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While the sitar had earlier been used in jazz and Indian film music, it was from the 1960s onwards that various pop artists in the Western world began to experiment with incorporating the sitar, a classical Indian stringed instrument, within their compositions.
Before the sitar was first used on a Western pop recording, the instrument's drone had been imitated on electric guitar by the Kinks on their 1965 single "See My Friends". [1] Another English band, the Yardbirds, hired a sitar player to play the main riff on their song "Heart Full of Soul", but the group subsequently re-recorded the track without a sitar part. [2] The first pop release to feature sitar was instead "Norwegian Wood (This Bird Has Flown)", issued on the Beatles' Rubber Soul album in December 1965. With this sitar part, George Harrison became the first Western musician to play an Indian instrument on a commercial recording. [3] [4]
Harrison is recognised as having introduced the sitar to pop music due to the Beatles' popularity and cultural influence. [5] He first picked up a sitar on the set of the Beatles' 1965 film Help! , and then purchased one of his own following a discussion about Indian classical music with David Crosby and Roger McGuinn of the Byrds in August 1965. Harrison went on to write and record "Love You To" for the Beatles' 1966 album Revolver as an Indian-style track featuring sitar, tambura and tabla. The following year, he wrote "Within You Without You" in the full Indian classical style and recorded it with musicians from the Asian Music Circle for inclusion on the Beatles' Sgt. Pepper's Lonely Hearts Club Band . From June 1966, he became a student of Indian sitarist Ravi Shankar and subsequently studied in India with Shankar and the latter's protégé Shambhu Das. In addition to introducing other Indian instrumentation on the Beatles' recordings over 1966–68, Harrison played sitar and tambura on "Tomorrow Never Knows" and "Across the Universe". In August 1966, Donovan, a friend of The Beatles, released his sitar-centered album Sunshine Superman, featuring Shawn Phillips on sitar.
In early 1966, Rolling Stones guitarist Brian Jones played sitar on "Paint It Black", having received tuition from another protégé of Shankar, Harihar Rao, and after consulting Harrison about the part. Jones also used sitar on some tracks on the Rolling Stones' 1967 album Their Satanic Majesties Request . He again played the instrument on "My Little One" in an October 1967 recording session with Jimi Hendrix, as well as tambura on the Stones' 1968 single "Street Fighting Man".
Shankar credited Harrison with inspiring "the great sitar explosion" in the West, as many rock guitarists similarly adopted the instrument. A fad for sitars in pop songs soon developed, facilitated by the Danelectro Company's 1967 introduction of the first "electric sitar", known as the "Coral Electric Sitar". This instrument was an electric guitar with a distinctive sitar-like sound, rather than an acoustic sitar of the type traditionally made in India. As the electric sitar was much easier to play than the traditional version, it quickly became the preferred choice of many rock musicians. Guitarists such as Harrison, Jones, Big Jim Sullivan and Shawn Phillips were more dedicated in their approach as sitarists, however. [6] Author Peter Lavezzoli also highlights Traffic's Dave Mason as a guitarist who displayed an obvious skill as a sitar player. [7]
From 1966 onwards, hundreds of songs by pop artists featured sitar. [8] The late 1960s saw the release of songs featuring the sitar that included Ricky Nelson's "Marshmallow Skies", Scott McKenzie's "San Francisco", The Cyrkle's "Turn-Down Day", The Cowsills' "The Rain, the Park, and Other Things", John Fred and His Playboy Band's "Judy in Disguise (With Glasses)", The Turtles "Sound Asleep", The Stone Poneys "Evergreen", First Edition "Just Dropped In (To See What Condition My Condition Was In)", The Chocolate Watch Band's "In the Past", The Box Tops' "Cry Like a Baby" (electric sitar), The Lemon Pipers' "Green Tambourine" (electric sitar), Traffic's "Paper Sun" and "Hole In My Shoe" Tomorrow's "Real Life Permanent Dream", July's "The Way" and The Kinks' "Fancy".
Elvis Presley had several recordings that feature the electric sitar. These include a 1967 cover of Tommy Tucker's R&B classic "Hi-Heel Sneakers", Mort Shuman's "You'll Think of Me" (1969), Percy Mayfield's "Stranger in My Own Home Town" (1969) and a cover of the Anne Murray country song "Snowbird" (1970). On "Hi-Heel Sneakers" and "Snowbird", the parts were played by session guitarist Harold Bradley, while Reggie Young played the instrument on "You'll Think of Me" and "Stranger in My Own Home Town". [9]
The Mamas & The Papas included the sitar on tracks such as "People Like Us", "Snowqueen Of Texas', "Lady Genevieve", "I Wanna Be a Star" and "Grasshopper", and Sergio Mendes & Brazil '66 used it on “Chove Chuva”. Eric Burdon and the Animals played the instrument in the songs "Winds of Change", "No Self Pity", "Orange and Red Beams", "All Is One", "We Love You Lil" and "Monterey". The Strawberry Alarm Clock use the sitar in songs such as "An Angry Young Man", "Black Butter-Present" and "Sit with the Guru". Although often overlooked, some of the most extensive users of the instrument in contemporary music were Mike Heron and Robin Williamson of The Incredible String Band, combining folk, psychedelia with eastern influences in the songs "The Song Has No Ending Parts 1–9", "The Mad Hatter's Song" and "The Iron Stone". Steve Miller Band used sitar in their song "Wild Mountain Honey".
Art-rock bands such as The Moody Blues used the sitar on a few albums, particularly In Search of the Lost Chord . The Pretty Things' album S.F. Sorrow also featured the instrument on a few tracks, as did Procol Harum's song "In Held 'Twas In I", on the segment "Glimpses of Nirvana". Jethro Tull used the sitar on "Fat Man" and "Skating Away on the Thin Ice of the New Day", and the Strawbs included the instrument on many of their recordings. Family used sitar in the song "Face in the Cloud", released on the band's 1969 album Family Entertainment .
Donovan's hit song "Hurdy Gurdy Man" used a tambura, which can also be heard on songs such as "Sunny South Kensington", "Breezes of Patchouli", "Celeste", "Guinevere", "Three King Fishers", "Ferris Wheel" and "Fat Angel". Roy Wood from The Move played sitar on "Night of Fear" using the same riffs as Tchaikovsky's "1812 Overture", as well as the electric sitar on "Open up said the world at the door". The Dutch band Shocking Blue used the sitar in many of their songs, most prominently in "Love Buzz", "Acka Raga", "Water Boy", "Hot Sand" and "I'm A Woman". Richie Havens made extensive use of the sitar in the title track of his second album, Something Else Again . Blue Cheer used both sitar and tabla in their song "Babji (Twilight Raga)".
Although the sitar craze had died down by 1970, its distinctive sound had become an indelible part of pop music. Genesis used the electric sitar on "I Know What I Like (In Your Wardrobe)", from their fifth album Selling England by the Pound . Steve Howe of Yes used an electric sitar on the band's album Close to the Edge .
Paul Weller of The Jam briefly used the sitar on the 1980 track 'Pretty Green', from the album Sound Affects. Although it is buried well in the mix over a guitar solo, it can be heard clearly on the Demo Version, found on the Sound Affects 2010 Deluxe Edition.
Tom Petty and the Heartbreakers used a guitar fitted with a harpsichord-device to simulate a sitar for their 1985 hit "Don't Come Around Here No More". John Renbourn used the instrument prominently during his time with the folk band Pentangle, on songs such as "Once I Had a Sweetheart", "House Carpenter", "Cruel Sister", "Rain and Snow" and "The Snows". Metallica used a sitar during the intro of their 1991 song "Wherever I May Roam". Beck also used a sitar on his 1993 hit 'Loser'.
Although the sitar is not a regular staple in country music, it can be heard in Hank Williams Jr.’s A Country Boy Can Survive off his 1981 studio album The Pressure Is On and was played by Reggie Young, as listed in the ‘Personnel’ section on the album’s WikiPedia page.
Although his period of dedicated sitar study ended in 1968, Harrison continued to champion Indian classical music. In addition to producing recordings by Shankar, Harrison included sitar in "Be Here Now", "When We Was Fab" and other songs from his solo career, as well as in the Traveling Wilburys' 1990 track "The Devil's Been Busy".
Nishat Khan performed his Sitar Concerto No.1 at the BBC Proms in 2013 [10]
Stu Mackenzie of Australian psychedelic rock band King Gizzard & the Lizard Wizard would play sitar on King Gizzard's 2013 album Float Along – Fill Your Lungs.
The sitar is featured prominently in the music of the Japanese neo-psychedelic band Kikagaku Moyo, played by Ryu Kurosawa.
Psychedelic rock is a rock music genre that is inspired, influenced, or representative of psychedelic culture, which is centered on perception-altering hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation. Many psychedelic groups differ in style, and the label is often applied spuriously.
The sitar is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in medieval India, flourished in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th-century figure of the Mughal Empire has been identified by modern scholarship as the inventor of the sitar. According to most historians, he developed the sitar from the setar, an Iranian instrument of Abbasid or Safavid origin. Another view supported by a minority of scholars is that Khusrau Khan developed it from Veena.
Ravi Shankar, was an Indian sitarist and composer. A sitar virtuoso, he became the world's best-known expert of North Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999.
"Norwegian Wood (This Bird Has Flown)" otherwise known as simply "Norwegian Wood", is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written mainly by John Lennon, with lyrical contributions from Paul McCartney, and credited to the Lennon–McCartney songwriting partnership. Influenced by the introspective lyrics of Bob Dylan, the song is considered a milestone in the Beatles' development as songwriters. The track features a sitar part, played by lead guitarist George Harrison, that marked the first appearance of the Indian string instrument on a Western rock recording. The song was a number 1 hit in Australia when released on a single there in 1966, coupled with "Nowhere Man".
"Within You Without You" is a song by the English rock band the Beatles from their 1967 album Sgt. Pepper's Lonely Hearts Club Band. Written by lead guitarist George Harrison, it was his second composition in the Indian classical style, after "Love You To", and inspired by his stay in India in late 1966 with his mentor and sitar teacher Ravi Shankar. Recorded in London without the other Beatles, it features Indian instrumentation such as sitar, tambura, dilruba and tabla, and was performed by Harrison and members of the Asian Music Circle. The recording marked a significant departure from the Beatles' previous work; musically, it evokes the Indian devotional tradition, while the overtly spiritual quality of the lyrics reflects Harrison's absorption in Hindu philosophy and the teachings of the Vedas.
Raga rock is rock or pop music with a pronounced Indian influence, either in its construction, its timbre, or its use of Indian musical instruments, such as the sitar and tabla. In addition, rock music from the 1960s and 1970s that incorporates South Asian musical influences and instruments, along with Western ideas of the Indian subcontinent, is often regarded as raga rock.
"Tomorrow Never Knows" is a song by the English rock band the Beatles, written primarily by John Lennon and credited to Lennon–McCartney. It was released in August 1966 as the final track on their album Revolver, although it was the first song recorded for the LP. The song marked a radical departure for the Beatles, as the band fully embraced the potential of the recording studio without consideration for reproducing the results in concert.
"Love You To" is a song by the English rock band the Beatles from their 1966 album Revolver. The song was written and sung by George Harrison and features Indian instrumentation such as sitar and tabla. Following Harrison's introduction of the sitar on "Norwegian Wood " in 1965, it was the first Beatles song to fully reflect the influence of Indian classical music. The recording was made with minimal participation from Harrison's bandmates; instead, he created the track with tabla player Anil Bhagwat and other Indian musicians from the Asian Music Circle in London.
Raga is a 1971 documentary film about the life and music of Indian sitarist Ravi Shankar, produced and directed by Howard Worth. It includes scenes featuring Western musicians Yehudi Menuhin and George Harrison, as well as footage of Shankar returning to Maihar in central India, where as a young man he trained under the mentorship of Allauddin Khan. The film also features a portion of Shankar and tabla player Alla Rakha's acclaimed performance at the 1967 Monterey Pop Festival.
John Barham is an English classical pianist, composer, arranger, producer and educator. He is best known for his orchestration of George Harrison albums such as All Things Must Pass (1970) and for his association with Indian sitar maestro Ravi Shankar.
"Why" is a song by the American rock band the Byrds, written by David Crosby and Jim McGuinn and first released as the B-side of the band's "Eight Miles High" single in March 1966. The song was re-recorded in December 1966 and released for a second time as part of the band's Younger Than Yesterday album.
Ravi Shankar's Music Festival from India was an Indian classical music revue led by sitarist and composer Ravi Shankar intended for Western concert audiences and performed in 1974. Its presentation was the first project undertaken by the Material World Charitable Foundation, set up the previous year by ex-Beatle George Harrison. Long a champion of Indian music, Harrison also produced an eponymous studio album by the Music Festival orchestra, which was released in 1976 on his Dark Horse record label. Both the CD format of the Ravi Shankar's Music Festival from India album and a DVD of their performance at the Royal Albert Hall in London were issued for the first time on the 2010 Shankar–Harrison box set Collaborations.
In Concert 1972 is a double live album by sitar virtuoso Ravi Shankar and sarodiya Ali Akbar Khan, released in 1973 on Apple Records. It was recorded at the Philharmonic Hall, New York City, in October 1972, and is a noted example of the two Hindustani classical musicians' celebrated jugalbandi (duet) style of playing. With accompaniment from tabla player Alla Rakha, the performance reflects the two artists' sorrow at the recent death of their revered guru, and Khan's father, Allauddin Khan. The latter was responsible for many innovations in Indian music during the twentieth century, including the call-and-response dialogue that musicians such as Shankar, Khan and Rakha popularised among Western audiences in the 1960s.
The Asian Music Circle was an organisation founded in London, England, in 1946, that promoted Indian and other Asian styles of music, dance and culture in the West. The AMC is credited with having facilitated the assimilation of the Indian subcontinent's artistic traditions into mainstream British culture. Founded by Indian writer and former political activist Ayana Angadi and his English wife, Patricia Fell-Clarke, a painter and later a novelist, the organisation was run from their family home in the north London suburb of Finchley.
Tana Mana is an album by Indian musician Ravi Shankar, originally credited to "the Ravi Shankar Project" and released in 1987. The album is an experimental work by Shankar, mixing traditional instrumentation with 1980s electronic music and sampling technology. Shankar recorded much of Tana Mana in 1983 with sound effects innovator Frank Serafine, but it remained unreleased until Peter Baumann, head of new age record label Private Music, became attached to the project. The album title translates to mean "body and mind".
"Ride Rajbun" is a song by English musician George Harrison. It was released in 1992 on the multi-artist charity album The Bunbury Tails, which was the soundtrack to the British animated television series of the same name. Harrison co-wrote the song's lyrics with Bunbury Tails creator David English. The eponymous Rajbun was a character in the series based on English's friend and cricketer Rajendrasinh Jadeja, one of a team of cricket-playing rabbits – in this case, from Bangalore in India. The composition is in the style of a nursery rhyme or children's song, while the all-Indian instrumentation on the recording recalls some of Harrison's compositions for the Beatles during 1966–68.
Live: Ravi Shankar at the Monterey International Pop Festival is a live album by Indian sitarist Ravi Shankar, released on the World Pacific record label in November 1967. It consists of part of Shankar's celebrated performance at the Monterey International Pop Festival in California on 18 June 1967. Shankar was accompanied throughout by his regular tabla player, Alla Rakha, who performs a frenetic five-minute solo on the recording.
Ravi Shankar's Festival from India is a double album by Indian musician and composer Ravi Shankar, released on World Pacific Records in December 1968. It contains studio recordings made by a large ensemble of performers, many of whom Shankar had brought to the United States from India. Among the musicians were Shivkumar Sharma, Jitendra Abhisheki, Palghat Raghu, Lakshmi Shankar, Aashish Khan and Alla Rakha. The project presented Indian classical music in an orchestral setting, so recalling Shankar's work as musical director of All India Radio in the years before he achieved international fame as a soloist during the 1960s.
Raga Rock is an album credited to "the Folkswingers featuring Harihar Rao", who was a Los Angeles-based Indian classical musician and ethnomusicologist. The album was released in June 1966 on the World Pacific record label. The title refers to the raga rock trend in popular music, as artists such as the Beatles, the Byrds, the Rolling Stones and the Yardbirds had all begun incorporating Indian influences into their recent work. Led by the sitar playing of Rao, a longtime associate of Ravi Shankar, the album contains instrumental versions of several of these contemporary songs, including "Norwegian Wood", "Eight Miles High" and "Paint It Black". Other members of the Folkswingers for this release included jazz musicians such as Herb Ellis and Dennis Budimir, and members of the Los Angeles pool of session musicians known as the Wrecking Crew.
Ananda Shankar is the debut album by Indian musician Ananda Shankar, the son of dancer and choreographer Uday Shankar and the nephew of Indian classical musician Ravi Shankar. It was released in 1970 on the Reprise record label. The album fuses Indian music with Western rock and electronic music, and was among the first works in the rock genre by an Indian musician. Consisting mainly of instrumental recordings featuring sitar and Moog synthesizer, it includes a cover version of the Rolling Stones' 1968 hit song "Jumpin' Jack Flash" and a thirteen-minute Indian-style piece titled "Sagar ".