DEVOTIONAL
Hari Om Tat Sat.. Jagjit Singh.. Universal.. Rs. 40
JAGJIT SINGH mesmerises with his voice in this album. Simple lyrics and soothing music make this a good album. This is one of those cassettes which you can switch on and relax drawing in the simple but meaningful words.
Hari Om Tatsat is a mantra recited as a prayer to Vishnu (Sri Hari) and his manifestations. The simple lines, each in the form of short stanzas followed by the refrain Hari Om Tatsat by Pandit Kiran Mishra can be understood by everyone. Various avatars like Narasimha, Rama and Krishna figure in the stanzas. The chants are more like bhajans with a chorus more or less repeating Jagjit Singh's words. And the singer renders it with bhakti which draws the listener. On a day when one is stressed this is an ideal album to listen to or perhaps one can even begin the day with it. A worthwhile buy.
ENGLISH
Harem.. Sarah Brightman.. Virgin Records.. Rs. 135
SARAH BRIGHTMAN defies categorisation. With elements from all genres, Brightman's voice is as much different as her music.
At times child-like, levitating otherwise, one wonders at her virtuosity in repertoire.
A soaring soprano or a deep, throaty sound is rendered with such equal �lan that one is reminded of Shakespeare's Sisters on hearing her.
Harem is the title song, which begins on a sombre note, and gains tempo quite unexpectedly.
The following numbers, What a wonderful world, It's a beautiful day and The war is over are so full of positivity - both in lyrics as well in the melody. A.R. Rahman has composed a part of The Journey Home, which has significant innuendos of Ishq Bina in Taal. The flip side begins with Misere Mei, where background vocals appear to have been rendered by a choir group. Arabian Nights is an interesting number full of Arabian notes. A part of the lyrics in Hindi by Shweta Shetty has added beauty to the song. A bonus track, Gueri de Toi concludes Harem - a perfect evening companion when lonely.
IF YOU'VE been longing to lay your hands on Baker Street, there's not one but two Gerry Rafferty albums.
Those who grew up listening to pop in the `70s and `80s probably know Rafferty's work. Those who didn't, will still know his hit single, 'Baker Street', which is a standard cover. His biggest selling album was City To City. Before Rafferty cut Baker Street, he had played with the Humblebums and Stealers Wheel. His early influences were Catholic hymns, traditional folk music, and '50s pop music. By 1968, at age 21, Rafferty was a singer-guitarist trying to write songs professionally, and was looking for a gig of his own. Soon, he began to develop a distinctive style as a singer-guitarist and songwriter.
This album is vintage Rafferty: the songs here define British pop rock. The songs are melodic and yet strangely enigmatic. After all these years, the best track is still 'Baker Street'. Critics agree that it is a masterpiece of pop production. When it plays, even strangers respond to its yearning melody and, of course, that famous, irresistible opening bars of Raphael Ravenscroft sax.
Rafferty followed City by City with Night Owl, which also topped the charts.
Several albums followed through the '80s but none of them were remarkable until A Prayer in 1992, which once again showcased Rafferty's ability to produce sophisticated pop rock.
Gerry Rafferty: Baker Street
CD, Rs. 400
ALONG WITH Fairport Convention, Lindisfarne defined the sound of British folk rock. Now they are a mere footnote in rock history but in the early '70s, they were the hottest folk band in England. Two of their songs even rivalled Jethro Tull on the charts. What Lindisfarne did was to add to the sound of folk acoustic, that of the electric guitar. And their harmonies were deft, pleasing, complex.
So, who are Lindisfarne? In order of the line-up: Singer/guitarist Alan Hull, guitarist Simon Cowe, mandolin player Ray Jackson,bassist/violinist Rod Clements and drummer Ray Laidlaw. When they were doing the college circuit, they called themselves The Brethren. Hull was the major songwriter for the band. Their early sound was very folk, with an emphasis on harmonica. They took the name Lindisfarne after an island, which meant, `Holy Land' - an island famous for medieval monasteries and castles. From then on, their sound would change from pure folk to progressive folk rock.
Their first album, Nicely Out of Tune, is still considered their best album. The sound, noted some critics, was a combination of Fairport Convention and the early Grateful Dead! 'Lady Eleanor' on this album continues to be their most heard number. It is a constant on their repertory, whether on live tours or studio compilations. But interestingly, the album itself didn't make it to the charts.
It is only with their second record, Fog On The Tyne, released in 1971, that gave them their first big break. The songs on this album became a favourite in pubs.
This compilation consists of their hits but not necessarily their best songs. Chart-toppers are not always everyone's favourite. And the more you know the band and their work, the less you like the hits.
The Best of Lindisfarne:
16 Classic Tracks
CD, Virgin, Rs. 525
