Freakishly Faithful : Chapter 2 (contd.) - Aarambh - the Beginning

Part 4

“O maajhi, aeka kaeno kothai jaash, nodir aar saagorer tane-tane (O boatman, where do you go with the waves of the rivers and the seas? And why do you go there alone?)”
A song called “Nauka Chole” (the Boat sails) that Karan and I performed in the show

The feeling was electric indeed. The curtains were closed, and the auditorium was abuzz with the audience relishing the prospect of trading boring lectures with hopefully less boring stage acts. On stage, the performers of the day were milling about with the confusion so typical of nervous first timers; I know, I was one of them. The Orchestra performance (with 20 or so people about to sing and play, calling it a ‘Band performance’ would be overdoing it) was to kick things off. Wires from microphones and guitars snaked all over the stage and disappeared under the curtains. Shaunak met me in the wings, all charged up. He had practically left the guitar department entirely to me. He was going to play of course, but on a plugged in acoustic guitar. He pointed towards an electric guitar lying on the stage, and informed me that it was to be my instrument for the show. Now this was unexpected!

As I picked up the electric, I once again marvelled at how such a relatively small looking guitar could feel so damn heavy. I took out my pick, closed my eyes, tilted my head back, and did a single slow strum of the six strings, trying to get a total ‘I’m feelin’ that shit’ look. Unfortunately, any cool rockstar effect that my posturing with the guitar might have produced was quite likely obliterated by the very uncool ‘duh…’ look of confusion that now appeared on my face. The guitar had made no sound! Not on any amplifier, and not even otherwise. I spent a few moments picking at the strings while re-evaluating the basics - Let’s see now; hold guitar pick/plectrum like so, bring pick/plectrum to string, pluck string with plectrum and listen to sound. It seemed simple enough. But Step 4 (listen to sound) kept eluding me. I tried a variety of methods; picking the strings with increased pressure, holding the guitar in different angles, checking if the plug-in chord was securely plugged-in, and finally praying that the damn thing is not broken. Fortunately for me, JD noticed my fervent efforts and, with a classic look of disgust on his face, flipped a switch on the guitar, turned a knob marked ‘volume’ and said, “You have to turn it on first!” Ah, of course. I quickly played the chords of Summer of ’69 to ward of any excessive embarrassment, while quietly adding a 5th step to my mental “How to evoke sound from a Guitar” manual. No wonder JD wanted to throw me off the stage! To all and sundry, the next time you’re trying to play an electric guitar, do switch it on.

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We’d gotten off to a somewhat shaky start. One of the girls who was to sing solo on a Shubha Mudgal number had started off on a very wrong scale, and the laughter of the audience wasn’t too encouraging. She did end up singing the song well enough though. Our first success was on the song ‘Khamaj’ by Fuzon, where Sam and a girl named Shruti did a little duet. But it was the next song that was to ultimately alter the course of some of our lives.

We all knew it; this was definitely going to be our best song of the day. At least we hoped it would be that way, if we didn’t mess it up. And for this song, I had quite the bit of responsibility. Rono had a single monitor speaker near him, which apparently wasn’t loud enough for him to judge the tempo of my guitar. So he’d asked me to be near him as much as I could while playing the song. Ruksana on the synthesizer had an important ‘flute’ solo to play in the middle of the song, for which she insisted that I be next to her to help her with the tempo. Sam and Jeetu wanted me to be in between them to keep them on the right scale. Thankfully, the guy playing the tabla made no similar demands. Nevertheless, the requests of the others required me to be pretty much on the move for most of the song.

The success of the previous song had shifted the momentum in our favour. Getting the song right was crucial. There was some initial confusion in starting the song as, apparently Ritesh Deshmukh who was the Chief Guest of the day had made his entrance, and was taking his seat near the stage. But if the crowd were interested in getting a glance at the actor, who at the time was more the Chief Minister’s son than a Bollywood star, they certainly forgot about it when the sound of Sam’s silken smooth voice burst out of the speakers, singing the intro verse of one of the most popular Indian songs in the last decade. The roar of the crowd was brief but incredibly intense, and the sound coursed through me in an electric spasm. It was followed up by rhythmic clapping as I took off on the intro lead guitar portion. And when Rono kicked in with his drums midway into the song with a mind-numbing crash of the cymbals and his lightning fast drum-rolls, the crowd were absolutely blown away by this completely unexpected development. They’d never heard of the drums being played on this song, since the original was filled with percussion like on dholaks, but no perceptible drumming.

Needless to say, I dutifully fulfilled my role of being next to Rono, Ruksana, Sam and Jeetu at the desired points in the song. At the end of the song, one which held such an emotional significance in my heart as it did (and does) for millions of others, I could not help remembering how many times I had in the past thought of Ruksana when I’d heard the song. Towards the end of song, as Rono played a haunting shimmering sound on his symbals, I stole a glance at her, while Sam and Jeetu sang the words right out of my heart - “Ab kya karoon, kaase kahoon, he Maeri…”