Saathiya brings hope to music industry
vsr...@hclinfinet.com
Any more information on the author's claim that "Khayyam
took over the work in Umrao Jaan when Jaidev couldn't
deliver the required score for the film."
Any news of Muzaffar Ali? He was doing a film having Dimple
Kapadia on Kasmiri poetess Habba Khatoon. (jooni?) I have
not heard about the couple's progress in politics either.
I wonder why Shaad Ali did not go for Khayyam. Mani's
decision?
Regards.
-Rawat
------------------------
Saathiya brings hope to music industry
SUBHASH K JHA
IANS [ MONDAY, NOVEMBER 11, 2002 10:19:52 AM ]
MUMBAI: Bollywood seems poised on the brink of another
musical revolution with the song Saathiya madham madham
geeli teri hansi... fast gaining popularity on film music
charts.
For a year filled with musical disappointments apart from
the odd Nikamma, Khallas, Ishq Samundar and Ishq Kamina, A R
Rahman's just-released score for debutant director Shaad
Ali's Saathiya is a welcome change.
A music score by Rahman has always caused much excitement be
it Roja, Bombay, Taal, Zubeidaa, Fiza or the 2001 hit
Lagaan.
Rahman, whose score for The Legend of Bhagat Singh though
good did not shake the charts, is back in form with
Saathiya, even though a large chunk of the soundtrack is
transposed from its Tamil counterpart Alaipayuthe --the
Mani Rathnam hit that launched R Madhavan's career as a
southern superstar.
This isn't the first time that Rahman has transposed his
south Indian film music score into Hindi.
Earlier, the Anil Kapoor-Rani Mukherjee starrer Nayak
featured an exact replica from its Telugu version.
Saathiya has a stunningly laid out tapestry of tunes that
goes from genre to genre in search of flawless harmonies.
All nine tracks in the album are sparkle with a prismatic
perfection.
Shaad Ali has inherited his musical ear from director-father
Muzaffar Ali, who got terrific music out of composer Khayyam
in Umrao Jaan and Jaidev in Gaman. Incidentally, Khayyam
took over the work in Umrao Jaan when Jaidev couldn't
deliver the required score for the film.
"I've grown up in an atmosphere of music and aesthetics. As
a child, I'd sit with my father, Khayyam and lyricist
Shahryar. When I began assisting Mani Ratnam, I was
associated with Gulzar who scored music for Dil Se," Shaad
Ali said.
"Actually only the title song has identical sentiments to
those in the Tamil original -- the rest of Gulzar's lyrics
are all original.
"Even the title song which we call the 'colour song' because
it goes into a different mood and colour in each stanza,
goes way beyond the original score. It isn't often that an
adaptation goes further than the original.
"The imagery in Saathiya is far deeper and richer. I'm lucky
to have worked with geniuses like Gulzar and Rahman in my
first film."
Shaad admits a lot of the music has been transposed from the
original soundtrack.
"But two tracks -- Naina milaike and Mera yaar milade -- are
originally recorded for Saathiya.
"What's unusual for Rahman is that he has composed tunes for
poetry by Gulzar in these songs. Usually words are set to
his tunes."
The soundtrack of Saathiya has generated tremendous
curiosity in the market.
Says Shaad: "I think the music is growing on the listeners.
I thought listeners wouldn't know what the lyrics of Asha
Bhosle's Chori pe chori mean. But that's everyone's
favourite! So far there's been nothing this year except
Devdas for music lovers to hold on to."
Gulzar said: "I'm more happy with the sound of Saathiya. I
think the range of sounds is amazing. I made sure not to
follow the context or meaning of the original Tamil lyrics.
Since I've written the adapted screenplay from the Tamil
film, I could connect the emotions and energy of the scenes
with the songs.
"I've also written the dialogues for a film after a long
time in Saathiya. The last time I wrote dialogues was for
Hum Panchi Ek Daal Ke. In Saathiya, apart from a few scenes
that I altered for the Hindi audience, the screenplays for
Alaipayuthe and Saathiya are identical."
Gulzar said, Rahman and he had worked together in Dil Se
their comfort level increased in Saathiya. "We understand
each other better now. I explain my poetry to him. Either I
write well or I explain well because Rahman always reacts
with 'Ah, lovely'.
"Shaad is very cultured. His background in Lucknow gives him
access to the language and expressions of Urdu poetry. Shaad
is a man of high taste. To work with a director of his
aesthetics is a compliment to my poetry."
Shaad has come a long way from the time when he asked Aditya
Chopra for the lead role in Dil To Pagal Hai, when he was
offered Shah Rukh Khan's friend's part -- later done by
Shaad's brother Murad.
"I came to Mumbai to become Amitabh Bachchan, but I'm not a
frustrated actor-turned-director. I've taken out all my
frustrations by directing Vivek Oberoi and Rani Mukherjee."
http://timesofindia.indiatimes.com/cms.dll/xml/uncomp/articleshow?artid=27943544
------------------------
UVR
> Fwding.
[<deleted>]
Interesting article, Rawat. I am not a Rahman-hater like
some others on this newsgroup (infact, I am quite a fan),
but I don't understand why it is Saathiyaa and not Alaip-
payuthe which is being hailed as bringing 'hope to the
music industry'. What is different (music-wise, not
lyric-wise) in the Hindi version from the original Tamil
movie? (The article you forwarded does not say). My
experience with most of ARR's Tamil-to-Hindi remakes is
that the lyrics in the Hindi version are horrible, obtrusive
and do not fit the original Tamil tune properly at all.
I always prefer the original versions of ARR's songs --
even if I don't understand 100% of the lyrics, the words
just sound more musical.
-UVR.
Kamesh
news:9c085b63.02111...@posting.google.com...
Actually the telugu version has very good lyrics especially the Hariharan
number.
"Alai Pongeraa" is a very good piece too.
Kamesh
>
> -UVR.
vsr...@hclinfinet.com
>
> Interesting article, Rawat.
Thanks. :)
> I am not a Rahman-hater like some others
Shhhhhh! They might wake up. 8+)
> I don't understand why it is Saathiyaa and not Alaip-
> payuthe which is being hailed as bringing 'hope to the
> music industry'.
I guess it is because of the possibility of higher sales in
hindi music. Alaipayuthe has been released in Tamil and had
faired moderately on sales counters. In the recent crop,
Devdas, Raaz etc are only few albums which had brought some
money. Even Bhagat Singhs all bombed. Saathia is expected to
bring the cash like Taal did.
> What is different (music-wise, not lyric-wise) in the Hindi version from the original Tamil movie? (The article you forwarded does not say).
I personally have not heard the Tamil version. I don't get
them here.
The article describes:
--------------------Quote
"But two tracks -- Naina milaike and Mera yaar milade -- are
originally recorded for Saathiya.
"Actually only the title song has identical sentiments to
those in the Tamil original -- the rest of Gulzar's lyrics
are all original.
"Even the title song which we call the 'colour song' because
it goes into a different mood and colour in each stanza,
goes way beyond the original score.
"What's unusual for Rahman is that he has composed tunes for
poetry by Gulzar in these songs. Usually words are set to
his tunes."
--------------------unQuote
> My experience with most of ARR's Tamil-to-Hindi remakes is
that the lyrics in the Hindi version are horrible, obtrusive
and do not fit the original Tamil tune properly at all.
Most of the songs by PK MIshra, Mehboob might fit in that
genre. Even Anand Bakshi did a pathetic job in his Love you
hamesha.
> I always prefer the original versions of ARR's songs --
> even if I don't understand 100% of the lyrics, the words
> just sound more musical.
Exactly.
Listening to Tamil original chandralekha - tiruda tiruda is
an experience in itself. Hindi version from chor chor is
also good yet tamil version's lyrics flow so smoothly.
Regards.
-Rawat
vsr...@hclinfinet.com
>
> Actually the telugu version has very good lyrics especially the Hariharan number.
> "Alai Pongeraa" is a very good piece too.
Hi Kamlesh ji,
Who wrote the lyrics in Tamil and Telugu versions?
I wonder why they do not take the same person to pen hindi
version. Are they not so proficient in hindi?
I understand Vairamuthu is current Kalidas of Tamil. How is
his hindi?
Regards.
-Rawat
Ashok
>I understand Vairamuthu is current Kalidas of Tamil. How is
>his hindi?
>
>Regards.
>-Rawat
I'm sure it is better than Kalidas's Tamil was.
Ashok
UVR
> UVR wrote:
> >
> > I don't understand why it is Saathiyaa and not Alaip-
> > payuthe which is being hailed as bringing 'hope to the
> > music industry'.
>
> I guess it is because of the possibility of higher sales in
> hindi music. Alaipayuthe has been released in Tamil and had
> faired moderately on sales counters. In the recent crop,
> Devdas, Raaz etc are only few albums which had brought some
> money. Even Bhagat Singhs all bombed. Saathia is expected to
> bring the cash like Taal did.
I was thinking that you were talking about bringing hope
to the quality of music, but you seem to be saying that
"bringing hope <==> bringing money." If this is how we
have started assessing the quality of music, God help us.
> I personally have not heard the Tamil version. I don't get
> them here.
Try www.musicindiaonline.com/tamil/ The quality of the
songs is surprisingly good.
> The article describes:
> --------------------Quote
> "But two tracks -- Naina milaike and Mera yaar milade -- are
> originally recorded for Saathiya.
Thanks. I'll check these out. I missed this line from
the original post.
> "Actually only the title song has identical sentiments to
> those in the Tamil original -- the rest of Gulzar's lyrics
> are all original.
You mean the Hindi title song, don't you? The title songs
are not identical in the two versions. The Tamil title
song has been dropped from the Hindi film -- presumably
because the Tamil song is heavily Carnatic-classical-ish
in tune. 'nainaa milaaike' is the replacement song.
> "Even the title song which we call the 'colour song' because
> it goes into a different mood and colour in each stanza,
> goes way beyond the original score.
>
> "What's unusual for Rahman is that he has composed tunes for
> poetry by Gulzar in these songs. Usually words are set to
> his tunes."
This is most definitely not true as far as the Hindi title
song goes -- that one just reuses 'pachchai niramE' (also
known as "sakhiye, snegithiye ...") from the Tamil version.
Not that there's anything wrong with this. It's a very
well-composed song (in Tamil).
> Exactly.
> Listening to Tamil original chandralekha - tiruda tiruda is
> an experience in itself. Hindi version from chor chor is
> also good yet tamil version's lyrics flow so smoothly.
I'm glad you mentioned "Thiruda Thiruda" -- it's my favorite
Rahman score. I did not like "chor chor" as much, but I'm
probably biased.
-UVR.
animesh kumar
> Shaad Ali has inherited his musical ear from director-father
> Muzaffar Ali, who got terrific music out of composer Khayyam
> in Umrao Jaan and Jaidev in Gaman. Incidentally, Khayyam
> took over the work in Umrao Jaan when Jaidev couldn't
> deliver the required score for the film.
>
> "I've grown up in an atmosphere of music and aesthetics. As
> a child, I'd sit with my father, Khayyam and lyricist
> Shahryar. When I began assisting Mani Ratnam, I was
> associated with Gulzar who scored music for Dil Se," Shaad
> Ali said.
>
Khayyaam is still around, wonder why he was not approached. Thodisi bewafai
with gulzar was an amazing album altogether (esp the title song). Though it
may be because khaiyyaam would like to make an independent score unaffected
by any tamil/telugu music.
Is the movie a dubbed version of some south indian movie, or is it a remake.
A remake can call for a differnet music director I suppose.
Also no one has pointed out the jaidev vs khayyaam stuff. I dont rate
either of them higher against the other... they both are superb for me
best regards
animesh
Abhay Jain
"animesh kumar" <ani...@eecs.berkeley.edu> wrote in message
news:aqu1n6$1sp7$1...@agate.berkeley.edu...
> <snipped>
> > Shaad Ali has inherited his musical ear from director-father
> > Muzaffar Ali, who got terrific music out of composer Khayyam
> > in Umrao Jaan and Jaidev in Gaman. Incidentally, Khayyam
> > took over the work in Umrao Jaan when Jaidev couldn't
> > deliver the required score for the film.
> >
> >
>
bewafai
> with gulzar was an amazing album altogether (esp the title song). Though
it
> may be because khaiyyaam would like to make an independent score
unaffected
> by any tamil/telugu music.
>
Is it true that Khayyam never scored for a remake from other language movie?
>
> best regards
> animesh
>
vsr...@hclinfinet.com
>
> Is the movie a dubbed version of some south indian movie, or is it a remake.
> A remake can call for a differnet music director I suppose.
It is a remake *ing Rani Mukherji and Vivek Oberoi.
Regards.
-Rawat
vsr...@hclinfinet.com
>
> I was thinking that you were talking about bringing hope
> to the quality of music, but you seem to be saying that
> "bringing hope <==> bringing money." If this is how we
> have started assessing the quality of music, God help us.
The writer of the article feels that way.
> You mean the Hindi title song, don't you? The title songs
> are not identical in the two versions. The Tamil title
> song has been dropped from the Hindi film -- presumably
> because the Tamil song is heavily Carnatic-classical-ish
> in tune.
I think ARR has given Carnatic-classical before. Why would
that be the reason for dropping a song now.
> 'nainaa milaaike' is the replacement song.
Like "chhodo meri baiyaan" of Zubeidaa, it is also a song
from diffrent century.
> I'm glad you mentioned "Thiruda Thiruda" -- it's my favorite Rahman score. I did not like "chor chor" as much, but I'm probably biased.
In this particular song, most of the persons who had heard
both versions invariably liked the tamil version.
Regards.
-Rawat
animesh kumar
> > >
> > >
> >
> > Khayyaam is still around, wonder why he was not approached. Thodisi
> bewafai
> > with gulzar was an amazing album altogether (esp the title song). Though
> it
> > may be because khaiyyaam would like to make an independent score
> unaffected
> > by any tamil/telugu music.
> >
>
> Is it true that Khayyam never scored for a remake from other language
movie?
>
it is dubbed usually original music director/songs etc are there.
quoting again myself
"Is the movie a dubbed version of some south indian movie, or is it a
remake. A remake can call for a different music director I suppose."
he may have given music in remake movies.... but he gives his own stuff, not
the inspired one
best regards
animesh
Nazir Patel
Prefer Lagaan and Devdas.
<vsr...@HCLInfinet.com> wrote in message
news:3DD360BA...@HCLInfinet.com...
Srinivas Ganti
>Rawat wrote:
> I think ARR has given Carnatic-classical before.
"takiDa takiDa taka jam" from Jeans is one such.
sg.
vsr...@hclinfinet.com
>
> Heard songs of Saathiya. I would not buy the audio. Can't stand most songs.
> Prefer Lagaan and Devdas.
choice is yours.
gains are yours. losses are yours.
If you do not intend to buy it now, how did you hear it? on
a borrowed cassette or a downloaded small clip.
I mean, arr's music is so complex that brain needs time to
grasp it. After that one starts liking it. it maybe quite a
dozen hearing before one starts getting a feel of it.
On a borrowed cassette or on small downloaded clip, you
might not have invested that much efforts, thus you might
not be liking it. Of course, you might continue disliking
even after a 100 listenings (the way I dislike ARR's
lovebird or tu hi mera dil).
--------------------
For me, Saathiya is one of the best release of ARR, in the
category of Dil Se.
With Lata's ageing voice, efforts were made to fill the void
in the music scene. ARR did his bit in Alka Yagnik in"Taal
se taal mila" in Taal which was quite sweet and melodious.
Then he moved on to like of ALka's "maahive" in The legend
of Bhagat Singh which was very sweet.
IN Saathiya's "Chupke se", it is finally Sadhna Sargam gives
the sweetest song ever composed by ARR. Having heard her so
far, it is surprising that she has come to the point of
Lata's next generation.
And the mood is set to blue by the real poet Gulzar's
--------------------
farvarii kii sardiyo.n kii dhoop me.n
moo.ndii moo.ndii a.nkhiyo.n se dekhanaa
haath kii aad se
neemii neemii tha.nd aur aag me.n
haule haule maarvaa ke raag me.n
meer kii baat ho
din bhii na doobe raat naa aaye shaam kabhii na dhale
shaam dhale to subah naa aaye raat hii raat chale
chupake se chupake se raat kii chaadar tale
chaa.nd kii bhii aahat naa ho baadal ke peechhe chale
tujh bin pagalii ye purvaee
tujh bin pagalii ye purvaee
aake merii chunarii me.n bhar gaee
tu kabhii aise hii
gale lag jaise ye purvaee
aa gale lag jaise ye purvaee
saathiya sun tuu
kal jo mujhako nee.nd naa aaye paas bulaa lena
god me.n apnii sar rakh lenaa lorii sunaa denaa
-----------------------
And Adnan Sami's debut for ARR, "Aye udi udi udi" seems to
be a Talat Mehmood singing a pop song.
"Naina Milaike" is the traditional classical, an achronism
that a 20 year old song is here in 2002.
ARR's own "Mera Yaar Mila de" has the soothing sufi feel and
surprisingly, male part of "chupke se" "dosto.n se jhutii
mootii" also seems to be to the sufi tunes.
Sonu in title song is the most contained that he could ever
be.
choice is yours to have ignored all these and more.
No problem with me with ARR"s Lagaan or Devdas being your
pick.
Regards.
-Rawat
Shree
> I mean, arr's music is so complex that brain needs time to
> grasp it. After that one starts liking it. it maybe quite a
> dozen hearing before one starts getting a feel of it.
>
least some of ARR's music caught on with me after listening
repeatedly, e.g. some songs from Indian, Roja, Zubeida, etc.
Of course, there have been some songs that got me I hooked on right
away, like pagdi sambhaal jattan (...Bhagat Singh), unnaalaye
(Bombay), etc.
--Shree