Archive for the ‘Kailash Kher’ Category

I was re-reading some old posts and was surprised that my initial reaction to Arziyan (from the soundtrack of Delhi 6) wasn’t exactly jumping-off-the-walls enthusiastic. I had forgotten that for some strange reason it took time for me to warm up to it. Perhaps because it feels like I’ve always been enamored with this song, with the depth and beauty of its lyrics, with its lovely melody, with the sense of peace and calm it endows me with each time I listen to it. Arziyan has now firmly become a part of those select songs that I listen to in difficult times, the songs that give me strength and hope, that heal my heart and nurse my troubled mind. Each time I listen to it, its lyrics make a stronger and stronger impact on me, and they transport me to a different place. I’ve posted a particularly favorite stanza on my desk, and a friend who asked about it asked me to translate the song for him. I’m going to do my best, because as always, its not easy to properly translate the feelings behind the lyrics, and also I often stumble on the Urdu. And so, as always, anyone passing by is asked to help! 🙂

Arziyan (Supplications) is written by Prasoon Joshi, rendered by Kailash Kher and Javed Ali, to music set by the maestro A.R. Rahman.

Arziyan saari chehre pe likh ke laaya hoon/Tumse kya mangoon tum khud hi samajh lo

(All my supplications I bring to you written on my face/What shall I ask from You; You know it all)

Ya Maula/Maula, Maula, Maula mere Maula (2)

(O God/God, God, God my God)

Ch: Daraare daraare hai maathe pe Maula/Marammat muqaddar ki kardo Maula

(There are creases* on my forehead, God/Help me restore my destiny/fate, God)

*creases: worry or frown lines

Tere dar pe jhuka hoon, mita hoon, bana hoon (2)/Marammat muqaddar ki kardo Maula (2)

(On Your doorstep I have kneeled, been destroyed, been made/Help me mend my destiny (or fate), God)

I: Jo bhi tere dar aaya, jhukne jo sar aaya/Mastiyan piye sabkon jhoomta nazar aaya

(He who came to Your doorstep, he who bowed his head to You/Appears to be intoxicated and dancing with pleasure)

*This is not a great translation! Mastiyan is better translated as something intoxicating. Here, we are told that those who have been given God’s grace appear intoxicated with their love for Him, and they are dancing in pleasure. Dancing and being mesmerized in prayer and devotion is a feature of Sufi practices and beliefs.

Pyaas le ke aaya tha, dariya woh bhar laaya/Noor ki baarish mein bheeghta sa tar aaya 

(He who came with thirst, has a river in front of him/Is drenched in the downpour of Divine Light)

Maula, Maula, Maula mere Maula…


II: Ek khushboo aati thi (2), main bhatakta jaata tha/Reshmi si maya thi, aur main takta jaata tha

(A perfume would come, and I would go stumbling after it/Wealth (material goods) were like velvet, and I followed greedily)

Jab teri gali aaya, sach tabhi nazar aaya/Mujh mein hi woh khushboo hai, jisse tune milwaya

(When I came Your way, only then did I see the Truth/That the perfume I seeked lies within me, and You helped me recognize it)

Maula, Maula, Maula mere Maula…


III: Toot ke bikharna mujhko zaroor aata hai/Varna ibadatwala saroor aata hai

(I know too well how to break, be shattered/And I am also aware of how to worship)

Sajde mein rehne do, ab kaheen na jaoonga/Ab jo tumne thukhraya tho savar na paoonga)

(Let me be prostrated in Your presence, I will not go anywhere else/Now if You forsake me, then I cannot be saved)

IV: Sar uthake maine tho kitni khwahishen ki thi/Kitne khwaab dekhe the, kitni koshishen ki thi

(I had raised my head and made so many wishes/I had dreamt of so much, had tried so much)

Jab Tu rubaroo aaya nazren na mila paaya/Sar jhukake ek pal mein maine kya nahin paaya

(But when You came near me, I couldn’t raise my eyes to meet Yours/In that one moment when I bowed my head to You, there was nothing I did not gain)

This stanza is my favorite, I am struck by it every time I listen to it, and this is the one I have taped to my desk so I can be reminded of it daily. I don’t know if the translation does it justice. It speaks of Man’s continuous quest, infinite desire, untiring ambition. Man wants more and more, asks for more and more, tries for more and more. This stanza summarizes this quest. I raised my head and I demanded so much from you: that my wishes may come true, that my efforts bear fruit, that my dreams all become reality. But when You appeared before me, God, and I had to bow my head against Your luminosity, in that one moment I realized I had gained everything I ever wanted.

Maula, Maula, Maula mere Maula


Mora piya ghar aaya, mora piya ghar aaya (multiple times)

(My beloved has come home, my beloved has come home)

God is the Beloved, and this is a phrase in many Sufi bhajans, celebrating, in my interpretation, God’s entry to your heart, mind, and soul.


Arziyan speaks to me on a deep, spiritual level. It has a special appeal to me because I find that it traverses all religions and faiths; it does not speak of any single faith or denomination or describes any particular flavor of the Holy. It supplicates to a universal God, a God for anyone who chooses to believe in Him/Her. It is a piece about faith in a greater power, and the hope and the strength that faith can bring to you, when you need it most.


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Rahman does it yet again.

Delhi 6 is a movie I have been awaiting with some excitement because of the interesting storyline (well, I have said that about so many movies this year and never got around to actually watching them…thus is life) and acting credits, but now the music is out and it has officially made my day. I mean, it has literally cheered me up, which I very much needed, simply because yet again I am baffled that Rahman’s genius just keeps stretching out. The maestro had just won some very well deserved awards internationally, including the Golden Globe, for his music of Slumdog Millionaire, and that is followed by yet another proof of how great he is. I really won’t be surprised if he wins the Oscar this year. To be honest I don’t care what he wins, but this whole process brings him into the light and visible to the world, and I think that’s the best part. He deserves the accolades, but the recognition means much more I think. He deserves to go down in international history, not just Indian history. I still remember my excitement when the Theme of Bombay started playing in a pivotal scene in Lord of War…or more recently, as a background to a nightly show in Singapore’s Night Safari. I’m proud of him like no other artist from the motherland. Kudos!

Back to the subject: Delhi 6 is now available for listening on Bollywood Hungama (www.indiafm.com) and his latest offering brings to you both awe-inspiring tracks and tracks that are not so easy to take in. For those who’ve been uncomfortable with his newer work, Delhi 6 is not as eccentric and experimental. For those who like his mixtures and innovation, there is plenty of that too, which might or might not be unpleasant to you. It has a slew of new singers like Sujata Majumdar and Kishori Gowariker, and some of those voices which I said I would love to hear more (Javed Ali, Benny Dayal, Rekha Bharadwaj, Mohit Chauhan!). The lyrics are actually pretty great (thank God, because lately I was worrying about the kinds of lyrics Rahman had been composing to), by Prasoon Joshi, and based on what I know of the story I think they’re aptly powerful and, in true Rahman-style, sometimes complex to explicate.

A word of warning…at times the album brings out the unexpected with a flair, and that might not gel with everyone. For example, if you expected Mohit Chauhan to sing the kind of lovely smooth ballad that he has been singing in the last year…well, Masakali is nothing like that at all. If you’re willing to take the risk, you’ll be amazed at how sleazy and rebellious and bold he manages to sound in this number. Similarly, the title track is a little wild, not in the least because of the singers and the free use of digitalization, but its also very characteristic of Rahman (think Paathshaala). The religious tracks are, as expected, melodious and wonderful, but they lack the power of Khwaja, Piya Haji Ali, or even Al Maddath Maula. Those are a bit of a disappointment, to be honest, because I always look forward to the Rahman touch on this genre, because he does magic with both Hindi and Muslim tracks (this album has both an Aarti and Arziyan, which is reminiscent to Piya Haji Ali).

Let’s start with Aarti. Very solemn, sober, but it immediately reminded me of Ishwar Allah from 1947 Earth and its too similar (apart from the lyrics) to stand out. Its like Rahman didn’t feel like making the effort to differentiate this aarti. Possibly the weakest song in the album.

Arziyan. Javed Ali is divine and holds his own with Kailash Kher, who usually succeeds with songs of this type. Apart from that, like I said already, it is very reminiscent of past efforts in this genre, and it doesn’t particularly stand out, apart from the different singers. The lyrics are quite good, however, and understandable, which will be appreciated by those who thought Khwaja was too pretentious in its language.

Bhor Bhaye. Tracks are being blended in this…and very obviously…one an old, old track of Ustad Bade Ghulam Ali and one of Shreya Ghosal singing the same raag. Initially it is disconcerting, but it won me over soon after, because Ghosal’s voice is simply amazing. Her classical training (of which she is so proud) shines out and you can tell this is her area (once Kavita Krishnamurthy used to stand grandly where classical in movies was concerned…but I’m not sure whats been going on with her choices). I’m still unsure, though, about how I feel about Bade Ghulam Ali’s recording being used such, but I think this is a situational song that will have to be seen to justified.

Delhi 6. Delhi 6 is an ode to Delhi, and its quite a celebration. I can’t pinpoint which singer it is, I believe its Vivienne Pocha, whose voice can only be well utilized by Rahman. For anything else she would be too raw, too sharp, too coarse, but in songs like this (and Shano from Yuvvraaj), she really pulls an effect. Overall this is not my type of track but I enjoyed it.

Dil Gira Dafatan. Ash King is new (I think?) and he does all sorts of things with his voice here, and I like it. He goes high, he goes soft, his breath comes in deep and goes out…The melody is inconsistent on purpose (like he’s just singing and not really following any music) and there’s a constant tone running in the background…the effect is something that builds up and builds up in anticipation…Chinmayee comes in and adds her own sweet effect. Rahman mixes a lot in this song…at times it sounds Western, at times Asian, at times it sounds like something European…but for some reason it works (for me). Its a risky song because there is a lot going on, and I don’t think everyone will fall for it. Its also very dreamy and flows like something…not quite real.

Genda Phool. For some reason there’s very little wedding/marriage songs being made nowadays, and I miss them. I miss the Main To Chod Chali Saajan Ka Desh kind of songs! Genda Phool brings back that genre with a twist, and for that reason may be one of my favorite songs here. The lyrics and the voice of Rekha Bharadwaj and the use of the sangeet chorus makes it very earthy, very shaadi and mehndi suitable, teasing and playing with the relationships to come…but the music defies that. The rhythm and beats fused in are very modern (with only a jhanak of payal in the background) and the whole effect is very fusion. I like it.

Hey Kaala Bandar. Three singers I really dig–Karthik, Naresh, Srinivas–and Bony Chakravarthy do new things with their voices. Its hip hop but not, its British-Indo rap but not really. Its lyrics are confused, going deep but then stepping out. Its youthful. It tries to be Khalbali in its spirit but doesn’t really get to that level. Its music doesn’t hit the spot, but you feel your head start bobbing. Its going through a serious identity crisis. Yeah, that’s all I can say right now.

Masakali. Remember my post on the music of 2008 where I gave Mohit Chauhan my best playback award and I said I’d love to hear more variety in his portfolio (and I also mentioned the singers I’d love to hear more of)?? Well, I should have also wished for Himesh Reshammiya to stop acting/singing in that post because apparently my wishes are all coming true. Chauhan OWNS this song, and its like nothing I’ve heard from him before. At times he’s bold and almost sleazy in his rebelliousness…he inserts laughter and wildness and youth into his voice with ease, and in the parts where his voice freely yodels he reminds you how smooth and dynamic his voice really is. I can’t really describe it well, so just listen.

Noor. Amitabh Bachchan speaks. I’m not a fan. So I have nothing to say. Words are okayish.

Rehna Tu. The songs which Rahman chooses to grace with his voice will always be the best of the album. I remember my mom once was shocked that Khwaja and Ay Hairathe Tere Bina (I’m sorry, I got the names all mixed up…which is stupid…thanks Ashish for pointing it out…Ay Hairathe was sung beautifully by Hariharan) were both sung by him, because he sounds so different in each. His voice doesn’t change, but his emotion does, his persona does…something happens as a result of which he does not sound the same on any two songs. It can go without saying that Rehna Tu will come to be my favorite song from this album 🙂 I love what Rahman does with it. I love its almost-R&B beat that switches into something more eclectic as the song progresses. I love what he does with his voice to really add passion and emotion and longing to the song. And I really like the lyrics. Just like I loved the strange but simple associations of Meherbaan, I love the lyrics of this love song which seem steeped in desire and not entirely conventional.

“Rehna Tu/Hai Jaisa Tu/Dheema Dheema Jhokha/Ya Junoon”

(Stay/The way you are/A soft slow breeze/Or a passion)

“Tujhe Badalna Na Chahoon/Radhi Bhar Bhi Sanam/Bina Sajawat, Milawat/Na Zyada Na Kum”

(I don’t want to change you/Even a little bit/[you are] Without decoration, without any impurity/Not too much nor little)

This is the slightly weird but sort of sweet stanza:

“Haath Thaam Chalna Ho/To Dono Ke Daayen Haath Sang Kaise?

Ek Daayan Hoga/Ek Baayan Hoga/Thaam Le…Haath Yeh Thaam Le…/Chalna Hai Sang Thaam Le”

(If we want to walk holding hands, how can both our left hands be together? One will be left, one will be right, lets hold, hold my hand, we have to walk together)*

(Um, I have forever been handicapped in being able to differentiate rightly between daayen and baayen in Hindi (i.e., which is left and which is right). So quite possibly I have them the wrong way, in which case, please point out kindly :))

The song ends with a flute-like piece that is very traditional…a very nice touch.

That’s my thoughts! Heavily biased, but atleast I didn’t go out right crazy saying the album had no faults! It does, but it is still magnificent and stands glorious evidence that Rahman’s genius will continue on and on and on and on and on…

And on.

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The Indian music industry went through a reformation in my personal opinion in the last few years, and going back to it after a small break I was able to appreciate a lot of the new work. The opportunities for new talent has proven to be a great thing, and I for one have really enjoyed it and taken it as a new movement towards the better. Starting with Naresh Iyer doing a tremendous job with Rubaroo and for a change being lauded highly for it, there have been new voices, new faces, and new music on the scene. I especially like the fact that established music directors are willing to take chances…I mean, I loved Shankar even before he began experimenting widely, but I love him even more for that. Rahman has always been an experimenter, and he has the talent to do it well. The new atmosphere I think gives him even more room, and his new albums have all been proof to that. Ada had tunes that were very Rahman, and some that were very different, that you needed to give time to sink in. Same with Jaane Tu, which some die-hard Rahmaniacs still choose to look over and avoid talking about 😉 I am as loyal to him as ever, but I’ve opened up and am more welcome to the latest work by directors like the young Vishal-Shekhar duo (thank you for beginning to sing yourself too in your tracks, btw). The pop/folk scene has changed to, and begun to accept that it can only go so far in false clothes: Hindi cannot and should not be a rap language. It just doesn’t work. But that doesn’t mean there aren’t other realms we can expand into, right? Rabbi’s been popularizing a new type of modern rock, and Kailash Kher has been taking us back to the earthy, folksy, rich tones, but with a twist each time. Me likes.

Anyway, after all my re-appreciation I kind of got diverted (blame the new Epik High releases and Alex’s solo album) and only just got back to exploring, based on a recommendation. I checked out Dostana, was somewhat pleased, and then excitedly checked out Rahman’s new Yuvvraaj, a Subhash Ghai offering. Most of the tracks I’m still getting used to, but one or two have already gotten stuck in my head, which is what happens when a Rahman song is destined to become a favorite. He gives, again, the reigns of many songs to new singers: great move 🙂

Most of Dostana I’m quite pleased with. I’m sure the majority loves Desi Girl which is a fun enough track (and reminds me of Shankar’s music, not just because he’s singing), but I’ve built quite a liking to the other tracks.

Anyway, here’s what’s playing a lot on my ITunes this week…

Dostana: Khabhar Nahin**, Jaane Kyun**, Kuch Kum*

*Shaan does a sad song? Shaan’s voice is always smiling, so Kuch Kum has this feeling to it…like someone is trying to smile through pain. Lovely touch.

**Um, Vishal Dadlani, can you tell me why you weren’t singing happy-bubblegum-upbeat-falling in love songs before? And also, can you please tell Shekhar to start singing to some of his compositions too? As long as you don’t take it too far like a certain nasal music director turned singer, I’d really like to hear more of those voices. Please to oblige. Thanks.

Yuvvraaj: Tu Meri Dost Hain*, Zindagi**

*Firstly, the lyrics really attracted me, and then the touch with which Benny Dayal goes “Tu hi to meri dost hai…” Its a very unorthodox song, unpredictable on the twists it takes. I really love the idea behind using the word dost.

**Feels like ages since I’ve heard Srinivas.

Also heard repeatedly: Alex’s Saranghaeyo, highly because of the instrumental parts, and Epik High’s One Minute One Second. Is there any limit to Tablo’s genius? I hope not.

Oldies I’m going back to: Naina Barse Rhimjhim, for its eerie beauty, and Baat Niklegi because you can never have enough of a good ghazal.

Procrastinated enough? 🙂

PS: While we’re on it: any recommendations?

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Solely music-related post.

One, I can’t thank Javabeans enough for this post on Yi Sung Yol, its like a gift for us information-starved fans. http://www.dramabeans.com/2008/06/profilegiveaway-2-yi-sung-yol/

It has so much information on his music, his background with UMe&Blue, his personal journey and insight into his own music, and is just a fantastic read. Best of all, she translated 20 versus 30, one of my favorite songs. How amazing is that. I was so thrilled I think I shouted involuntarily (only a few artists can bring out the fan girl in me). And to top things off, I was a winner of the giveaway! Woooohhoooo! That means I get the first CD 🙂 Thanks so much Javabeans! Please check out this article if you’d come here looking for information on him, I’m sure you’ll appreciate it as much as I have.

Also, Mary R commented on one of my YSY posts (thanks!) and gave me some more news: http://www.kome-world.com/uk/article.php?id=142 He was awarded the Musician of the Year Award for In Exchange and also the Best Modern Rock Single at the Korean Music Awards. Yes! It pleases me that he’s getting these awards and recognition: couldn’t go to a better, more-deserving artist. His music just blows our minds away!

Two, I have yet to describe my trip to California, in which I had gallons of fun and was quite the traveler and adventurer. One of the best bits was our last-moment trip to Oakland to catch Summer Beats 2008, the amazing concert with Atif Aslam, Kailash Kher, Richa Sharma and Amanat Ali (who, I’m sorry to say, should have spent more time backstage observing his sunbaes than on stage). How do I begin? Amanat Ali wasted too much time. But then Richa Sharma struck just the right tone with Saawariya as she gracefully came on stage. Her Dama Dum Mast Kalandar was a bit too much the fourth time around (there really was no need, especially since it wasn’t her song anyway), but she did a medley of some of her best intros (Jag Soona, etc). I wish they’d have cut her by just 2-3 minutes. Next tiny Kailash Kher with his big beautiful voice walks on. He was so short, I was totally not expecting that! But he makes up for what he lacks in height with his powerful voice. He picked great songs, starting with Sajna Tere Bina, going on to Chak De from Khosla ka Ghosla, and singing his two beautiful hits, Teri Deewani and Saiyyan (I’m so crazy with this song right now). The dancers were just amazing too, they did a beautiful, fitting sequence in Teri Deewani, making the whole song amazing. He got the audience involved, introduced his band Kailasa, and was so genial and funny that it was definitely worth it. He was probably the best performer of the night.

Kailasa-Saiyyan (Jhoomo Re)

And then, onto the main event (atleast for me), but thanks to the stupid MC and Amanat, the rockstar of the night Atif Aslam only got like 25 minutes (and he was not happy about that). After commenting on the time he got right into it though, and kept it high energy the entire 25 minutes, ending rather abruptly. Atif is truly a rockstar, and he showed his colors. It was amazing. I always think that a concert is worth your money if you see something you’d never get on a good pair of speakers, and clearly Atif thinks the same (see, we’re made for each other), because he did his most famous songs with variations, did guitar solos, threw in some crazy rockstar moves. Of course, to see him live and realize that the man actually is that damn good looking has its advantages to it too. And yes, when he lets go of his cool dudeness and smiles, it is so, so, worth it. (Hold on a minute while I reminisce…)

The big drawback: the sound quality was bad in the theatre. Atif sings really close to the mike (just like John Mayer and YSY: I see a pattern here!), and the sound system wasn’t set up for that. As a result his words weren’t clear, and sometimes there was feedback (not fun). When we did hear the words, it was interesting to note how different his enunciation is. He pronounces a lot of words with a strange accent, and a different emphasis, and really mouths them out. He’s born and raised and educated in Pakistan, so I’m pretty sure that just comes from his singing style, he just likes to really throw his words out there, and enunciate each one. Its hard to explain, you just have to hear him/see him in concert, but its unexpected. Ofcourse, I’m totally biased so I take the positive spin on that :). He sang his most popular songs, but left out Woh Lamhe and Doorie, but I think that was on purpose because he was a little miffed at the time he was left (I can totally understand that too: wth was it with the extra time given to others??). Pehli Nazar Mein: when he began, I think my heart skipped a beat. He started from the first stanza and the audience went crazy. He did variations of Aadat, and sang Tere Bin, which was a huge hit too.

The man sure keeps his energy up, and he has some freaking amazing guitar skills. The whole band does, and I kind of wish he had introduced the rest, atleast given them names, because he had some great talent in that group. He did one or two slow songs too, which included the pretty Kuch is Tarah, but not enough. I’m such a big fan of his deep, strong voice that I would have really liked to relish that for atleast a couple more songs, rather than the heavy rock star music and guitaring. I mean, I definitely loved the musical extras he gave the audience, but I longed for a little bit more of his voice. When I got back home, though, I realized his new album Meri Kahani was out. So apart from planning our wedding, I spent some time checking that out. Its recieved more criticisms than his last album (Doorie), because he’s totally changed his style. I didn’t like Doorie as much (except the title track), so I barely paid attention to those criticisms, and yes, I was right, his new explorations do more for me. Atif has ventured out of his usual, comfort zone, of which many were getting tired, and tried something new and different for him and his voice.

You may not be able to tell with this title song, but perhaps this next song, my favorite one (a duet with a Pakistani female singer, SKJ), will throw more light.

Atif Aslam-Kaun Tha (Meri Kahani)

This album has quite a few slow songs (yes!), leaning towards acoustic, giving his voice and the lyrics more space than his previous songs tended to. Also, more emphasis is given to a subdued, understated quality of his voice than to the power alone. As in, while his previous hits have relied on his high notes, the throwing out of his voice, Meri Kahani doesn’t do that as much, but tries to bring out the softness, huskiness and emotion in his voice. I’ve always felt Atif has a ‘tragic’ voice, which I find hard to explain, but its like that very first time you hear Aadat, or you hear Tere Bin, and you’re immediately drawn because he plays directly on the listener’s emotions. You feel his voice more, and the lyrics mean less. I’m not being fan-girly, because even when I don’t like his songs, I can appreciate the depth of his voice. So Meri Kahani tries to prove that his voice has more than the deep, tragic, low facet…he has more talent than just stretching the note.

On the negative side, this means some of his songs are not as clear, he seems to mumble or they are just too soft to win over the guitar. Also, the strange accent troubles me a bit in this album, especially when he pronounces Tha (the word for was) as Ta. That just sounds wrong, especially with the female singer doing it the right way. I’m not sure why he does that, if its just a by product of enunciation or what. There are also some rock tunes, mainly the too-heavy-metal for me tune, Hungami Halaat, and Chor Gaye leans towards the usual rock and guitar numbers. I completely disagree with critics who claim the album is lacklustre or sounds similar throughout: I’m not sure which album they’ve been listening to. I think thats just backlash from disappointment, because most fans enjoy hearing the kind of music they love rather than watch their artist foray into different fields. The album has plenty of flaws, and some songs deserve to be reworked (like Humrahi, which goes along just beautifully until it suddenly changes its mind and decides not to be acoustic, and the whole tune gets changed, leaving the listener in a “whaaa” stance). But overall, being as objective as I can, I think Atif has taken some huge steps to explore his musical skills with this attempt as singer and songwriter and composer. The album is personal, a narrative that is more honest, open, and bolder than his previous work has been. His songs are varied, and cover a broad range, ranging from memories and childhood, to love, longing, loss to even a dialogue on man and society with Rabba Sacheya, an adaptation of Faiz Ahmad Faiz’s Punjabi poem about man’s expectations from God and the problems with society (http://en.wikipedia.org/wiki/Meri_Kahani). That isn’t a weak effort or experiment, but an impressive attempt by a singer who, to be honest, doesn’t need to work so hard to sell (his voice is enough to sell like hotcakes. Infact, every album he has sung a track for in recent times has been a hit in the Bollywood music industry alone). He may be indulging his personal tastes and his desires to expand his portfolio, and he makes some mistakes, but Atif Aslam has a very, very forgiving listener base, and with his truly impressive talent, he should be lauded for taking chances and forging into new territory.

And now I’m done reviewing music for the day. I have yet to go into Rahman’s Ada, and rave some more about Atif Aslam. I’m considering posting some of my video from the concert, but between planning a wedding and planning my impending move to a new country, I unfortunately have less time for good ol’ fan girlness. Pity.

[PS: I just heard from my chingu that other places weren’t as lucky to have a good Summer Beats concert, and got some ol’ fashioned swindling instead, with Raghav (Raghav????!) being pushed down throats. And the later concerts got cancelled because of Atif’s visa problems (yes. Racial profiling at its best). I feel pretty darn lucky to have had a fairly decent concert, and a great time, albeit the beginning. If this happened to you, please don’t let it put you off from attending future Atif Aslam or Kailash Kher concerts (when they are allowed into the country, and when the producers are able to get their act together). From my own experience I can say, they put on a damn good show, and its enjoyable and worth the money (a reasonable sum of money that a student may afford), and you take home more than just what you would have heard on your speakers. So atleast give ’em one more shot. ‘Course, this comes from a completely biased source. 🙂 )

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