Three years ago, Indian singer-songwriter Rabbi Shergill exploded on the Indian alternative pop scene with “Bulla Ki Jaana,” a distinctively spiritual — and yet extremely catchy — hit single. The song was unusual because it took the words of the Sufi poet Bulleh Shah, and gave them a modern context. And Rabbi Shergill was himself unusual (even in India) to be a turbaned, unshorn Sikh, making a claim on popular music with a sound that has nothing in common, whatsoever, with Bhangra. From my point of view Rabbi has been a welcome presence on many levels — most of all, I would say, because he seems to aspire to a kind of seriousness and thoughtfulness in the otherwise craptastic landscape of today’s filmi music (think “Paisa Paisa” from “Apna Sapna Money Money”; or better yet, don’t don’t).
After a few years of silence (disregarding, for the moment, his contribution to the film Delhi Heights), Rabbi finally has a follow-up album, Avengi Ja Nahin (which would be “Ayegi Ya Nahin” if the song were in Hindi). The album is available at the Itunes store — so if you’re thinking of getting it, it should be easy enough to resist the temptation to download it illegally off the internets.
The video for the first single, “Avengi Ja Nahin”, can be found on YouTube:
I’m personally not that excited about it. The good part is, Rabbi has moved away from his earlier image as a kind of Sufi/Sikh spiritualist, and is here singing about a much more earthly kind of longing (i.e., for a girl: “Cut the crap/ Will you come or not? / Shade my face with your tresses/ Will you or not?”). But the bad part is, the song just isn’t that exciting.
Fortunately, the rest of the album has some much more provocative material.
I’m particularly impressed that Rabbi has taken on some political causes, including a very angry Hindi-language song about communalism, called “Bilquis”:
Mera naam Bilqis Yakub Rasool (My name is Bilqis Yakub Rasool)
Mujhse hui bas ek hi bhool (I committed just one mistake)
Ki jab dhhundhhte thhe vo Ram ko (That I stood in their way)
To maen kharhi thhi rah mein (When they were looking for Ram)
Pehle ek ne puchha na mujhe kuchh pata thha (First, one asked me but I knew nothing)
Dujey ko bhi mera yehi javab thha (Then another but my answer was the same)
Fir itno ne puchha ki mera ab saval hai ki (Then so many that now I have a question)
Jinhe naaz hai hind par vo kahan the (Where are those who are proud of India)
Jinhe naaz hai vo kahan hain (Where are those who are proud)
For those who hadn’t heard of Bilquis Yakub Rasool, here is a description of what happened to her during the massacre in Gujarat in 2002:
Bilqis Yakoob Rasool, herself a victim of gang-rape who lost 14 family members reported: “They started molesting the girls and tore off their clothes. Our naked girls were raped in front of the crowd. They killed Shamin’s baby who was two days old. They killed my maternal uncle and my father’s sister and her husband too. After raping the women they killed all of them… They killed my baby too. They threw her in the air and she hit a rock. After raping me, one of the men kept a foot on my neck and hit me.”
A litany of institutional failures added to the suffering of women like Bilqis Yakoob Rasool and prevented justice being done against their assailants. During the attacks, police stood by or even joined in the violence. When victims tried to file complaints, police often did not record them properly and failed to carry out investigations. In Bilqis Yakoob Rasool’s case, police closed the investigation, stating they could not find out who the rapists and murderers were despite the fact that she had named them earlier. Doctors often did not complete medical records accurately. (link)
Also named in the song are Satyendra Dubey, a highway inspector who was killed after he tried to fight corruption, and Shanmughan Manjunath, killed in much the same way.
With songs like this, I see Rabbi as doing for Indian music what singers like Bruce Springsteen and Woody Guthrie have done in the U.S. — documenting injustice, and telling the story of a society as they see it. It’s vital, and necessary.
The album isn’t all protest music, however. There is a surprisingly catchy and touching Punjabi song about a failed romance (is it autobiographical? I don’t know) with a Pakistani woman, called “Karachi Valie”:
Je aunda maen kadey hor (Had I come another time)
Ki mulaqat hundi (Would we have still met)
Je hunda maen changa chor (Had I been a good thief)
Ki jumme-raat hundi (Would tonight have been a ball)
Je aunda jhoothh maenu kehna (If I knew how to lie)
Tan vi ki parda eh si rehna (Would this cover have still remained)
Hijaban vali (O veiled one)
Karachi Valie (O Karachi girl)
And one other song I couldn’t help but mention is Rabbi’s rendition of a Punjabi folk song, “Pagrhi Sambhal Jatta,” which names a long slew of Sikh martyrs, most of whose names I don’t recognize (you can see the complete lyrics, in Punjabi and English translation, at the Avengi Ja Nahin website; click on “Music” and then on “Download Lyrics”). In an interview, Rabbi says he wrote his version of this song after an experience in London. I’m not quite sure what to make of the song yet, since I associate these types of “shahidi” songs with much more militant postures than Rabbi Shergill generally makes. (Note: there is also of course 1965 Mohammed Rafi version of “Pagri Sambhal Jatta,” which you can listen to here; it’s totally different).
From all the various Indian media sites that have done pieces on the new album, I could only find one intelligent and thorough review of the new Rabbi Shergill album, at Rediff. (I do think Samit Bhattacharya is a bit too unforgiving at times. Not every song on this album is highly memorable, but there are several that I find riveting…)
I’d also like to point readers to the Rabbi Shergill fan blog, Rabbism, which seems to be following the new album’s release closely.
the otherwise craptastic landscape of today’s filmi music
It used to be said that no one could be punished for buying IBM. It was one of those default positions that could substitute for ‘no position’.
In contemporary American politics, no one is ever punished for being ‘too security minded’.
Something similar is true about Hindi film music. No one is ever ridiculed for being too harsh on it (just as no one is ridiculed for saying too terribly awful things about Hindi films). In reality Hindi film music has more than its share of catchy, foot tapping, classical, serious, experimental etc. etc.music. I doubt the ratio of crap to good is any worse there than say in popular American music.
I started reading and I thought Rabbi Shergill was so unusual because he was a, uh, rabbi. ducks and hides
Thanks for letting us know Amardeep. I really liked his first album. And I don’t understand Punjabi.
From what I’ve heard of this one, I quite like the first track Challa.
Also: that track Bilquis ends with a bit of the “Jana Gana Mana” if you notice.
Thx for letting us know. I like that artist.
Very cliche – very bollywood.
thanks for introducing me to this artist.
I’m a huge Rabbi fan – I think I listened to his first CD nonstop for months when it came out. So far, I’m not as impressed with his second attempt. I’ve only heard two songs, so I can’t say for sure, but the songs aren’t having the same effect on me as the first set. Avengi ja nahin is a nice song, but it’s almost too cutesy. I feel like it could almost fit into a hindi movie, vs. bulla ki janna which was so unique and different that it couldn’t even really be categorized. Challa is nice .. but not amazing, and obviously not a unique song. I’m hoping to get the CD soon to listen to all of the songs to give him a fair chance to redeem himself =) But overall, I don’t think there’s any other singer like him, so I’ll take whatever I can get from him!
Hell, I’m even considering naming my very-soon-to-be kid after him, but I think a Sikh kid in America with a name that most will read as “jewish priest” might get a little confusing =)
Sonia — congrats on the coming little one. If you have any questions about anything, please email me. My wife and I have gained much baby-related gyaan over the past couple of years…
Incidentally, I don’t think the confusion between Rabbi (Hippie Sikh Singer) and Rabbi (learned Jewish person possessing knowledge about the Torah) would be that bad. A lot of cool Desi names are unfortunately either easily mockable, or confusable along those lines. The thing to do is roll with it… (And personally, I prefer unusual names over the standard Sikh combinational palette of Amar– Aman– Jas– Bal — Gur– // –deep, –jeet, –inder, –want, –bir , in which my own name of course falls smack in the middle.)
Nice review Amardeep.
Minor quibble. Junoon had done that earlier. In fact, as early as 1971, Raj Kapoor had used Bulleh Shah’s composition in his film ‘Bobby’. The song was screamed by the cacophonous Narender Chanchal. beshaq ma.ndir masjid to.De, bulleshaa ye kahataa) par pyaar bharaa dil kabhii na to.Do is dil me.n dilavar rahataa
I’ve heard of this artist before but never got into his music. Will do now! On an interesting note, “Avengi ja nahi” is somewhat Hindi. That’s how its said in the Awadhi and possibly Bhojpuri dialects. Good stuff though
2 · Meena said
Oh man—you too? Now I don’t feel nearly as stupid. 😛
He seems interesting, I’ll look forward to checking out his music.
That is incorrect…it isn’t said like that in Awadhi or Bhojpuri. I will try to post the Awadhi/Bhojpuri equivalents later.
Sounds a bit too sweet for my liking. Needs a bit of an edge to the accompanying music.
OK…I couldn’t exactly find the equivalent of ‘ayegi/avengi’ in Awadhi….what I did find were a few other examples of future tense…in Awadhi for example if you want to say “I will go” you say ham jaab…and if you want to say “I will say” then it’s ham kahab
If you want to say “you will see” it’s tu dekhbe
So ‘ayegi/avengi’ would probably be something like ‘aabe‘ in Awadhi. Bhojpuri is similar.
THIS is my favorite song from the first Rabbi album.
Anyonw who a)likes Tigerstyle and b)wants to see just how far ahead the U.K. desi scene is compared to America, GO TO THIS LINK and click on ‘Maan Doabe Da’…you will not be disappointed.
Being a hardcore bhangra fan while keeping an open mind to all other forms of music, Rabbi is a bit too mellow for my liking. Perhaps I was spoiled by Lakhwinder Wadali’s version of Bulla which was released around the same time as Rabbi’s version listen here (Select Track 7 “Bulla” and click on play). I still get goosebumps when I hear Wadali’s version, the accompanying music is right up your alley too Amardeep, very asian-undergroundish, done by renowned bhangra producer Ravi Bal, who did “Captain Bhangre Da”. For those who don’t know Lakhwinder Wadali is the son of 1/2 of sufi-qawali group Wadali Brothers.
But I do commend Rabbi for bringing a lot of social issues to light. A lot of bhangra singers, like their hiphop counterparts here is U.S. just get swept under the rug when they speak of social issues, unless if their names are Eminem, and/or as you mentioned Bruce Springstien. Knowing Rabbi’s appeal in India’s mainstream, he should do a track about 1984.
Re comment 17: “Perhaps I was spoiled by Lakhwinder Wadali’s version of Bulla which was released around the same time as Rabbi’s version listen here (Select Track 7 “Bulla” and click on play). I still get goosebumps when I hear Wadali’s version”
I too got goosebumps when i listened – cause Lakhwinder’s voice just sounds creepy! The other songs on Wadali’s album were even worse. I had to give away his album. I got it in the first place cuz i love the Wadali Brothers songs. In Lakhwinder’s case, the apple fell very far from the tree!
I prefer Rabbi’s Bulla over all the other ones including Junoons… may be cause you can sing and move along with his voice unlike the other versions of the song. I loved Rabbi’s first album and am waiting to get this new one. However, I’m not all that impressed with the “Ayegi Ya Nahin†– hope the rest of the album won’t disappoint.
Will have to check it out. I loved Bulla ki jaana and the rest of the album, so this is definitely worth a listen.
Even more impressive, I think, is Kailash Kher in this genre.
And along with post #1, there’s some great stuff in Bollywood these days 🙂 You just have to get out of wedding season, then people start experimenting a bit. Most of the decent Bollywood music comes with films released July-October I have found, at least in recent years.
With that name Rabbi and his look, I thought this guy was some Matisyahu type singer.
Anyway, NYT had this article on that dancing video. I didn’t realize the song used (Praan) was in Bengali. Some of you probably know it is sung by a 17 year old Bangladeshi girl from MN. I seriously doubt Bollywood could have used her talent the way Matt harding and Garry Schyman did. You see Bollywood aping western songs to comical effect. Maybe they should take lessons.
Amardeep – Although I agree with you most of the times on the reviews, i would have to differ with you on this one in particular. As someone who has listened to both previous Rabbi creations on repeat mode for many days, I was very disappointed by this album. Here are a few main reasons:
I feel that the machinery of Yash Raj banner has diluted/polished if not completely killed the authenticity/folksiness of Rabbi’s songs. Of course, if when you listen to the songs and concentrate on lyrics, they are powerful as always, but there is a certain oomph missing. That oomph is the artistic wind being replaced by a mass marketing engine which gives a smoother, but not necessarily exciting ride.
I feel even more disappointed because after the first couple of albums, he actually got the currency to throw these songs and these ugly questions in major limelight. He has wasted one at-bat and he is likely not to write another song about Gujarat violence any time soon. When I had read some time back about his composing song about Gujarat, I could not wait. Now, I wish he hadn’t.
Another quibble I have about Bilquis – the song is not f**king angry enough. If you are a little sleepy, that can pass for a romantic ballad. i mean, WTF. Get angry dude. Feel the pain. Express it. Don’t be detached. To take it to your comparison, what made springsteen “the boss” or “born in the USA” an anthem was that he felt the song. You felt his pride. In Lennon’s “Imagine” or Dylan’s “Blowing in the wind” – you could feel their dreaminess and pessimism respectively. What do you feel in this song? Nothing. Zilch. Sure, you are reminded of the ugliness from a few years ago, but it is not gut wrenching enough. He goes in the angry mode too little, too late in the song, by which time he has totally lost his listeners. On a technical front, his instruments are too loud even when he is singing. Even if he does not want to scream, he can at least try angry riffs.
Like you I was excited to see him experiment away from his Sufiana style to more human songs in the Delhi Heights album. Listen to the magical Kailash Kher/ Rabbi combination in “Ey Gori” or “Kitni Der Tak” or “Dilli” or “Kabhi aana”. It was refreshingly fresh karenge hum bas match hi ke din, behas karenge kaisa khela sachin” etc. In this album, he definitely does not look like the next Dylan.
In summary – I might be able to give this album a 4/10 max. The Sumit review is ironically too tepid and reads like a commentary and not a review. Rabbi will still garner decent sales because of his past laurels and the his unique look, but I would be shocked if this album is anything other than a disappointing flop. He has definitely hit the downward trajectory. Hope he recovers soon enough.
Another reason to watch Maan Doabe Da (which I linked to in comment #16) is the hot violin players….don’t know where they find these people…
I loved his first album and he also did music for a hindi film “Delhi Heights”. Tere Bin from that film is amazing. My chacha in Delhi knew Rabbi and his brother who owned a gift shop and also made pirated CDs. Like you can give them a list of songs and they will record a tape for you. Ironic..hmmm
Just an interesting coincidence… I was at a mall in Ludhiana two days ago, my first time in the city, and I actually bumped into Rabbi Shergill. I didn’t really recognize him, being the rather ignorant-of-desi-music-1.5-gen that I am… but folks around me told me who he was… and then I just happened to be catching up on my SM and this post jumped out at me.
14 · Amitabh said
Tu aabe to a male. At least thats how my family says “she’ll come”…unless we speak some pseudo-Awadhi along with the rest of the village and city. The ‘n’ is a nasal sound and avengi is respectful. IDK if it’s the respectful tone in Punjabi. And Awadhis tend to pronounce their y’s like j’s. (Yamuna–>Jamna)
Yeah, I prefer Rabbi’s version of the Bulleh Shah poem to Junoon’s.
And, yes, unlike the first CD which I had playing in a continuous loop for weeks, I’m not feeling this one quite the same way yet. Though Challa is really nice.
Thanks for the mention of Kailash Kher. I’d not heard of him before. I think Rabbi’s edge is his interesting/unusual instrumental arrangements. I have a feeling that like with Junoon I’m going to be slightly more disappointed with every successive album.
It’s unfortunate that when people hear “Punjabi music” they probably think Bhangra (a la “Tunak Tunak”) and not all this other good stuff 😉
Anybody else like Maan Doabe Da? DJ Drrrty? Anyone? The performance (and the gorgeous violin players) just blow me away. Love the algoza too (Dev Raj Jassal in the house!) I think the dholi is the guy Kalsi from Dhol Foundation…. and the bass player is a black dude who seems to be really feeling the song…what a great collaboration between some very talented artists from very diverse backgrounds.
will try my hand at a review later but i personally found this one to be a notch above his debut album………
the lyrics portray a sensibility painfuly underrepresented in punjabi music scene and the (mostly) urban and pan-indian issues alongwith folk-rock(ish) music arrangement make the album relevant to non-punjabi listeners as well….
i would say his music and approach is more similar to lucky ali than nusrat but yeah,i am enjoying the album thorughly for now….
Thanks for pointing out to the new album Amardeep. I, for a change, like the album. Very fresh to me. Loved the challa. Loved the way punjabi and rock/metallish music score is fusioned. I am not saying its a blowout album, but its something new and fresh. Love it.
7 · Sonia Kaur said
Congrats! You don’t actually know me, but I think I crashed your wedding a couple of years back. If you are who I think you are (The slide show was great! So was the booze!), you guys are a great couple and this kid couldn’t have a better pair for parents.
27 · Amitabh said
Sup Amitabh, thanks for the shoutout. I really can’t speak from a position of authority (I don’t understand Punjabi or know much about bhangra beyond what songs I like), but the song is straight up dope, yo. Aside from some minor quibbles with the recording- the harmoniums could have mic’ed better and the esraj is entirely lost in the mix – the performance is great. Can you hook a DJ up with a translation? I’d love to know what the song’s about.
Speaking of Punjabi music from diverse backgrounds, I’d be terribly amiss if I didn’t link you to Jeff Buckley’s electric cover of Nusrat Fateh Ali Khan’s Yeh Jo Halka Halka Saroor Hai. It gives me some serious goosebumps, yo.
Paranoid Android @ 21 – Nailed it. Let’s just hope Rabbi gets out of his sophomore slump and doesn’t pull a Pearl Jam and have his first album be his best.
It’s awesome listening to the music………….so soft at d same time very touching rabbi has done a remarkable job indeed
An ignorant/close minded South Asian would see Rabbi Shergill and say, “Why isn’t this guy doing Bhangra?”
An interesting ‘Sikh perspective’ of the Pagri Sambhaal Jatta song can be seen here.
Avengi Ja Nahin has broke into #1 in Radio City Indi Pop charts.
Way to go Rabbi
The interesting perspective to which Singh refers is full of serious mistakes. The perspective is given by one Mr Mewa Singh and is uncritically picked up by Prof Amardeep. Mr Singh attributes the authorship of Pagri unbelievably to Ramdhari Singh Dinkar. For,
@21 Paranoid is dead right when s/he says:
The thing is if you don’t know who Bilqees is – and a bulk of educated Indian youth do not – you are unlikely ever to know what happened to Bilqees. The song as you know quotes Sahir Ludhianvi’s ‘Jinhe Naaz Hai Hind Par Wo Kahan Hain’ from Guru Dutt directed classic “Pyaasa” (1957). Whereas Sahir’s references were unambiguous and direct, Rabbi’s references are unclear. Not just Bilqees, even references to Satyendra Dube, Manjunath and Navleen are hanging tenuously in the thin air.
Let us try and do a slightly more faithful translation of Bilqis than the one given on Rabbi’s website about his latest album Avengi Ja Nahin (Will you come or not – almost an uncouth, gender insensitive mode of address) and picked up by Prof Amardeep in the write-up here:
(Rabbi’s translation being:
My name is Bilqis Yakub Rasool I committed just one mistake That I stood in their way When they were looking for Ram)
The first line is without the verb ‘to be’ and is therefore intended as a mere statistical detail, objectively rendered.
The second line picks up a near reluctant subjective mode of narration. It is important to note that the ‘mistake’ is made in the passive voice and is therefore imbued with not a little bit of tragic irony. This, dare I say, is very different from Rabbi’s own translation which is ‘I commited just one mistake’ where the volitive act is differently placed.
The translation of the last two lines amplify this point further:
Rabbi’s translation is :
‘That I stood in their way When they were looking for Ram’
‘Standing in someone’s way’ is not the same thing as ‘happened to be standing on the way’. The difference is as stark as that between ‘volition’ and ‘chance’. Nowhere in the line “To Maen kharhi thi rah mein’ is the fact of standing in THEIR way evident. In fact the trauma of Bilqis is doubly tragic precisely because she just happened to be passing by the way where the murderous mob was butchering the Muslims in well thought out macabre move supported by the state. She wasn’t – couldn’t have been – in any conceivable way ‘standing in THEIR way.
One doesn’t quite understand who Bilqis is; where she was going; under what circumstance she met the people looking for Ram; in addition to asking her a question, what else did they do to her! Does it have anything to do with the rape, arson , looting and pogrom of Muslims un leashed by the Hindu right after Godhara? The song tells you absolutely nothing. If you chose to be moved by the song, it is either because you liked the song as a song that felt likeable or because you already had enough information about Bilqis. The same is true of Rabbi’s reference to Satyandranath Dube and Manjunath. A non-initiate is unlikely to know why there is a bullet in the heart of Satyendranath and the place where it happened or why the corpse of conscience is lying in the middle of the road at Lakhimpur Kherhi. The only exception is the reference to Ms Navleen Kumar whose murder we are informed by the lyric has something to do with her resistance to the villages being looted by the open market; to the forcible acquisition of land and the eventual dislodgement of the people to ‘hell’.
This brings me to the next point – one of confusing the logical types of the 4 tragic cases the song, Bilqis, takes up. Whereas Bilqis’s tragedy is purely non-volitive, Satyendra Dube’s act of ‘blowing the whistle’ is quite clearly an act of quasi- political volition. Manjunath, on the other hand, is merely executing his duty as an officer of the Oil Company for which he worked – (this, incidentally, does not make his death any less grim or disturbing). Ms Navleen Kumar’s is the only one which is properly in the domain of political activism as a deeply felt existential anxiety.
The song, as such, serves a very limited, albeit welcome, purpose.
Rabbi’s music for me is the same that many Pakistani rock bands already have to offer.
Much as I criticize Rabbi’s Avengi Ja Nahin, I strongly disagree with Roop Rai when she equates his music withat of the Pakistani bandsally .This is a grave error of judgement both poetically and musically. Rabbi, above all, is an evolved poet which none of the Pakistani bands is. The way he plays the with the ordinariness of life in a conversational mode or as sheer visual imagery has never happened in the history of popular music of the subcontinent. No one – not even NGO-activist genre of music ushered in by the Indian Ocean or Shubha Mudgal – has ever achieved such spontaneous play with images of love, loneliness and despair. Pakistani bands are either totally energy driven or fall back on the quasi-Sufi masquerade. (Anyone who goes into spiritual ecstasy listening to Sayyo Ni needs to go back to the school to take a crash course in what Sufi poetry and music is all about!)
In terms of his use of sound, Rabbi is miles ahead of any of his contemporaries. I do not need to go here into technical details but Rabbi is a thinking, reflective musician and not just any Tom Dick and Harry. My critique of him is happening, accordingly, in an altogether different register of debate. Barring, of course, the communal and jingoistic overtones of Pagrhi Sambhal Jatta where he does come across as somewhat of a rigid Sikh.
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You were doing good till this, after this you were personification of a an औसत (average) desi critic – the kind who indulgences in unnecessary hyperbole. (I am kidding)
Rabbi Shergill has done well for himself – he is good musician – a very clever musician. His talent lies in interesting arrangements – I hope he is able to manage his ambition and survive. I like Rabbi.
I like his version of ‘Challa’ ( I love Inayat Ali’s original version).