This ain't Rock, Blues or Jazz.. but

Have you heard "Welcome to India", not the Ludacris one? Well, its composed by Vikram and Krishna based on Ludacris' Welcome to Atlanta. My friend Kutty made me listen to this, and this is simply ausum Urban Dictionary entry on Ludakrishna is funny but true: The awesome Indian rap-star who writes satire raps about how funny it is to be indian. Makes fellow desi's laugh when he partners up with his co artist M.C. Vikram to write hilarious songs like: Welcome to India (play off of welcome to atlanta) Curry 'n Rice Girl (play off of hollaback girl) Frooti Girl Ladoo Shop (play off of candy shop) I do hope they have not come up a spoof on 50 Cent's Candy Shop! Already many have done it, and all in a vulgar way! One more won't do any good. Complete lyrics are at mcvikram.cjb.net But you can have a sample of the lyrics below: Yaa, MC Vikram and Luda Krishna representing you, That's right ... increase the volume please ... thank you. Welcome to India, mango juices and lassi, samosa crazy desis and little kids that are milking the bhainses. ....... Luda Krishna here, Vikram owns the Tata gears, and I'm sitting in the Maruti Supreme, with the cooling glass on no one bothers me. because stars since the ever famous Mamooty. ......... Ohhhh ... I love that my friend! Yaa dawg, that was funda-stic. Hey thank you, you're fabulous! Oh, thank you my friend! Oh ... ..... Welcome to India where the cows eat hay, and we drive auto-rickshaws everyday, Goat-meat, yummy sweets while monkeys roaming, The roosters don't crow till five in the morning! ...... Oh, oh, Go Luda, go Luda. Ah, its my b'day! That is your b'day man! Yaaaaah. You know boy! Oh oh oh ... it's great! Ah, Indian my friend. Good night! Alright, goodbye ... kiss my buttocks!!

My dear, we're slow dancing in a burning room

When there is time to reflect upon, then you feel many things should have been said, or expressed, differently. For me, this has happened a lot of time in last few weeks. The first time I heard this song, I was feeling "damn!"

The song I heard was a live rendition, with people hearing it making as little a noise as possible. When it starts with the deep nasal voice of John Mayer, with his guitar also tuned to same broken timbre and the way he sings the strung words, and the way it touches your emotions all touched some nerve in my system. 

Before I actually heard the song itself, the reason why I chose to hear this was the title, "Slow dancing in a burning room".  "Slow dancing" means there is an total oblivion towards the surrounding and a love - the feeling that only the partner and you are in the entire world. "Burning room" reminds about the kind of imagery which is shown in Towering inferno, Casino Royale, whatever you read/studied about Pompeii or Vandanam, a scene where you are about to lose everything but do not know what the loss is actually going to be, except that the impending danger of loss is enormous. Both of the words are poles apart in meaning, but there is a connection for some people. The feeling of let this moment not pass. This actually made me listen to it. I was not mistaken. The lyrics was also really good when it started.

It's not a silly little moment,
It's not the storm before the calm.

So it started. Slow guitars at first, plucked hard, and cut in between. Then the lyrics which said it is not so as you think. I liked the way the guitars played in the end also. When after the final repeat of the questions regarding the relationship, the guitars played it to the tempo. It is one advantage with John Mayer that his songs has strong chords, which is because of strong blues influence. 

The song picks up in stages, and then ends with a flurry of questions. Between the stages, the lyrics stoke some fire, throw some egoistical statements and some frustrations peppered with love. All these show the kind of man actually John Mayer is. It is not my nature to follow the paparazzi news and tabloids, but John Mayer's relationship is pretty well described in Wikipedia. It shows his relationships in pretty straight forward way. Many parallels with the song. One thing I absolutely love about him is the way his emotions are poured into his songs. He strives to be very intellectual which is good, because no individual is born intellectual - it takes practice and a bit of set backs. Unfortunately the set backs in art (includes many!) are a bit too glaring in eyes of public. Hope he continues to make the kind of songs which are "open". Since the post is about this one song, I shall retain my rest of opinion for another post later.

Don't you think we oughta know by now?
Don't you think we shoulda learned somehow?
Don't you think we oughta know by now?

For the entire lyrics, click over here

And for the best version of the song in YouTube, watch the video below:

Easy A

Friday, November 30, 2001

I loved this movie, although not enough to see it again. It was cool while watching it, especially the soundtrack. I wanted to hear all the songs again so I had them downloaded by my friend (who also was raving about the movie and the songs). Once I had them in my iPod, there was not the same feel for all the songs. So, it should be the movie that made the song good, right. Maybe I should watch the movie again each time I want to hear the songs. Alas, not much time is there for sparing in my life. There goes so much for the songs.

Soundtrack listing:


"Don't Cha"
Written by Sir Mix a Lot (as Anthony L. Ray), Cee-Lo (as Thomas DeCarlo Callaway) and Busta Rhymes (as Trevor Smith)
Performed by The Pussycat Dolls featuring Busta Rhymes
Courtesy of Interscope Records
Under license from Universal Music Enterprises


"Numba One (Tide Is High)"
Written by Jason Harrow, Dwayne Chin-Quee, John Holt, Tyrone Evans and Howard Barrett
Performed by Jason Harrow (as Kardinal Offishall) featuring Keri Hilson
Courtesy of Geffen Records
Under license from Universal Music Enterprises
******************************


songw which are not there


"Move Shake Drop (Remix)"
Written by Pitbull (as Armando Christian Perez), Hugo Diaz, Luis Diaz, 
Lazaro Mendez, Flo Rida (as Tramar Dillard), Jean Carlos Casely and Devin L. Parker
Performed by DJ Laz featuring Casely and Flo Rida
Courtesy of VIP Music/Federal Distribution/Universal Records
Under license from Universal Music Enterprises


"Bad Reputation"
Written by Joan Jett, Kenny Laguna, Ritchie Cordell and Marty Kupersmith (as Martin Kupersmith)
Performed by The Dollyrots
Courtesy of Blackheart Records Group
Under license from Lagunatic Music & Filmworks, Inc.




"Bad Before Good"
Written by Phelim Byrne and Matthew Hardwidge
Performed by Day One
Courtesy of One Little Indian




"Good Life"
Written by Ryan Tedder, Brent Kutzle, Noel Zancanella and Eddie Fisher
Performed by OneRepublic
Courtesy of Interscope Records
Under license from Universal Music Enterprises




"Rhapsody of the Awesome"
Written by Bert V. Royal and Will Gluck




"Knock on Wood"
Written by Eddie Floyd and Steve Cropper
Produced by Brad Segal (as Bradley A. Segal) and Doug Bossi


"Big Jet Plane"
Written and Performed by Angus & Julia Stone
Courtesy of Nettwerk Productions




"Nobody Knows the Trouble I've Seen"
Traditional




"Transatlanticism"
Written by Benjamin Gibbard and Chris Walla (as Christopher Walla)
Performed by Death Cab for Cutie
Courtesy of Barsuk Records
By Arrangement with Bank Robber Music




"Fight Dillon Fight"
Written by Rob Walker
Performed by Rob Walker Marching Band
Courtesy of 5 Alarm Music


"Symphonies"
Written by Dan Black and Jack Nitzsche
Performed by Dan Black
Courtesy of Polydor Ltd. (UK)
Under license from Universal Music Enterprises


"Confession"
Written by Brad Segal (as Bradley A. Segal)




"Parking Lot"
Written by Brad Segal (as Bradley A. Segal)




"Phone Call"
Written by Brad Segal (as Bradley A. Segal)




"Waka Chaka"
Written by Brad Segal (as Bradley A. Segal)

My beautiful list

My playlist is beautiful. It has a Sufi song, a Moroccan gypsy song, a Turkish song, a song by an Indian rock band, a Rajasthani folk song and a Qawwali. While writing this part, I am hearing the Moroccan gypsy song. The myriad of flutes which make up the mainstay of the song along with some kind of drums are playing in slow gusto. Then some kind of bass guitar comes, replacing the flutes. As the sounds fade, first the guitar, and then the drum beats, a silence takes its place. You never know that the song has ended, but the next song starts breaking the silence.

The Moroccan gypsy song is replaced by Turkish instrumental song. Unless there is this harp like sound which is intermixed with the main wailing sound of some violin like instrument, this song sounds so Chinese. I had deliberately not put Chinese music in my playlist. These two cultures are so different that their music sets an entirely different mood on you. The sound of viola (which I shall name so) is typical Arab; the sound is not continuously modulated. The beauty is in the break, and when a high timbre string instrument adds to the cacophony, you feel altogether elevated. The strings are strung taut and the musician, whoever he may be, pulls at them as if they are Gordian knots, which need to be broken. The song ends with the strings being pulled one by one, verily a fitting end to the silence.

The Indian rock band starts with typical guitar flourish, along with the first chorus bringing on the tempo. The song feels as if this is also a continuation of all the previous songs. What can connect a Moroccan gypsy song, a Turkish song with an Indian rock song? Nothing; unless the song is such a fusion of Indian folk music with all of the instruments that can make up a normal song by any band in rock scene. In spite of this mix, they somehow bring Kabir and a lot of chorus into it. Funky folk. That’s what it is in the end.

A Rajasthani folk song with Shehnai is something which is new to me. This song has been with me for ages but I have never done justice to it, by playing it at least once. WOW. If anyone has heard Rajasthani folk song, you will find Shehnai absolutely at home playing to the tune of Dholak kind of instrument. It is so good that you feel your mind dancing like those women in the desert swaying their lehangas to the dry wind. Ever wondered if there is any of those women or men of desert without a yearning. I do not think so. It might not be what you or I yearn for. Like a Jeep or a trip to Kilimanjaro. Theirs might be much baser; more truer.

The Qawwali is sung in such high pitch that makes the singer reach to Him. Ali dum ali is a chant in all of them. It doesn’t matter to him if his jugulars are strained to the max and break or not, but he takes it to a plane of ecstasy that is only for a lover to feel.

I am with a beautiful person :)

Love is like a cloud, holds a lot of rain

 Another song which has been in played in loop for last few days. It is having lyrics which are so true for me..

Love hurts, love scars, love wounds and mars any heart

Not tough nor strong enough to take a lot of pain

Take a lot of pain
Love is like a cloud, holds a lot of rain.

Love hurts, love hurts

I'm young I know but even so

I know a thing or two I've learned from you

I've really learned a lot

really learned a lot.

Love is like a flame, burns you when it's hot.

Love hurts, love hurts

some fools rave of happiness; Blissfulness togetherness

some fools fool themselves; I guess

But they're not fooling me I know it isn't true

No it isn't ture. Love is just a lie made to make you blue.

Love hurts, love hurts.

Love hurts, love scares

love wounds and mares any heart

Grace is gone

Now this is something which I took just because of the song title. It ended in being very true. The song has exquisite sax lines. Dave Mathews band has a mix of instruments which makes it feel different, and I love to hear lyrics which says what I want to say, but is left unsaid because of lack of words.

So here goes what I want to say, said through
"Grace is gone"

Neon shines through smoky eyes tonight

It’s 2 am - I’m drunk again it’s heavy on my mind

I could never love again so much as I love you

Where you end where I begin is like a river going through

Take my eyes,take my heart cuz I need them no more

If never again they fall upon the one I so adore

Excuse me please one more drink

Could you make it strong cause I don’t need to think

She broke my heart my Grace is gone

One more drink and I’ll move on

One drink to remember, then another to forget

How could I ever dream to find sweet love like you again

One drink to remember, and another to forget

Excuse me please one more drink

Could you make it strong cause I don’t need to think

She broke my heart my Grace is gone

One more drink and I’ll move on

One more drink and I’ll be gone

You think of things impossible then the sun refused to shine

I woke with you beside me your cold hand lay in mine

Excuse me please one more drink

Could you make it strong cause I don’t need to think

She broke my heart my Grace is gone

One more drink and I’ll go

Excuse me please one more drink

Could you make it strong cause I don’t need to think

She broke my heart my Grace is gone

One more drink and I'll move on

One more drink and I’ll be gone

One more drink my Grace is gone

One more drink my Grace is gone

The Book of Eli: Soundtrack

There are few movies in the world which have made me listen to the sound of music very closely. Somehow, for no particular reason, I am very much defiant to myself in the last few months. There might have been reasons which are trivial but I made it a point to take it through.

The music of the movie, The Book of Eli was suggested by virtue of technology to me, a buzz from a friend of mine made me hear it, and I was wonder struck by the use of resonating sounds. The music by Atticus Ross, who is also the sound engineer for the movie, is absolutely magnificent in its subtlety and smooth silence. I was intrigued enough by a poster at a DVD shop which showed the hue of the movie as a very pale greenish yellow. It was good time for me to see it.

I searched for it and I found it among my 'yet to be seen' folder. The movie started in a very normal pace. I did not know what was the movie about. I did not know whether it was a post nuclear fallout movie or a alien invasion, neither did I know about the kind of book Eli had with him. From the start, I could make assumptions but I resisted. The movie has a stellar cast for so few central characters. Denzel Washington and Gary Oldman are the main protagonists and carry the movie splendidly on the brilliance of their acting.

Half an hour into the movie, I found the movie to be intriguing. Character of Eli is with many flaws, but lives by faith. He is typical 20^th century man. He wants to do the right, but luckily for him, the 21^st century men around him are so much involved in primal fights that he is left without any temptations. Gary Oldman, the venerable British Shakespearean actor as Carnegie is brilliant as usual.

The Book of Eli soundtrack was good enough to make me see the movie, and it gives a sense of afterthought and calm. Some of the tracks did not give me any feel or a sense of mood of the title, maybe it is the because of the lack of visual support(but what about the movies like, The last of the Mohicans or Forrest Gump?). Having said this, I will still say that I could put many of the tracks in my playlist and listen to it anytime. It has enough quality to soothe me, and there is a bit a melody to it too.

What transpires in between make the story, but the ending is simply fulfilling. The ending may be interpreted in many ways. Some may not even have crossed the mind of those who wrote the story even, but that is why the spoken word is so powerful. The Holy Book itself tells the same thing, God said(he spoke!), let there be light and there was light. He did not think, he did not command. He spoke. The movie talks about faith, in the absolutely best way possible - through music - "It doesn't have to make sense. It's faith, it's faith. It's the flower of light in the field of darkness that's giving me the strength to carry on. You understand? .... Is that from your book? .... No, it's, uh, Johnny Cash, Live at Folsom Prison."

   

Some more:

Atticus Ross is an English composer whose only credit is to scoring 5 episodes of the television series Touching Evil in 2004 and a part of score in the movie “New York, I Love You”. He is however probably most known for his collaboration with Trent Reznor and Nine Inch Nails(well, that is no news)