Hello Gomzy, Yes its true. The song Chayya Chayya is inspiration from Bulleh Shah's Thayya Thayya (sung by sufi singer Abdia Parvin from Pakistan), and Gulzar Sahib based his lyrics on sufi poetry from Bulleh Shah, but since the influence is very obvious, both Gulzar Sahib and ARRahman never felt shy in saying it was based on Bulleh Shah's work. Now if you are still having any doubts, the song THAYYA THAYYA (and not Chayya Chayya) on Dil Se album, again sung by Sukvindar Singh is Bulleh Shah's kalam (or peotry). These are the original lyrics which were previously sung by Abida Parvin. These ones are not by GUlzar Sahib, but although ARRahman changed the music a bit, the basic meldoy remains the same. Just like ghazals, the sufi peotry is also something which is ,and can be, sung by many people, coz its to do with arts and culture, unlike film songs, which are written for a particular film. If you remeber, BULLEYA KI JANA MAIN KON, a chart buster from Pakistani Rong band Junoon, was re-done by a SIKH singer and apparently he was topping charts with it as well. So nothing really to worry about, but the news however, is true. Take care. Jawad.
In [email protected], "Gomtesh Upadhye" <[EMAIL PROTECTED]> wrote: > > Hey Guys > > "Chhaiyya Chhaiyya" ("That was > based on a Sufi song from Bulleh Shah, sung originally by Abida Parvin"). > > What the hell is he talking about!!!!!!!!!!!!!!!!!!!!!!?????? > > Gomzy > > On 2/24/06, Arijit Debnath <[EMAIL PROTECTED]> wrote: > > > > Hi all, > > > > Excellent to raed the article. Just went through ARR's thought about his > > destination and only one thing came to my mind----why should we worry about > > other MDs to overtake ARR's music etc etc----many MDs/composers will > > come---compose music------create history----may be better composition than > > ARR-------but no one can be a greater phylosopher or a good human being than > > ARR----that's why we all be feeling proud to be his fan. > > > > Arijit > > > > > > On 24/02/06, Karthik S <[EMAIL PROTECTED]> wrote: > > > > > > > > http://www.indiawest.com/view.php? subaction=showfull&id=1140722059&archive=&start_from=&ucat=7 > > > > > > A Look Inside the Mind and Soul of Composer A.R. Rahman > > > > > > By LISA TSERING > > > India-West Staff Reporter > > > > > > PALO ALTO, Calif. - The superstar was down-to-earth, with an easy > > > laugh, self-deprecating air, and an ingratiating willingness to speak > > > from the heart. A.R. Rahman traced his career from pre-Roja to > > > post-Rang De Basanti in an intimate, satisfying onstage chat at > > > Stanford University's Dinkelspiel Auditorium Feb. 14 during the > > > school's Pan-Asian Music Festival. > > > > > > Visiting ethnomusicology professor Natalie Sarrazin prefaced the > > > conversation by tracing the history of what film music was like before > > > a 25-year-old Rahman burst on the scene in 1991 with Roja. > > > > > > Sarrazin offered a fascinating look at the history of Hindi film music > > > with its penchant for absorbing international influences and its > > > unwritten rules. Each example was illuminated with a charming snippet > > > of video, from films such as Shree 420, Sholay and Dilwale Dulhaniya > > > Le Jayenge. > > > > > > "There are certain 'codes' - iconic sound images - that recur in > > > Indian film music," she said. "The timbre of the Indian female voice > > > is quite prominent, you hear large orchestras and soaring violins, and > > > a wall of sound ... rising violins are a code for a love song." > > > > > > Rahman turned it all upside down, she explained. > > > > > > "The first thing he did was to take the orchestral introduction and > > > completely get rid of it." Cueing a scene from the Tamil film > > > Gentleman (Rahman's Tamil compositions were not overlooked during the > > > evening), she demonstrated how Rahman brought in one instrument at a > > > time, creating musical tension. To cheers and shouts from the > > > audience, Sarrazin moved on to musical scenes from Rahman's scores > > > that have become icons themselves: Mani Ratnam's Roja (the witty > > > "Rukmani Rukmani"), Bombay ("Tu Hi Re"), the Hindi version of Yuva and > > > Dil Se ("Chhaiyya Chhaiyya"); Tehzeeb and Saathiya. > > > > > > "He often puts two incongruous styles together that somehow seem to > > > work," Sarrazin observed, with a clip from Lagaan's English/Hindi song > > > "O Re Chori" and Sushmita Sen's jittery "Shakalaka Baby" (Nayak), > > > which was one of his hit songs reworked to great effect in "Bombay > > > Dreams." > > > > > > As much as his fans and fellow artists love his music, Rahman is > > > notorious for taking his time on each project. "I have a nice > > > relationship with all directors, but I drive the producers crazy," he > > > joked. "Mani [Ratnam] tells me the story that he told me for Roja, 'I > > > need five songs, and I need them yesterday.' I was gone for three > > > months." > > > > > > Working with lyricists, too, has its quirks. "Sometimes Gulzar- sahib > > > or Javed-sahib will give me just a title. Other times, they want the > > > tune first, then they'll give the lyrics." > > > > > > One of the reasons Roja was such a departure from the style of music > > > at the time was the way it was recorded, explained Rahman. "At the > > > time, there were these huge recording halls, with 50 violins," he > > > said. "But I was doing commercials in my own studio. When Mani wanted > > > me to do the music, I said, 'Let's do it at my place.' > > > > > > "I called my musician friends to come for the session, but at the last > > > minute they all ditched me! I think they had all been offered more > > > money somewhere that day," he said, laughing along with the audience. > > > > > > "But my mother said, 'God will provide.' I ended up recording [the > > > instrumental version of ]'Choti Si Asha' by myself, on a keyboard and > > > sequencer. I thought I'd need to bring in 50 violins, but Mani said > > > 'No, just be yourself. Follow your instincts.'" > > > > > > Since he got his start writing ad jingles, wasn't it intimidating to > > > take on the soundtrack to an entire three-hour film, asked Sarrazin. > > > "I was terrified in the beginning," replied Rahman. "But then I > > > learned that if I could write a piece of music that was 30 seconds > > > long, then all I'd have to do is repeat it!" > > > > > > He's not afraid to repeat what works. Rahman's haunting, cello- heavy > > > Bombay theme, used to poignant effect in that film and in Deepa > > > Mehta's Fire, also cropped up in the Nicolas Cage vehicle Lord of War. > > > And when he was first approached for "Bombay Dreams" by impresario > > > Andrew Lloyd Webber, he said, "I decided, I won't tell them I'll use > > > my old film songs!" ("Ishq Bina" and other hits were reworked in > > > English for the play.) > > > > > > Rahman traced the history of some of his best-loved pieces, such as > > > the ambitious Vande Mataram project and "Chhaiyya Chhaiyya" ("That was > > > based on a Sufi song from Bulleh Shah, sung originally by Abida > > > Parvin"). > > > > > > Superlatives follow Rahman around like a spotlight: one of India's > > > most prolific and top-selling composers; reportedly the world's > > > top-selling artist, with many millions of records sold, he is now one > > > of the world's most border-bending artists as well. > > > > > > Just before the Stanford talk, Rahman had jetted from Toronto, where > > > he was overseeing previews of the highly anticipated, lavishly mounted > > > stage show "Lord of the Rings," which will open in March. > > > > > > "It's the most exciting project I've ever worked on," he observed. > > > "They have 18 big hydraulic things, and people on stilts. It's amazing." > > > > > > Classically trained at Trinity College of Music in Britain, Rahman, a > > > Padmashree honoree, brought an entirely new sound to the London and > > > Broadway stage with his sparkling score to "Bombay Dreams" (a touring > > > production opened in Costa Mesa, Calif., Feb. 22). > > > > > > Indeed, the morning after this event, Rahman boarded a plane for Hong > > > Kong, where he led a performance of his cutting-edge "3rd Dimension" > > > show Feb. 18. Rahman's latest tour has the audience don 3D glasses as > > > vocalists such as Alka Yagnik, Udit Narayan, Daler Mehndi, Shankar > > > Mahadevan, Chitra and Hariharan perform his hits. > > > > > > Rahman has composed the music for a Chinese film (Warriors of Heaven > > > and Earth) and is at work on a symphonic piece for the Birmingham > > > Orchestra that he acknowledges could take years to complete. He's also > > > at work on Mani Ratnam's next film, the Hindi/English Guru, and > > > several Tamil films, almost 20 pending projects in all. > > > > > > The evening was presented as part of the Stanford Pan-Asian Music > > > Festival, organized by religious studies director Linda Hess and the > > > school's department of music and the Asian Religions and Cultures > > > Initiative. Jindong Cai, Stanford Symphony Orchestra conductor and > > > artistic director of the Stanford Pan-Asian Music Festival, called > > > Rahman in his introduction "one of the most celebrated composers of > > > our time." > > > > > > A talented group of Stanford music students got the once-in-a- lifetime > > > chance to perform in front of the composer, and gave warmly > > > appreciated versions of Tamil and Hindi pieces such as Lagaan's > > > "Ghanana Ghana." Audience members, too, got a chance to ask Rahman > > > questions afterward, about who his influences are (R.D. Burman and > > > Madan Mohan), and how he stays fresh ("You do the same thing, and > > > people will say, 'Oh God, he's done it again.' I have to follow a film > > > like Lagaan with something completely different.") > > > > > > He explained how he got his name (the former A.S. Dileep Kumar changed > > > his name to A.R. Rahman when he discovered Sufism) in the 1990s. "I > > > asked Mani and he said okay. If he'd said no, my name would be > > > different!" > > > > > > Asked by one audience member how he strategizes his career, Rahman > > > just laughed. "I didn't plan anything. I leave it to God. He's a > > > better planner." > > > > > > And to a question from Sarrazin on where he's going next, Rahman > > > smiled and said softly, "Music has no destination. It's endless. Music > > > is the thing that unites people. 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