kendra hain…” Mumbai ‘A’ 1044 htz 287.3 Meter.

The announcement stops, Bhatki Sangeet (Devotional songs) follows and purifies the house. At 06:00 a.m. and few beeps later, an authorative voice intrudes, “This is All India Radio, the News ready by …..” This was the alarm for mom to catch the Virar local. At 7:00 a.m. ‘Bhoole Bisre Geet’ began and we slowly commenced our long walk to school. Around 7: 50 a.m. ‘Jharoka’ informed listeners with the day’s schedule. At 8 a.m., 'Sangeet Sarita' played songs based on classical raga and by now Dad would be on his way to office. In the evenings, ‘Hawa Mahal’ brought the entire family together.

The younger generation cannot comprehend our romance with radio and more so with Vividh Bharti. It governed our lives and played in the back ground in homes, salons, shops, gardens, buses, trains and even on streets and yet you could easily proceed with the daily chores without being disturbed.

The afternoons reverberated with soulful ‘Lok Sangeet’ (folk music). On Saturday late evenings, tune into A.I.R. 1017 kHz i.e. 294.9 meter to hear ABBA, Bob Dylan and latest western music. Throughout the day, Vivid Bharti played amazing programmes like ‘Aap Ki Farmaish’, ‘Ek Phankaar’ and ‘Manchahe Geet’. These programmes were unique, brought people closer from various parts of the country and introduced us to some unheard places - Majnu Ka Tila, Kala Peepal Mandi, and the famous Jhumri Talaiyya.

If the smart phones represents generation Y, then pocket transistors symbolised generations X. The pocket transistor allowed our ears to replace our eyes and increase our imagination. It became our devout companion in school where along with friends we would intently hear Jasdev Singh’s commentary, describing the artistic hockey and deft maneuvers of Surjit Singh and Zafar Iqbal. On other days Dicky Rutnagar, Suresh Saraiya, Anant Setalvad made everyone worship cricket. Even today, power-cuts provides an opportunity for sports aficionados to catch live commentary on their trusted radio. A sports journalist rightly said, “Cricket, Lata Mangeshkar and the transistor made India one nation.” Add Sachin Tendulkar and definitely Indians across the globe and several generations would unite.

Wednesday evening’s meant adjusting the spiral antenna to catch Radio Ceylon where the inimitable Ameen Sayani echoed through the static, “Aur Pehele Paidan pe yeh gaana” on ‘Binaca (later Cibaca) Geet Mala’. On Sunday afternoons, he quizzed the entire nation on Vividh Bharti through ‘Bournvita Quiz Contest’. This was followed by ‘Cricket with Vijay Merchant’. On weekdays, ‘Khel Samachar’ and A.F.S. (Bobby) Talyarkhan in ‘Take it from me’ would review various sporting events.

Several such programmes have remained etched in our memories. Diamond Comics sponsored programme and S Kumars Filmi Muqadamma added to the zing.‘Santogen Ki Mehfil’ featured interviews with various celebrities. ‘Vishesh Jaimala’ was graciously hosted by celebrities bringing ordinary civilians closer to hundreds of our brave Lance Nayaks.

Saroj Narayan and Barun Houlda through the daily 9:00 p.m. - NEWS brought the world into our homes. When Dad permitted us to stay up and enjoy ‘Chhaya Geet’, it indicated our arrival into adolescence. Chhaya Geet featured songs based on various themes, cleverly researched by the announcers, who narrated in measured tone. ‘Bela Ke Phool’ at 11:00 p.m. reminded of romantic encounters during the day and helped stay awake to complete our college term work. Sometimes after 11: 30 p.m., we desperately searched for short waves, cigarettes, tea and study material in that order. But at 00:10 a.m. we would be religiously back on Vividh Bharti, groggy eyed, listening to ‘Chitrapat Sangeet’ till 1:30 a.m.

Mom has retired but not the radio. Vividh Bharti is still active and with it are several FM channels. These new channels are heard but unfortunately flicked every three minutes. This would never be the case with Vividh Bharti.

The success of Vividh Bharti did not merely lie in radio’s ability to be a medium of mass communication and education, but in its simplicity, its assorted programmes, and the amazing announcers who focused on good music instead of boring listeners with nonsensical chatter, announcing too many contests and advertisements. Let’s hope our FM channels take a leaf from Vividh Bharti and attempt to resurrect the magic of the old radio….

Until then let’s keep singing ‘Raised on Radio’…!

Radio, Radio

Were all raised on Radio, Radio

I love my Radio

Radio, Radio,Radio, Radio

……. sung by Journey

Reverberations of Innocence !

Between the milk teeth and wisdom tooth, children are restless and creative but seldom mature and contentious. However Prathamesh, Rohit, Karthiki, Avanti, Aarya, Mugdha and Shalmali defy this belief. At a time when most children hop in mud, mischief, and play stations, these kids with their gleaming molars and magical chords, continue to cast a magical spell. For them, music is not just a craft but an eternal quest transformed into an adventure through ‘Marathi - Idea Sa Re Ga Ma Pa - Little Champs’.

In a country where music is an expression of culture and talent, Sa Re Ga Ma Pa continues to dominate, unraveling a beautiful symphony through talented singers, musicians, judges, anchor and loyal audience.

Much can be gleaned from the performances of these little champs. Rohit through instinctive performance and brilliant tempo seeks solace in fusion music. Rohit has the makings of a music composer and it is important that he pursue his passion, learns classical music and develops interest in maths, Denver and Dylan.

Prathamesh is versatile and with his cadence, devotion and rustic diligence brightens the difficult alaaps and taanas. Certainly he will be an all rounder who could sing various form of music - Khayal, Thumri, Bandish and non classical with amazing ease.

Mugdha and Karthiki are cute and indeed prodigious. By singing songs essentially composed for adults, Mugdha compels a different interpretation, renews interest in music and her abilities. Mugdha has a beautiful voice and receives immense adulation. As she matures, Mugdha will learn that music transcends boundaries whether linguistic or cultural and acts as a great catalyst of change.

Karthiki is bestowed with rich timbre and resonant tone. Her songs create a wonderful harmony of lyrics, music and spirituality. Despite having inheritance in music and brilliant sense of timing Karthiki limits herself to devotional songs. Karthiki’s voice promises to enliven classical songs, Sufi, Ghazzals and Thumris but then children prefer to sing what they hear most.

With melody, confidence and poise, Aarya’s gorgeous voice makes every word in the lyrics bloom. Her rendition is expressive (Bhaava) and enhances the aesthetic experiences (Rasa) of audience. Aarya’s singing promises to add a new dimension to the music of her generation (re-mixes) but that requires a brave composer to experiment.

Avanti is versatile and has distinctive incantation, rhythm and hereditary infectious smile. It is sad, she got eliminated but Avanti’s renditions revealed her innate courage to experiment and popularise songs lost with time. Her pitch (Sur) and fluency in languages promises to revive music of Runa Laila and Preeti Sagar.

Shalmali is gregarious, compassionate and has abundant talent. Her ability to mimic presents her inherent acting skills. With amazing energy, Shalmali feels the lyrics and renews interest in ‘Laavani’ and folk music. Her melodious rendition engulfed with gestures and expressions reminds you of your lost adolescence.

If the kids are notes (Saptak), the octave is completed by national award winner Pallavi Joshi, whose effervescence, intelligence, charisma and grace makes her the best anchor. Pallavi adoringly cajoles and motivates the participants, audience, musicians and even the judges. Although she is comfortable in English and Hindi, you cannot imagine Marathi Sa Re Ga Ma Pa without her. “Ekda Jordar Talyaa” (One more round of applause), immortalized by Pallavi irritates but should be broadcasted across stadiums to coerce sports fanatics to graciously applaud other teams.

A consonance exists between note and its octave, but to produce good music a consonant interval known as Shadja- Pancham Bhaava is essential. Often this becomes the basis of musical scale. The judges Avadhoot Gupte and Vaishali Samant add this interval through their spontaneous, encouraging, witty and candid assessment.

Unlike other reality shows, the judges here respect each others opinions, offer different perspectives and are indeed unconventional. Avadhoot speaks his mind and coins new phrases, while Vaishali with her tongue in cheek comments is precise and equally articulate. The judges and other eminent guests educate participants to learn the language of music in same way as they learn their mother tongue. The musicians are humble, magnificent and undoubtedly the main pillars of this programme.

Hopefully the success and failure of these champs will not be related to region, race and class but to their confidence and calibre. One thing is certain, the kids have melody, intonation, rhythm and harmony. They say success is a matter of being in the right place with the right product with the right name at the right time. Sa Re Ga Ma Pa has helped discover new, innocent, vibrant voices and its time to search young musicians to accompany them!

Rock On !

Rock music is construed as youth movement and Farhan Akthar in the film Rock On brilliantly casts ‘Magik’ making people from all generation to be absorbed in this movement.

Rock music did try to change society but often failed. Something similar happens in the first half of the movie where the band members passionately strive to popularize their music but falter. The film highlights the triumphs and tribulations of a rock band ‘Magik’ comprising of Aditya Shroff (Farhan) vocals, Lead Guitarist Joe Mascarenhas (Arjun Rampal), Key board – Rob Nancy (Luke Kenny) and Kedar Zhaveri alias ‘K.D’- Killer Drummer - (Purab Kohli). Their musical journey involves some compromises but eventually their dreams are fulfilled

Aditya’s wife Sakshi (Prachi Desai) and her friend Devika (Koel Puri) beautifully weave the narrative. Prachi seems to love the camera; her expressions brilliantly convey her loneliness and the marital enigma. Debbie (Sahana Goswami) as Joe’s wife is a revelation and presents a young fashion stylist, a fisherwoman, a hassled wife and mother of a 7 year old with amazing dexterity.

The screenplay and editing is exceptional. By moving between now and then, the director portrays the splitting and reunion of the band. The ‘Magik’ lies in Abhishek Kapoor’s story and his attention to detail when it comes to direction. Aditya’s spectacles and his behaviour with the security guard delicately create change. The usage of cobwebs hiding the blue and bright colours, the actors make up, their attire and their subdued mannerisms immaculately strengthens the plot.

Farhan, Caralisa Monteiro and Raman Mahadevan’s soulful rendition of Javed Akhtar’s lyrics accompanied with Shankar, Ehsaan, and Loy’s feet tapping music are elegantly supported by some intense performance. Cinematographer Jason West ensures the camera follows the band and stops when they stop, thereby giving you an experience of attending a live concert.

Farhan innocuously and with amazing ease leaps in his role, as a wannabe rock singer and successful investment banker. Arjun’s guitar, and his somber mood successfully presents a failed musician but more importantly bring out his acting skills. The camaraderie between Joe and his son Andrew is seen to be believed as it cleverly highlights Joe’s hesitation in coming to terms with his past.

Come to think of, there is always a carefree K.D. somewhere amongst our friends. Purab’s performance clinks like cymbals adding much required humour and mischief. His effervescence is infectious as he longingly hugs his friends and philanders around. Together with Rob, they painstakingly reunite the band. Luke Kenny as Rob rocks, first, by speaking in chaste Hindi and by playing a stifled soul working as assistant music composer.

A film that refreshes some memories, urging you to search for some Woodstock videos. Wish all bands would someday re-unite, till then let the music of Rock On allow you to hit the road full throttle. …