- Hrishikesh Varma

Bob Marley and the Golden Age of Reggae 1975-1976: The photographs of Kim Gottlieb-Walker (Commentary by Cameron Crowe, Roger Steffens and Jeff Walker)

I must admit I approached this book with considerable apprehension – the cover photo and the title promised me a journey into reggae culture and Bob Marley that would reveal what reggae was during its peak in the mid-70s. I would have thought that this was a hard task, an impossible task, simply because even though- to mutilate a phrase of Goethe’s- photographs are frozen music, there are some forms of life that cannot be expressed through a single frame. Bob Marley, it seemed to me, was certainly one of those forms of life.

First of all, the enormity of the task should be acknowledged by the reader- one cannot possibly expect to convey the beauty, the impact of a movement on a generation -in this case, reggae and Marley- through a medium that is static. However, this applies only if the photographer is not a skilled one. In this case however, we have more than a skilled photographer. Kim Gottlieb-Walker has successfully done, or come close to doing what is more than an impossble task- to decipher Bob Marley over the course of two years. Two years are hardly enough to showcase the best of one of the great entertainers of the past century, but this is precisely what Gottlieb-Walker has done.

It helps that one of the persons who writes the commentary is Cameron Crowe (The spouse of the photographer- Jeff Walker, and Roger Steffens are the other two). His opening lines in the book capture the feel of the age perfectly: “I was just a kid, but the emotions and the music and the spirit in the air never left me. Its all part of that emotional heartbeat we develop early on, and we either forget it and move on”

I am not of that generation, so I did not expect a photographic record to do much to emotions as regards that generation- but it did. Therein lies the inherent beauty of images – a single image, if well taken, has the power to transport to you to the time and place of the photograph. Gottlieb-Walker does so not merely by the quality of her images- they are top-class no doubt- but by the mood she conveys through them.

When I look at the Carribean of the 1970s (or 1980s) there is only one thing I can think of – besides reggae- and that is cricket. On the cricket field, the great West Indian cricketers exhibited a natural flair- a love, a feel for life (and the game) that has been absent before or since, but which one could sense in this book Marley’s (and  Peter Tosh’s, and Bunny Wailer’s and everyone else’s) gentle, yet arrogant, laughter.

There are numerous brilliant photographs interspersed among the pages of this tome, yet it feels unjust to pick just a few favourites- but this is exactly what I propose to do – with the help of only five photographs.

On page 23 lies the image that first brought a smile to my face- though tinged with a strange sadness- it is a shot of George Harrison with Marley, and they have just been introduced by Jeff Walker. The Silent Beatle meeting someone who in many ways was an antithesis of his- the image screams at you to observe how these two geniuses differed from each other yet entranced millions- and in a way, it seems a complete picture. Harrison plays his part well – silent, brooding, a man with his legend already established. Marley on the other hand, looks delighted to meet a kindred soul, someone who understands the madness, a master who’s been through it all.

After forcefully pushing myself through, I reached page 43 – probably my favourite- and see Marley looking away, his left hand on his hair, the look of a thoughtful visionary on his face.  Underneath, an extract from a 1975 issue of People Magazine reads “We’re not talking about burning or looting material goods and things. We only wanna burn capitalistic illusions”

I was particularly struck by an image from the famous Dream Concert of 1975 (page 85) featuring Marley holding up a large picture of Emperor Haile Selassie, the Rasta God. His eyes are closed, and there is a look of peace on his face- there is an utter lack of emotion that we see in the rest of the photographs- there is just something on his face that can only be called peace. The most famous follower of a failed cult holding up its God at the height of its craze.

A photograph of Bunny Wailer (page 136) says more of the man with its caption than through the image- no disrespect to the photo. Gottlieb-Walker relates to us a tale of how Wailer refused a photographer to take his photo with these words: “I don’t let dead men take my pictcha”.

A few weeks later, the photographer was dead.

All we see of Wailer is his silhouette – and an eye- he is staring into the heavens. One almost gets the feeling that he is reading the stars- such his gaze, such is the man’s body language.

Bob Miller, a close associate of Marley’s, makes an appearance on Page 153, and his presence makes for one of the great shots of this book. He is caught in a half-smile, his eyes betraying his mischievous heart, looking up at the camera. The commentary soberly notes that he was supposed to tour with Marley in Brazil, except for a slight mishap- Miller died of a car accident in 1980.

Yet one has to look beyond all these photos and reach the last three photos- to acknowledge the sober end Marley and the reggae movement met with. They show Marley wearing a beret, and as the caption does not fail to remind us, he resembles Che Guevera in  a way. Che, the other great rebel of the Latin American conscience. Yet, the caption notes, “Bob never shot anybody… not even a sheriff”

I shall close this by borrowing a few lines from the PS which i feel would do more justice to the book than any of my words: “(Marley’s death) unquestionably ended the Golden Age of reggae… [but] the music itself is still vibrant.. and as vibrant and powerful as ever. But the vast array of talent, personalities and great music that defined the brief period covered in this book has never been even remotely equaled”

One cannot help but agree wholeheartedly.

Rating: 4 out of 5 stars.

1 being an eyesore, 2 being passable, 3 being pleasant, 4 being very good and 5 being a sight for sore eyes.

You can buy the book here, at the Titan Books official page.

The author – by lineage of noble affiliation, by qualities quite comprehensively the opposite – blogs here when not busy working or traipsing across to some part of the country to attend, and in many cases win, some quiz. You can find him on twitter as theBFP

One of the most awaited releases of this week is Tanu Weds Manu. While the music of the movie has already made it big on the charts, a lot of our readers were miffed at very little info available online about the debutant composer Krsna. We set out to resolve the problem, and the result is this exclusive (and extensive!) interview, conducted jointly by Music Aloud and Pavan Jha, music and movie critic with BBC India, and owner of the site http://gulzaronline.com. We are really thankful to him for providing some really insightful questions. Apologies for not getting the composer’s real name or his snap, Krsna is very particular that his music do the talking, and people associate his music with Krsna and this logo he has fashioned, rather than go by his actual personality. Read on then.

Let us start with your unique name reminiscent of the spelling in ISKCON. Is this your actual name or is there a devotional aspect to it? Even the logo which you have made your online identity seems to be an adaptation of the peacock feather commonly associated with Lord Krishna.

KRSNA is actually my adopted musical identity. No, there isn’t any devotional aspect associated with it. For me, music is my only religion, faith and language. Since globally, Krsna is symbolic entity for music, love, poetry, hope, victory, truth and life itself, I felt liberated to imbibe such a powerful name for all my musical expressions.

Anyone who hears your version of Rangrez would have little doubt that you are classically trained. Even the other 2 melodies had a semiclassical touch to them. So tell us about your classical upbringing. Your music had specific nuances related to North Indian music. Did you grow up in North India?

Well! You might be surprised to know that, my upbringing is anything but Indian classical music because I hail from a completely non-musical background. My musical learning has mostly been self taught, listening to pop, r&b and soft rock. It’s only when I struggled in Mumbai with my half-nurtured dreams of becoming a pop singer and dabbled in music direction for ad film industry, I realized the importance of learning Indian music formally. I started my Hindustani classical training only 3 years back, under Ustad Mehboob Khan.

As a music director, my role will always be to create songs that weave well with a film’s requirement. Since Tanu Weds Manu is a story based in Lucknow, Punjab and around, the nuances of the music had to be North Indian by default.  If I really have been able to create that association well, I am humbled.

And about my background, I did my schooling in Kolkata from CBSE, and then graduated in films and video communication from National Institute of Design, Ahmedabad. Thereafter, I shifted to Mumbai to pursue my dreams. This is when I met my mentor, Jawahar Chavda, who helped me become the musician that I am today.

In today’s times it is difficult to get a film without a profile. So were you involved in albums/jingles or any other assisting job in Bollywood before TwM? And how did you land this composition job?

I started my professional career by directing and producing ad films in Mumbai.  Since my heart always remained in music, I quite naturally changed my destined path in a year or two. I put behind my professional training of film making without a second thought and started focussing only on music direction for jingles, corporate theme songs and likewise. And with every project, I kept learning hands on about music production and the technology involved, from concept to completion. That was the only experience I gathered which came to good use.

Yes, I agree it is difficult to get a Hindi feature film without a profile. But I have come to realize, that in Bollywood, everyone does get an opportune moment when he or she is needed to prove his/her abilties to the fullest. And when I felt ready for feature films and decided to venture out in Bollywood, I had a chance meeting with Rajshekhar for the first time, who by then had finished writing Mannu Bhaiya. I created the composition overnight for a hearing. On listening to the track, Aanand Rai and Himanshu Sharma (Writer) heartily welcomed me in the team. Mannu Bhaiya was all that Aanandji ever needed as my portfolio to put in his blind faith for the rest of the songs. Thereafter, Shailesh Singh, the producer of the film also shared equal confidence in my music and stood by me throughout the process like a pillar.

How much did the director contribute to the music? The music in TwM seems to be nicely integrated with script/characters (like Mohit Chauhan’s vocals suiting Madhavan’s image of an Intense lover superbly.. or Mannu Bhaiyya having that family ambience, Rangrez probably been used at a highpoint or important juncture and Saadi Gali being used at a marriage, also Jugni highlights the character of Kangna very well..).  What kind of directors would you like to work with?

Yes you’ve got this so right. We genuinely wanted to create music that gets smoothly integrated with our story. My director Aanand Rai had a very simple brief to Rajshekhar and me. He visualized the songs to be a continuation of the story and characterisation and not as mere entertainment fillers. Hence, all the songs are thoughtfully placed as vital ingredients of the story telling process. It is only Anand Rai’s vision which I translated into the music that came out to be.

I now fully understand the role of a good director being responsible for inspiring good music. Whether a first time director or a veteran, I would just need to stay excited with the script and the director’s vision through the whole process, to be able to deliver my best. With so many promising new directors in bollywood today, I’m really hopeful to come across more opportunities and challenges to create good music in my future projects. Also, I definitely feel ready to work with all the reputed directors of the industry today.

Given the rock and dance-y flavors that dominate Bollywood music these days, are you concerned regarding the acceptance of your songs among the audience (and by songs I refer to my 3 fave songs from the album – rangrez, piya and yun hi)?

Although, this Friday onwards, I will be more clear about the acceptence level of TwM songs, I definitely can never want them to be any lesser accepted. But from what I have understood always as a musician, melodies with Indianness at the core do linger on our minds for long. Which is why, we are still hooked to everlasting melodies of the golden era. Honestly speaking, I never had any pre-concieved notion about the kind of music I was to create. I just followed my heart without a concern whatsoever.

The resultant sound, rendition, style, lyrics and intensity of the songs are completely governed by the story, background and characters. This film demanded certain kind of nuances that are there in the album. Being inspired by all genres of music from Western, Indian, World music, I know I will experiment with various flavours in my future projects. But with TwM, I feel lucky that I got to compose these kinds of melodies in Bollywood today. The real feedback from the audience will help me improvise my music the next time around.

You used the fabulous Wadali Brothers for Rangrez. The inspiration for using them? Did you use any other veterans on the instruments section as well?

When Rangrez was born, being the ambitious musician I am, I just couldn’t think of anyone else but the legendary Wadalis, who I felt could leave an eternal impression with their divine voices. Rangrez is a song that needed to ooze romance, intensity, crescendo, pain, confession, submission, prayer and a mix of many feelings in one go. Although the music of Wadali Brothers is beyond the commercial realms of Bollywood, I still wanted to reach out to them.

Both the maestros, Puranchandji Wadali and Pyarelalji Wadali loved the composition so much that they decided to bless me with it, thus making it one of my most priceless possessions til date.

In the instrumentation section, Im priveleged to have got Sanjiv Sen on tablas, Madhukar Ji on Shehnai, Firoz Shah on the harmonium amongst the veterans.

Your lyricist for the movie Rajshekhar is also a debutant. How was the experience of working with him? Could you share something about his background too? The sync between lyrics and music in TwM hints that you and Raj have been working together for quite some time. Is that so?

Working with Rajshekhar has been a very heart warming experience for the kind of human being he is and the way he approaches his art. He is basically from Bihar, who majored in Hindi literature from Kirorimal College, Delhi. Thereafter he pursued his Masters from Delhi Unversity. He continued his creative expressions through theatrical art often by acting, directing plays and writing scripts. Poetry has always been his constant passion which found place in all his creative endevours. He considers lyrics to be a form of musical diaogue that sprouts from within the characters and must justify the context of a story. He is extremely sensitive to the objective of his lyrics and the intensity of a situation he is writing for.

We struck a chord the very first time we met, and have become lifelong friends over the music of TwM. He according to me is one of the finest poets in bollywood today. Any appreciation for TwM Music would be incomplete without crediting him for his meaningful poetry. Definitely we worked in close tandem and all of us in the team enjoyed the whole process. All the songs were written first under Aanandji’s able guidance, and then I tried to compliment them with my compositions.

Like you told us, you are currently busy with the BGM composition for TWM. What after that? Any other projects in the pipeline? Are you working on anything in the in-rage genres (rock/Punjabi etc)?

Since, I can never again repeat the experience of a debut release, I did not want to divide my attention beyond TwM in Bollywood after committing to this responsibility. It’s only after the completion of BGM composition, I intended to explore newer horizons. Though I have already started to look at fresh opportunities that have come by, in due time I myself will let you know of all the projects I commit to.

The choral work for Mannu Bhaiyya and the electronic ambience of the traditional Piya were evocative of ARR of the 90s. So who are your fave musicians? Who have you considered your inspiration in your formative years? And what are your thoughts on fusion (considering you have incorporated some yourself), specifically the folk, sufi and semi-classical genre?

My favorite musicians have been R.D Burman, Michael Jackson, Neyo, A R Rehman, George Michael, Ustad Nusrat Fateh Ali Khan, Norah Jones, Lataji, Stevie Wonders, Ashaji, Madonna, Salil Choudhury, Nat King Cole, Pundit Jasraj, Boyz II Men, Lionel Richie, MlTR, Rahat Saab, Scorpions, ABBA, Bappi Lahiri, Eminem, Himesh, Anuji, Purnadas Baul, Eagles, Beyonce, Rihanna, Mariah, Britney, Christina and Justin and the list is endless. I must say, Michael Jackson was one soul whose boundless energy and superlative perfection gripped me to music the very first time I heard him, and the idea of becoming a musician was born sometime during my school days.

I think, most music in Bollywood today can be aptly termed as World Music. Knowingly or unknowingly musicians around the world are fusing various elements today and experimenting with cross cultural sounds and styles. I too, definitely aim to create various forms of fusion music, whether folk, oriental, Sufi, semi-classical, pop, rock or any style for that matter.

Do you believe in assembling of music or prefer live recordings?

I wouldn’t necessarily call assembling of music a preference but an integral part of studio music production today. The final product is all about assembling of live recordings, vocals, backings, musical instrumentation and everything else that goes in the mix. Being a composer and a music producer, I do look at a live recording and imagine the possibilities of the same in a final product. It is because that’s what matters in this business. When we talk of music releases, any live recording, when captured on tape or digital format is meant for mass production. So the best output calls for the best of all elements in the assembly. But I will always try to retain the essense of live recordings in my songs.

What are your thoughts on the change in the way the music production is being done today (moving away from Live recordings, post production of music, moving away from lip sync songs to on screen songs etc.)?

Although I consider myself a technology’s child, I can’t stop emphasizing the fact enough that, one can’t give away the core soul of music to technology no matter what. Music production techniques are so powerful today that you can dream of doing wonderful things with music singlehandedly, which were impossible to imagine even 10 years back. I feel, it is not a choice but a must for every music director and producer to know about the nitigrities of music production today. But at the same time, one’s top priority should only be to retain the soul, feel and expression of a song through the words, vocals and instrumentation using technology as the means and not otherwise.

The gadgets and softwares do make it fun, intuitive, offering you tremendous scope to experiement with the renditions. So much so that electronic music can at times completely replicate live instruments with superb perfection. But there is a downside to it which I realize every moment.

With audio technology growing more powerful by the day, trying to perfect the sound of real instruments, live musicians are suffering a lot with reduced session jobs and people getting lesser inclined to take up these instruments for a profession actively. We have pros and cons with the way we record vocals too. The ability to deliver one take vocal lines like in olden times is almost an unnecessary thought today. Although we save studio time, money and churn out near perfect takes in the final product, the need for rigourous riyaz and song sittings are getting compromised a lot too.

I personally do swear by audio technology in my profession, but still will always strive to retain the human touch in my tracks as and when I can.

As far as lip sync songs and screen songs are concerned, I feel they both have had their respective appeal in films since the beginning. As long as it justifies the plot and the entertainment value intended, both the treatments are just perfect to go by.

You can listen to Twm songs here, and here are the links to the reviews of the soundtrack: Music Aloud; Pavan Jha. You can follow Krsna on his official site or on his facebook page.

His musical repertoire over the past three decades covers the who’s who of world music scene during the period. And his personal instrument collection would translate to an assortment of just about all of world percussion. Which kind of explains why this multi-percussionist is one of the most sought-after instrumentalists in the world today, be it world music or Hollywood. And the man has always had a special something for India, of late even foraying into the Indian film music scene, working with A R Rahman. Even as he gave this interview he was in Jaipur with a folk project he has been working on. Music Aloud’s tete-a-tete with Pete Lockett..

So when did it all start for you, your bout with drumming? Was it percussion right from the start or some other department of music? And when did world music take your fancy?

I was lucky.  I discovered music late at the age of 19 and it was totally something for me.  I had no external pressures, society pressures or achievement pressures.  I had left home and mastered my own destiny. I could just enjoy drumming for drumming sake.  It started out with drum set after I saw an advert in a drum shop window for drum lessons.  I went straight in and had one.  Two weeks later I was in a punk band and the future of my life was mapped out.   I moved to London a year later with no money and started to gig in rock bands and the like.   It was a few years until I discovered Indian music.  Again quite by chance.  I stumbled across a free concert given by Zakir Hussain and Ali Akbar Khan and was immediately mesmerized.  I feel so lucky and blessed to have had those moments.

In your world music discography, I have noticed a slight majority going for Indian fusion. Even among the two books you have released one has been on Indian rhythms.  Any reasons for the penchant towards Indian percussion? Is it something to do with the complexities involved in the Indian beat structure and the challenges therein?

I am a multi percussionist and that is my instrument.  It includes instruments and traditions from all over the world, from North and South India to the Middle East, Africa, Europe, Latin America Japan and much more.  However, the holy grail of complex and developed linear rhythm is Indian.  Everyone knows that who has studied it.  It is by far the most involved linear rhythmic system in the world and that is why I have worked with so many Indian projects.  However as an individual my style is about hybrid integration of it all.

All these albums you have done, does the music get planned and then recorded, or are they recordings of impromptu jamming between you and the collaborating artists?

To a point you can jam but one really needs to compose to get the true potential from projects.  Improvisation gets more complex the more people you add and you can end up with one almighty mess.  A balance of improve and planned content is the ideal station.

Apart from your fusion work, you are extensively into movies, having worked for some of the biggest hits of Hollywood. So how different do you find arranging for movies from say, composing for a fusion album?

When you are composing then you are choosing the route.  It is up to you if you fly, go by train or by road.  Stop here, stop there or stay overnight.  In the studio with films and other peoples music there is more of a route planned because all the musical points are in place.  You need to create grooves, moods and accentuations that bring the best out of the music already there.   The session players who do not succeed are the ones who over impose themselves on the music at the cost and to the detriment of that music.   It is all about making the music sound its beat.

How did Sivaji happen? And how was the experience of playing with Rahman?

I have worked on numerous projects with Rahman.  I recently did the Commonwealth Games Theme with him along with the film 127 hours.  I did Vande Mataram with him and numerous other projects.  He is an inspiration who is totally at one with his music making.  It is great when composers get so involved in sessions as the way he does.

You are particular about the knowledge you have to aspiring percussionists, updating your website with videos, audios and text on a regular basis, and that too for free! Have you ever thought of taking this a step further? Like starting an institute may be?

I don’t have the time.  I rarely have the time even for individual lessons.  I am lucky because I am busy playing.  I love my work and am lucky to get so many opportunities.  However, I still feel a burning desire to make the little that I know available for those that want it.  I wish for a day when there are far more multi percussionists around than there are today.

When can we expect Made In Calcutta and the other album where you are collaborating with Airto Moreira? Is there anything else you are working on currently?

Those two will come out this year.  I just had a meeting with the Airto team last week in LA and they are nearing completion.  The Calcutta album is signed over to Bickram Ghosh‘s new label and has a pending spring release.  Watch this space and my website.  New projects always on the horizon.

If we were to ask you to list down your top five favorite musicians today, who would they be? Who were your idols in your formative years?

I have such a wide ranging eclectic taste that I cant really answer that question.  However, I would say that my first major drum influence was Keith Moon.  Two other names that come prominently to light are Zakir Hussain and the late great Harishankar, the legendary Kanjira player.  I would put the two of them at the top of the list.  Zakir is most certainly the best living drummer or
percussionist in the world today.  His skills are incredibly flexible and he sits so comfortably in so many different musical settings.

I have read in another interview that you don’t consider any particular instrument as your favorite, but still there must be some instrument in your collection that you consider a prize catch, a treasured possession?

Not really.  It is all my instrument, I am a multi percussionist.  It is totally hypothetical to answer it, like saying which album would you take to a desert island.  If you did end up on a desert island you would not get that choice, nor would there be electricity to play the CD!!

So many artists. so many concerts.. Any memorable incident that pops up in mind?

Again there are too many.  I have been lucky enough to have toured all over the world in many different situations.  All of these have different memories. Currently I am in Jaipur and then Lucknow with a project I have with 24 Rajasthani folk musicians.  We premiered it last year at the Jodhpur RIFF on top of Jodhpur fort at midnight with a full moon.  That was pretty special!!

You can download some of Pete’s music for free at his official website. And below are some videos of the man in action. Cheers!

The living legend of Indian music celebrates his 45th birthday today.We admit that it is not really possible to list down the top 15 songs composed by A R Rahman, not in a day at least. Hence we present to you a relatively simpler list we were able to compile – our fave 15 songs that the composer has done the lead vocals for, from his film scores. Just click on the song title to watch the song. Have a wonderful birthday ARR!! We hope you get another of that Golden Globe and the Oscar to adorn your shelf this year!

Dil Se – Dil Se (1998)

Vellai Pookkal – Kannathil Muthamittal (2001)

Khwaja Mere Khwaja – Jodhaa Akbar (2008)

Yeh Jo Des Hai Tera – Swades (2004)

Fanaa – Yuva (2004)

New York Nagaram – Sillunu Oru Kaadhal (2006)

Wedding Qawwali – Bombay Dreams (2002)

Luka Chuppi – Rang De Basanti (2006)

Rehna Tu – Dilli 6 (2009)

Naan Varuvene – Raavanan (2010)

Khalbali – Rang De Basanti (2006)

If I Rise – 127 Hours (2010)

Mera Yaar Mila De – Saathiya (2002)

Meherbaan – Ada (2008)

Piya Haji Ali – Fiza (2000)

Another year-end special from us. A compilation of all Google Doodles of 2010 that were dedicated to musicians. Some of them were global, and some were specific to countries so there is a good chance you would have missed at least a few of them. And if you feel like reading more about the musician just click on the name. So here goes..

Django Reinhardt (23rd January)

Frederic Chopin (1st March)

Antonio Vivaldi (4th March)

Umm Kulthum (3rd February)

Pyotr Ilyich Tchaikovsky (7th May)

Isaac Albeniz (29th May) – Can’t help sharing at this point, our writeup on what we consider his greatest ever composition, Asturias. You can read it and watch various mindblowing versions of the song here.

Robert Schumann (8th June)

Naomi Shemer (13th July)

John Lennon (9th October) – Arguably one of the best doodles of the year (To me, the only one ahead is the Pacman doodle!)

Dizzy Gillespie (21st October)

Carlos Gardel (11th December)

Edith Piaf (19th December)

You might not be very familiar with the name Clinton Cerejo, but the man has been making his mark on almost every major musical work in Bollywood in the past few years, as vocal arranger, music programmer, music producer and as vocalist. Just to be naming a few of his works – Enthiran, My Name Is Khan, Lagaan, Dil Chahta Hai, Kal Ho Naa Ho, Saathiya, My Name Is Khan, and every work of Vishal Bharadwaj since Omkara. His faculties as vocalist started getting him limelight only recently with Kya Karoon from Wake Up Sid and Hey Ya from Karthik Calling Karthik, but the man started singing long back, rendering hits like Endrendrum Punnagai from Alaipaayuthey. Outside of movies the man has been busy in the ad field too, scoring ads for many big brands like Pepsi, Tata, Vodafone, Philips, Colgate etc.We are proud to present Music Aloud’s interview of Clinton.

Tell us a bit about your musical journey from your childhood to college, your days making ad jingles, and finally in the film industry.

I was already doing a few backing vocal sessions while in college but I never thought about taking music seriously. I was in fact to do my MBA. But by the time I graduated I changed my mind and decided to do music full time. Ad jingles and film work came much later.

You have made quite a name in the industry as a music arranger and vocal arranger. Could you please tell our readers what exactly is it that a vocal arranger does?

A vocal arranger is specific to vocals. When I’m called in as a vocal arranger, usually the track will already be programmmed and produced. I then decide on what type of harmonies and vocal textures will work with the song. Deciding whether to use a gospel choir fell or a pop vocal sound.. etc… All these decisions as well as writing harmonies and musical vocal sections are part of vocal arranging.

You started your career as a singer for ad jingles. How did the decision to become a music producer come around? How difficult was the transformation?

When I started off as a singer I quickly realised that my voice was not versatile as some of the other singers around at the time. Besides whenever I listened to music I always listened to what was going on behind the vocal. Hence the decision to make the switch. It was not easy in the beginning but it felt natural at the same time. It came to me quite automatically.

Working with Rahman is a dream for a lot of people. Your real break into mainstream film industry was because of A. R. Rahman and the meeting was quite accidental. Tell us more.

Mr Rahman accidentally heard some of my arrangements in a studio in mumbai. At the time no one told him it was me… Exactly a month later I met him at another studio for the Jana Gana Mana project. That’s when I told him that I was the one who had arranged the song he’d heard. I started working with him shortly after that.

I am personally a huge fan of Vishal Bhardwaj (of his every talent). You have worked with him on almost each one of his films. Tell us how you met him and about your experience of working with him.

I had met Vishalji a long time ago and only did vocal harmonies for him back them. Then Hitesh Sonik who used to do all Vishalji’s arrangements at the time – gave me a song to produce. Both Hitesh and Vishalji loved what I had done. Soon after they asked me to be a part of Omkara… And I’ve worked on all his films thereafter.

I read somewhere that you along with Dominique dream of producing a Gospel album. Are we going to see it coming out any time soon?

We have been writing for a long time now… But not sure when I’ll actually get down to completing and releasing an album. I think whenever it comes out will be the right time.

Along the same line, how do you look at the scene of independent music in India today? There are still very few artists that can survive as independent artist. Do you think the picture will improve in coming years?

It may change in the coming years. I hope it does because as of now – Bollywood is all powerful.

Do you like performing in live shows or would you rather do studio work?

I do enjoy live shows but I’m a lot more comfortable in the studio.

Recently you have had quite a success as a singer with hits like “Kya Karoon” and “Hey Ya!”. What do you enjoy more now, singing or production?

I like both actuallly. They’re both different things and require different faculties.

What projects are you currently working on? Any particular songs we should be looking forward too?

Watch out for the soundtrack of Saat Khoon Maaf.

We all love listening to your songs. What is it that you love listening to?

Too many favorites to name…

You were almost on the verge of entering a B-School. Have you ever thought what life would have been like if you were not a musician?

I can’t imagine what I’d be doing sitting at a desk nine to five. Thank God I’m a musician!

It was in 2003 that the band Aasma came into existence, formed by the winners of the second edition of Channel V Popstars, the opening edition spawning the all-girl band Viva. Life has changed a lot since then for Vasuda Sharma, culminating in a very eventful 2010 when she became the first Indian artiste to perform at the POPKOMM Music Festival held as part of the Berlin Music Week. And also marked her debut as music composer with Makrand Deshpande‘s Shahrukh Bola Khoobsurat Hai Tu. Though the movie as such did not attain much success, the music has been fairly well-received. We present to you Music Aloud’s interview of Vasuda, where she talks of her past, present and future. Read on!

Let’s start with the in thing, Shahrukh Bola… How did you land up your debut movie score?

Well, I have been an ardent fan of  Makrand Deshpande as a theatrician. Regular viewer of all his plays at Prithvi. So one day I just went upto him, complimented him and told him about myself. I introduced myself as a singer. And that was the end of it. A year later I got a call from his assistant and I met him again for some acting assignment. But eventually even he figured out that it’s composing and singing that brings out the best in me. I was given just one song to start with as it was a gamble.. But his belief in me made me bag the whole score..:) I am grateful to him to give me that opportunity.

Rewinding to the start, let us hear about your musical beginnings.

My relationship with music begins when I was three. My bua (aunt) is a trained singer in Mathura. When I was really young, I used to spend a lot of time there during summer vacations and she used to teach me all the possible folk songs, Bhajans and Rasiyas and Krishna songs. I have grown up singing those songs. I remember at least a hundred of those by heart. I was never exposed to English and Bollywood film songs. But later I picked it up and started doing a variety of stuff in music, experimenting with different styles and genres. I used to regularly go for inter school and college competitions and won lots of prizes.

It all truly started for you with Aasma. Take us a bit through your Aasma days.

I never ever thought of taking up singing and composing as a career. I was in my 1st year college doing Sociology Hons in Hindu, New Delhi… All focussed to prepare myself for civil services and be an IAS officer. Everyone around, my parents and relatives and friends including myself thought I ll go for higher studies as I was really good in academics. During my summer holidays, Channel V had this Coke V Popstars 2 talent hunt in which my friends just forced me to go and give it a try. Well, honestly i didnt disclose it to my parents initially as I thought I d just do it for fun. But…. destiny had something else in store… One thing led to the other and I was in final 8. I finished my graduation while being in Popstars in 2005, it was fun juggling between shows and exams. Aasma for me has been a wonderful experience, a great beginning, a wonderful journey. The amount I have grown in these seven years being together as an artist, a musician and a performer…is insane… It’s been an incredible exposure, performing and working with great artists, getting to learn so much from them. And I have truly enjoyed every bit of it.:)

So was composing always your first love, or did you just chance upon it while singing?

I have always been writing my own songs, composing and collecting material but making music for a Bollywood flick was never in my agenda. I never pitched to get a film score. I discovered it a few years back honestly. I would write songs but keep them to myself. I think you become a little confident about something new if it’s received well the 1st time you show it to somebody. Makrand was kind enough to hear me out and really encouraged me to go forward with the same. Although I simply love singing, the best would be to sing my own songs, because that brings out the best in me.

You never pursued playback singing?

I must say I have had a very laid back attitude or to be precise I have not been actively involved in giving out my demo cds, trying to meet music directors and stuff. I know one needs to do that hard work to get that 1st break and once you’re on and appreciated, then you do really well in the industry. But surpisingly that hasn’t been the case with me. Also probably the kind of music that has been popular in the last few years didn’t really make me go all out and try to lend my voice to. But with artists like the evergreen Rahman sir and Amit Trivedi it will be an honour.

How was the experience of being the first Indian artiste to perform at the Berlin Music Festival?

Honestly speaking, when I applied I didn’t know the magnitude of it. Also the kind of bands that had participated, have been performing for years in the music circuit. When I was one of the 6 finalists, I was taken aback a bit coz I never took it seriously. Snd winning it and going to Berlin and performing, representing our country was a dream come true. I performed twice there and had so much to learn from other artists. Had a great response at the Popkomm Fest where bands from all over the world come and perform. Made a lot of friends, met a lot of business people.. Lot of developments in the pipeline..

Any chance of an Aasma reunion, all of you being individually busy these days, Neeti with AR Rahman et al?

As opposed to what all think, it’s been 7 years Aasma has been together… and is still going strong.. We all do corporate and college gigs together as a band, travel all over India and abroad. It’s true that we all are doing our solo bit as well, while Jimmy is busy doing playback and individual gigs, Sangeet composing music for Bollywood movies along with his brother, Siddharth, Neeti busy With Rahman Sir, but we still manage our stuff and find time for the band because we are all aware of the fact that Aasma got us where we are today. Also we all are very dear to each other and great friends apart from being band members. I think thats what keeps us going.We are also jamming and coming up with a new Aasma single along with a video shortly. So watch out for the come back!

How has the response for Shahrukh Bola.. been?

Till now I have been getting all positive reviews not just from family, friends and acquaintances but people from the industry and the audience. I have been getting a lot of mails of people congratulating me for my debut. I am overwhelmed by the response, can’t thank God and them enough. I am not too sure about the album sales as everything is easily available online these days. The response has been thankfully positive

Was the acappella song Hasna Hasana a deliberate nod to Bobby McFerrin? The lyrics and the arrangement seemed to be along the same lines.

I have been performing live as a one woman band where I do vocal arrangements myself, make the whole music in a loop and then sing the main song over it. I have always been in love with the concept of acappella, where there are only voices and no instruments at all not even a hand percussion. This wasn’t made as a part of the movie, but i made Makrand listen to it just for his knowledge, explaining him what accapella is… And he instantly liked it… He told me to write something related to the situation in the movie and that’s how the song was made. As for the similarity well it’s a co incidence and I am flattered that it reminds one of that song..

Could you tell us a bit about your upcoming projects?

Currently I am working on the score for Mr Govind Nihalani’s animation film. Its title is still not decided but it’s about a little camel in the hot deserts of Rajasthan. It’s a lot of fun composing for it.. Another one… a musical.. Will start working on it by next year… So yeah.. lots to look forward to.

For those of you who did not notice today’s Google Doodle until now, today happens to be the 93rd birth anniversary of Jazz legend John Birks “Dizzy” Gillespie. Instrumental in the development of bebop and modern jazz, Dizzy was one of the greatest jazz trumpeters ever. As Music Aloud’s tribute to the maestro, we present to you videos of some of Dizzy Gillespie’s classic renditions, most of them in HD.

Tin Tin Deo

And Then She Stopped

Tanga (Part 1, Part 2)

Toccata From Gillespiana

Blues After Dark

Norm’s Norm

Umbrella Man

A Night In Tunisia

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.

Amitabh Bachchan, one of the biggest brands of Indian Cinema, the man who with his skills and charisma has come to be the face of Hindi Cinema over the years, turns 68 today. The last year has been quite good for him, culminating in the 3rd Best Actor National Award for his role in Paa. We wish that this year too he continues to achieve similar laurels. The beginning is surely good, what with a memorable birthday gift in the form of the fourth edition of KBC, the show that gave him a new lease on life ten years ago. As a birthday tribute from Music Aloud, we present a list of our top 15 songs featuring AB Senior.

Dekha Na Hai Re – Bombay To Goa (1972) – Kishore Kumar – Composer: R D Burman
Yeh Dosti – Sholay (1973) – Kishore Kumar, Manna Dey – R D Burman
Kabhi Kabhi – Kabhi Kabhie (1976) – Mukesh – Khayyam
Tere Mere Milan – Abhimaan (1977) – Kishore Kumar, Lata Mangeshkar – S D Burman
Khaike Paan Banaras Wala – Don (1978) – Kishore Kumar – Kalyanji Anandji
O Saathi Re – Muqaddar Ka Sikandar (78) – Kishore Kumar – Kalyanji Anandji
Rang Barse - Silsila (1981) – Amitabh Bachchan – Shiv Hari
Mere Angane Mein – Laawaris (1981) – Amitabh Bachchan – Kalyanji Anandji
Chhookar Mere Mann Ko – Yaraana (1981) – Kishore Kumar – Rajesh Roshan
Pag Ghunghroo Baandh – Namak Halaal (1982) – Kishore Kumar – Bappi Lahiri
Pyaar Hume Kis Mode - Satte Pe Satta (1982) – Kishore Kumar, R D Burman, Sapan Chakravarthy, Gulshan Bawra – R D Burman
Dilbar Mere – Satte Pe Satta (1982) – Kishore Kumar – R D Burman
De De Pyar De – Sharaabi (1984) – Kishore Kumar – Bappi Lahiri
Kajra Re – Bunty Aur Babli (2005) – Alisha, Shankar Mahadevan, Javed Ali – Shankar Ehsaan Loy
Rozana – Nishabd (2006) – Amitabh Bachchan – Vishal Bhardwaj