You can view the song here.

(E)Sham bhi koi (G#m)jaise hai nadi
(A)Lehar lehar jaise beh (B)rahi hai
(E)Koi ankahi, (G#m)koi ansuni
(A)Baat dheemi dheemi keh (B)rahi hai
(E)Kahin na (G#m)kahin jaagi hui (A)hai koi aarzoo(B)
(E)Kahin na (G#m)kahin khoye (A)hue se hain main aur (B)tu

(E)Ke boom boom boom (G#m)para (A)para
Hai (B)khaamosh dono
(E)Ke boom boom boom (G#m)para (A)para
Hai (B)madhosh dono

(E)Jo gummsum gummsum hai (G#m)yeh fizayein
(A)Jo kehti sunti hai (B)yeh nigahein
(E)Gummsum gummsum hai (G#m)yeh fizayein hai (Am)na

(E)Suhani suhani (G#m)hai yeh kahani
Jo (A)khamoshi sunaati (B)hai
(E)Jise tune chaha (G#m)hoga woh tera
(A)Mujhe woh yeh batati (B)hai
(E)Main magan hoon (G#m)par na jaanu
(A)Kab aane wala hai woh (B)pal
guitarchordworld.net
Jab (E)haule haule (G#m)dheere dheere
(A)Khilega dil ka yeh (B)kamal

(E)Ke boom boom boom (G#m)para (A)para
Hai (B)khaamosh dono
(E)Ke boom boom boom (G#m)para (A)para
Hai (B)madhosh dono

(E)Jo gummsum gummsum hai (G#m)yeh fizayein
(A)Jo kehti sunti hai (B)yeh nigahein
(E)Gummsum gummsum hai (G#m)yeh fizayein hai (Am)na

(E)Yeh kaisa samay hai (G#m)kaisa sama hai
Ke (A)shaam hai pighal (B)rahi
(E)Yeh sab kuch haseen hai (G#m)sab kuch jawan hai
guitarchordworld.net
(A)Hai zindagi machal (B)rahi
(E)jagmagati (G#m)jilmilati
(A)Palak palak pe khwaab (B)hai
(E)Sun yeh hawayein (G#m)gungunaye
(A)Jo geet lajawab (B)hai

(E)Ke boom boom boom (G#m)para (A)para
Hai (B)khaamosh dono
(E)Ke boom boom boom (G#m)para (A)para
Hai (B)madhosh dono

(E)Jo gummsum gummsum hai (G#m)yeh fizayein
(A)Jo kehti sunti hai (B)yeh nigahein
(E)Gummsum gummsum hai (G#m)yeh fizayein hai (Am)na

Chords courtesy: Guitar Chord World

You can read our review of Aisha’s soundtrack here.

Ajay Parasuraman

You can listen to the soundtrack here.

Guzaarish

Singer(s): K K, Shail Hada
Lyricist: A.M. Turaz
Length: 4:20

(K.K)
Bas.. bas itni si
Tum se guzaarish hai
Guzaarish hai

Yeh jo baarish hai, dekho na
Yeh jo baarish hai
Iss mein teri baahon mein marr jaaun
Bas itni si, chhoti si
Ik khwaish hai
Bas itni si
Tum se guzaarish hai

Bas itni si tumse farmaaish hai
Yeh jo baarish hai
Dekho na, yeh jo baarish hai
Iss mein mere sang gunguna na na ..
Gunguna na na, gunguna na na ..
Iss mein mere sang gunguna na na
Kal radio pe aaya tha jo wohi wala gana
Gaate gaate baahon mein marr jaana
Bas itni si chhoti si ik khwaish hai

Bas itni si, tumse guzaarish hai

(haan guzaarish hai
guzaarish hai)

Sau Gram Zindagi

Singer: Kunal Ganjawala
Lyricist: Vibhu Puri
Length: 4:42

Thodi si meethi hai
Zara si mirchi hai
Sau gram zindagi yeh
Sambhaal ke kharchi hai
Asli hai, jhooti hai
Khaalish hai, farzi hai
Sau gram zindagi yeh
Sau gram zindagi yeh
Sambhaal ke kharchi hai
Thodi si meethi hai
Zara si mirchi hai

Der tak ubaali hai
Cup mein daali hai
Kadvi hai naseeb si
Yeh coffee gaadhi gaadhi hai
Chamach bhar cheeni ho
Itni si marzi hai
Sau gram zindagi yeh
Sau gram zindagi yeh
Sambhaal ke kharchi hai

Khari hai, khoti hai
Rone ko chhoti hai
Dhaagey se khushiyon ko
Seelti hai, tharzi hai
Sau gram zindagi yeh
Sau gram zindagi yeh
Sambhaal ke kharchi hai
Thodi si meethi hai
Zara si mirchi hai

Life is good
Life is wonderful
Life is pain
Oh yeah yeah yeah
Life is good, life is good
Life is wonderful, wonderful
Life is pain
It all part of that game
Life is love, life is love
It all good, it all good
That’s the way

Sau gram zindagi yeh – 4 times

Tera Zikr

Singer(s): Shail Hada, Rakesh Pandit
Lyricist: A.M. Turaz
Length: 4:59

Ke tera zikr hai
Ya itr hai
Jab jab karta hoon
Mehekta hoon
Behekta hoon
Chehekta hoon
Oo ke tera, tera, tera zikr hai
Ya, itr hai
Jab jab karta hoon
Mehekta hoon
Behekta hoon
Chehekta hoon

Sholon ki tarah
Khusbuon mein dehekta hoon
Behekta hoon
Mehekta hoon
Ke tera zikr hai
Ya itr hai
Jab jab karta hoon
Mehekta hoon
Behekta hoon
Chehekta hoon

(tera zikr hai
ya itr hai
jab jab karta hoon
mehekta hoon
behekta hoon
chehekta hoon)

Teri fikr hai
Ya fakr hai
Teri fikr hai
Ya fakr hai
Jab jab karta hoon
Machalta hoon
Uchalta hoon
Fisalta hoon
Paagal ki tarah
Mastiyon mein
Tehelta hoon
Uchalta hoon
Fisalta hoon
Ke tera zikr hai (haan zikr hai)
Ya itr hai (itr hai)
Jab jab karta hoon
Mehekta hoon
Behekta hoon
Chehekta hoon

Saiba

Singer(s): Francois, Shail Hada, Vibhavari Joshi
Lyricist: Vibhu Puri
Length: 3:26

(Francois)
Mazo saiba ho mazo saiba
Paala saalon se tha isse dil alvida (aye saiba)
Mazo saiba, mazo saiba
Paala saalon se tha isse dil alvida
Ruka rasta tha bithaya
Jag raat raat samjhaya
Paala saalon se hai dil
Yeh dil alvida

(Francois)
Baarish ko maine kaha
Aake bheego de rasta
Dil ko farak na pada
Jaldi aane ke basta
Mazo saiba, mazo saiba
Mazo sai sai sai saiba
Mazo saiba, mazo saiba
Mazo sai sai sai saiba
Paala saalon se yeh dil
Yeh dil alvida

Mazo Saiba…

Jaane Kiske Khwaab

Singer: K.K
Lyricist: A.M. Turaz
Length: 2:59

Jaane kiske khwaab
Takiye ke neeche raat, rakh jaati hai
Hala ke neendh nahi aati hai
Jaane kiske khwaab
Takiye ke neeche raat, rakh jaati hai

Jaagti aankhon mein bhi ab koi sota hai
Jab koi nahi hota, tab koi hota hai
Jaagti aankhon mein bhi ab koi sota hai
Jab koi nahi hota, tab koi hota hai
Jaane kiski baat
Honthon pe laake raat, rakh jaati hai
Hala ke neendh nahi aati hai

Udi

Singer(s): Sunidhi Chauhan, Shail Hada
Lyricist: A.M. Turaz
Length: 3:22

(Sunidhi)
Mil gayi, aaj aasman si
Aa gayi aagey main jahan se
Yeh kya hua
Mil gayi, aaj aasman si
Aa gayi aagey main jahan se
Yeh kya hua
Udi, neendein aankhon se
Judi, raatein khwaabon se
Mudi, yeh jaane main kahan
Udi, neendein aankhon se
Judi, raatein khwaabon se
Mudi, yeh jaane main kahan
Mil gayi, aaj aasman se
Aa gayi aagey main jahan se
Yeh kya hua

(Sunidhi)
Paaon zameen pe hai ya badal pe
Uljhe sitaare aake aanchal se
Paaon zameen pe hai ya badal pe
Uljhe sitaare aake aanchal se
Jee li umar saari iss pal mein
Kuch bhi nahi ab mere kal mein
Udi, neendein aankhon se
Judi, raatein khwaabon se
Mudi, yeh jaane main kahan
Udi, neendein aankhon se
Judi, raatein khwaabon se
Mudi, yeh jaane main kahan
Mil gayi, aaj aasman si
Aa gayi aagey main jahan se
Yeh kya hua
[ Udi, neendein aankhon se
Judi, raatein khwaabon se
Mudi, yeh jaane main kahan ] – 3 times

Keh Na Saku

Singer(s): Shail Hada
Lyricist: Vibhu Puri
Length: 3:47

Keh na saku main itna pyaar
Keh na saku main itna pyaar
Arrey seh na saku main
Seh na saku main itna pyaar
Keh na saku main itna pyaar
Itna pyaar karta hoon

Tere uthne pe rukti hai
Takkne pe thamthi hai
Meri sansein tere hi ishaaro pe chalti hai
Tere uthne pe rukti hai
Takkne par thamthi hai
Meri saansein tere hi ishaaro pe chalti hai
Ek pal bhi reh na saku ho
Ek pal bhi reh na saku
Itna pyaar karta hoon

Keh na saku main itna pyaar
Arrey seh na saku mein
Seh na saku main itna pyaar
Keh na saku main itna pyaar
Itna pyaar karta hoon

Chand Ki Katori

Singer: Harshdeep Kaur
Lyricist: Vibhu Puri
Length: 5:25

Chaand ki katori hai
Raat yeh chatori hai
Chaand ki katori hai
Raat yeh chatori hai
Saare taare ik taraf
Hoo saare taare ik taraf
Zindagi batori batori hai
Chaand ki katori hai
Raat yeh chatori hai

Rishtey cheenay mal mal ke
Hoo rishtey cheenay mal mal ke
Thand mein thithur ke sikhud ke bikhar jaate hai
Mohabbat ka sweater kis ke liye buntey hai
Saare taare ik taraf
Zindagi batori batori hai
Chaand ki katori hai

Khwaab yeh khwaab yeh
Rozana ki baarish mein gal jaatey hai
Gareebi ke maare hum
Haathon ka chaata banate hai
Saare taare ik taraf
Hoo saare taare ik taraf
Zindagi batori batori hai
Chaand ki katori hai
Raat yeh chatori hai

Daayein Baayein

Singer: K K
Lyricist: A.M. Turaz
Length: 3:28

Daayein baayein chahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke, kisne chaahat yeh barsaayi
Ho kisne chaahat yeh barsaayi
Neela ambar sarka jaise, sar se
Phir se, taare toote girke
Daayein baayein chaahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke

Mausam ka ehsaan hai
Tu mera mehmaan hai
Khidmat mein bolo jaan rakh doon
Hoo khidmat mein bolo jaan rakh doon
Tumse milke jiya aise, jaise
Phir se, jee utha hoon marrke
Daayein baayein chaahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke

Dhundhli Dhundhli

Singer(s): Shankar Mahadevan
Lyricist: A.M. Turaz
Length: 3:28

Daayein baayein chahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke, kisne chaahat yeh barsaayi
Ho kisne chaahat yeh barsaayi
Neela ambar sarka jaise, sar se
Phir se, taare toote girke
Daayein baayein chaahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke

Mausam ka ehsaan hai
Tu mera mehmaan hai
Khidmat mein bolo jaan rakh doon
Hoo khidmat mein bolo jaan rakh doon
Tumse milke jiya aise, jaise
Phir se, jee utha hoon marrke
Daayein baayein chaahat chaaye
Phir se, bhooli bisri yaadein aayi
Ghir ke

You can listen to the soundtrack here.

Anu Malik proves he has not entirely lost his skills with the very effectively arranged quintessential nagin song called Lagi Lagi.. Though he spoils it a bit trying to cram a lot of stuff into the six minutes, the track works in both its versions, Shreya and Sunidhi giving their own identity to the 2 variants through their unique styles.  And only a song later, he returns to his mediocre recent self with a thoroughly clichéd and uninspiring arrangement in Lafanaa, Sunidhi’s vocals going in vain. Julian Lennon creates a very interesting tribute to Hemant Kumar’s Mann Dole which is spoilt only by Mallika Sherawat’s vocals. And funny to see Mallika credited as lyricist for a song which came out in 1954!

Beyond The Snake is undoubtedly the pick of the album, a number that starts off like a lounge track before switching gears to rock. While DKFP (David Kushner & Franky Perez) do a spectacular job on the composition, Shruti Haasan does an equally splendid job rendering it. Hiss and I Got That Poison are effectively the same song, the former being composed by Salim Sulaiman and quite engaging with its haunting elements and Shweta Pandit’s rendition. The latter is pretty much a DJ track, composed by Shraddha Pandit (with music by Panjabi MC, whatever that implies)

For a horror flick, Hisss’ soundtrack definitely exceeds expectations. Not that anyone would care about it while watching Mallika in the movie.

Music Aloud Rating – 7/10

Recommended Tracks – Beyond The Snake, Lagi Lagi, Hisss

You can listen to the soundtrack here.

Dhoop Ke Makaan

Singer(s): Shekhar Ravjiani, Sunidhi Chauhan, Caralisa Monteiro, Mikey Mcclearyu
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 4:31

(Shekhar)
Baarish hai khayalon mein, sab dhul jaayega
Roshan rasta naya ik khul jaayega
Beh jaayega, tinka tinka kal ka silsila
Chalo mil jaayega aur ik haseen kaafila
Chalo

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh
(Caralisa)
If you believe sun is shining, love is finding your way

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh
(Caralisa)
if you believe sun is shining, love is finding your way

(Sunidhi)
Chhat tapakti hai kabhi ehsaas ki
Raat aati hai puraani pyaas ki
Par naye naye baadal baras kar jhoomte hain
Boondh ki ladiyon se maathha choomte hain
Dekhne ki yeh ghadi hai, ik nayi rut sang khadi hai
Baat chhoti par badi hai yeh

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh
(Caralisa)
If you believe sun is shining, love is finding your way

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh
(Caralisa)
If you believe sun is shining, love is finding your way

(Shekhar)
Kitni unchi shaak pe khushiyon ke pal
Phir bhi khushboo tod li humne uchhal
Haan kaanch ka saamaan de aur gir gaye hum
Jod kar khud ko banaane phir gaye hum
Door dariya ke kinaare, zindagi karti ishaare
Aasmaan pe hai naye taare

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh
(Caralisa)
If you believe sun is shining, love is finding your way

(Chorus)
Dhoop ke makaan sa yeh
Hai safar dhalaan sa yeh
Mod meherbaan sa hai yeh

Dooriyan Hai Zaroori

Singer(s): Vishal Dadlani, Monica Dogra
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 4:09

(Monica)
Thodi thodi guzre pakad kabhi taaza si hawayein
Saate saate se yeh rishte apni baahon ko phailayein
(Chorus) Mera mann, (Monica) toh bas gungunaana chahe
(Chorus) Uska mann, (Monica) khul ke geet gaana chahe
(Chorus) Muskurao, (Monica) main woh khilkhilana chahe
(Monica) Hai ziddi yeh badi majbooriyan bhi

(Monica + Chorus) Dooriyan bhi hai zaroori, bhi hai zaroori
Zaroori hai yeh dooriyan

(Vishal +Chorus) Dooriyan bhi hai zaroori, bhi hai zaroori
Zaroori hai yeh dooriyan

(Monica)
Zyada nasdeekiyon mein dooriyon ke hote hain ishaare
Leheron ko chakhna na meethay nahi paani hai yeh khaare
(Chorus) Love kahe, (Vishal) mere paas tum na aana
(Chorus) Door se, (Vishal) accha hai timtimana

(Vishal)
Varna aadhe mein hoga dard ae jaana
Hai ziddi yeh badi majbooriyan bhi

(Vishal + Chorus)
Dooriyan bhi hai zaroori, bhi hai zaroori
Zaroori hai yeh dooriyan

(Monica + Chorus)
Dooriyan bhi hai zaroori, bhi hai zaroori
Zaroori hai yeh dooriyan

(Monica)
Main toh aisi baarish hoon
Jo teen ki chhat pe kood ke barse
Woh kuvar dheemi rut ki baras na paaye
Chhod ke tarse,
Dono barse Par sang sang kahan hai,
Thodi door se zindagi aasan hai,
Meri duniya aur uska bhi jahan hai
Hai ziddi yeh badi majbooriyan bhi

(Monica) Dooriyan bhi hai zaroori, bhi hai zaroori
(Monica) Zaroori hai yeh dooriyan, (Vishal) yeh dooriyan
(Monica) Dooriyan bhi hai zaroori, bhi hai zaroori
(Monica) Zaroori hai yeh dooriyan

Main Jiyoonga

Singer(s): Nikhil D’Souza, Mikey Mcclearyu
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 3:19

Khuli kitaab sa hai yeh chehra
Par hijab sa hai muskarana tera
Aur acting mein ustaad hoon main aayega kisi ko na nazar
Hogi na khabar
Pharsh pe ho bikhra jaisa para
Phisal raha hai khwaab yeh hamara
Par pairon mein uchhaal le kile ke ho pe seethiyan
Main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke
Main jiyoonga, main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke
Main jiyoonga

Chaand to karega ishaare
Aur chidhaayenge mujhko taare
Par yaadon ki lihaaf ki jo sar dhak loonga main, chhup jaaunga main
Khwaab ke parindey jo paale, kiye aasmaan ke hawaale
Udne doonga unko neeli neeli si aazaadiyon mein
Main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke
Main jiyoonga, main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke
Main jiyoonga

Pankh yeh, umeedon ke dhoop mein sukhaaunga
Maine dhun badal di hain geet naye gaaunga
Waise hawaon sang, dhyaan wo tera behta rahega
Par mausam chun chun ke rut nayi banaunga
Main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke
Main jiyoonga, main jiyoonga, main jiyoonga
Beeti khushboo bhula ke, gunguna ke, bhul bhula ke, gunguna ke, bhul bhula ke, gunguna ke
Main jiyoonga

Ajab Leher

Singer(s): Neeraj Shridhar, Shekhar Ravjiani, Vishal Dadlani
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 4:02

Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare
Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare
Hai zindagi ke ajab se rang dhang
Ajab si dhan mein mujhe pukaare
Hai zindagi ke ajab se rang dhang
Ajab si dhan mein mujhe pukaare

Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare

Yeh pyaas kaisi ke paaniyon ko
Kareeb se bas main behte dekhun
Aur apne khwaabon ke sang sach ko
Bade sukoon se main rehte dekhun
Ajab jharoke se khul gaye hain
Ajab si khidki, ajab nazaare
Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare

You got me so confused I can’t tell if I’m comin’ or goin’
I got no way to know that you’re feelin’ what you’re thinkin’ girl
You know I try and try I just can’t breath the signs are showin’
You got me so confused I can’t tell if I’m comin’ or goin’

Nishaan kal ke, jo raith pe the
Unhe samandar ne pee liya hai
Aur ek jhonke ne baansuri se
Guzarte lamho ko jee liya hai
Ajab si baarish yeh ho rahi hai
Baras rahe hain yeh chaand taare

Ajab leher hai, meri padosi
Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare
Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare

Hai zindagi ke ajab rang dhang
Ajab si dhun mein mujhe pukaare
Hai zindagi ke ajab rang dhang
Ajab si dhan mein mujhe pukaare
Ajab leher hai, meri padosi
Ajab se chheentay, ajab ishaare

Adhoore

Singer(s): Vishal Dadlani, Alyssa Mendonsa
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 4:23

(Vishal)
Ik aawara nadi
Chalke woh khul ke sansanati sanam sanam

(Alyssa)
Aur woh hai ajeeb sa
Khamoshiyon ki ik tarang liye tarang

(Chorus)
Rishta yeh kaisa jalti re rait paaon ka
Rishta yeh kaisa jhil mil dhoop chaaon ka

(Vishal)
Oo adhoore tum adhoore
Hum bin tumhare
Oo adhoore tum adhoore
Hum bin tumhare

(Vishal)
Mutthiyon mein baadalon ko le ke woh nichod de
Woh raat ki chuppi mein shor natkhat chhod de
Mutthiyon mein baadalon ko le ke woh nichod de
Woh raat ki chuppi mein shor natkhat chhod de
Bebaak hai, bindaas hai
Use zindagi ki pyaas hai
Paas hai, par dooriyaan
Makhmali majbooriyaan hain
Oo adhoore tum adhoore
Hum bin tumhare
Oo adhoore tum adhoore
Hum bin tumhare

(Alyssa)
I’m incomplete without you
Can’t find my feet without you

(Alyssa)
I’m incomplete without you
Can’t find my feet without you

(Alyssa)
Mann ke kamro mein, woh khole khushbuon ki sheeshiyan
Wo saahilon mein dhoondta hai, ishq wali seepiyan
Mann ke kamro mein, woh khole khushbuon ki sheeshiyan
Saahilon pe dhoondta hai, ishq wali seepiyan
Pyaar hai romance hai, bas yehi sa naach hai
Do dilon ke darmiyan, khwaishon ki kashtiyan hai

(Vishal + Alyssa)
Oo adhoore tum adhoore
Hum bin tumhare
Oo adhoore tum adhoore
Hum bin tumhare

(Vishal)
Ik aawara nadi
Chalke woh khul ke sansanati sanam sanam

(Alyssa)
Aur woh hai ajeeb sa
Khamoshiyan ki ik tarang liye tarang

(Vishal)
Rishta yeh kaisa jalti re raith paaon ka
Rishta yeh kaisa jhil mil dhoop chaaon ka
Oo adhoore tum adhoore
Hum bin tumhare
Oo adhoore tum adhoore
Hum bin tumhare

Dhoop Ke Makaan Acoustic version

Singer(s): Shekhar Ravjiani
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 4:01

Baarish hai khayalon mein, sab dhul jaayega
Roshan rasta naya ik khul jaayega
Beh jaayega, tinka tinka kal ka silsila
Chalo mil jaayega aur ik haseen kaafila
Chalo dhoop ke makaan sa yeh hai safar
Dhalaan sa yeh mod meherbaan sa hai yeh
(Mod meherbaan sa hai yeh)
Dhoop ke makaan sa yeh hai safar
Dhalaan sa yeh mod meherbaan sa hai yeh

Kitni unchi shaak pe khushiyon ke pal
Phir bhi kuhshboo tod li humne ucchal
Haan kaanch ka saamaan de aur gir gaye hum
Jod kar khud ko banane phir gaye hum
Door dariya ke kinaare, zindagi karte ishaare
Aasman pe hai naye taare

Dhoop ke makaan sa yeh hai safar
Dhalaan sa yeh mod meherbaan sa hai yeh
mod meherbaan sa hai yeh (3)

Don’t Worry About Me

Singer(s): Vishal Dadlani
Music Director: Vishal – Shekhar
Lyricist: Prasoon Joshi
Length: 3:13

Don’t worry about me, I’ll be fine
I’ll make my bed and take my pills on time
And when I see somebody in the street
I’ll make sure I say Hello, I say Hello
Don’t worry about me, I’ll be good
And I’ll do all the things you said that I should
And when I see somebody in the street
I’ll make sure that I smile (though I can’t stand them)
They’ll never know
They’ll never see
They’ll never get through to me, get through to me, get through to me
They’ll never know
They’ll never see
They’ll never get through to me, get through to me, get through to me

Don’t worry about me, I’ll be OK
I’ll be the cryin’ one with nothin’ to say
Just sitting by himself in the corner
Silent soul thinking of you
Don’t worry about me, I’ll be alright
It’s just I haven’t slept for 64 nights
Coz sleep won’t come without your arms wrapped around my soul
They’ll never know
They’ll never see
They’ll never get through to me, get through to me, get through to me
They’ll never know
They’ll never see
They’ll never get through to me, get through to me, get through to me

It’s not that I got somethin’ to hide
It’s just that, just that I got nothin’ inside
It feels like, feels like the above of my ceiling’s wearing out
And I’m stuck in the dark without you

No, I know I said that I wouldn’t cry
But, but you gone so I don’t see why
I shouldn’t be spending every single day, girl, up on my floor
Thats my soul
Yeah I know there’ll be times when we’ll meet
Get a cup of tea or maybe a pass on the streets
And everytime you look into my eyes you’ll see I’m living there
(just fakin it)
They’ll never know
They’ll never see
They’ll never get through to me, get through to me, get through to me
They’ll never know
They’ll never see
Coz you are the only one, only one I ever knew

Piano instinct. Guitar soul. This is how the makers of the Harpejji describe it. The result of a piano student getting frustrated with the limitations that the instrument presented when compared to a guitar, the first working prototype of harpejji was completed in 2003. In 2008 a model was given to a man with a bent for such innovative instruments, Dream Theater’s Jordan Rudess and he has been using the instrument since then in his concerts. It won’t be long before Indians get exposed to more of the harpejji, as a few days back the maker personally delivered one to another person who is heavily into such new age instruments, A R Rahman.
For Timothy Meek, development of harpejji was a long-drawn evolutionary process. Starting to play keyboards in 1987, his search for an instrument that would negate the limitations of the keyboard led him to the Chapman Stick, a string-tapping instrument developed by Emmett Chapman in the 70s. Purchasing the Stick in 1998 Meek found that the Stick did address the problems he faced with the keyboard, but had a few problems of its own. Next stop was Dr. John Starrett of University of Colorado, Denver, who had invented and patented something called a Starrboard which was conceptually closer to what Meek had in mind. Getting a prototype from Dr. Starrett, Meek set about working on it, ironing out the rough edges until he had a satisfactory working model towards the end of 2003. Further improvements, and four years later, Meek incorporated Marcodi Musical Products LLC with his musician friend Jason Melani to market the instrument he christened harpejji, after arpeggio which in Italian means harp-like.
At first glance the harpejji would come across as an oversized surfboard. With 24 strings, the instrument allows playing new chord intervals that are impossible to cover on a guitar or a piano. While a pianist would find the ability to produce organic sounds and expressions of real strings and double the octave range endearing, guitarists would be impressed by the increased flexibility provided in compositions by the ability to use all 10 digits, and the facility to cover guitar and bass portions simultaneously.
We leave you with a few videos of the fascinating instrument. You can buy or get more details about the instrument here. Looking forward to more of harpejji in days to come. (Rahman did incidentally use it in the soundtrack for Danny Boyle’s 127 Hours which came out after this article was published, in the song for which he got the Oscar nomination – If I Rise. You can see the music video here.)

Chanced upon the music of this Delhi-based rock fusion band called Eka, and found the band profile interesting enough to do a feature. The band line-up is really spectacular. Two out of the three key members have been associated with Euphoria in the past. Guitarist and vocalist Hitesh Madan became the lead guitarist of Euphoria at the age of 17 and has worked as a music arranger and composer in the past. Keyboardist Benjamine ‘Benny’ Pinto has been associated with Euphoria for 18 years and is a true showman. Self-taught bassist and vocalist Lokesh Madan on the other hand followed a corporate career for sometime before returning back to his true calling. Drummer Bosco D’Souza and classically trained vocalist Saranya Ghosh add to the performance of the band.

The band is essentially a live band playing a range of music from classic rock to Sufi and popular Hindi music. They have quite a few original songs under a genre they have labelled “Swatantra Rock”. A sneak peek at some of them is available on Youtube and on Eka’s website. Although the band has two ex-Euphoria members, the music of the band is fortunately quite different. The originals show a lot of influence of classic rock and funk music. While Nimbu pani is funk-based, Aaye Tum and Chalte Jaana show a distinctive rock flavour in a groovy way. The lyrics of Jaane Kyun seem very amateurish and so does the rendition in places, but the song on the whole sounds good, with a very sing-along kind of a tune.

All said, while the talent and performances of the “Eka” are really appreciable, the originals that form their current repertoire sound a bit dated. When someone calls their music “Swatantra Rock”, you would really expect an independent and unique sound, which they are totally capable of developing with the immense talent they hold. All they need is more time together to come up with that sound. That still doesn’t stop them from giving one heck of a live show even now, covering a lot of Sufi and classic rock music of which I am a huge fan! So if they are performing live, I would definitely go and watch them.

Check out the band’s Facebook profile here. You can also get Eka’s updates on their website.

- Ajay Parasuraman

In Sanskrit, the word ‘taal’ means ‘to strike with palms’. In Tamil, ‘taalam’ means ‘to clap’. In Hindi, the word means ‘beat’ and in Bengali, besides ‘rhythm’ the word ‘taal’ also means ‘sanity’. Taal is the rhythm to which a song/kriti is set in. A Taal’s rhythm repeats its cycle after a fixed period, thus acting as a time counter. A taal does not have a fixed tempo and can be played at different speeds.

In Hindustani classical music a typical recital of a raga falls into two or three parts categorized by the tempo of the music – Vilambit laya (Slow tempo), Madhya laya (Medium tempo) and Drut laya (Fast tempo).
In Carnatic Music, there are five categories of tempo: Chauka kaala (1 stroke per beat), Vilamba kaala (2 strokes per beat), Madhyama kaala (4 beats per beat), Dhuridha kaala (8 strokes per beat), Adi-Dhuridha kaala(16 strokes per beat). In each, the speeds are allowed to vary, but the fundamental rhythms do NOT.

As I have mentioned, the cycle of the Taal will repeat after a certain while. This ‘certain while’ comprises the avartan of the Taal.

Tala: In Carnatic

In Carnatic, each pulse count is called an aksharam or a kriyā, the interval between each being equal, though capable of division into faster matras or svaras, the fundamental unit of time. The tala is defined by the number and arrangement of aksharams inside an avartanam. There are three sub-patterns of beats into which all talas are divided; laghu, dhrutam and anudhrutam.

— A dhrutam is a pattern of 2 beats. This is notated as ‘O’.

— An anudhrutam is a single beat, notated as ‘U’.

— A laghu is a pattern with a variable number of beats, 3, 4, 5, 7 or 9, depending upon the type of the tala. It is notated as ’1′. The number of matras in an aksharam is called the nadai or jati. This number can be 3, 4, 5, 7 or 9, and these types are respectively called Tisra, Chatusra, Khanda, Misra and Sankeerna.

Jati	Aksharams in laghu	Phonetic representation of beats
Tisra	3	Tha Ki Ta
Chatusra	4	Tha Ka Dhi Mi
Khanda	5	Tha Ka Tha Ki Ta
Misra	7	Tha Ki Ta Tha Ka Dhi Mi
Sankeerna	9	Tha Ka Dhi Mi Tha Ka Tha Ki Ta

The seven families of Talas are:

Tala	Description of avartanam	Length of laghu	Total Aksharas
Dhruva	1O11	4	14
Matya	1O1	4	10
Rupaka	O1	4	6
Jhampa	1UO	7	10
Triputa	1OO	3	7
Ata	11OO	5	14
Eka	1	4	4

For instance one avartanam of Khanda-jati Rupaka tala comprises a 2-beat dhrutam followed by a 5-beat laghu. An avartanam is thus 7 aksharams long. With all possible combinations of tala types and laghu lengths, there are 5 x 7 = 35 talas having lengths ranging from 3 (Tisra-jati Eka) to 29 (sankeerna-jati Dhruva) aksharams. Chatusra-gati Khanda-jaati Rupaka tala has 7 aksharams, each of which is 4 matras long; each avartanam of the tala is 4 x 7 = 28 matras long. For Misra-gati Khanda-jati Rupaka tala, it would be 7 x 7 = 49 matra.

The most common tala, one you must all be surely familar with, is the Adi (means Primordial in Sanksrit) — technically, the Chatusra-nadai Chatusra-jaati Triputa tala. From the above tables, this tala has eight aksharams, each being 4 svarams long. Other common talas include:

• Chatusra-nadai Chatusra-jaati Rupaka tala (or simply Rupaka tala) . A large body of krtis is set to this tala.
• Khanda Chaapu (a 10-count) and Misra Chapu (a 14-count), both of which do not fit very well into the suladi sapta tala scheme.
• Chatusra-nadai Khanda-jati Ata tala (or simply Ata tala) . Around half of the varnams are set to this tala.
• Tisra-nadai Chatusra-jati Triputa tala (Adi Tala Tisra-Nadai). Note that, as this tala is a twenty-four beat cycle, compositions in this tala theoretically can, and sometimes are, sung in rupaka tala.

I had recently been to a lecture demo on Pallavi renditions and would like to mention that the singer(s), more often that not, render them in the more complicated talas; such pallavis, if sung in a non-Chatusra-nadai tala, are called nadai pallavis.

Eduppu or Start point of a composition

Compositions do not always begin on the first beat of the tala: it may be offset by a certain number of matras or aksharas or combination of both to suit the words nad laya of the composition. The word Talli, used to describe this offset, is from Tamil and literally means “shift”. A composition may also start on one of the last few matras of the previous avartanam. This is called Ateeta Eduppu.

Taal in Hindustani Music

Taals have a vocalised and therefore recordable form wherein individual beats are expressed as phonetic representations of various strokes played upon the tabla. The first beat of any taal, called sam (pronounced as the English word ‘sum’ and meaning even or equal, archaically meaning nil) is denoted with an ‘X’. The first beat is always the most important and heavily emphasised. It is also the point of resolution in the rhythm. A soloist has to sound an important note of the raag there, and the percussionist’s and soloist’s phrases culminate at that point. A North Indian classical dance composition must end on the sam.

The beats of a taal are divided into groups known as vibhaags, the first beat of each vibhaag usually being accented. It is this that gives the taal its unique texture. For example, Rupak taal consists of 7 beats while the related Dhamar taal consists of 14 beats. The spacing of the vibhaag accents makes them distinct, otherwise one avartan of Dhamar would be indistinguishable from two of Rupak or vice versa. The first beat of any vibhaag is accompanied by a clap of the hands when reciting the taal and therefore is known as tali (or hand clap).

Furthermore, taals have a low point, known as khali (empty), which is always the first beat of a particular vibhaag, denoted in written form with ’0′ (zero). The khaal vibhaag has no beats on the bayan, i.e. no bass beats this can be seen as a way to enforce the balance between the usage of heavy (bass dominated) and fine (treble) beats or more simply it can be thought of another mnemonic to keep track of the rhythmic cycle (in addition to Sam). In recitation the Khaali vibhaag is indicated with a sideways wave of the dominant clapping hand (usually the right) or the placing of the back of the hand upon the base hand’s palm in lieu of a clap making an “empty/nil” sound. The khali is played with a stressed syllable that can easily be picked out from the surrounding beats.

Hindustani Taals are typically played on tabla or pakhavaj. The specific strokes and the sound they produce are known as bols. Each bol has its own name that can be vocalized as well as written. Examples of bols may be heard in External Links below. The beats following the first beat of each vibhaag are indicated with digits that are greater than 0, ‘X’ representing the first beat – Sam, the ’0′ Khali (empty clap) and each number an individual consecutive beat). Rupak, almost uniquely, begins with the khali on Sam. Some rare taals even contain a “half-beat”. For example, Dharami is an 11 1/2 beat cycle where the final “Ka” only occupies half the time of the other beats. Also note, this taal’s 6th beat does not have a played syllable – in western terms it is a “rest”.

Common Hindustani taals

Some taals, for example Dhamaar, Ek, Jhoomra and Chau talas, lend themselves better to slow and medium tempos. Others flourish at faster speeds, like Jhap or Rupak talas. Trital or Teental is one of the most popular, since it is as aesthetic at slower tempos as it is at faster speeds.

Various Gharanas (literally “Houses” which can be inferred to be “styles” – basically styles of the same art with cultivated traditional variances) also have their own preferences. For example, the Kirana Gharana uses Ektaal more frequently for Vilambit Khayal while the Jaipur Gharana uses Trital. Jaipur Gharana is also known to use Ada Trital, a variation of Trital for transitioning from Vilambit to Drut laey. There are many taals in Hindustani music, some of the more popular ones are:

Name	Beats	Division	Vibhaga
Tintal (or Trital or Teental)	16	4+4+4+4	X 2 0 3
Jhoomra	14	3+4+3+4	X 2 0 3
Tilwada	16	4+4+4+4	X 2 0 3
Dhamar	14	5+2+3+4	X 2 0 3
Ektal and Chautal	12	2+2+2+2+2+2	X 0 2 0 3 4
Jhaptal and Jhampa	10	2+3+2+3	X 2 0 3
Keherwa	8	4+4
Roopak	7	3+2+2	X 2 3
Dhadra	6	3+3	X 2

Additional Talas

Rare Hindustani talas

Name	Beats	Division	Vibhaga
Adachoutal	14	2+2+2+2+2+2+2	X 2 0 3 0 4 0
Brahmtal	28	2+2+2+2+2+2+2+2+2+2+2+2+2+2	X 0 2 3 0 4 5 6 0 7 8 9 10 0
Dipchandi	14	3+4+3+4	X 2 0 3
Shikar	17	6+6+2+3	X 0 3 4
Sultal	10	2+2+2+2+2	x 0 2 3 0

Rare Carnatic talas

Other than these 35 talas there are 108 so-called anga talas. The following is the exhaustive pattern of beats used in constructing them.

Anga	Symbol	Aksharakala	Mode of Counting
Anudrutam	U	1	1beat
Druta	O	2	1 beat + Visarijitam (wave of hand)
Druta-virama	(OU)	3
Laghu (Chatusra-jati)	l	4	1 beat + 3 finger count
Laghu-virama	U)	5
Laghu-druta	O)	6
Laghu-druta-virama	OU)	7
Guru	8	8	A beat followed by circular movement of the right hand in the clockwise direction with closed fingers.
Guru-virama	(8U)	9
Guru-druta	(8O)	10
Guru-druta-virama	(8OU)	11
Plutam	)	12	1 beat + kryshya (waving the right hand from right to left) + 1 sarpini (waving the right hand from left to right) – each of 4 aksharakalas OR a Guru followed by the hand waving downwards
Pluta-virana	U)	13
Pluta-druta	O)	14
Pluta-druta-virama	OU)	15
Kakapadam	+	16	1 beat + patakam (lifting the right hand) + kryshya + sarpini – each of 4 aksharakalas)

Compositions are rare in these lengthy talas. They are mostly used in performing the Pallavi of Ragam Thanam Pallavis. Some examples of anga talas are:

Sarabhandana tala

8		O	l	l	O	U	U)
O	O	O	U	O)	OU)	U)	O
U	O	U	O	U)	O	(OU)	O)

Simhanandana tala : It is the longest tala.

8	8	l	)	l	8	O	O
8	8	l	)	l	)	8	l
l	+

Another type of tala is the chhanda tala. These are talas set to the lyrics of the Thirupugazh by the Tamil composer Arunagirinathar. He is said to have written 16000 hyms each in a different chhanda tala. Of these, only 1500-2000 are available.

That takes care of the Talas bit as well. Until next time!
And do check out this link as well – it has detailed descriptions of different talas.

Listen to the soundtrack here.

Despite a minimal instrumental backing, Sanjay Leela Bhansali proves his arranging acumen in the ambient title song. The harmonica, the violin have all been perfectly placed to make the song instantly addictive. Also helping it on its way is the rendition by KK and Shail Hada. That said, one cannot ignore the resemblance to tracks from some of his older movies, particularly HDDCS’s title song. Sau Gram Zindagi is a very 90s-sounding ghazal-based tune given a modern orchestral packaging, and coming in Kunal Ganjawala’s voice it works quite well. Shail Hada reappears with Rakesh Pandit to deliver the poem-like Tera Zikr. Though the poem-line rules out an attractive tune for the song per se, SLB kind of makes it up with the arrangement. And wonderful singing by the vocalists, especially Rakesh.

And then things start going wrong. In Saiba, Bhansali’s attempt to fuse the Latino sound with Vibhavari Joshi’s semiclassical vocals falls flat. Somehow they don’t seem to meld well. KK’s Jaane Kiske sounds quite a bit like the title song in its general feel, but lacks the quality the latter has in orchestration. The only thing that keeps the track going is KK’s reliability. The composer bounces back with the next track, Udi, where the Arabic elements in arrangement make for a wonderful listen coupled with Sunidhi’s exuberance.

In Keh Na Sakoon SLB once again returns to the orchestral melancholic theme of arrangement and ends up being one too many in that line. Shail Hada does a good job behind the microphone but that is not enough to prop this one up. Chaand Ki Katori is an excellent display of Harshdeep Kaur’s vocal brilliance and it is her singing for major part that makes the song enjoyable.  Daayein Baayein sounds like a mellow version of Saawariya’s title song and works in a similar manner, KK doing the honors for a third time. Dhundhli Dhundhli is credited to Shankar Mahadevan everywhere on the net, who the vocalist definitely is not. Roop Kumar Rathore may be who sounds strangely different in this one. Apart from that conflict of facts I found nothing very interesting about the track, the orchestral arrangement getting way too tedious by now.

A decent debut as composer from Sanjay Leela Bhansali which would have been much better had he cut down on the number of songs, especially the similar-genre ones.  But that was the case with Saawariya too. One would have expected SLB to learn from his past mistakes. Hope he’s done that at least on the movie front.

Music Aloud Rating – 7.5/10

Recommended Tracks – Guzaarish, Udi, Chaand Ki Katori

You can listen to the soundtrack here.

Adhoore, the track that has already made its debut on TV, is the usual Vishal Shekhar fare, youthful and buoyant. For all you know it could have been part of I Hate Luv Storys or Anjaana Anjaani. And just like the tracks in those movies, this one too will make you feel good, Vishal Dadlani and Alyssa Mendonsa taking good care of the vocals section. Alyssa’s voice has a very ethereal quality about it I should say. The remix is good enough, not deviating a lot from the original apart from the tempo. Ajab Leher, with its funk-based elements, is brilliantly orchestrated, Neeraj Shridhar leading the vocals this time with the composers providing harmonic support in places. The sedate melody Dhoop Ke Makaan works beautifully in both its versions, more alluring in the acoustic form courtesy the magnificent guitar portions. Shekhar’s voice seems to occasionally take on a Vishal-like raspy edge rendering this one, and he is well-supported by Sunidhi.

Rock-based tracks have always been Vishal Shekhar’s forte but they have always sort of interspersed rock with melody. In Dooriyan Zaroori Hai though they go for an out-and-out rock composition, and pull it off in style to produce a very impressive track. The western theme continues with another rock-based track called Main Jiyoonga rendered by the extremely promising Nikhil D’Souza. The same song comes in an even better-sounding English version, Don’t Worry About Me that tones down the rock elements accentuating the melody factor. Vishal Dadlani absolutely revels in the delivery of this song.

I Hate Luv Storys, Anjaana Anjaani and now this, not to forget a song in Walkaway. After a dormant first half of 2010 Vishal Shekhar are suddenly on a roll! Though keeping marginal utility in mind it would be better if they returned to the youth romance movies maybe ek Break Ke Baad?! :)

Music Aloud Rating – 8.5/10

Recommended Tracks – Adhoore, Dhoop Ke Makaan (Acoustic), Ajab Leher, Don’t Worry About Me

In her eagerness to get out of her teen idol image created over the last few years, Miley Cyrus is ending up raking up a controversy with every song she releases. The latest one surrounds the new music video called “Who Owns My Heart” which is being lambasted for its overtly sexualized content. The video has been directed by Robert Hales, the man who has directed such bands as Nine Inch Nails, Gnarls Barkley etc. and also did Miley’s Can’t Be Tamed. As a matter of fact the song is quite groovy, typical dance club material, rendered very well by Miley. The track has enough jazz in it to make it to the top of the charts in spite of the very heard-before feel about it and pointless sort of lyrics. Previously Miley’s Can’t Be Tamed had also drawn flak for similar reasons.

Criticism or no criticism, the image makeover is definitely happening for Miley, and all these controversies are only going to help her on her way. The only question is, how much longer to drugs and rehab. You can watch the video here.