Usha Uthup Bengali Folk Songs Mp3 Free Download [BEST]
Tawny Rautenberg
There are a lot of songs I am told which SDB and RDB made, which were
copied from Bangla folk. I have heard many of my Bengali speaking friends
sing the original ones.- shailesh. -----------------------------------------------------------------------
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Copying folk song is OK. Folk song like public domain software is everyone's
property. RDB use to copy from english pop songs which I don't
approve of. However this is not the credit away from him when he composed
excellent indian tunes like in Amar Prem , Aandhi , Kinara , 1942 love story
and scores of others.
As you point out Neeraj, Kishore's initial hypothesis was untrue. It becomes
even more obvious when one thinks about the music in "ChhoTe Nawaab" itself.
One does not have to go to "Bhoot Bangla" for that.
While "ghar aaja ghir aayi" is a very "Indian" composition (define this phrase
as meaning a tune that has little to no influence from western music), songs
like "Jeenewaale muskuraake jee", "Matwaali aaNkhoNwaali" and "Aaj hua mera dil
matwaala" in the same film have strong spanish and other influences.
By the time RD composed "Teesri Manzil", there was no doubt as to the fact that
a lot of his influences came from the west.
I always find it amusing how people on rmim make the distinction between Bappi
and RDB when it comes to being "influenced" by the West. Bappi may be more
blatant, but that does not negate some of the fantastic tunes he has composed
over the years, which are not copied. While people are willing to grant all
sorts of artistic discounts to RDB, similar ones are not given to Bappi. The
latter is put in the same category of no-talent hacks like Anand-Milind (who
have produced nothing of lasting value other than QSQT) or Nadeem-Shravan.
Bappi has gone for the quick buck, sacrificing quality at several points, but
so have a lot of composers over the years. Perhaps it is Bappi's unashamed
in-your-face blatant attitude that angers people, but somewhere down the line,
his talents have been forgotten/ignored. Bappi is NOT the greatest, he is
not even in the 10 best list (of all time), but ignoring him is like throwing
the proverbial baby out with the bathwater.
BUT, when it comes to borrowing from the west, Bappi can be put in exactly the
same category as RD. However, while evaluating the composer as a whole, RD may
come out ahead on several other counts such as creativity, or lasting value of
the music, or strong classical/folk roots in the music.
Switching gears for a change, I agree that BL has composed some great
tunes. You also say that BL did copy and tried to make a fast buck,
sacrificing quality. Just because several composers have done it, does
not in any way license BL, to sacrifice it too. Anyway which among the
major composers have sacrificed real quality. If you do not want to see
BL, in the A-M, Anu Malik class, one must see if he does fit in the SDB,
Naushad, SJ class, or even the RDB, KA, LP class. BL by his own
foolishness, did not even make himself fit for the latter class, leave
alone the former. RDB on the other hand, not only definitely belonged
to
the latter class, but he proved that he could also be spoken in the same
breath as the other illustrious ones, of an earlier generation. For
every ABBA tune he may have copied, he followed it up in that year with
a
Kinara and a Ghar. BL never did so. There was a time in the late 70's
,
and early 80's when all that BL seemed to do, was to go to the nearest
music store, buy the latest rock tape, bring in his lyricist, and make
him/her fit the words around the tune. The songs were so similar in
tune, rhythm and orchestration that they sounded like a Modern day
Rahman
tune which is simply dubbed in 3 languages. Now take the case of RDB.
Even
the Mama Mia song, which came out as "Tere liye, zamana tere liye" have
big
differences. I wonder how many even knew that Mama Mia was the original
song before this post. AFter hearing the songs last night, I saw how
RDB
had cleverly hidden the original tune, under a different rhythm, clever
usage of Indian instruments etc. Heck RDB even copied SDB's tunes for
"Meethe bol bole", "Ab ke na sawan barse" and Jab bhi koi kangana bole"
from the original Bengali ones. As far as the average listener is
concerned, he used the tune of another musician, so what if they were
father and son. But the comparison starts and ends with the skeletal
tune. RDB's tunes are far better tha SDB's. Ofcourse using the right
singer has a lot to with it, and Lata and KK do add a great deal to the
tune than does SDB, but the ghunghroo in "Meethe bol bole" are absent in
the orginal, and his percussion in "Jab bhi koyi kangana bole" makes the
song sound much better. From ordinary Bengali folk songs, we have two
masterpieces. That according to me is where RDB scores over anyone.
Sure, copying is easy, but it's how you use it that also counts.
This may sound silly, but every musician works with a formula--the 7
basic notes. When a Naushad or an SDB decided to compose a tune in Raag
Bhairavi, they could only use those notes permitted by the structure of
Bhairavi, each and every time. Would you say they were not formula
based? It was within that same Raag structure that they added and
subtracted instruments, rhythms etc to bring out the different flavours
of that Raag. SJ for example semed to have a winning formula with Raag
Shivranjani, and seemed to have used it in every other movie. So even if
they are formula based, it should not take away the beauty of the final
composition, and I don't think RDB did.
I refrain from saying that he was the best or the most versatile. All I
can say is that given the amount of success he has achieved by indulging
in all aspects of music,--classical, jazz, rock, folk, his name can be
put forward as the most versatile. The others I am sorry to say, might
have realized their limitations, or maybe the time and the movies were
different, but they did not attempt to change music the way RDB did. He
did not just fiddle around once or twice with the Western influence, but
used it wisely and well to break the taboo of Indian film music once and
for all. Without RDB to have broken that mold, we would not have seem
Rajesh Roshan, BL, or even a Rahman. They are good musicians, but
that's all. RDB, IMHO was a trendsetter.CiaoKetan
A Burman fan(atic)!
PS : See, Satish, I did not say a word in favour of SDB. Maybe this will
change your opinion of me. :))
>Ketan, nice article on RDB. I am actually real upset that the BeeperLady
>is even mentioned in the same paragraph as RDB. For each of his
>western/cogged tune, RD had a large number of fascinating songs. To me
>Amar Prem is an all-time classic, while Aandhi, Masoom and other work
>with Gulzar/KK certainly belong in the top bracket (just the fact that
>SJ, Naushad and MM composed there great tunes earlier doesn't reserve
>the top echelons exclusively for them!).
: the Mama Mia song, which came out as "Tere liye, zamana tere liye" have
: big
: differences. I wonder how many even knew that Mama Mia was the original
: song before this post. AFter hearing the songs last night, I saw how
: RDB
: had cleverly hidden the original tune, under a different rhythm, clever
: usage of Indian instruments etc. Heck RDB even copied SDB's tunes for
: "Meethe bol bole", "Ab ke na sawan barse" and Jab bhi koi kangana bole"
: from the original Bengali ones. As far as the average listener is
: concerned, he used the tune of another musician, so what if they were
: father and son. But the comparison starts and ends with the skeletal
: tune. RDB's tunes are far better tha SDB's. Ofcourse using the right
: singer has a lot to with it, and Lata and KK do add a great deal to the
: tune than does SDB, but the ghunghroo in "Meethe bol bole" are absent in
: the orginal, and his percussion in "Jab bhi koyi kangana bole" makes the
: song sound much better. From ordinary Bengali folk songs, we have two
: masterpieces. That according to me is where RDB scores over anyone.
: Sure, copying is easy, but it's how you use it that also counts.
: Are you crazy. RDB in his entire life time could not give songs like SDB in
: GUIDE , ABHIMAAN , MERI SURAT TERI ANHKE and scores of other great hits.Uh... since we all know that quite a bit of early RDB work is found under
the name of SDB (Him being the advisor whose name gets printed on the thesis
as one nettor said), I wouldn't be too careful in quoting films like that.
For all you know, Meet na mila re man ka might have been an RDB original.Another question for nettors, how does one know which work has been done by
Shanker and which by Jaikishen? I remember Prof Krishnan telling us in one
post that xxxx was by Shanker and yyyy was by Jaikishen. I wondered how we
know.... Is there a biography of them out there?
: : that's all. RDB, IMHO was a trendsetter.: Oh yeah a trendsetter in stealing tunes shamelessly. Just listen to the
Ah, come come... he is a trendsetter for bringing Western music to the
forefront of the Indian movie-goers attention. He brought a whole new
world to them just by making Shammi sing Aaja Aaja main hooN pyaar tera.
He totally revolutionised the way music was being composed at that time.
And he was a major factor in the success of a phenomenon called Rajesh
Khanna too! The public could not have swooned over Rajesh's at-that-time
cute and-now-silly mannerisms if he had been doing it for the normal
musicians. Rajesh was a rage of his time, and as much as him , RDB too
was a rage. THAT is what makes a trendsetter. NOT whether a guy steals or
does not steal! Bappi or even AnuM will never have that kinda mass
hysteria generated by them. Would NS come close? Not to RDB but to
Naushad (Note for Sami-bhai: I managed to get Naushad's name on another
line than NS :) ) in focusing the people's attention on music and again
bringing money to the MDs harmonium (and that is what NS have ....the
harmonium and two violins :) ) and there the comparison stops. The
quality of music never can be compared to Naushad's. NS do not come close
to RDB, because at his time, the composers were still there. The public
was still focused on them. Music was not totally balderdash as at the
time an year or two prior to NS time.
Later,
Ikram.: S. Ravi Krishna