Music Review Coke Studio S10 Episode 4: Where strings weave magic, literally!

This season is full of compositions that takes time to sink in! There are atleast 3-4 songs where I changed my opinion from disappointment to immense liking in the matter of a few days. Going by that trend, episode 4 was a surprise as I liked most of the songs in the first instant! String instruments dominate this episode with brilliant performances by the guitarist duo of Imran Akhoond and Omran Shafique. Composers have also used traditional instruments like banjo and mandolin intelligently. Occasionally the electric guitar too has appeared, but largely the episode was an acoustic delight!

Naina Moray

Composed by Jaffer Zaidi, Sung by Javed Bashir & Akbar Ali

This rendition has pretty much everything a fusion lover looks forward to! It was a fusion at multiple levels - a fusion of raags, compositions, genres, singing styles and not to mention instruments! And despite the multitude of dimensions to explore in a single composition, it flows into each other beautifully, non-abruptly keeping the listener engrossed. This is the second composition this season after Allahu Akbar which features a couple of classical virtuosos teaming up to deliver a piece of magnificence. And in both cases, a Jehnazeb and an Akbari Ali who are slightly lesser known than a Shafqat or a Javed Bashir, have gone on to equal if not outshine their more popular partners.

Like in Allahu Akbar, vocalists dominate the rendition for most times. Both the compositions are quite well known and rendered previously by the likes of Nusrat sahib and others. While Naina Moray is a thurmi in raag Bhairavi (and co-incidentally this sibling-duo from Naalan Gharana have sung it earlier as well. Checkout a YouTube video from 2011), Man atkeya is a kalam of Shah Hussain (if you recall man atkeya has the same lyrics as Neun La Leya from season 8! Just that it's rendered in a different raag - desh!). There are so many wow moments all throughout the composition that it's difficult to list them! While mastering a rendition is nothing new for Javed on this platform, Akbar was a total revelation for me with his flawless, crisp rendition. Perhaps he could visualize each note subtly, smile at them and improvise further realtime! :) . Do check out: 02:20, and the way he says balam pardes at 03:08, it's nothing short of aural treat! And you could also see trademark Javed Bashir at places for instance at 01:26 when he says mujhse mila de.

Arrangement is what binds this all together! And while this raag is quite complex with all its subtle nuances in rendition, it's just a 3-chord riff that plays all throughout and forms the structure of the arrangement along with accompanying bass-line and drums. Acoustic guitars are beautifully used throughout. Like at 03:30 the brief lead piece with keys leads to the Sarangi interlude that further leads to Javed's rendition of Man Atkeya. Tabla comes in as well to bring in the qawwali flavour. The second interlude brings in the electric guitar lead by Aamir Zaki which takes over from the Sarangi and gives a modern touch to the composition.

Overall a perfect package that you would hope doesn't end so quickly. Definitely deserves multiple rounds of listening and I am sure you'll discover new layers and dimensions each time! :)

Dekh Tera Kya/Latthay Di Chaadar

Composed by Shani Arshad, Sung by Quratulain Balouch & Farhan Saeed

Dekh tera kya has romance written all over it as it teleports you to a world full of flowers, sunshine and happiness in the month of colourful spring! Shani Arshad gives us a wonderful arrangement with apt choice of instruments to create this fusion of this pop+folk number. Dekh Tera Kya as sung by yesteryear popstar - Alamgir is a typical pop song, while Lathay Di Chaadar is your traditional punjabi wedding folk song (also heard in a few movie songs as well!) and the music binds these two so very well!

Both the compositions are on the major scale and hence helped the seamless fusion of the melodies. There is occasional use of 'komal ni' in Dekh Tera Kya which adds colour to this already colourful composition! :) The structure of the song is on a pronounced bass-line, classical electric keys and a simple 2-note riff on the electric guitar. A combination of drums and dholak gives the fusion feel very well. Also, they are used very subtly overall to keep the composition light and happy for the listener. While the soul of the composition lies in the flute melody which appears all throughout and gives you that feel-good all throughout. Banjo too is very beautifully used as the composition transitions from pop to the folk number with QB aptly taking up the folk portion with her strong, stable voice.

The vocalists are perfect not just with their vocals but also the subtle chemistry. They look animated at times and are also seen shaking a leg which adds to the overall feel to the listener. Vocals wise Farhan and QB complement each other so very well. Farhan keeps it subtle and soft and some of his variations sound so perfect (like the one at 01:32)! QB on the other hand is quite conspicuous owing to her distinct voice. At times, she sounds lazy as she stretches the Latthay Di portion almost teasing the listener who is yearning for more! Towards the end the two portions fuse as the flute melody gives it a rightful happy ending!

Overall a subtle, beautiful fusion and a great dose to cheer you up on any day.

Jindjaani

Composed by Ali Hamza, Sung by Ali Hamza & Nirmal Roy

Jindjaani in one phrase is an acoustic bliss! String instruments create a pleasing aura all throughout the composition that would make you like it the moment it starts! Despite all the experimentations using contemporary instruments, the composition still carries a strong sense of 'mitti-di-khushboo' thus retaining its rustic, folk character.  The song is an original by Ali Hamza describing heartbreak and then later ventures to a classical folk song - Jhanjar Phabdina sung by Tahira Syed.

Arrangement wise the composition is completely unplugged and based on the acoustic guitars and percussions - a combination of drums and dholak. Mandolin and flute add to the rustic feel. Raag wise, my guess is that the composition is anchored on Khamaaj as I see the liberal use of 'komal ni' in the composition (Any thoughts?). The composition starts with a beautiful intro by the mandolin accompanied by the guitarist duo who complement each other so well! Aahad Nayani as usual is excellent behind the drums and makes his presence felt. Flute accompanies Nirmal and adds to the sweetness of her vocals as the tempo picks up with dholak kicking-in full swing at 01:24. Mandolin interludes beautifully at places and binds the song. The taal changes at 02:05 in the first antara. Some kind of strings-brass hybrid patch comes in during the antara (at 02:15) playing a parallel melody adding a subtle dimension. Also watch out for the amazing flute interlude at 02:56 which heralds the start of the folk song by Nirmal from where Ali Hamza leaves the earlier song. The beat pattern (taal) keeps changing during this part keeping the listener engaged and building up the song for a beautiful climax where both Ali Hamza and Nirmal engage in a sort of jugal bandi before the song ends.

Coming to vocals, let me put it this way - Ali Hamza brings in the elements of 'mitti', while Nirmal adds the 'khushboo' thus giving it that 'mitti-di-khushboo' character :)

Ali Hamza with his strong lower notes anchors the composition well leaving room for Nirmal to improvise and excel! Nirmal's talent shouldn't be a surprise to those who have heard her in the last season, however this was a different genre and she's come out with a magnificent performance! She's soft and subtle in the initial part and then opens up her vocals in the folk part. One can't help but sense a great resemblance of her voice texture to melody queen Shreya's! Perhaps Nirmal's texture is slightly shriller and crisper because of her young age (random observation: just observe Ali Hamza appreciating Nirmal's vocals at 0:58). Overall a great enjoyable song with everyone participating in the fun and enjoyment during the jam. I definitely hope to see more of Nirmal in days and years to come :)

Julie

Composed by Ali Zafar, Music Directed by Shani Arshad & Sung by Ali Zafar & Danyal Zafar

One can be rest of assured of unlimited craziness when Ali Zafar's on stage and this was no different! It's difficult to categorise Julie into one genre! Rather it's a pot-pourrie of genres with essence of various genres in the musical arrangement. Be it reggae style rhythm, rock style lead guitar or use of jazz/blues style brass sections. And I better not get started on singing styles! :) Written and composed by Ali Zafar himself, be ready for craziness unlimited as you indulge into this.

Arrangement wise this is perhaps the grandest one of this episode. The composition is structured on reggae style guitar strumming that is accompanied by percussions. Brass sections build up the melody quite well. Danyal with his lead guitar is too good. Ali again makes sure exhibits all his vocal skills testing his range and falsettos.

Overall a very different style performance! This one's not for everyone. Perhaps if you liked rockstar from his previous seasons then you might love this one! I still suggest you to give it a couple of listens and perhaps you'll start gradually liking the madness! :) 

To sum up, I would say that this perhaps complements the episode with its crazy element. An episode which otherwise was full of soul, happiness and goose-bump-inducing classical pieces. Let me know what you thought about the songs. Do share and comment! :)

Prabhu

musicdilseblog@gmail.com

Music Review Coke Studio S10 Episode 1: A Smooth Take-off!

After a great last season experimenting with multiple composers, Coke Studio is finally back with Season 10 retaining the format this year with mostly the same names as composers. There are some interesting additions in artists list though. Shafqat Amanat Ali returns to this platform after 8 years! Nabeel Shaukat Ali too reappears after missing out last year. Few more names reappear this season that I am looking forward to - Humera Channa, Sajjad Ali, Ali Zafar. More importantly the Strings duo too feature as artists this time which is interesting! :)

Ranjish Hi Sahi

Composed by Jaffer Zaidi, Sung by Ali Sethi

For someone who likes both fast-food and a 3-course meal, I was seriously in a conundrum listening to this! I admit I am not a purist, however having internalised Mehdi saab's version, listening to it innumerable times, this rendition, although pleasant and crisp, lacked that 'nasha' that would stay with you for long! Ali is an immensely talented singer and an even greater person with all that he has achieved! I admire him to the extent that I envy him! His past stints at CS with Umran Langiyan and Aaqa were flawless and made me his instant fan. However with this, he was up against Mt. Everest.

Arrangement wise, it was a typical CS setup modernising an old ghazal with keys and acoustic guitar with the tabla retaining some character of the ghazal. The strings and the choir style backing vocalists add a breezy vibe and keeps the listener hooked. Given that it's CS and experimentation is a given, I think they did a good job in keeping it subtle and let Ali lead the show.

Ali was impressive with his vocals as always. I liked the fact that he was lost in the melody and hence some variations in the notes sounded very natural giving that occasional goose-bump moment! Although, his intentional pauses at places, especially at ranjish-hi-sahi was kinda glaring as you are so used to listening to the original which is smooth and continuous!

Despite all comparisons (which I can't help!), this definitely deserves at-least a couple dozen repeat listens this season. But then, if you ask my liking say 10 years down the line, I will perhaps prefer the old wine instead of this freshly concocted minty cocktail! Seriously look forward to seeing more of Ali this season though! :)

Muntazir

Composed by Strings, Sung by Danyal Zafar & Momina Mustehsan

Apart from noticing Danyal's obvious resemblance to his brother Ali, listening to the initial arrangement on keys, guitars and bass and the chord structure, I somehow got reminded of Lazarus from Porcupine Tree (Anyone else??)!

The arrangement is kept simple on a major chord structure, however I liked the use of bass-line. The melody doesn't get monotonous though as there are variations to the structure in the verses which is quite interesting. There's also a brief guitar solo cameo by Danyal (remember Momina from last time?). Somehow I would have liked the vocals volume to be a tad higher. On good speakers, the vocals (Esp. Danyal's voice) seem to be slightly feeble compared to the bass and the arrangement.

Nothing much to be added on this. It gives you a nice feel if you are used to this genre. Definitely not a typical CS arrangement, but a couple of these kinds do slip in to add variety to the album! One of those songs you wouldn't mind coming back to after a couple of months on a joyful day :)

Chaa Rahi Kaali Ghata

Composed by Sahir Ali Bagga, Sung by Hina Nasrullah & Amanat Ali

This one's yet another beautiful fusion from Coke Studio which took sometime to sink in for me, and now has reached a stage of addiction! The original composition is a beautiful Dadra (a form of Thumri) on raag Desh originally sung by Begum Akhtar ji. Sahir Ali Bagga (the new addition to the list of composers) has very smartly made subtle changes to the melody to fuse it with the modern piece. For starters, I fail to observe characteristic color of desh in the melody, however the use of 'komal ni' is quite pronounced at places (Would like any expert to validate this observation). This however makes the fusion with the modern piece, which is mainly on raag Bilawal (your typical major scale), easier to blend with.

While the composition itself along with the arrangement contributed to the overall performance, the main element were the vocalists! And both of them were amazing and superlatively melodious! Haven't heard Hinaji before and I can recollect only a few voices which are so open, melodious and powerful all at the same time! The notes and harkats are spotless and crisp. Esp the place where she says yaaaad at 06:02 was something else! On the other hand, it was great to see Amanat after almost a decade and boy his tonal quality is still the same! He exhibits his melody and range quite masterfully. And I am so glad that he managed to got to perform one of the antaras of the thumri and he rendered it flawlessly! The harkat at 04:20 was just wow! The composition ends with a beautiful climax where Hina does a powerful alaap on the higher octave while Amanat beautifully switches from the chorus of the modern composition back to the sthayi of the classical thumri accompanied by the strings section in full swing.

Arrangement wise this composition has everything a fusion would demand. Great mix of western and eastern instruments that are used very aptly. Guitars and keys are prominent during the thumri part initially to give an acoustic feel. As soon as Amanat's part takes over, electric music makes appearance along with strings and drums. The interlude is beautifully crafted with the guitars and strings with a hint of sitar towards the end. The antara of the thumri is now accompanied by the tabla giving a classical touch. The flute and sitar improvisations at places are perfectly done.

Overall a great overall package with each aspect constructively contributing to a great composition! You might not find it great in the first hearing, but trust me do give it some more attempts and you'll thank me later :)

Allahu Akbar

Composed by Shuja Haider, Sung by Ahmed Jehanzeb & Shafqat Amanat Ali

I was happy to see Ahmed Jehanzeb in the list of artists earlier (still haven't gotten over Khaki Banda!) and doubly happy to see him team up with the legend Shafqat Amanat Ali for this composition! And the virtuous duo didn't disappoint with their jugal bandi. 

The composition is a beautiful prayer composed and written by Shuja Haider himself! Starts on the acoustic guitar rather subtly with the singer duo building the melody and improvising their lines beautifully. Bass line and strings section accompany them beautifully at 01:53 . The song completely transforms at 02:10 into a qawwali with the qawwals joining in chorus enhancing the devotional quotient! The guitar solo at 02:56 in classical style flows with the arrangement nicely. The second interlude introduces flute into the equation which continues in the second antara.

Shuja kept the overall musical arrangement rather subtle, as the composition is more about the vocalists!  And both the vocalists do complete justice to the composition and are completely lost into the prayer while delivering a superlative performance. The subtle nuances and improvisations in pretty much each line keeps one engaged. Ahmed tests his higher range at 07:20 beautifully followed by Shafqat's trademark alaap building up the composition before it concludes! One definitely needs multiple hearings to appreciate this better. :)

Overall a good first episode to kick off the season and hope the trajectory is northwards from here!

-Prabhu

The Story Now by Papon - Music Review

Finally back to blogging after a long, long break. Well, can't really single-out one particular reason for this discontinuity. While work, travel and more work and more travel can definitely be blamed, I would be untrue to myself if I don't mention lethargy here! But yes, here's my next blog with a promise to be more regular from now on!

So where do we start! Well, although I was away from the actual writing part, I continued to add onto my blog wish-list during this break, which understandably is quite long now. So lets start with the list topper: The Story Now - A brand new album by Papon! Independent albums are a rarity in Indian commercial music these days and so, when I heard Papon launching a follow-up album to his earlier 'The Story So Far', I was keenly looking forward to the release. The album contains only 4 numbers, which was sort of a let-down, but then the diversity of the genres, style, mood and emotions in the overall package more than made up for short line-up! So here we go.

Aerii Sakhi Morae

I was pleasantly excited, yet kinda nervous when I heard Papon mentioning that he is rendering this Hazrat Amir Khusru classic in his album. Excited because I love this number and was curious on how would Papon render this, while at the same time nervous too as this has been attempted by every single contemporary stalwart - be it Nusrat Sahib or Rashid Khan, with each rendition bringing its own charm, emotions and energy! Here, I would like to particularly point another crisp rendition by Abbas Ali Khan of Coke Studio fame which is quite close to what Papon finally gave us!

So for all the nervous excitement, Papon didn't disappoint! While Papon has quite boldly played with genres quite liberally, it is his voice that lends the stability and emotions into this rendition. The number starts off as an acoustic unplugged number and slowly translates into a jazzy mood in the first interlude with some beautiful work on the keys. Techno elements mark their entry in the first antara with some pronounced drums followed by a rock style lead guitar section in the second interlude. The rollercoaster ride of genres ends with some more acoustic unplugged section towards the end.

Again, can't help but re-emphasise the way Papon has emoted throughout the rendition. It's quite difficult to display one's classical prowess when one is sandwiching a classic piece in a 4 minute fast-food setup. But Papon has been spot-on with his notes, harkats and free-style singing!

Listen to this with an open, unbiased mind and I am sure it would strike the right chord!

Kahin Na Kahin

Like in the earlier song, this one too starts in an unplugged manner primarily on an acoustic guitar sounding like that typical Papon romantic number! The accordion and mandolin combo joins the acoustic guitar and weaves another melodical dimension into the overall arrangement. The first interludes features a beautiful jugal-bandi between a free-flowing mandolin and the rhythmic acoustic guitar. Rest of the number continues the same feel.

Papon is at his romantic best with his voice in this one! At times he sounds casual and lazy with his vocals which, I must add, goes well with a laid-back accordion. Lyrics are quite simple and easily relatable thus making it a very real romantic song!

Saahil

Saahil pretty much summarises Papon's story so far! Like Papon's life, the song starts with an exploration of mountains, rivers and nature and later to new lands as he realises his true purpose in music! The latter half of the video sums up his journey as a music star performing at various venues and yet learning something new from wherever he can!

Music too reflects his journey! Starts very subtly with an acoustic arrangement and later builds as new layers get added - electric guitars, brass section and ascending percussion. The brass section fills in during the interlude quite well with a variety of instruments. The interlude is unsually long - about 90 seconds, but the variety keeps one hooked. The brass instruments accompany Papon all the way to the second stanza creating a nice crescendo.

Papon is brilliant with vocals. He emotes a sense of inquisitiveness in the first half and then opens up full throttle as the song builds up. Overall a great package!

Loving A Dream

In 'Loving a Dream' Paponda teleports us to Jamaica as he lives his dream with this funky, retro style reggae number! Characteristic to the genre the song starts with an off-beat rhythm section on the keys and electric guitars. Brass sections come in at the latter part of the chorus with an interesting off-sounding melody. Jeenti is brilliant on the guitars leading the interlude followed by the brass folk. The second half continues with the same pattern ending on a brilliant trumpet solo.

Overall a great experimentation! Listeners who like this genre or are open to new kind of music would love this. For others it might take some time to digest this.

So Paponda has given us a great musical package with 'The Story Now'. I am sure you'll end up liking atleast 2 songs if not all, depending on your genre likings! A big thumbs up to 'The Story Now' and hoping for more stories from the house of Papon!

- Prabhu

Music Review Coke Studio S9 Episode 6: The one with something for everyone!

As the season progresses, I feel like that rookie juggler who doesn't complain having more balls to juggle, but barely manages to keep them afloat as more and more balls are being added each week! This season's good form continues with episode 6 too! Again a collection of some great numbers and I believe this one has something for everyone and I am sure you'll go home liking atleast one of the tracks! There is a good mix of genres experimented in this episode - classical, punjabi, folk, rock, blues and what not! You name it and you'll find it here.

Meri Meri

Sung by Rizwan Butt & Sara Haider, Composed by Shani Arshad

Link to lyrics here

Meri Meri is a collection of three brilliant monolith parts - Rizwan Butt's Sufi portion, Sara Haider's western rendition of the same and the Celtic musical portion clearly 'inspired' from 'Toss the Feathers' by The Corrs! However, it's the fusion that doesn't work for me! Perhaps it was quite ambitious and a stretch to fuse these distinctively different genres. 

The arrangement is quite catchy and it grows on you progressively as the composition proceeds with Rizwan's part. Starting with just the humble acoustic guitar, the maracas and backing vocalists come in at 00.14, Cajon at 00.40, the bass-line 00:57, the drums in full flow at 01:12, banjo at 01:15, keys at 01:18 and finally strings at 01:37. And before you know it a beautiful musical air fills you around Rizwan's vocals. And wait that's not it! There is a beautiful lead guitar solo at 01:56 not to be missed sort of acting as a glue to Sara Haider's western part to follow! Overall Rizwan Butt comes off as a contemporary singer missing the subtle classical elements which I would have loved to see! (One can't help but compare this with Ahmed Jahanzeb from Khaki Banda who too sang one portion of this poetry so soulfully in that composition!) 

Sara brought to the table what she is best in - a western singing style in a blues genre musical arrangement. The arrangement too mellows down from all the grandeur that was built over the last 2 minutes to make way for Sara's enchanting vocals. With an incredibly wonderful debut show in 'Ae Dil' I only hoped that Sara had a better composition to showcase her talent! The composition climaxes with a Celtic musical piece on flute by Sajid Ali which was more than just 'inspired' as I mentioned earlier. But as a consolation, it was brilliantly done with the strings section, keys and backing vocalists accompanying. 

Overall a collection of individual brilliance that didn't add up together for me like it usually does on this platform. But then it's a very personal thing. Won't be surprised if I meet people for whom this song would have clicked just perfectly! So do give it a try and share what you think! :) 

Tera Woh Pyar/ Nawazishein

Sung by Asim Azhar & Momina Mustehsan, Composed by Shuja Haider

Link to lyrics here

Tera Woh Pyar and Nawazishein is a beautiful fusion of two romantic tracks composed and sung by Shuja Haider himself in the past. Interestingly the first track also has a Bollywood version used in the movie Ru-Ba-Ru sung by Shreya Ghoshal! Shuja Haider has been spot-on with his choice of vocalists for this recreation. Both Asim Azhar (remember the dude from Hina Ki Khushboo?) and Momina Mustehsan (does she need any introduction anymore!) bring about the youthfulness, chemistry and the emotions that a breezy romantic number should reflect. 

Melodically both the songs are those quintessential major-scale romantic numbers that one can easily hum and jam in a group! Shuja decided to go with an unplugged arrangement using natural instruments (but for the bass!) to bring the breezy romantic feel very well. The composition starts with a pleasant jugal-bandi between the keys and Sitar accompanied by the flute shortly. Momina's husky voice with a subtle vibrato sounds just perfect for this initial part. Other instruments come in at 01:12 with the mandolin and strings bringing in a very European feel to the mood. Asim comes in with a good vocal range delivering a very enjoyable and an animated performance bringing out the emotions very well. There is a nice huskiness in his lower portions and a noticeable shrillness in the higher portions. 

The musical interlude in between the compositions carries forward the romantic mood beautifully. The combination of flute, sitar, strings, mandolin and vocal harmonies along with light drums create a pleasant aura. Shuja increases the tempo slightly for the next song at 04:09 which in someway adds more energy into the song. The antara of the song also brings in tabla that accompanies the melody beautifully for a brief moment. 

My guess is if you liked both 'Jaane Na Tu' and 'Afreen' from this season, then you'll most likely love this. Not the typical coke studio fusion number that demands a lot of attention from the listener! It's light, breezy and romantic that one relates to instantly! Enjoy! :) 

Lagi Bina/Chal Mele Noon

Sung by Saieen Zahoor & Sanam Marvi, Composed by Jaffer Zaidi

Link to lyrics here

Jaffer Zaidi is on song this season! Have loved all his compositions so far spanning different genres. He tries a fusion of Sindhi and Punjabi folk this time and chooses a great combination of vocalists who reflect the folk element beautifully. While Sanam Marvi sounds like a crisp and polished singer hitting all the notes precisely, Saieen Zahoor sahib comes with his raw, rustic vocals ideal for this folk song. 

Interestingly the entire composition is based on a guitar-keys riff that plays continuously in the background and the arrangement of the two songs, that are melodically on different scales (raags), are constructed over this riff! The arrangement of Lagi Bina is quite contemporary to begin with and the dholak along with harmonium only enters mid-way at 01:35. This composition is on major scale (Bilawal Thaat) and the flute interlude is quite pleasing to hear. Saieen Zahoor sahib's part brings the dhol additionally to give you that Punjabi feel. Otherwise the arrangement as such is not very different from the earlier song. The raag has attributes of Yaman with generous use of 'teevra ma' at places. Harmonium is much more vocal in this portion. There is a beautiful addition of cymbals (or taal, the ones used in bhajans) when Sanam's part resumes 05:32. The composition climaxes with both vocalists coming together singing their portions on the common arrangement. 

Overall not very extravagant and not a lot of experimentation. But sometimes it's just the simplicity and the soul of the singer that matters! And to me this has just the right ingredient make that connection. Will give it many hearings just to listen to more of Sanam Marvi :) 

Anokha Ladla

Sung by Damia Farooq & Basit Ali, Composed by Faakhir Mehmood

Link to lyrics here

Anokha Ladla is a bold experimentation by Faakhir Mehmood as he brings in different moods in the same composition playing with raags recreating an old classic! While the classical purists might raise their eyebrows with this unconventional composition, I definitely enjoyed the fusion of two raags done so beautifully. To ensure continuity in the melody Faakhir, quite intelligently, chose scales having similar chords. So the song starts on a C major scale (Bilawal Thaat) with Damia Farooq's vocals and it beautifully changes raag to Darbari (which is on a minor scale) at 01:00 (when Damia sings Tan sulge bas ek aagan main). For the Darbari part, Faakhir chose A minor scale which has mostly the same chords as C major scale but starts with a different key (A instead of C) and this changes the mood of the song completely (from romantic to devotional)!! Raag Darbari (and Darbari Kanada in particular) is typically used in many of Indian classical based bhajans.

The song starts with a keyboard arpeggio joined by the bass and accordion bringing out the romantic mood. Damia's vocals along with strings extend that mood only to suddenly change that to a devotional song as the raag transforms. The arrangement then shifts to electronic-rock genre as Basit Ali begins with the antara of the composition with just the electric guitar and bass playing. The mukhda follows accompanied with many techno elements on the synth. Strings section too makes its appearance at 02:33. There is also a beautiful Sitar interlude after the mukhda. Overall Basit's part is full of energy owing to the high tempo percussion and the overall rock arrangement.

The musical chair of raag continues as Damia comes back on the major scale after a pause from Basit's part. This time tabla makes its appearance along with Sitar and accordion creating a beautiful musical base for Damia to render her antara. And before one can dissolve in the soulful melody, in comes Basit again after a pause and the arrangement shifts back to Darbari for one last time as the composition climaxes abruptly on a high! Basit is too good with vocals. Hearing him for the first time, I found him singing with great command and control. He has a great throw and also brought in the subtle nuances of the raag (like extending the notes at some places) very beautifully. His performance actually reminded me of 'Kuch Ajab Khail' by Shafqat Amanat Ali in one of the earlier seasons! (perhaps that too is on the same raag!)

Overall really enjoyed this fusion of raags on a contemporary arrangement. Definitely requires hearing more than once! :)

Would love to know your comments and feedback so do let me know!

Prabhu

musicdilseblog@gmail.com

Music Review Coke Studio S9 Episode 5: A Mixed Bag of Surprises!

I would put down episode 5 as a mixed bag of surprises. I must confess that it did take some time for me to sink in some of these compositions, but gradually I have developed a liking for most of the tracks now. I would call this an 'overdose syndrome'! With so much overdose of good music, one is in a mental dilemma on hearing more of such compositions whether to like it to the same degree or not! Perhaps if I had listened to some of these compositions independently I would have developed an instant liking. But with superlative precedents such as Afreen in case of Rahat Fateh Ali Khan and Man Kunto Maula in case of Javed Bashir, one is reluctant and cautious to cede any more superlative adulations! However the more you listen and dissolve into these compositions, the more you appreciate the effort and the quality of outcome! So perhaps this post is for the ones sitting on the fence to delve a little more into these compositions and appreciate the creativity. In general most of the compositions in this episode have an interesting vocal melody! There is a good experimentation in terms of raag and fusion of contrasting vocal textures.

Jhalliya

Composed by Faakhir Mehmood, Sung by Javed Bashir Masooma Anwar & Shahzad Nawaz

Link to lyrics here

One can be rest assured of some high quality melody rendition when a classical virtuoso like Javed Bashir has his stamp on it. Same is true of Jhalliya! Javed Bashir again comes up with a masterly vocal performance displaying his range, singing style, soulfulness and effortless variations all packaged in a single performance.

While a superlative performance from Javed is not really unexpected, what did come as a pleasant surprise is Masooma Anwar's vocals! Open and bold sounding with a sufiana touch, she managed to give Javed good competition in terms of listeners attention span! Also loved the poetry recitation part. Somehow this concept goes quite well with songs of this genre( remember Mori Araj Suno by Tina Saini?). And Shahzad Nawaz's heavy, bass-filled voice goes so well with the music!

Coming to the arrangement, this composition has a soft rock-sufi feel to it with good fusion of instruments. Faakhir Mehmood has done a great job in putting together this arrangement. The base foundation of the arrangement is on the creative bass line and electric guitars giving the rock-ish feel, while the dholak all throughout and banjo at places bring the classical feel. The Banjo interlude at 04:31 is an interesting addition in between the vocals. Strings section add a beautiful dimension at places especially at the latter half of the composition. (For example the beautiful filler at 02:31 that carries forward the melody from where Javed left). The backing vocalists too do a wonderful job overall. At places they accompany the main vocalist and at another instance they sing in an off-scale harmonising with the main melody subtly.

The composition climaxes beautifully with Masuma and the backing vocalists singing the chorus while Javed does the flawless sargam to end on a high. Overall a very pleasant composition inviting you to listen repeatedly and cherish the various layers Faakhir has very creatively put together!

Shamaan Pai Gayaan/ Kee Dam Da

Composed by Shiraz Uppal, Sung by Kashif Ali & Rachel Viccaji

Link to lyrics here

One thing Coke Studio quite easily manages to do is to bring together vocalists who contrast and complement each other very well. Be it Ali Azmat-Javed Bashir, Rahat-Momina, Ahmed Jahanzeb-Umair Jaswal and the list goes on! Same is true of this composition too! Kashif Ali brings soulfulness while Rachel Viccaji brings power. And Shiraz Uppal with his beautiful arrangement is able to stitch together a musical delight!

Kashif actually reminds me of Mulaazim from last season who too had a husky texture and conveyed emotions (especially the pain) of the composition beautifully thorough his vocals. On the other hand Rachel, the relatively shorter one among the backing vocalist trio, stands tall here with her power packed performance! Her amazing stability and texture at lower notes and energetic throw at the higher pitch sections is indeed a goosebumps-inducing performance!  She also brings in a naughty feel with her western style falsetto vocals at places.

The composition clearly has two distinct arrangements - one for the soulful Kashif's part and the other for rock-ish Rachel's part which alternates beautifully in this wonderfully concocted fusion. Kashif's part is primarily on keys and acoustic guitar which sets the chord structure. Flute interludes every now and then creating a beautiful feel, while the strings and choral section fill the air beautifully. Rachel's part is completely driven my the electric guitars and the bass line aided by the drums and shifts the genre to a rock number. There are many instrumental improvisations in the whole track - the bass-hammering by  at 04:40, the electric guitar intro riff before Rachel's part at 03:25 and the beautiful buildup in end where all instruments come together - flute, strings, guitars and drums.

The melody is incredibly beautiful. Co-incidentally both the tracks have been previously sung by Naseebo Lal. There is slight convergence in the melodic patterns between the two compositions which the composer used to stitch the two pieces cleverly! The first part is primarily on the major scale, but has used 'komal dha' and 'komal ni' beautifully at the end of chorus parts giving a totally different feel which coincides with the second song thus enabling the fusion. Second song uses the komal dha and ni notes beautifully making me guess that it's on raag Charukesi (Would love to know your thoughts on this).

Overall this one is a smart fusion at various levels - melody, genre, instrumentation, vocalist style and energy levels! Rachel is a pleasant revelation in this one and Kashif, a great introduction to this platform. Hope that we see more of them in the coming times. Would definitely advise you to take multiple hearings to digest this fusion!

Sadaa

Composed by Shani Arshad, Sung by Rahat Fateh Ali Khan

Link to lyrics here

Sadaa is a delight to classical aficionados and Rahat Fateh Ali Khan makes sure he displays all the text-book classical nuances in a single performance! Be it sargams, taans, a tarana, subtle harkats, alaaps and a beautiful jugal-bandi with the dhol throughout as he synchs to its beat!

The arrangement is quite contemporary with the use of bass, guitars and drums throughout along with the dhol. Strings section show up during interludes and during the antara. There is also a brief sitar portion towards the end. So overall a diverse arrangement which needs to be appreciated carefully underneath Rahat's powerful rendition!

Melodically the composition (originally created by Rahat himself) has beautifully used 'komal ga' and 'komal ni' throughout making me guess that it's from Kaafi thaat in terms of the raag. What is also noteworthy in the arrangement is the creative use of of percussions and nice experimentation with beat time-signatures (Shani Arshad, the composer also mentions this in the BTS video).

Maybe not the kind of song that I can listen on loop anytime of the day, but this will definitely go into my classical-fusion playlist for frequent hearings :-)

Main Raasta

Composed by Noori, Sung by Momina Mustehsan & Junaid Khan

Link to lyrics here

When variety, fusion and experimentation is more the rule than an exception, a one-off attempt to get through with a clichéd pop-rock composition perhaps doesn't seem enough for this platform! That seems to be the problem with Main Raasta. The composition is indeed quite catchy but not the kind you have not heard before. It's on your typical major-scale-four-chord combination. Use of bass-line is quite creative and something I loved instantly. There is also your customary lead guitar interlude which is brilliantly done! I think the brief cameo by Momina appearing to play the lead guitar was unnecessary! :) Personally I felt the composition got somewhat chaotic in the end with many voices making the chorus (reminded me of With or Without You at 04:12! Anyone else?). The starting guitar patch clearly reminded me of Michael Jackson's Black and White (which Ali Noor actually acknowledges in the BTS video). The scale transposition is quite interesting but I would rate the one in 'Jaane Na Tu' higher than this.

Overall a number that'll definitely grow on you if you like this genre. But definitely an average number in relative terms  compared to the other tracks in this episode.

So overall not a disappointing episode for sure and mind you, achieving that is no small feat given some of the masterpieces that have emerged this season! The musical dose should definitely last for a week I hope. Else you can always go back to Afreen or Paar Chanaa De! :)

- Prabhu

musicdilseblog@gmail.com

Music Review Coke Studio S9 Episode 4: The Season is now blooming in full glory and I'm lovin' it..

Can't believe it's episode 4 already! But I can finally sense the season coming to full bloom with all its glory! Somehow the healthy competition between the music directors is working wonderfully for this season! Bringing in good diversity of genres, instruments and musicians, the composers are giving it all to stand out this season. And the competition is not just among the peers, but also the umpteen good quality composers who didn't make the cut this time and are waiting for their 'call' next season! So it's great to see market-forces at work here ultimately benefiting the primary stakeholder - 'the audience'! :)

This episode has Punjabi written all over it! All the four tracks have a strong Punjabi influence in terms of lyrics and arrangement and yet each is one is unique in it's own way.

Uddi Ja

Music Directed by Jaffer Zaidi, Vocals: Mohsin Abbas Hyder

Link to lyrics here

And if you thought Coke Studio Season 9 only gave you Momina, then you are mistaken! Mohsin Abbas Hyder, a yet another coke studio debutant, has gone onto hit a first-ball-sixer as well with Uddi Ja - a song that he wrote, sang and also composed initially! Again like Ali Sethi he too seems to be a recently turned singer (read his wiki) and has dabbled with many hats in his career - RJ, DJ, lyricist, actor! For someone who learnt singing recently, hitting notes of this beautiful melody on raag yaman so beautifully with so much soul and command is a brilliant effort. His technical mastery also comes with an interesting softness just at the right instances of the melody which is very pleasing to the ears!

Coming to the composition, Jaffer Zaidi is on a roll! First Jaane Na Tu, then Man Kunto Maula and now this! Jaffer has spanned different genres with perfection and great creativity! The song starts as a soft Punjabi number primarily on a guitar background, he then progressively introduces light strings and then bass and before you know it, in comes dholak, harmonium and the qawwals and hijack what was a soft number to a qawwali arrangement! And this alternating arrangement continues till the climax with a beautiful cameo in between by Sajaad Ali with his flute. The second half of the song sees the hamnawabs singing the chorus while Mohsin improvises over them hitting some beautiful off notes! The chorus is in raag yaman while the main melody has elements of khamaaj with use of 'komal ni'. While melodically different they fuse beautifully to give a good overall feel ably aided by the arrangement. The song ends with the flute and Mohsin ending again with a unique softness amidst fading instruments!

There are places where you just go wow listening to Mohsin's singing! Mohsin exhibits great control with his voice. The moment he starts (0.20), you feel a pleasing softness in his tone that makes the divine connection. While being soft, he also has a great throw in portions where the pitch is high  and notes are crisp and immaculate (like at 0.34 and also at the ending portion where he actually contrasts with the main melody with off notes! Mind you that's not easy!).

Overall a track that will welcome the weekend for you on a divine note and perhaps you'll be hooked on to this one for quite some time!

Paar Chanaa De

Music directed by Noori, Vocals : Shilpa Rao & Noori

Link to lyrics here

I had been looking forward to Shilpa Rao's performance the moment I got to know that she would be India's first export to this amazing platform! And finally the wait is over and the end product has come out so beautifully! Noori have been very consistent and creative with their tracks this season and it's no different with this composition. This one is apparently a family treasure passed on from their forefathers and Noori chose just the right platform to showcase this in a beautiful way.

The track has 'mitti-di-khushboo' written all over it with the rustic music & Punjabi lyrics. It is actually based on a tragic love story of Sohni Mahiwal (read the wiki). The Ali Hamza naturally has a beautiful vocal texture and has a great expertise with the lower octaves which he displays here yet again and it goes very well with the earthy mood and arrangement. It sets the stage beautifully for Shilpa to follow. Shilpa turned out to be the ideal choice for this composition. Her voice is very soulful and soothing. While being extremely sound technically, she doesn't sound loud or extravagant, which this composition demanded and she seemed to have gelled with the music amazingly! The antara where she goes solo is brilliantly sung. She begins with the alaap on the lower scale hitting all notes perfectly. And suddenly with literally no pause, she shifts onto the next octave with ease and command. Overall a very crisp and flawless performance from her, marking her entry into Coke Studio in bold letters. She also seemed to enjoy the performance getting along with Noori and the band, given that this was her first appearance on this platform. And finally with Ali Noor singing, it feels like Noori of the olden days! And thanks to them for that! Ali Noor has a great ability to sound rockish with his sky high notes and yet vary his notes like any classical vocalist. Loved the part (at 9.00) when the music goes mute with just the acoustic guitar and Ali Noor's vocals. In the end, the Rao-Noor duo do an interesting jugal-bandi of sorts with Noor continuing his rock part, while Shilpa enters displaying her classical prowess singing some beautiful harkats.

The arrangement of this track has everything one can ask for! It begins with a proper folk arrangement with instruments like the banjo, dholak and the matka (pot). The intial melody on the banjo goes with the mood of the song very well as one feels teleported to a typical rural household. Hamza's vocals takes this feel forward. Then comes the beautiful introduction of 'Sagar Veena' by Noor Zehra (mother of Ali Hamza and Ali Noor) and one can't help but just close eyes and appreciate the masterly artwork which adds a beautiful dimension to this already rich arrangement. Ali Noor also gets a guitar solo which is executed very well and precedes Shilpa's verse. Strings section kick in with Shilpa's vocals playing a parallel melody which complements her vocals. The Strings become quite prominent from here till the end giving an awesome structure to the composition especially when the track enters its crescendo. The melody is primarily on the C-major scale, but at places especially in the chorus does slip over to the sharper 'Ma' note giving it a beautiful twist!

Overall a track that deserves multiple hearings for one shot at this won't be enough to understand all the layers and nuances!

Aaya Laariye

Music directed by Shuja Haider, Vocals by Naeem Abbas Rufi & Meesha Shafi

Link to lyrics here

If you like high energy Punjabi wedding songs you would love this number! From the soulful rendition of Aaqa, Shuja Haider experiments with a diametrically opposite genre here! He has been very creative in retaining the original feel, but at the same adding some electronic sounds and make it feel modern. The choice of vocalists too is brilliant with both Naeem Abbas Rufi & Meesha Shafi doing justice with their powerful vocals which the song demanded.

The arrangement is as grand and lively as a typical big-fat Punjabi wedding! The various instruments come together beautifully to give the overall feel. Shuja also uses synth to create the pseudo-brass section that fills the air giving the band-wala feel along with the dhol of-course. The drum-work and bass-line is perfectly done. Loved the brief section at 3.35 when instruments go silent for a while with guitars, dholak and harmonium progressively coming in before the arrangement gets back to the original grandeur. The backing vocalists too do a great job not just joining the main vocalists but also reflecting that festive mood of a wedding!

A great composition and I am sure you would demand this one to be played in the next wedding you attend! :)

Ala Baali

Music directed by Shiraz Uppal, Vocalists: Nirmal Roy & Jabbar Abbas

Link to lyrics here

Listening to Ala Baali is like taking a multi-cultural-flight (if that ever existed!) from Dubai to Punjab as you experience a cocktail of cultures in a single experience on the way - Arabic, Urdu and Punjabi! And like always Coke Studio gets that delicate balance just right while coming up with these fusion numbers. Shiraz Uppal brings in a range of instruments to create this multi-cultural musical! Structurally song is based heavily on the bass-line and the percussions (the one played right at the beginning. Remember Rahman's Zariya in CS India?). Strings section again is creatively used all throughout the song and the way they play it brings forth the arabic feel (Especially the interlude at 1.35). Banjo and flute are also smartly used at interludes. Also the effect of working closely with Rahman kinda shows off on Shiraz Uppal as he uses the Rahman's favourite instrument - fingerboard in one of the interludes (at 3.00).

Both vocalists do a great job holding the song together while hopping between the multi-lingual lyrics. Nirmal Roy (the female vocalist) comes with a beautiful voice that gives you a contemporary, play-back ready feel. She starts with the energetic arabic part and later goes onto the soulful Punjabi portions on the lower notes. Overall she holds onto notes quite well and am sure we'll see more of this 20-year old in days to come! Coming to the male vocalist - Jabbar Abbas, I bet that if you listen to this track without watching the video, you too would mistake him for Sukhwinder Singh! There's an incredible similarity in the voice quality and singing styles! Jabbar Abbas brings the Punjabi elements beautifully with his open voice. The backing vocalists again do a great job supporting the main vocalists.

Overall an infectious composition that would keep your feet tapping and head banging for some time! Enjoy! :)

So full marks to this episode, each song very different and gracing perfection in its own way! It's wonderful to be welcomed with such a musical delicacy on a Friday ensuring that your weekend is sorted! Do read, listen share and comment! Look forward to your thoughts and points.

- Prabhu

musicdilseblog@gmail.com

Music Review Coke Studio S9: 10 reasons why the unplugged Afreen version connects with the contemporary generation much more than the original classic!

It's been couple of weeks since the unplugged version of the timeless classic 'Afreen Afreen' was released as part of episode 2 of Coke Studio Season 9. And it seemed to have triggered yet another digital-divide which is not so uncommon these days on social media! Recreation of classics performed by maestros is always a tricky affair. For one, it always comes with a baggage of expectations and mental biases that work against anything new! Secondly, listeners would have already exhausted their superlative adulations on the original that it becomes a doubly difficult task to warrant any fresh interest. Notwithstanding this observation, I found a handful of my friends change sides over the course of the week! From "Hmm, the version is good, but nowhere close to the original" to now saying "Wow! On loop since two days!". So that got me thinking and curious to find out the reasons for this shift in perspective. So presenting to you in typical MBA style:

10 reasons why the unplugged Afreen version connects with the contemporary generation much more than the original classic!

Composed by Faakhir Mehmood, Sung by Rahat Fateh Ali Khan & Momina Mustehsan

Link to the lyrics here.

1. Rahat, the next best person on the planet to sing this after Nusrat Sahib!

While Nusrat Fateh Ali Khan was the king of Qawwali, there were a lucky few who witnessed the maestro from close quarters! Rahat Fateh Ali Khan (Nusrat's nephew) happened to be one of them. Rahat also trained under Nusrat and accompanied him at many of his concerts. Blessed with a similar voice texture (thanks to genetics!) and singing style (adaygi), Rahat is indeed the next best person to perform this after Nusrat himself! In fact, one could see a young Rahat (with lot more hair back then) perform alongside Nusrat in this video. His characteristic voice is clearly audible in the backing vocals and he also appears in the video for a short while at 2:44.

Having performed the same classic on stage with Nusrat, he is definitely better placed to retain the essence of the song with all it's vocal subtleties, yet experiment something new and likeable for generation next! 

2. Qawwali to a romantic unplugged number - a welcome genre change!

This romantic number was originally performed as a Qawwali - a genre known for its devotion and praise to the Almighty and typically sung in religious places. Qawwali compositions are completely driven by a high energy vocalist, typically male, who is accompanied by his singing party (Humnawab) with minimal use of instruments (tabla and harmonium). However it would be unfair to call the original version unromantic! Qawwali by definition is adulation of the creator whom one loves and this is reflected in Nusrat sahib's vocals. There is a sense of admiration and yearning in his voice that comes out nicely. The recreated version changes the genre to a soft pop number and is well aided by instruments (acoustic guitar, keys, backing vocalists) to create a breezy romantic mood. The brief female portion is a pleasant addition to the composition.

3. Lyrics are much more prominent to the listener. Javed sahib ka jawab nahin!

Having heard the original as a child, personally, I was more driven by the melody of the composition back then. Perhaps Nusrat sahib's presence and singing style was so prominent that one didn't introspect beyond the singing. The only lyrics I could recall was the title of the song - 'Afreen Afreen'. However, in this new version, thanks to the arrangement, slower tempo and softer singing, the lyrics are much more prominent (the display of subtitles on YouTube also helps!). Javed sahib has written this poetry brilliantly. The whole poetry is some kind of a metaphorical marvel as he describes the beauty of the lady using elements of the nature beautifully. Definitely one of the best poems I have heard from Javed sahib.

4. Unplugged light arrangement on acoustic guitar goes with the romantic lyrics

An unplugged arrangement with just the acoustic guitar and keys always go well with a romantic number! The chords on the acoustic guitar span across the frequency spectrum and fills the air in a pleasant way. This creates the right mood to add the vocal layer on top of it. The composition also has piano and backing vocalists throughout which supplements the acoustic base. The arrangement for me added a whole new dimension to the melody and enhanced my listening experience by several factors.

5. So what if we don't have Lisa Ray, we have a 'beauty with an enchanting voice' - Momina!

Momina's brief vocal portion is a welcome change in the new version. It adds freshness and diversity to the otherwise male monologue from Rahat. Perhaps enchanting is the right word to describe her performance - not just the vocals, but also the body language, the gestures and the screen performance. There is a subtle vibrato which naturally comes with her vocals which is quite unique and sounds great!

6. Awesome backing vocalists add to the breezy romantic feel!

Backing vocalists ironically always end up being 'unsung heroes' of a stage performance! And generally Coke Studio platform always hosts some great background vocalists (remember Sara Haider from Ae Dil last season? Also Rachel Viccaji doubles up as a main vocalist for one of the compositions this time!). The producers (both Rohail and Strings) have incorporated backing vocals very creatively in compositions in-line with the mood and arrangement. In this case too the backing vocalists do a subtle, yet beautiful job with their choral humming that complements the guitar and piano and gives that breezy romantic feel!

7. Rahat sahib ends with the typical Nusrat style sargam

The composition wouldn't have been complete if not for the typical Nusrat style sargam at the end. And Rahat exhibits his virtuosity and lineage beautifully with his immaculate vocals hitting all the right notes. One could actually see him mirror Nusrat's intensity on stage in the sargam part of the composition, thus retaining some characteristic aspects of the original.

8. Slower tempo brings out the emotions beautifully!

Another interesting experiment Faakhir did with this recreation was reduce the tempo slightly. The slower tempo goes well with the reduced intensity of the vocals and simpler arrangement of the instruments. It also reflects in Rahat's vocals beautifully as the emotions are much more evident and the listener is able to comprehend the lyrics, vocals and the underlying emotions very well.

9. Live jam session helps connect with music better

Being a rookie musician, I love watching musicians in action. It's always visually appealing to identify the instruments that is producing the beautiful melody and more so true in an unplugged setup where there is no processing and modulation of the music. It makes the listener an inclusive participant in the arrangement and helps him relate to the music better.

10. Do you really need another reason to hit that replay button?

Yes! If you have come this far reading my blog, I don't see a reason why you need another bullet point to be convinced! So go back to the song, replay it, feel it, experience it and keep doing it all over again! Would also recommend you to watch the behind-the-scenes snippet:

Would love to hear your thoughts and reactions too, so do comment below or drop me a line at musicdilseblog@gmail.com