Published on 25 Jan 2015 | about 1 year ago
'THE SUN SHINES' SONG with ACTRESS: ANJUMAN 'QUEEN of the PUNJAB' was the most amazing JUGGANAUGHT to hit PAKISTANI CINEMA in the 1980s. She was 'The Queen' for 10 years and 'Queen' she was. She appeared in 106 films between 1973 and 2000.
At the time Anjuman was 'The Ideal Punjabi Beauty' that many men dream of and desired in Pakistan. It is said that many men in the country burned their shops in distress on the day of Anjuman's wedding in the 1990s because they had missed their chance to marry 'Queen of the Punjab'...
Anjuman 'sings' with the voice of Malika Tranum [Melody Queen] Madam Noor Jehan. The voice 'fit' Anjumans face like it was her own voice. Noor Jehan, herself an ex-Punjabi actress had a similar face to Anjuman, maybe that is why the voices and faces match so well. Sometimes Madam's voice didn't marry the actresses lips and looked odd, but Anjuman danced and sang like a bird with Tranum's voice adhered to her soul!
A musician in Lahore told me that the large groups of drummers took about 12 to 18 hours to learn the complex drum patterns from the Music Director for these Punjabi film songs. They performed them from memory in one take at the now closed EMI Studios on Mall Road in Lahore. The percussionists apparently did not write anything down but played and played their beats, rests and interactions with fellow musicians until they could just flow together like a machine.
The playback recording has a large ENSEMBLE [group of insturments/vocalists]. The musical parts were often recorded after practice in one take. The singer apparenly came in later to record the vocal. Musicians told me that Madam Noor Jehan would record the song three times, it would be mixed to three stereo master tapes and the most preferred vocal interpretation would be sent to the film studios for the actors to mime to.
The PERCUSSION [instruments you hit] consists of a variety of traditional drums TABLA [floor drums tuned to (I)* & (V)**] and DHOLAKS [Punjabi double headed wedding drums tuned to (I)* & (V)**]. There is some DOUBLE-TRACKING [recording the same instrument on different tracks - on playback it sounds like there are twice as many players]. Stero mixing came late to Pakistan, so the mixing was experimental. There is effective use of hand clapping to give variety and a 'countryside' feel to the track.
The drum patterns are complex and take a lot of managing. A main galloping Punjabi rhythm is used with some varying patterns, use of silence and FILLS [rhythmic full stops] at the ends of sections. The drumming is breathtaking.
The melodic instruments are a Western Guitar that plays some SYNCOPATED [off-beat] strums in tandem with the drums. There is some used of quite planned DISCORDANT [clashing] RABAB [Turkic Lute/Guitar from Pushto Music with two strings]. Western Violins play some racing and very awkard bridge parts and CADENCES [musical full stops] at the end of sections. The violin parts are not IDOMATIC [not composed for the violin] - they are worked out under the fingers on the HARMONIUM [floor organ based on Western instrument] and tranposed to violins. The string parts 'don't sing'...that is, in human voice, the violin parts are very difficult to sing, 'singing' instrumental parts is a sign of good orchestration in Western Music. Pakistan has its own style and it is unique and amazing like this song!
An ACCORDIAN [western bellowed hand organ - detuned sound] works along with an electronic keyboard.
A lot of the orchestration is ANTIPHONAL [question and answer] between the parts and bouncing off the SYNCOPATION. A female chorus finishes the ENSEMBLE offering variety, colour and 'rural' impression.
Noor Jehan's voice is unique. By the 1980s her voice had changed from the previous sweetness to a racuous explosion of Punjabi countryside expression. The voice has a strange combination of nasal and throaty RESONANCE [area where voice vibrates for amplification and tone colour]. The nasality of Pakistani singers may have linguistic origin in pronunication of Punjabi language. Noor Jehan's voice is unique and startling causing riots and rapture in cinemas!
The FORM [sections over time] is variation on Western Pop Song: Intro 01 + Intro 02 ['ALAAP' vocal note on vowel] + Chorus (I)* + Chorus (I)* + Bridge 01 [long for dancing] + Verse (V)* + Verse (V)* + Chorus (I)* + Bridge 02 [long] + Verse (V)** + Verse (V)** + Chrous (I)* + Chorus (I)* + CODA [end section][ALAAP on chorus].
* TONIC 'doh' ** DOMINANT 'soh'
The VOCAL, particularly the NASAL VOWEL PASSAGE on the CODA OUTRO is just UNIQUE from NOOR JEHAN!