Rudyard Kipling is best known for the story of Mowgli from the aptly titled novel, The Jungle Book. It was Kipling’s fascination with the Indian subcontinent during the height of the British Raj that truly set him apart from his peers.
The Phantom Rickshaw and Other Eerie Tales comprises seven short stories which were originally published nearly 125 years ago but remain timeless, for readers of the subcontinent in parti-cular.
Kipling was one of the great subcontinent romanticists of his time. Born in Bombay, and returning to British India after his education in the United Kingdom, Kipling joined The Civil and Military Gazette as an assistant editor at the age of 17. It was these times, during the 1880s, that the British Raj was at the peak of its glory and splendour. The Indian subcontinent was part of the British Empire and for an Englishman like Kipling the cultural stories of this exotic land made him feel more at home than the newspaper headlines he was printing.
It is because he drew so heavily from his own experiences that nearly all of Kipling’s stories are told in the first person. And because of this writing style, the reader is automatically drawn in and mesmerised with the adventures narrated.
The short stories collected in the book include ‘The Phantom Rickshaw’, ‘The Strange Ride of Morrowbie Jukes’, ‘The Return of Imray’, ‘My Own True Ghost Story’, ‘At the end of the passage’, ‘The Man who would be King’ and ‘Without benefit of Clergy’. All of these are set in and around exotic lands and times; from the exciting journey across the Khyber Pass into what was known as Kafiristan to the many colourful characters that come across the reader’s way.
There are fakirs, princesses, soldiers, sepoys and other fantastical yet real characters that populate his stories.
In the preface Kipling makes it clear that the book ‘is not exactly a book of downright ghost stories’. He admits that ‘it is rather a collection of facts that never quite explain themselves.’ Out of all the stories, the most notable is ‘The Man Who Would Be King’, which tells the daring tale of two Masonic conmen who venture upto the Khyber Pass and beyond it in search of the elusive Kafiristan.
The story was eventually adapted for the big screen in 1975, in a film directed by John Houston and starring Michael Caine and Sean Connery.
Critics refer to Kipling as being classist, racist and even sexist at times. Most if not all of his stories do have a tinge of these elements, but then such were the times in general. Nowhere in literature does the British attitude towards the people of the subcontinent, and the region itself, become more apparent. Fellow British author Eric Arthur Blair (better known as George Orwell) called him the champion of British imperialism.
There are no close comparisons to the works of Kipling, though many authors have written about various cultures. What separates him from the rest is his total dedication and devotion to the form of short story.
In fact, Andrew Rutherford called Kipling ‘an innovator in the art of the short story’, a fact that would be recognised by the Nobel Foundation which awarded him the Nobel Prize in Literature in 1907.
The Phantom Rickshaw and Other Eerie Tales makes for a gripping read, especially for children. It features an introduction by another English author born in India, Ruskin Bond.
Bond writes ‘It is Kipling’s brilliance as a storyteller and stylist that carries the reader along and obscures some of his faults.’ And concludes with: ‘At times his own heart may have remained hidden, but he looked closely into the heart of others. And the rest was genius.’ This book proves Bond right.
The Phantom Rickshaw and other Eerie Tales
By Rudyard Kipling
Introduction by Ruskin Bond
Penguin Books, India
ISBN 0-143-06790-0
170pp. Indian Rs199
Originally posted here
4.10.09
Shiraz Uppal presents Ankahi
To say that Shiraz Uppal is a musician of diverse talent would be an understatement — he’s composed, mixed, recorded and mastered his latest album, Ankahi, all by himself. He’s also had the privilege of working with A.R. Rehman, not once but twice.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
27.9.09
Nickelback: Dark Horse
You either really love Nickelback or you really love to hate them, but six albums later, they must be doing something right to have lasted for this long.
That something right could very well probably be one of the most commercial sounds to hit rock n roll (or metal even) since Bob Rock produced The Black Album for Metallica in 1991. The said sound is composed of repetitive chords, monotonous drum beats, and constant mentions to 'paperback novels' in the lyrics. If you don't mind any of the above, you'll be glad to know Dark Horse, the latest offering from the Canadian rock band is more of the same-but taken up a notch.
Produced by legendary superstar producer Robert John "Mutt" Lange - whose previous productions include the albums of Foreigner, AC/DC, Bryan Adams, Def Leppard and Shania Twain - give an almost clear indication that everything on Dark Horse will be radio friendly and as geared to the mainstream as heavy guitar rock gets.
The grizzly sound of post grunge is given a jump start with first track, 'Something in Your Mouth'. The guitars are raw, almost like nails on a chalkboard, with a continuous wail in the background. The riff is interspersed with a groovy middle but the combination seems to be too crammed and you feel like you've listened to two different songs at the same time. 'Burn it to the Ground' was featured on the Transformers: Revenge of the Fallen soundtrack and is characteristic of a Nickelback filler song because it shares the same structure to the track before it, but with just enough tweaks to make it sound slightly different. Unfortunately, this is probably one of the lesser lyrical songs of the band, making it sound more of an anthem for drunkards than anything. The saving grace for the song is the solo which albeit very short is could've been very interesting if explored further.
'Gotta Be Somebody' was the first single released from the album, and features another one of Nickelback's staple songs, the rock ballad. Chad Kroeger, the front man for the band, is at his true element here. After all he also sang the song 'Hero' for the Spiderman soundtrack. 'Hero' and 'Gotta Be Somebody' do share some similarities, but thankfully they aren't that much. This song proves that behind the grunge and behind the melodic rock, Nickelback can do so much better than it already is doing.
'I'd Come for You' is another ballad and the entire pace of the album slows down. The only thing that holds down this song are the cheesy lyrics: "I was blindfolded, but now I'm seeing, my mind was closing, now I'm believing." The song would make a befitting soundtrack to the next cheesy love story Hollywood throws our way.
The band makes it a point to pick up the pace after the previous track and 'Next Go Round' starts to hit the ground running. The harsh guitars and the throbbing drums sound like a freight train charging down at full speed. Again, like the previous songs, there isn't much lyrical substance going around here which is a shame really since the song has a very head banging thing going on for itself.
Just to prove that the band can do songs with proper substance and lyrical matter, 'Just to Get High' is just that. The story of a young man spiraling into a life of drugs and desperation, the tone and motif of the song equally desperate and melancholy. This is probably one of the few tracks on the album that save it.
'Never Gonna Be Alone' is what 'Photograph' was to the last album, the almost obligatory western track that the band feels that they have to do on each and every album. It's the kind of track that you'd expect from Shania Twain or LeAnn Rhimes, but Nickelback? On the plus side, it shows that the band wants to be diverse and not pigeon holed as a rock band.
About ten seconds into 'Shakin' Hands' you find yourself tapping your feet to it. The track sinks you in with its groovy beat but for some reason it never really takes off. The repetitiveness kills it.
The opening riff of 'S.E.X.', like the previous two tracks, are powerful and grab the listener in by the collar and demand to be heard. This is Nickelback's strength and why they're such a radio friendly band. Their music is simple and easy to listen to even if you don't appreciate or like rock music.
'If Today Was Your Last Day' sings the same tune as 'Gotta Be Somebody' or 'I'd come for you' but this one is considerably more feel good than the two. Also, much like 'Just to get high' this track saves the album from what would be a repetitive and monotonous demise.
The album finishes with 'This Afternoon' and it seems that keeping the best for last was probably a good idea for the band. This is a no-nonsense, easy going, feel good track about taking matters as they come and not have a worry in the world. It's almost like Nickleback saying they'll continue to making music the way they want to and won't give in to their critics.
All the Right Reasons was the band's previous release and spawned a plethora of singles, but this seems to be not for all the right reasons. The New York Times wrote about Dark Horse: "Nickelback's real crime isn't one of form. Rather it is that lurking beneath the band's undeniably pretty melodies are literal, wildly unimaginative and often insipid lyrics. Unlike, say, Hinder, which flaunts its brute sensibilities, Nickelback is quietly crass." And that was one of the better reviews they've gotten for Dark Horse.
That said, Nickelback has a very strong fan base, particularly among the listeners of bands like Creed (who are now defunct) or Alter Bridge or even Theory of a Deadman. These bands, along with Nickelback represent the new rock n roll sound, rising from the ashes of grunge and metal of the 90s and making a sound of their own for a generation of their own.
That something right could very well probably be one of the most commercial sounds to hit rock n roll (or metal even) since Bob Rock produced The Black Album for Metallica in 1991. The said sound is composed of repetitive chords, monotonous drum beats, and constant mentions to 'paperback novels' in the lyrics. If you don't mind any of the above, you'll be glad to know Dark Horse, the latest offering from the Canadian rock band is more of the same-but taken up a notch.
Produced by legendary superstar producer Robert John "Mutt" Lange - whose previous productions include the albums of Foreigner, AC/DC, Bryan Adams, Def Leppard and Shania Twain - give an almost clear indication that everything on Dark Horse will be radio friendly and as geared to the mainstream as heavy guitar rock gets.
The grizzly sound of post grunge is given a jump start with first track, 'Something in Your Mouth'. The guitars are raw, almost like nails on a chalkboard, with a continuous wail in the background. The riff is interspersed with a groovy middle but the combination seems to be too crammed and you feel like you've listened to two different songs at the same time. 'Burn it to the Ground' was featured on the Transformers: Revenge of the Fallen soundtrack and is characteristic of a Nickelback filler song because it shares the same structure to the track before it, but with just enough tweaks to make it sound slightly different. Unfortunately, this is probably one of the lesser lyrical songs of the band, making it sound more of an anthem for drunkards than anything. The saving grace for the song is the solo which albeit very short is could've been very interesting if explored further.
'Gotta Be Somebody' was the first single released from the album, and features another one of Nickelback's staple songs, the rock ballad. Chad Kroeger, the front man for the band, is at his true element here. After all he also sang the song 'Hero' for the Spiderman soundtrack. 'Hero' and 'Gotta Be Somebody' do share some similarities, but thankfully they aren't that much. This song proves that behind the grunge and behind the melodic rock, Nickelback can do so much better than it already is doing.
'I'd Come for You' is another ballad and the entire pace of the album slows down. The only thing that holds down this song are the cheesy lyrics: "I was blindfolded, but now I'm seeing, my mind was closing, now I'm believing." The song would make a befitting soundtrack to the next cheesy love story Hollywood throws our way.
The band makes it a point to pick up the pace after the previous track and 'Next Go Round' starts to hit the ground running. The harsh guitars and the throbbing drums sound like a freight train charging down at full speed. Again, like the previous songs, there isn't much lyrical substance going around here which is a shame really since the song has a very head banging thing going on for itself.
Just to prove that the band can do songs with proper substance and lyrical matter, 'Just to Get High' is just that. The story of a young man spiraling into a life of drugs and desperation, the tone and motif of the song equally desperate and melancholy. This is probably one of the few tracks on the album that save it.
'Never Gonna Be Alone' is what 'Photograph' was to the last album, the almost obligatory western track that the band feels that they have to do on each and every album. It's the kind of track that you'd expect from Shania Twain or LeAnn Rhimes, but Nickelback? On the plus side, it shows that the band wants to be diverse and not pigeon holed as a rock band.
About ten seconds into 'Shakin' Hands' you find yourself tapping your feet to it. The track sinks you in with its groovy beat but for some reason it never really takes off. The repetitiveness kills it.
The opening riff of 'S.E.X.', like the previous two tracks, are powerful and grab the listener in by the collar and demand to be heard. This is Nickelback's strength and why they're such a radio friendly band. Their music is simple and easy to listen to even if you don't appreciate or like rock music.
'If Today Was Your Last Day' sings the same tune as 'Gotta Be Somebody' or 'I'd come for you' but this one is considerably more feel good than the two. Also, much like 'Just to get high' this track saves the album from what would be a repetitive and monotonous demise.
The album finishes with 'This Afternoon' and it seems that keeping the best for last was probably a good idea for the band. This is a no-nonsense, easy going, feel good track about taking matters as they come and not have a worry in the world. It's almost like Nickleback saying they'll continue to making music the way they want to and won't give in to their critics.
All the Right Reasons was the band's previous release and spawned a plethora of singles, but this seems to be not for all the right reasons. The New York Times wrote about Dark Horse: "Nickelback's real crime isn't one of form. Rather it is that lurking beneath the band's undeniably pretty melodies are literal, wildly unimaginative and often insipid lyrics. Unlike, say, Hinder, which flaunts its brute sensibilities, Nickelback is quietly crass." And that was one of the better reviews they've gotten for Dark Horse.
That said, Nickelback has a very strong fan base, particularly among the listeners of bands like Creed (who are now defunct) or Alter Bridge or even Theory of a Deadman. These bands, along with Nickelback represent the new rock n roll sound, rising from the ashes of grunge and metal of the 90s and making a sound of their own for a generation of their own.
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