No, they are not the same. Vishal from Vishal-Shekhar is Vishal Dadlani, not Vishal Bhardwaj.
--- In [email protected], V S Rawat <[EMAIL PROTECTED]> wrote: > > hmm. > > Thinking about it, I find "Mayya Mayya" carrying the same mood as "Bidi > Jalaye Le" by the other Vishal (Bhardwaj) (or is Vishal Bhardwaj the > Vishal of Vishal-Shekhar? such identical names.) > > Of course, I am not saying copying etc. but the mood of the song. both > are such Jolly, freak out, naughty, teaser, tempting, provocative, > tantalizing songs, and visuals of both also uphold the same mood. Both > songs became quite popular also. > > And there is the beauty of our man. I find Mayya Mayya one of the most > complex songs of our man -- so many instruments, arrangement, non-indian > feel, chorus background, strange lyrics, uncommon voice -- and yet, I > feel that it was intentionally kept somewhat subdued, controlled voices > giving the indication of inner bliss, contemplating whereas Bidi Jalaye > Le was comparitively loud, -- that, in front of Mayya Mayya, Bhardwaj's > Bidi Jalaye Le sounds to be a poem being rendered by Kindergarten Kids > in some school stage play, (but I maintain that it also is good song). > > If Bhardwaj ever compared the two songs, he would have understood that > he has to go miles, rather light years, to even touch ARR's shadow. > > -- > Rawat > > On 6/2/2008 12:31 AM India Time, _Jahanzeb Farooq_ wrote: > > >> And couldn't Rahman's Mayya mayya from Guru be seen as a furtive > > escapee from the Vishal-Shekhar camp? > > > > Mayya Mayya by VS?? No way. > > > > > > --- In [email protected], Vithur <vithurm@> wrote: > >> *A ditty to make aditi smile* > >> Saturday May 31 2008 17:57 IST > >> > >> *Baradwaj Rangan* > >> > >> As if to prove his detractors wrong, as if to silence those > > criticisms that > >> his music cannot be got until you listen to it over and over like > >> imposition, filling that blackboard in your mind with grimly > > repeated > >> resolves of "The next time around, I will like this song better" > > A R > >> Rahman has composed... Wait, that's not the word, for 'composed' > > gives the > >> impression of a certain rigidity of structure, of a schema, of > > following a > >> premeditated thought to its predetermined conclusion, whereas the > > instantly > >> fall-in-lovable Kabhi kabhi Aditi (from Jaane Tu Ya Jaane Na) > > sounds like > >> Rahman did nothing more than cup his ear to the chest of a college- > > goer in > >> love and translate those heartbeats into notes. > >> > >> After a succession of stately, senior-citizen scores, how > > delightful it is > >> to see Rahman strutting about in jeans again, an iPod stuffed in > > the back > >> pocket. When I heard that this notoriously non-prolific composer > > had two > >> soundtracks due to hit stores at the same time and after a quick > > glance > >> westwards to assure myself that the sun wasn't about to rise > > there I > >> thought, this week, I'd record my thoughts about Ada and Jaane Tu > > Ya Jaane > >> Na in this column. But that's not going to be possible, because > > the endless > >> listens to Kabhi kabhi Aditi have left me with barely any time to > > get to the > >> other tracks. > >> > >> How do I love this song? Let me count the ways. I love the way the > > rhythm > >> kicks in like an afterthought, well into the second line, > > changing in an > >> instant the texture of the number that you thought was going to > > be > >> coloured primarily by whiny pickings on an acoustic guitar. I love > > the > >> gradual buildup and explosion in the stanzas, as the > >> everything's-gonna-be-okay shrug from earlier is fleshed out into > > doggerel > >> universalities that the bleakness of night will once again give > > way to the > >> light of day, that the flowers will bloom once more. (The actor- > > playwright > >> Noël Coward once expressed his astonishment at "how potent cheap > > music is." > >> When you're a certain age, I guess the same could be said of dime- > > store > >> philosophising.) And I love the repeated pleas to Aditi to please, > > please, > >> please get out of her blue funk and crack a smile: Hey Aditi, has > > de, has > >> de, has de, has de, has de, has de tu zara / Nahin to bas thoda, > > thoda, > >> thoda, thoda, thoda, thoda muskura. > >> > >> Yet, there was the nagging realisation as the song came to a close > > that had > >> it been played for me in a guessing game and had I been asked to > > figure out > >> the composer, I would have dithered between AR Rahman and Shankar- > > Ehsaan-Loy > >> and Vishal-Shekhar. Does it appear to anyone else that the lines > > between the > >> troika at the top are increasingly beginning to blur? When the > > compositional > >> style is 'Indian,' I find I'm able to instantly pick out Khwaja > > mere Khwaja > >> as a Rahman creation (no other composer can whip up such a > > spiritual > >> fervour), or Goonji si hai as a number by Shankar-Ehsaan-Loy > > (their melody > >> lines have the smoothest edges in the business). > >> > >> But it becomes murkier when we're talking pop-style compositions > > like > >> Kabhi kabhi Aditi, or Kahin to hogi (from the same album). If the > > composer's > >> names were scratched out from the inlay cover of the Taare Zameen > > Par CD, > >> would you settle on Shankar-Ehsaan-Loy as the brains behind Kholo > > kholo and > >> Jame raho? Or, for that matter, even with Vishal-Shekhar's very > >> Indian-sounding Main agar kahoon and Jag soona soona laage from Om > > Shanti > >> Om, don't they make you think of Shankar-Ehsaan-Loy? And couldn't > > Rahman's > >> Mayya mayya from Guru be seen as a furtive escapee from the Vishal- > > Shekhar > >> camp? > >> > >> I wish I knew where I'm going with this based on the above, > > there seems to > >> be some overarching summation to be made about modern-day > > composers, doesn't > >> it? but the only conclusion (if it can even be called that) is > > that > >> compositional styles overlap a lot more than they used to. > >> > >> I was listening, recently, to Dil sajan jalta hai from Mukti, and > > even if I > >> hadn't already known the name of the composer, the stanzas would > > have left > >> me with little doubt. It's all a smooth rise-and-fall of melody, > > till we get > >> to the phrases shabnam ke girne se, early in the second stanza, > > where the > >> luscious curves flatten abruptly to straight lines, as if, for > > those few > >> seconds, something had caused the scale to sputter and choke to > > near-death. > >> That something is the unmistakable R D Burman signature. Now, why > > didn't we > >> find this in anyone else's music of that time? I'll leave you to > > chew over > >> that while I head back to clear my head with that ditty about > > Aditi. > >> *Film critic, > >> The New Indian Express. > >> Feedback to this article > >> can be sent to > >> [EMAIL PROTECTED] > >> ** > >> http://www.newindpress.com/sunday/sundayitems.asp? > > id=SEF20080531083111&eTitle=Cinema&rLink=0 > >> > >> -- > >> regards, > >> Vithur >
