Mojaan Laen Do

Mojaan Laen Do

DALER MEHNDI 2003

MOJAAN LAEN DO (or  Let There Be Enjoyment) :introducing a new genre of music “RABABI”

fact-o-file: Words and Compositions, Arranged, Rhythm designed, Performed by : Daler Mehndi

Music Director: Daler Mehndi and Ravi Pawar  Produced,Manufactured,Distributed,Marketed,Published by: Daler Mehndi Music Company.

————————TOMMOROWS SOUND TODAY © ® —————–

Candy pop and borrowed rap. Old songs with new beats. Needy bleat of a lost lover caught in the rain. Polished productions combined with rhythm that sounds like the happy cha-ching of cash registers. On and on it goes, this nightmare tyranny of undifferentiated averageness. You have to remind yourself that what you want isn’t so much to ask for, really. Some music with a little backbone. A lyric that isn’t another taunting come-on or drooling declaration of affection. A melody to roar out of the speakers demanding attention, changing the cabin pressure. Simply put, you want to reach the point where there’s no choice but to turn it up, way up, and the let the aura do the rest.

Ladies and gentlemen, time for Mojaan Laen Do. Or Let There Be Enjoyment. The latest nine-track jewel from the Pasha of Pop Daler Mehndi’s bounty, is far, far away from pop’s crushing vapidity. To sum it up: it’s a combustible union of lyrics and melody and beat with the power to snap unruly messes into sharp focus. Straight from the heart, there’s nothing prefab about it. Hard, soft, pop, folk _ Mehndi is right on. After all, he’s the Badshah who created the blueprint for bhangra pop, and manages to stay miles ahead continually pushing the limit of indipop acceptability,

In Mojaan laen Do, the awesome Mehndi goes off the beaten track one more time and yet again finds musical gold among the dust of the Indipop Dream. The album revives a traditional RABABI style of singing with a mix of Sufi and Arabic rhythms. His eighth album in as many years, the man is in fine expletive form showing no signs of slowing. He’s ready to steam in and steal the moment. And this time around, the singer-writer-composer has even produced the album that’s screaming with his trademark energy, lots of bass guitar, Arabic nuances, and western classical notes intelligently woven with Patiala gharana style of singing.

No loose end is left untucked and you can’t fault with Mehndi’s musicianship. Nor his lyrical prowess, but without the shock-of-the-new of his early work, this is well-known territory. Pure adrenalin rush. Mehndi mopes through punchy tracks like the cheeky Ik Ghutt Pi Laen De or the wicked Hai Ve Ranjhna that are meant to be mean and moody but have all the edge of a marshmallow, thanks to silky vocals. It’s Mehndi’s manifesto to make you dance while revealing the real world of sound and music.

Mojaan Laen Do _ all funked up with some subtle scratching on the turntables _ is surely destined for loud play at all poolside bars and a floor filler at discs this summer. There’s no doubt that this joyous din is the sound of a vibrant, supercharged Mehndi in his element. Tough and uncompromising, the album is a blistering antidote to the world we’ve come to share with a generation that thinks jalwas of remixes is the pinnacle of artistic achievement.

TRACK-I Shama Paiyan Ni Ranjha Na Aya

Leaving nothing to imagination, Mehndi’s chosen the famed sand dunes of Dubai as backdrop for the video of the first song in the album, Shama Paiyan Ni Ranjha Na Aya. The highlight of the song is the way it unfolds with various rhythm elements slowly and gradually that rise in a crescendo in the chorus that has Mehndi singing in different chords. The lyrics are kept simple and are straight from the heart so that everyone identifies with the theme of love that the song portrays and yet makes a great dancing track. Sufi in character, the song has signature Daler Mehndi energy, verve, colours and his amazing costumes all designed by him.

TRACK-II Piplan Di Chhan

This track only takes the tempo set by Shama Paiyan further. Set to the rhythmic beats of the dhol, it’s a Punjabi folk number that interestingly combines the bass guitar with the classy dhol. The song has a universal appeal even if you don’t know the language. Laced with Mehndi’s spirited singing, the song is a fine twist to tradition.

TRACK-III Hai Ve Ranjhna

A sure-fire hit with the DJs all over, this track would motivate even the ones with two left feet to take to the floor. With a wicked ragamuffin feel to it, this fast-paced dancing number makes for easy listening and great dancing.

TRACK-IV Jere Dil Nu Pyare  

In every Daler Mehndi album, there’s a particular song that he sings for himself. A vintage Mehndi, these tracks are labelled as show-off Daler Mehndi number by those in the know. In Mojaan Laen Do, track IV is his personal favourite and epitomises the hard work and dedication gone into the making of Mehndi, the singer. A high octave number, most of those close to him dissuaded him from attempting this one, as it’s highly complex, technically brilliant and classical to the core. But Mehndi being Mehndi not only sang the song but also sang it so beautifully and perfectly that it turned out to be the soul of the album. A heady mix of sounds, it has a Western Classical Symphony by Ravi Pawar (the music director), Indian Classical and words and music by Daler Mehndi and tabla by Bhawani Shankarji.

TRACK-V Kehndi Mar Gayi, Main Mar Gayi

The first song of Side B, this is one fast paced Punjabi folk number just right for dancing. Bouncing with energy this song continues in the vein of Piplan Di Chhan.

TRACK-VI Is Ishq De Ajab Nazare

With strains of Arabic music, this song is sure to take you on an Arabian odyssey. A mix of Hindi and Punjabi lyrics this is the only song of the album where Mehndi collaborates with Shahab Allahabadi for lyrics. The artist has himself penned all the other numbers in the album. This track too carries the same infectious happiness as most of the numbers in the album.

TRACK-VII Vatnan To Akey Asi Duur

This song owes its creation to a Bangladeshi cab driver who met Daler Mehndi in California during his 2002 tour of the US. On one of his shopping sprees there he happened to hop in the cab and the driver recognised him. The two got talking about his life in US, far away from home. That’s when the song took shape and brings out the heartache and longing for home amongst the expatriates. The song, though a dance track, has a poignant feel about it.

TRACK-VIII Jugni…Mojaan Laen Do

For those acquainted with Punjabi folk would know that Jugni is a traditional character. But like the whole album, this too is an interesting twist to tradition. The song is easily the funkiest, zaniest track of the all and it’s from here that the album got christened. With a generous use of the bass guitar, it has a groovy rhythm and is sung on a high pitch.

TRACK-IX Ik Ghutt Pi Laen De

The teetotaller Mehndi goes on a high for the first time round. For all those who complain that Mehndi has never belted out a single peene-pilane wala gaana now have a reason to celebrate. With this ‘entertainment guaranteed’ number promises to make the good times roll.

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