I disagree. On Thu, Mar 12, 2009 at 1:44 PM, V S Rawat <vsra...@gmail.com> wrote:
> On 3/12/2009 3:11 PM India Time, _Jahanzeb Farooq_ wrote: > > > in fact we watched > > JA together and during Khwaja mere khwaja as I mentioned that music > > is by ARR, he said I did not see anything special (sadly enough. may > > because it was in bad quality. also we know that ARR's music grows > > but he does not). > > I am a known JA basher so I thought I can say about this song also. > > khwaja song might be holding additional value for muslims due to its > religious connotations, and for general fans it might have got some high > weightage due to the anecdotes of ARR having composed it already and > then AG using it in the film. > > But as a song, I find khwaja song quite barren and monotonous if I can > say that. It is a sort of "introvert" song giving a feel that a person > must be singing it within his heart and mind. It is his personal > pleasure. Others would not be able to connect to it. > > Firstly, the song has some 1:20 initial alaaps that are quire boring to > say and kill the entire beauty of song that comes after that. It is more > like the sounds generated when a player "tunes up" his instruments > before starting to really play it up. Such a long wasted part is a sin > in current busy time. Those "ya khwaja ji, moinuddin, gareeb nawaz" are > without any lyrical or music value". So, I think the start itself is > badly thought up. > > But then the song starts with lovely music BUT, BUT BUT poor lyrics. A > typical lack of creativity in the monotonous, "logically-built up" > lyrics as is usually the case with Javed Akhtar. > > Khwaja Mere Khwaja > Dil Mein Sama ja > Bebaso ki Taqdeer > Tu ne hai sawari > > There is no rhyming, no deep devotion. All that "dil mein sama ja" type > of phrases had been used a 1000 times in cheap ladki-pataao songs in 60s > and here he comes up with that in a 21st century devotional song. > > I would say that the major failure of the song remains in the poor > lyrics. Then, it fails in arrangements of vocals. None of the voices > carry and ethos and pathos. They are just singing an any song, not a > religious song for the most respected muslim personality of Indian > subcontinent. pronunciations are also not clear. that bebaso ki taqdeer > tu ne hai sanwari, has bebaso and tu ne pronounced so pooorly that one > has to strain to hear it and make the meaning of it. Sad that it is our > man himself. > > And then "Tere darbaar mein khwaza noor ko mainne dekha" has noor > pronounced so poorly by our man himself, and then there are alaaps, and > then the music gives the impression that the line is going to be > repeated, tere darbar mein khwaja - but they drop the line > unceremoniously and begin another line - sar jhukaate hain auliya. > What was so great in mentioning that auliya sar jhukate hain, so what, > is that why you feel respect for him? I think the respect should have > come from within, not due to seeing how others are respecting him. > > and then "tu hai xxxx khwaja - rutaba hai pyara" chahne se tujhko > mustafa ko paya" that xxx is still not clear to my aging ears. and > lastly that "hai mere peer ka sadqa, tera daman hai thama," tali hai > bala hamari, chhaya hai khumar tera, jitna bhi rashq karein beshaq, to > ab hai XXX mere khwaja, tere kadmo ko mere rahnuma nahin chhodna gawara. > I don't get what exactly is the concept. No rhyming, no poetry, just > some words have got hammerred in. It must be the poorest lyrics by Javed. > > I would say that ARR's voice is also not as sweet enough as he is famed > for, there is a rare shrillness, a hollow in ARR's voice that I don't > remember having heard in any other song. May be he was trying a new > voice but it didn't suit my ears. > > all the internal aalaaps also are confusing, making it a classical song. > They are not even bringing a sense of a trance. > > And as I already said once that JA music was a personal music and didn't > reflect the lavishness of the film. > > I think I can describe now what I meant by that personal vs lavishness. > Listen to the music between 3:40 - 4:05. That Persian sort of. Now, that > is what I call a royal music, that has lavishness, that has luxury, that > is group music, public music. Also the instrument that stars playing at > the backdrop at about 6:10 and continues till the end of song. that > single instrument is giving a royal touch to the song. That type of > music is what I expected to be everywhere in JA music and background, > but no, we didn't get that. Our man had different ideas about music > suitable for the emperor of India. Compare the above two sounds to the > sound at 1:20-1:45. Now this 1:20 sound is what I call a personal sound, > lacking royal touch. It is a commoner's, a poor man's sound, now > suitable for a period film. > > Seeing so many members liking the song so much, mentioning it as their > most fav song, etc., I tried to listen to it several times, but this is > one song of ARR that I found lacking in almost each and every aspect. > -- > > Compare that to D6's Arziyaan. Now, Arziyaan is a prayer song that > carries you with it and you forget yourself love the journey . perfect > sounds, music, emotional voices, all pathos, stopping just short of > melodrama of so many manmohan desai's religious songs. I wonder what > those who had loved khwaja feel about Arziyaan? One can't go on liking > every song otherwise it becomes a hype. One has to love some songs and > find some other songs not up to the mark, only then his appraisal of the > songs appear realistic. > > -- > Rawat > >
