Alaipayudhe Kanna..
-- Regards, V SRINIVASA KRISHNAN On Sat, Oct 31, 2009 at 4:19 PM, Din, D, Nesh <dinesh.theb...@hotmail.com>wrote: > > > The Theme from Baba too can be considered a Spiritual song... :) > > > --- In arrahmanfans@yahoogroups.com <arrahmanfans%40yahoogroups.com>, > "in2mindstation" <in2mindstat...@...> wrote: > > > > > > * Thaayum Neeye Thandhaiyum Neeya - BABA > > > > > > --- In arrahmanfans@yahoogroups.com <arrahmanfans%40yahoogroups.com>, > "patevis3" <vishal1278@> wrote: > > > > > > http://vishal12.wordpress.com/2009/10/29/a-r-rahmans-spiritual-canon/ > > > > > > > > > A R Rahman has experimented, quite successfully, with myriad musical > genres. But when it comes to spiritual songs, he likes to leave them > untainted by not adding a lots of bells and whistles and rely heavily on the > core melody itself. > > > > > > I don't think any other music director (in Bollywood, if not in India) > has given us more "spiritual" songs than the maestro. I like to call them > spiritual songs, as opposed to religious or devotional, because although > majority of these songs have either Islamic or Hindu flavor, I find them > universally appealing and elevating. Here's a list of my favorites from this > genre: > > > > > > * Khwaja Mere Khwaja – Jodha Akbar > > > > > > This song was dedicated to the Hidalwali (Saint of India) Khwaja > Ghareeb-un-Nawaz, and was rendered by A R Rahman himself. He one mentioned > in an interview that this song is very close to his heart, and you can feel > his sincerity in the way he has sung this beautiful song. The soul stirring > instrumental (Oboe) version of this song gives me goosebumps every time I > hear it. > > > > > > [Trivia: The lyrics of this song were not written by Javed Akhar - who > wrote all other songs of this movie - but by someone named Kashif.] > > > > > > > > > > > > * Arziyan – Delhi 6 > > > > > > Backed by harmonium, tabla and continual gentle claps, this mesmerizing > qawwali is like an ode to the Islamic culture of Old Delhi. Javed Ali, along > with Kailash Kher, does full justice to Prasoon Joshi's meaningful lyrics > and A R Rahman's magical tune. > > > > > > > > > > > > * Piya Haji Ali – Fiza > > > > > > This was the first Sufi-style qawwali that A R Rahman composed for a > movie. For Khuda ke vali (God's friend) Haji Ali, to be specific. Shaukat > Ali's beautiful lyrics give a glimpse of how Islam, the monotheist religion, > has blended with the local cultures in India: Yahaan hindu muslim sikh isaai > faiz paate hai. > > > > > > [Trivia: This song was performed by Ghulam Mustafa brothers, Srinivas > and A R Rahman. Can you identify which lines are sung by Srinivas?] > > > > > > > > > > > > Apart from the obvious Sufi semblance, muqaddar/taqdeer/kismat is > another connecting link between the aforementioned songs: Arziyan (Marammat > muqaddar ki kar do maula), Khwaja Mere Khwaja (Bekasoor ki taqdeer, tune hai > saNwaari) and Piya Haji Ali (Bigadi kismat aap ke dar par saNwarti hai). > > > > > > * Al Maddath Maula – Mangal Pandey: The Rising > > > > > > Unlike the three songs mentioned above, this one has a high tempo, an > adrenaline rush and a dark tone of impending calamity. Murtuza, Qadir and > Kailash Kher sing this song with a fervor, with intermittent devout > spine-tingling calls to maula by A R Rahman. > > > > > > [Trivia: Murtaza and Qadir are the same Ghulam Mustafa brothers from > Piya Haji Ali. They also accompanied A R Rahman in Tere Bina from Guru, and > rendered 'Doston se joothi-moothi' in Chupke Se song from Saathiya.] > > > > > > > > > > > > * O Paalanhaare – Lagaan > > > > > > There are actually two versions of this song. One sung by Lata > Mangeshkar and Udit Narayan, and the other with an additional female singer. > It's the latter version that was used in the movie (to distinguish the lines > picturized on Gauri and Bhuvan's mother). But I prefer the former one, with > Lata's aging yet divine voice accompanied by mellifluous flute and subtle > sounds of temple bells. Here's the version that was used in the movie. > > > > > > > > > > > > * Noor-Un-Ala-Noor – Meenaxi > > > > > > Written by the great painter and inept director, M F Hussain, this > addictive qawwali raised a controversy because some Muslims got offended (I > think the song uses a phrase from Quran to praise the beauty of a mere > mortal: Meenaxi). And guess who are the singers of this qawwali? Murtaza and > Qadir again! > > > > > > > > > > > > * Man Mohana – Jodha Akbar > > > > > > As I wrote in my review of Jodha Akbar's music, add Mira's pangs of > separation (from Krishna) to Radha's passion (for him) and you get the > recipe for this devotional song. The way Bela Shende has rendered this > bhajan - her unflattering voice and command over the highs and lows of the > song leaves you wondering why she doesn't get more offers as a singer. > (Isn't Kangna Re from Paheli is her only other song?) > > > > > > > > > > > > * Ek Tu Hi Bharosa – Pukar > > > > > > Lata and A R Rahman joined hands only four times, and the result is > always breathtaking. The tune of this song was originally composed for a > concert in Malaysia and later used for this movie. > > > > > > > > > > > > * Zikr – Bose: The Forgotten Hero > > > > > > This song is something else! I can't really describe the elevated sense > of euphoria that it evokes. One shouldn't merely listen to this song, one > should experience it. Since I am not a religious person, I attribute the > effect of the song to the music (as opposed to its meaning). > > > > > > > > > > > > * Ishwar Allah – 1947 Earth > > > > > > The secular message of this melancholic number is in the form of a > series of questions to the almighty. It's played in the background when the > end-credits roll, and I think that was a perfect way to end this movie – a > story of savagery and violence narrated by a Parsi girl. > > > > > > ------ > > > > > > Regards, > > > > > > Vishal > > > http://vishal12.wordpress.com/ > > > > > > > >
