NAACHGAANA
  • My favorite albums and composers of 2009

    Crossposted from my blog. Happy new year to you all! 2010 is here, so I guess I need to get my act together otherwise I’ll still be publishing my 2009 lists in march 2010!! (Which is not as rare as it should be, because there is always some potentially good movie from previous year that I don’t get to see till well into the next year). Anyway… moving on to this list..

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  • Five definitive songs and moments in Marathi cinema

    Marathi cinema saw its most glorious days in the 60s and 70s, with some great films like Shyamchi Ayi and Tukaram being made. Some of these are difficult to procure on You Tube, so I’m offering a small glimpse of what this regional cinema entails starting with the 70s. The Seventies The 70s saw a profusion of good, meaningful yet entertaining films with soul stirring melodies. This was a time when Marathi cinema probably had the same prestige as one associates with Malayalam or Bengali films. 1) Mumbaicha Jawai (Mumbai son-in-law)1970

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  • Qalandar’s Music Review: BLUE (Hindi; 2009)

    Outright fun, not to mention silliness, has long been a casualty of A.R. Rahman’s recent Hindi oeuvre. Unlike in Tamil, Rahman simply hasn’t done very many soundtracks for “ordinary” Hindi films of late. That is, the typical Rahman Hindi album this decade has been a Swades or a Jodha-Akbar, or a Delhi-6 — not a Rangeela or a Daud. The last year might well be the beginning of a shift, with Ghajini, and now Blue. No song in either album will ever make a list of Rahman’s best, but equally, no-one can doubt that at their best, these albums feature a more playful Rahman, the sort of souffle-lover one missed in the likes of Jodha-Akbar. On the down-side, at its worst, the likes of Blue

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  • When the music died

    LINK There was tonnes of nostalgia in the media on Kishore Kumar’s 80th birth anniversary (August 4). There have always been plenty of stories about Kishoreda — from his genius to his eccentricities. But the one person whose incisive comments on Kishore would’ve livened up all the TV programmes was himself missing. And that was his elder brother, Ashok Kumar, known to all of us as Dadamoni. Out of all the colourful Kishore Kumar stories that the film industry rolled out, Ashok Kumar’s were the most intimate and interesting ones. Of course, there was always that touch of almost parental affection that Ashok Kumar brought to his narrations because there was a two-decade gap between the two brothers. When he spoke about Kishore’s singing, Dadamoni’s

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