Yaad Pyom 

Review by Kamal Hak

Kashmiri Music Album

Lyrics and Music -Veer Koul "Veer Singers-Vijay Malia, Wahid Jillani, Deepali Wattal and Veer Koul Veer.

The people given to seek pleasure from the essential difference between the country-made liquor and the Scotch is that while the former will immediately hit you and then in no time overpower your senses, the later will take time to show its effect as if cajoling your body into accepting its presence Yaad Pyom is exactly like a single malt. 12-year-old Scotch, which deceives you into complacency and then gradually grows on you to eventually overwhelm your mind and soul.

It goes to the credit of many KP artistes who have kept alive our great musical traditions nurtured assiduously by the likes of Late Mohan Lal Aima. father son duo of Pt. Shamboo Nath Soporey and Pt. Bhajan Soporey, and Sh. Krishan jee Langoo etc. It is also a matter of great satisfaction that unlike many of our customs, legacies and traditions, our music has till now withstood the negative influences of our exile and many of our artistes are ensuring the present and the future generations of Kashmiri Pandits continue enjoying the lilting melodies in their mother tongue and with our traditional musical notes Yaad Pyom is a great effort in that direction. Veer Koul deserves accolades for creating a memorable musical journey of nostalgia, romance, longing and hope On a personal note Veer Koul also deserves my huge compliments for bringing together perhaps the greatest of two male solo singers ever produced in Kashmir. One could pick up the album simply by reading Vijay Malla and Wahid Jillani in the credits. One would not be disappointed by doing so.

One of the stronger points of the album is the heart-touching lyrics of each of the tracks. The delicate verses appear to be coming out straight from the heart of the poet who then infuses life into words by adorning those with a great musical score. Veer Koul has shown partiality by lending his voice to three tracks in the album. It goes to his credit that in all his tracks, Veer Koul has resisted the temptation of trying to match the more mature skills of his better accomplished co-artistes and has rendered his compositions within the comfortable range of his notes. This has resulted in a remarkable performance which stands shoulder to shoulder with the greats like Malla and Jillani. Yaad Pyom, the title song, has come out as perfect expression of wandering exile longing for his roots. The lyrics of the track take you on a nostalgic journey through meadows, snow-clad mountains, meandering brooks and blossoming fields. Veer Koul comes back later in a complaining mode in 'Che Meshrowthas Bae' wherein he creates a strong allegory by raising questions about having been abandoned and forgotten in exile by his roots. Veer Koul finally teams with Deepali Wattal to complete his trilogy with a song of hope and longing for returning to his roots. Though 'Beyi Fulai Badam Waren' starts with what seems to be very predictable verse but in the middle stanzas a great poet emerges with some amazing lines.

Veer Koul displays a great musical understanding by utilising Wahid Jillani for what he does best. Wahid Jillani's forte remains in elevating soft romantic numbers to great heights. Connoisseurs of good music can't disagree on the tremendous standards set earlier by Jillani with his rendering of 'Mye mashook havi na paan'. He is equally great with his tracks, 'Tul chaini aek Jalwan' and 'Vaey ath husanas". Wahid is in his elements in these two tracks, which are not in line with the general theme and mood of the album but perhaps a concession to the wider audience across the Pir Panjal range. Nevertheless, these two highly melodious numbers make this album a collector's item.

With destiny having forced Shamima Dev to fade away in unfortunate circumstances, the onus of carrying forward the responsibility of musical torch has remained with Kailash Mehra Sadhu During the post-displacement era many budding female singers like Lovely Chandra and others have tried to carry on with the legacy of our rich musical traditions enriched by the likes of Kailash Mehra Sadhu, Aarti Tiku, Neerja Pandit and others. The Diaspora and the compulsion of seeking survival against all odds, perhaps, prevented post-Kailash Mehra artistes to attain the heights they deserved. Kashmiri music lovers have been concerned at the limited opportunities and talent available to keep alive our culture through music. Deepali Wattal is endowed with great talent which is evident in all her songs. This reviewer entertained an opinion which concluded with the impression of Depali's rendering of 'Bigul Baj Raha Hai Andolan Ka' being her crowning glory. 'Chhu Dil Treshi Hoat' surpasses all impressions and must surely rank as one of the best songs in Depalli's repertoire.

One is a little disappointed with Vijay Malla when he teams with Depali Wattal to describe the general mood of the people during the early phases of militancy in Madano wal travaw yi duniya'. But he returns in his full elements protesting the injustice committed against the community in 'Ratith imaan osum.' His mellifluous and soulful rendering of this song will remain a landmark for a long time.

In the post-displacement era after the incredible first 'Mani Kamna' album 'Yaad Pyom' will rank as a fabulous addition to the melodious collection of Kashmiri music. Veer Koul "Veer" deserves our compliments for enriching the 'Songs in Exile' with beautiful verse, poetry and melody.

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Courtesy:- Kamal Hak and January 2009 Koshur Samachar