Ep11 - Sanj D: Study the background of whatever you do

[00:00:06] Speaker A: Hi, guys. Welcome once again to the Raj Call podcast. And I've got another very special guest. So this next musician, singer, I've been watching him on TikTok and that's where I've discovered him. And he's got such a fantastic voice. Melodious voice though. I love melody. I'm a melody singer. I'm a nineties. I used to love my nineties music. So Hans, Rajhans, even the hindi stuff, Kumar sanu and stuff. So this singer is all about that kind of, those kind of melodies which are gone from punjabi music now. But I can see he's bringing a lot of that in. So I'm going to let him introduce himself. [00:00:45] Speaker B: How are you guys doing? Thanks, Raj, for having me on the show. [00:00:49] Speaker A: Absolutely. You want to introduce yourself to those who don't know you because they can see you on the YouTube but they won't see you on Spotify and apple. [00:00:56] Speaker B: Yeah, yeah. So guys, as you guys know, my name is Sanjdi. I'm a british born singer, singer, songwriter, composer and been singing for the last 15 years or so. [00:01:13] Speaker A: Wow. I don't even know. And obviously you guys said on TikTok. So what's it going about? It's going to be quite like a friendly discussion. Like we're sitting at home having a cup of tea, that kind of vibe. So it's not, it's not interview per se, but I love to learn of people and vice versa, we learn of each other. So that's what the podcast's about. So without further ado, just tell us a little bit about yourself, your background, where you're from. [00:01:41] Speaker B: Yeah, I'm actually from London, barking, east London, as you would say. [00:01:49] Speaker A: Okay, nice. [00:01:50] Speaker B: Yeah, yeah, I've been in the. I've been singing for all quite a few years now. Like 15, like nearly coming up to 15 to 17 years. And my, actually, my actual interest in music came from dawn. So, yeah, so when I was about actually. Oh, it's a funny story. When I was about seven, like, this was when I was starting to listen to. I got a graph the. Whilst listening to the Bangladesh songs and stuff, I used to love hearing the tall and like dad and stuff like that. So the actual folk instruments, you know, they. Oh, he Maldiki. Like, you know, just hearing their tall, like, I just stored it my brain. And the bucky fellow, like you just been tapping, really tapping away. [00:02:45] Speaker A: What about yourself, like in terms of like your background, what was your upbringing like? And, you know, what was London like at that. At that point when you're a kid. [00:02:54] Speaker B: Just, you know, London was actually. It's always fast paced. My mom's from back home, so that's been like, you know, a great support. Like my Punjabi and also like, even my dad was like, born from here. But yeah, he was always, you know, attached to the punjabi language and stuff. So I've always been kind of like, you know, speaking Punjabi at home when I was like young and. Yeah, yeah. [00:03:38] Speaker A: What about like your social life around your school? Was it. Are you, is. I'm not. Excuse my ignorance. I'm. I know Southall. I know Hanslow. I'm always from Hanslow. I know, um, uh, yeah, uh, ealing and stuff like that. So you know, the asian areas. So I'm not sure. Is there a large asian community in your area? [00:04:01] Speaker B: There is, there is now. Um, actually when I. Where, where my childhood was, like, you know, I spent my childhood, um, it was pretty much in like in the like east end of London. So like bow miland Whitechapel. I was actually born from, born in Whitechapel, actually. And then obviously we live, we lived in bow and then. Yeah, because even when I moved down to barking, where I see a lot of like asian community, that's the first time I actually seen a lot of like, you know, punjabi community. And like back in 2001, Bela, like, you know, I was in, um, obviously in like boat, boat area and stuff like that. You didn't get to see much punjabi people down there or he. There was only like one corridor that I've been like going to since, uh, since I was a kid, you know, Harley Grove in Bow and. Yeah, so it's a pretty, very small community down there. Like, you know, people come from like, um, um, like Dawson, Hackney and stuff like that. And that's pretty much about it, really. [00:05:17] Speaker A: So is that the only gurdwara? Uh, yeah. [00:05:20] Speaker B: In east London? Yeah, yeah, I mean, there was, there was, uh, there was also another one, like a small, like, it was kind of. It was like a home, actually. A personal home which they converted into a gurdwara I don't know how many years back, but it's gotten a long, long way back. And they actually said that Udam Singh also paid visit to that gurdwara as well. [00:05:48] Speaker A: Wow. [00:05:48] Speaker B: Yeah, yeah. And that was the first, obviously, Gurdwara in east London, bow. So that was Gurda 600 on Camel Road. So, yeah. And then afterwards, then after the Sangreth, like, you know, put money together and stuff, all their servants and stuff, like they bought another building, Harley Grove. There was a bundle on Harley Grove, that was actually a synagogue before. [00:06:24] Speaker A: Wow. [00:06:24] Speaker B: And. Yeah, yeah, and so they obviously started, like, they don't want to see if I've got all the money together. I actually bought that building, so the. Yeah. [00:06:35] Speaker A: So when you were young, uh, did. Were you trained musically when you were young? Or was it, like, was it just a hobby or what. What was your house atmosphere like when you were young? How did you get into music? [00:06:46] Speaker B: I'll be pretty honest. Um, apart from my dad, like, writing shady from, like, many, many years, like, since I was young, actually, up until now. Like, that's where I get my song writing from. But in terms of singing, not much of my family used to sing, so even myself, I actually didn't know that I can sing until I was about 13, actually. Yeah. Well done. [00:07:19] Speaker A: Were you listening a lot? [00:07:20] Speaker B: I was listening to a lot, yeah, yeah. I listened to quite a lot of, like, old school music, like balloon safari, sahib, rest in peace and. Yeah. Also surrender Shindaji. A lot of our RDB stuff is like, you know, we grew up listening to, uh, poster down there, as you know. Yeah, yeah, yeah. So it was all that kind of music that, you know, sort of brought me into, uh, doll playing. Um, like I said before, I used to listen to the doll even though I didn't have a doll at the time. I saw, like, you know, um. [00:08:03] Speaker A: How old were you at this time when you were listening to all these? Uh, yeah, we don't want to give away your age, but, like, yes, I. [00:08:10] Speaker B: Was about, uh, so sort of, like, from seven onwards. From a seven year old onwards, I've been listening to all this kind of music. [00:08:18] Speaker A: So Ardipini and all that. This is when. When UK Bangladesh was like, flying music worldwide. [00:08:24] Speaker B: Yeah, that's right, yeah, yeah. Obviously when I was a bit too young, I had been listening to a lot of, like, classical music as well. Yeah, yeah, you know. Yeah, he's actually. It's funny enough is only. Only, if only when I was about 21, like, at that sort of age. He then disclosed that he was also a vicious. In his time, he used to do Kavishari. [00:09:03] Speaker A: Oh, nice. [00:09:04] Speaker B: Yeah, yeah, used to do, like, you know, proper, um, kavishvi back in. Back in his time. In his, uh, teens, so. [00:09:12] Speaker A: Yeah, especially the writing part of it. [00:09:15] Speaker B: Yeah, definitely. [00:09:17] Speaker A: Yeah. [00:09:19] Speaker B: So, uh, and it's like he, uh. It was the first time I sang Kuldeep manasa to my nanaji. And that's when he, like, you know, said, wow, you can actually sing, like, very well. [00:09:32] Speaker A: How old were you then? [00:09:34] Speaker B: Yeah, I was about 18 and stuff. [00:09:37] Speaker A: Okay. So before that. So you. You're. You're at home, you're. You're listening to this stuff. So do you. Do you used to hum along to the songs or was it just. [00:09:48] Speaker B: Yeah, I've been humming along to the songs as actually, because that's a form. [00:09:52] Speaker A: Of training, really, if you think about it. And when you're young, you're. You're. You're mimicking a lot of training. Vocal training is listening, isn't it? [00:10:00] Speaker B: Listening? [00:10:02] Speaker A: Yeah, that's it, yeah. So it'd be interesting. [00:10:06] Speaker B: And obviously I started from about ages 15, actually. I started doing girtim in my local order. Yeah, yeah. So I obviously learned training, like, you know, by my Usaaji. USA Sita Sinstara. He taught me a lot of, like, you know, on rags and stuff, which is obviously the. Is no matter, like, jeremy passing me, like, whatever kind of music you do, get into the. The base of that music is the classical part without the classical sort of knowledge. Like, it's kind of like your. Your half kind of. You're half in the, you know. [00:10:52] Speaker A: The classical parts. Your foundation, isn't it? Yeah. So that's the foundation. When you get classical, you can sing any style. [00:10:59] Speaker B: Yeah, that's right. [00:11:01] Speaker A: Okay, so you were learning in the gurdwara at 15, was. Did you go to the chassis? Was it reach? [00:11:13] Speaker B: Yeah, it was Ichar. It was definitely richer. I mean, like, my. Obviously, my dad, you know, gave me a lot of teachings on, like, Sikhi as well. Um, and obviously, um, he. He said, like, he himself likes, said that I should get into, like, Girtan. And I actually been listening to, like, shabbat Girtan all my life as well. Like, you know, apart from, like, all the Bamran music, Shabbat girt, and also being a part of my life. So, um, like, you know, I thought definitely because it's, um, ikta is humbling and, like, you know, it's all about you're. I see, as a, you know, Sikhi, as a music, like, you know, journey anyway, like, kind of musical, really. Right. I mean, I spoke to you earlier on, obviously, we were saying about how the depth of music. So I like the way I take it, is as if, like, each and upon is so deep and. And we can obviously, you know, put that knowledge towards music. It's like, music in itself is so deep that, like, they have not reached the, like, they haven't reached the end of it. Like, maliki even, like, the biggest, biggest assads, like, you know, they consider themselves bullabala. Of, like, you know, little drop of bunny, like, you know, and music is such a. Like a deep ocean. Like, you just can't, you know, get the end of it. And obviously that little bulla blah, you're just a part of it. That's. That's pretty much it, yeah. [00:13:00] Speaker A: It's too vast, isn't it? Music is itself. You can carry a learning hall all your life, and you realize that actually, you don't know anything. [00:13:07] Speaker B: No, no, no. [00:13:10] Speaker A: Yeah, man. Actually don't know much at all. So, uh, that's music for you. So when you went through the. You. You, did your dad encourage you because of. You were good at singing, or did he just encourage you because the religious aspect of it? [00:13:24] Speaker B: Uh, because I was a bit good at singing as well. He's actually pushed me a lot on, like, you know, uh, singing at parties and stuff. [00:13:33] Speaker A: See, we're missing all this information. That's. That's why I'm asking you, because we're missing all this, like, because we missed all your party singing and stuff like that. So I want to know, but I find it interesting, so I want to know about that. So was it, like, were you, like, were you the kid? Like, when I was a kid, I was a kid, like, uh, basically, if there's a party or wedding or something, and it is a little kid and you. [00:13:58] Speaker B: That's it. That was literally the way. The way it was for me, though. Although I was a really, really shy kid, actually, man, I'll be honest, I was a pretty shy kid. But, you know, like, you know, all thanks to my dad, all thanks to the push, you know, I managed to, like, build up my confidence in the, like, in singing in front of people. Mela Mas was actually like, I being like, you know, Batman singer as, you know, they, like, you know, just singing to yourself, really. But then I thought, like, you know, it's good to sort of, like, sing out aloud. It's like. It's confidence, fear, they. You just. I don't know, it's just like, you know, it makes people, like, admire you more, kind of thing. Appreciate your sort of, like, you know, what you have. What you have for the. What you have to give them. Table. Really? [00:14:52] Speaker A: Yeah. So. So what was your experience like that when you were singing at parties? Was it, like, do you remember the first time you ever did that, or you might have a memory somewhere? [00:15:02] Speaker B: Yeah, yeah, actually, um, yeah, it was one of my private function, like, um. Um, a birthday to, like, a home party. Like, you know, I was just singing away over there. Um, my. Like, my family members, obviously, they. They've been singing, like, bollywood songs, and, um, I kind of, like, went in. Really? My dad was. Yeah. [00:15:31] Speaker A: Did you sing a bollywood song or was it. [00:15:33] Speaker B: Yeah, yeah, bollywood song. Yeah, my. Actually, you know, this is actually my dad's favorite. I'll sing a few lines. [00:15:43] Speaker A: Go for it. Yeah, yeah. [00:15:51] Speaker B: Muje to J Sean is indigani. Muje say. Marijan is indigani. Muji say. [00:16:18] Speaker A: Had a nose. [00:16:39] Speaker B: Mehri bani pass me. [00:16:50] Speaker A: I was just gonna say sorry for interrupting you. I was gonna say. I thought you finished. Sorry. So I was just gonna say, how do I know it was gonna be a Muhammad rafi song? Yeah, yeah. He's the biggest legend in indian singing. Hana. Yeah, yeah. Wow. Yeah. It's fantastic. Fantastic sand. So, yeah, so from there, you. You started singing, and that. That does build your confidence, especially. How old were you then? [00:17:17] Speaker B: I was. Yeah, I was about. That's your first performance? I've done it, like, in my household was about 1314. About that. [00:17:26] Speaker A: And how did you know the song? [00:17:28] Speaker B: Buzzword? Dad used to sing quite a lot. Like. Like. Well, not sing, but here. Like, hear the songs. I used to, like when he used to pick me up from school, wherever, or just go out anyway, in the park. Used to put them on. On the radios, but, like, punjab radio, like, you know. You know. [00:17:54] Speaker A: Yeah. [00:17:54] Speaker B: And you said, like, I couldn't, obviously not hear it, but, like. [00:17:59] Speaker A: Yeah, so I do the same with my daughter. I do the same. My daughter. My daughter's in the car. So I put either put Nasrat on or put some old, really classical, you know, melodious songs. Like. And, you know, especially. She's. She's listening to Kwali at the moment. She's tapping her feet. She's only, like, tapping her feet. Listening to Kwali clapping. It does make a massive difference of what your parents bring you up. That's right, yeah. Okay, so you. You would. You're doing this singing. Um, you. So that led you to doing, uh, Girtan. What was the Girthan training, like, if you don't mind me asking? [00:18:41] Speaker B: Girthan was, like, really, uh, rag based. So, like, you know, um. Uh, basically, like, you know, he's. He, um, actually one of my. One of our family friends. Actually, my dad is best of friends. Like, when he came to the UK. [00:19:01] Speaker A: Wow. [00:19:02] Speaker B: Yeah. So it was really, like we were quite family orientated in that sense. Obviously, he knew my dad close. Closer than me. More like, you know, closely there. Yeah. Like, you know, he gave me his astronauts and stuff and started, like, you know, teaching me, like, you know, the main parts of, like, you know, not only girtam, but Sangeet, which is the sarias and stuff. And. Yeah, yeah. And making sure that he's always, like, highlighted that the importance of, like, the sarias. Like, obviously you would, like, without the gram diaz of, like, so you wouldn't be able to, like, you know, touch the lower notes. Yeah. [00:19:56] Speaker A: You know, you're the first singer who's mentioned out of all the interviews I've done, apart from Shin DCs, who's mentioned Sadha Reyes. [00:20:05] Speaker B: Yeah. [00:20:05] Speaker A: How important Sadha Reyes is. [00:20:07] Speaker B: Yeah, it really is. [00:20:09] Speaker A: Yeah. So you're the first, so hats up to you. The first guy who's mentioned Sadha's. I know. And how I do that every day. Anyway, Sadha is basically no matter what happens. So how did you get, like, was it with the tampa or with the vaja? [00:20:28] Speaker B: With the vaja, actually. So I. I. When I obviously went to India, at some point, I came back with the vaja as well. You know, let's take it forward. Before, when I used to do kirtan, I didn't have a vaja. I'll be really honest. There is only the vaja that, you know, Usaaji gave me a lot whilst learning, obviously, and then baki vedo, like, you know, just. I had to get a vaja. And there's that time when I was learning, like, also, although he gave me lessons in Arya's death, I'll be honest. But obviously I didn't have the. [00:21:10] Speaker A: We're all the same. [00:21:11] Speaker B: Yeah, yeah, they, obviously, when I got the budget, came back and started singing, the shepherds done the elabs that he, like, gave me and stuff. Done these arias and stuff and. Yeah, just kept on going, like, with that, really. [00:21:29] Speaker A: So do you remember the foundation? Because, like, there's a lot of different. As I said, like, I've had different guests and each of them have had their own way that they've been taught. So when you were taught, were you, like, I'm assuming you didn't know about the scale, like sadegama bada nisa. [00:21:43] Speaker B: That's right. [00:21:44] Speaker A: Did you know about that before or did you go into it totally blank and he's taught you that? [00:21:49] Speaker B: Yeah, that's right. It was totally blank for me. I actually never knew about, like, classical singing in that sense. Like, obviously, when. When he. When he was teaching me, like, there was so many different variations of sadiqama pad anisa, obviously, what we call the alamkadas and stuff. [00:22:14] Speaker A: Yeah. [00:22:15] Speaker B: And like, you know, it's even he himself said this, like, to see like, you know, Sikh, it's always. It's just not going to be enough. You're always going to keep learning as you go. [00:22:29] Speaker A: Absolutely. So do you remember, like your grasp, did you remember, did he teach you bilawal first? Bilawal tart. Because it's got all the major scale, like c sharp major Obiana. If you take for the pelagallana. Is that what you were taught first or. [00:22:46] Speaker B: Yeah, yeah. So bilal rag and then obviously ragh bharbi. [00:22:51] Speaker A: Yeah. [00:22:58] Speaker B: Sani da parma gari sa. [00:23:05] Speaker A: Nice. You can tell you got the base of it. So how long did you do that training for? [00:23:11] Speaker B: So that was, um, like, that was a good solid, like month or two training before, like, you know, obviously I was more comfortable in doing good then, you know. Yeah. Because all like the way USAA Jesus taught me was obviously the Alankarza stuff and the elaps while doing the Shabbat. So that was also like quite like, you know, it was nice. And then obviously was like pretty like advanced level, kind of like the hours and stuff. Yeah, man, it takes a lot of time to. [00:23:51] Speaker A: And some of it like. Like, I don't know about your experience. Like, I can't speak because I've been trained a bit different, but some of it's quite boring, you know that. Especially the. The paltry you're doing and the sarias, you know, like you have to have be mentally disciplined for it because you just can't keep attention. That my experience, at least I'm being. [00:24:11] Speaker B: Honest with you, it's absolutely right because that's. That's exactly what happened to me at some point. [00:24:17] Speaker A: Yeah. [00:24:18] Speaker B: Although. Although I couldn't say it to him, although I couldn't show him, but like, you know, Adnan Dasi, like, you know, especially with sari, us, like you said, you had to have so much like mental patience and stuff. They like, you know, banda gave, but obviously, you know, you're defined as an artist if you come back to it. Like, if you come back to what you. Where you left off, really. [00:24:50] Speaker A: And the thing was, saria is right. If you got your root note solid. The other notes. The other notes. [00:24:57] Speaker B: That's right. 100%. Yeah, yeah. [00:25:02] Speaker A: The rest of the notes. Yeah. You might make a mistake here or. [00:25:04] Speaker B: There, but yeah, yeah. [00:25:06] Speaker A: You got the sari every not key. [00:25:08] Speaker B: Yeah, yeah, exactly. [00:25:11] Speaker A: Definitely a little tip. I do like, when doing sarias, I actually, when I'm going to work, I only go work one day a week. Because I work at home most of the time when I drive to work, it's about an hour journey, an hour back. So in the car, I do my sarias in the car because it's quite a boxy app. You know, it's all. You're boxed in. You can hear your voice properly. Yeah. So that's how I do my sari. That's really. And then do the polite on the way back, I'll do my part. Or doing some else, you know, like. Yeah, with the. With the. Because I've got this app called itabla. [00:25:53] Speaker B: Okay. [00:25:54] Speaker A: Table. You can put your different, uh, tiles on the carva teen tal, you know, Jakdal. You can put whatever you. And depending on what type of Pulitzer, you can just switch on and just. [00:26:04] Speaker B: Yeah, yeah. [00:26:04] Speaker A: Then you. You. Yeah, that's a good, really, really good way. But I don't know whether you tried that. [00:26:11] Speaker B: Yeah, yeah, no, I've also got the. And also the tempo app as well. [00:26:17] Speaker A: Yeah. [00:26:18] Speaker B: You know, when I was a, like, sometimes I, like, you know, I just tap my feet and, like, you know, while suit. Because, you know, obviously you need to sing it in the time, in the correct timing. [00:26:32] Speaker A: Yeah. [00:26:33] Speaker B: Even with dumb, like, you know, although you feel that it's just a straight line, like, going on. But. [00:26:47] Speaker A: Have you had experience with percussion as well? Or. [00:26:50] Speaker B: I'm sorry. [00:26:51] Speaker A: Have you had experience with the tabla side of it as well, or just the. [00:26:56] Speaker B: No, no, just the thumb. [00:26:57] Speaker A: Yeah, because, like, like, that was one of my weak areas, was the percussion tabla, like, you know, the classical beats. Yeah, the classical ball dal. So what I had to do, I had to just go look like it. How can I. How can I tackle this? So I had to learn, you know. Have you ever learned by hand? [00:27:15] Speaker B: Yeah, yeah, that's right. [00:27:16] Speaker A: Yeah, I learned by hand. So 1234, 121-234-1234 and then you do it really slow where you doing and so, and so on. Yeah. So it's really interesting talking to you, sanjay, because, like, straight away, I can feel, you know, with equivalent on the. Musically, you know, we're talking about this. We're talking about the same thing. We're in the same way. Not everyone's. Not everyone has that. So thank you so much. Brilliant talking to you in that sense, especially the technical side. So you've learned that. And did you start performing in the Gurudata? [00:28:00] Speaker B: Yes. And then obviously, yeah, because I. I started performing for, like, quite a few years after that, like, um. Uh, like, apart from doing all the, like, other commercial stuff, like, just commercially um, I've always, like, been. That was kind of like, I'll say my spiritual, uh, life. The, the start of my spiritual life, really. Yeah. So that was, that was pretty nice. Um, even, like, even up until today, like, you know, I've, um, I've still got that side of me. Um, you know, even like, you know, I met. I met absolutely great people. Like, you know, um, one of them, my, like, very best friend, Bay Hajar Singh. You must have heard the tanguru nanak from, from himself. [00:28:54] Speaker A: It rings a bell. [00:28:56] Speaker B: Yeah, yeah. But he's really like a very, very, very good artist as well. Belong. Obviously he done that commercial stuff like me, like Bongrand, like also slow jams, like, you know, like, melodious thing is. And then obviously he got into like, gibdin and. Yeah, he just took that, like, you know, side and like, he's doing really, really well as well, so, yeah, like, get done in that, like, you know, it's always, it's always been a part of my life. And in fact, I've got a good sort of, like, recording session coming up soon. Oh, nice. [00:29:37] Speaker A: You gotta send me that when you list it there. [00:29:41] Speaker B: Obviously that will be done with get the Vi, another recording group, like, basically. [00:29:49] Speaker A: Nice. So. So when did you. Let's, let's look at the commercial side of it. When did you first get into singing commercially? [00:29:59] Speaker B: You know, I've been around about 19 to 21, like 20 years old. I actually wrote my first love song. Obviously hearing like old music and stuff, like old Punjabi, like teared Punjabi Ball and stuff like that. They offer all the support. That was actually released in 2014. [00:30:37] Speaker A: Oh, nice. [00:30:38] Speaker B: When I was 21 with Stephen Chohan. So he's also like someone from east London. Yeah, yeah, yeah. [00:30:52] Speaker A: So, okay, so you released that. What was that? How did you. How did that come. Come up? Come about? [00:30:58] Speaker B: That came. Whoa. Actually, um. Uh, I was actually on a doll gig. Um, yeah, yeah. Where I met, um, like, where I met Steve. And obviously, um, uh, he was like, he was like, we just kind of spoke together. It was actually a dollar gig for like, a shop entry or whatever. They obviously, we just got kind of talking, saying that, like, I'm quite musically, like, orientated. I write my own, like, songs and stuff. I've been singing for this amount of years. And he said, like, obviously we should do something. So then that kind of came through, like, you know, gradually. Um, yeah, like, since then, like, yeah, um, I think it was, uh, in, uh, that August, like, around about August time in 2014, I met him. And in October, in November 2014, that's when we released John because it was all John was actually recorded by like with live music. Um so old school way. Yeah. Sort of proper record. Karl, Kira, we done the vocals and stuff. [00:32:20] Speaker A: So what did you record that indio. [00:32:21] Speaker B: Here, over here, um in the east London uh Forest gate. How did you get the musicians for that? [00:32:29] Speaker A: Oh well there's a darth of musicians. It's Haney musician. [00:32:36] Speaker B: I remember like Danny, the guitarist, he played the guitar for John and the tabla was played by a sandy man obviously. Another like great like he is a tabla player. Yeah from east London. He's got his own shop. Guru sounds obviously. [00:33:00] Speaker A: Famous shop that is. [00:33:01] Speaker B: Yeah. Yeah it was first in on like that sort of Ilford area but then it's moved to Haina. So actually now that I mentioned that Guru san is actually I actually worked in Guru san myself. Did you? Yeah, yeah. Volunteers. Yeah. Yeah. Like obviously as a musician I wanted to know sort of like how to like you know fix up my instruments like you know gave it a down damn licky you know without, without actually knowing how to like tune or like you know fix your instrument. If it's like broken or anything like that then offer daga. You know you're kind of like half trained on, on your, on your field really. But then I've always wanted to sort of like know that you know just, just so, just like for my own knowledge and like you know just for my sort of like mandi Shanti like you know at least I know like the, the instruments I play I know how to sort of like you know care for them and like you know. [00:34:12] Speaker A: How to skin and stuff like that. Like you. [00:34:14] Speaker B: That's right. Yeah. [00:34:15] Speaker A: So I missed a little bit of, of your journey here. So um how did you get into toll? Where did you learn toll from? I missed that part. [00:34:24] Speaker B: Yeah. Yes. So toll, um uh I was meant I mentioned that um it's about I bought my tool in like uh yeah when I was about twelve years old. Um after about four years playing udang like you know just tapping away on the school uh, school tables or anything like that. Getting told off. Yeah but um yeah so I was about twelve when I actually um when my nana got me the uh like my first stall. Um like from India. They um, there was a like there was a class like you know academy, doll academy in um east London, Upton park. So dad found that out obviously dinner is like dual place so obviously it was every Friday. Um like you know in the evenings uh like the session with PCB and, um, I remember obviously learning like, you know, the balls and thals and stuff. Uh, pelante. Like it's. It's a really funny story, actually. Like, you know, gay. Gay. Like the ball. They obviously. Then I kind of just. I don't know. I just played the child. The child ball. They. The start over there. Preetam. Like, you know, like he was like managing the whole place. He, like, he listened to it and he was actually shocked, like, without actually learning child myself. Like from the academy I saw now triple HR. And obviously I then told him, like, I never knew, like, this is what you call, like the book, like the tall beat. Like, I just played it like, all down, like, you know, because I used to listen to Bulgaria and stuff. [00:36:27] Speaker A: That's pretty amazing to be fair. Like, fact that you learned it just tapping on the table and. Yeah, yeah, you got real instrument and you've smashed it. [00:36:36] Speaker B: That's it, man. [00:36:37] Speaker A: Did that just come naturally? Just that you interested. You just picked it. Picked the door up and that's it. [00:36:43] Speaker B: Yeah, that's right. So obviously they taught me the actual ball separately. If you hit the other side on its own, it's called gear, and then the purple side is called na. And then when you hit it together. So then. Then I kind of like with that, just practicing them little thing. I then kind of got the hang of the tool. Like, you know, they said, like they were mentioning that the treble size always, like, always hit, no matter how, no matter what happens, like, you're always going to be hitting the treble side and then you see the. The bass that comes, like, you know, so when. When necessary. Then. Then I kind of got the anger of it and actually started playing the. Hold on, let me put. Let me try and play this. This particular beat. And he actually played that particular beat, the child. [00:37:51] Speaker A: So, so, and that's how you got. And then from there, did you just start sort of, uh. Uh, um, getting gigs and stuff? Stuff like that. [00:37:59] Speaker B: 100. Yeah, that took a long time, actually. [00:38:02] Speaker A: Did it? [00:38:02] Speaker B: Um, yeah, yeah. Uh, obviously, uh, one that, to be fair, like, the tool, I was kind of on and off. I was. I was learning on and off, like, you know, school life as well. The, like, you know. Um, yeah, then, um, I learned that then, um, for a few. Yeah, a few years after I. I got, like, gigs and stuff like that. And, um, that obviously built more confidence. [00:38:30] Speaker A: So what would you practice routine with the dawn? Did you. Did you have somewhere to practice? Because I'm assuming you. You probably couldn't practice as much at home because. [00:38:40] Speaker B: No, no, no. The neighbors and stuff in it. [00:38:42] Speaker A: Yeah, exactly. Yeah. How did, was that just like the class you practiced? [00:38:47] Speaker B: That's right. Yeah, just at the class. So like, obviously every week, um, I used to turn up, turn up over there every week without fail. Um, like, you know, to obviously learn my art and stuff. [00:39:00] Speaker A: Yeah. I think someone needs to event, uh, someone needs to invent a. Electronic door to practice. [00:39:08] Speaker B: Yeah, exactly. [00:39:13] Speaker A: Yeah. Someone. [00:39:14] Speaker B: I mean, they've done it. I mean, they've done it with the tombi as well. [00:39:18] Speaker A: Like, I didn't know. [00:39:19] Speaker B: Yeah, yeah. Beat tripod. He's got like, um. [00:39:22] Speaker A: I've seen. I didn't know that was electronic tombie. I know. He's got the, he's put the scales on there and stuff on it. [00:39:28] Speaker B: Oh, yeah, yeah. [00:39:29] Speaker A: He's put the frets on there. So, so basically you can hit the notes and stuff. He knows where to hit the not. I've seen that. But interestingly, Gujeet Pomeraji has invented the first electronic doubler. [00:39:41] Speaker B: Oh, wow. [00:39:42] Speaker A: Yeah, he's actually, he's actually got it patented and it's out. If you go into his website, it's called Get Outcome kra.com. if you go into his website, you'll see the electronic doubler. And it's a midi instrument as well. So you can plug it into your, into logical or whatever sound music software you use. And you can play other stuff on it as well. [00:40:02] Speaker B: Yeah. [00:40:02] Speaker A: So he's got a book as well, how to play and stuff is really interesting if you ever interested in learning tabla. So if I had time, I'd learn it of him. He's a guy. [00:40:13] Speaker B: Yeah. Very recently, I started to love the tabla. It's absolutely amazing. Like, it's such a beautiful instrument to sort of play and learn to be fair and listen to, like, there was this, there was a time when I used to like, listen to a lot of kawali. And I still do. Like, no, sir. They, you know, I just, I used to love how one, obviously, the, the singing aspect was just phenomenal, but the, the tabla. Like, the tabla was just like also like a very like a top level, like, you know, of like how it's been played as the tal and stuff. And my actual favorite talent, uh, is dadro and, uh, of Sike Erwa. Yeah, yeah, yeah. [00:41:11] Speaker A: Because it's, it's that, that throws, uh, some people off sometimes, you know, the six beat and when it starts, especially if you, if you learn western music. Right. It throws you off sometimes. When you have a six beat cycle, when you have a ten beat cycle. And because to them in there. In there is a lot. The. Some of the musicians are played with. It's. It's just, um, uh, 1234-1234 yeah, that's not like that. It's 123-45-6123 you know? [00:41:38] Speaker B: That's right. Yeah. Yeah. So technically, like, even. Even like, most of the times when I do, uh, give them, like, it's always like, you know, um, like I played the, you know, dada tall with it or like, on the table. And obviously there's a. There's a lot of shoppers that are. That are composed that way. Like that kind of way. Yeah, yeah. Like, you know, where that only that particular dial is. Like, you know, it's a perfect match. [00:42:12] Speaker A: Especially when it's classical, you know. [00:42:13] Speaker B: That's right. [00:42:15] Speaker A: You have to be on that beat. Like, you start on the fifth beat, then, you know, you start on the fourth, 5th beat that the song starts. I didn't even start on the fifth. You know how, like, if you do a normal song, you start on the first beat here. No, you start on the fourth or fifth beat and then you come around circle. This has to come here. [00:42:35] Speaker B: Yeah. You know, even, um. The one thing I forgot to mention is that, um, obviously when I was learning rags and stuff, uh, Usaaji actually, uh, told me, um, like, you know, when, like, when they sang that, the timings of the sangin and, like, what they mean and, like, you know, it was like, amazing. Yeah. Like, um, obviously, uh, rag perov that sang in the morning, like, obviously, um, as you. As obviously he. That as he has, as he would say, like, you know, um, obviously rag Barab. And, um, you know, you learn in Amr Tuvilla and plus in Amr Tuila, you used to say your gullah is it, like. Is on a spiritual kind of, like, level kind of thing where your grand, like, you know, is much more easier to carry out and so. Yeah, yeah. [00:43:36] Speaker A: To say that, yeah. I mean, like, I think it was Asha boslogy. [00:43:42] Speaker B: She. [00:43:43] Speaker A: She'd get up, she goes, if you want to sing on hair level, I've seen an interview. She get up at four every day, 04:00 in the morning and do that. Realize then. [00:43:54] Speaker B: Yeah, yeah. [00:43:56] Speaker A: The base notes and do the song courage and do do then. And then. And then there's another guy who I listen to, uh, is an old chatterjee, an ultra ji. His name is. He's. He's. He's Ajay Chakrabarti's. Student. He's one of his students that he's such a good teacher. This guy's right. And if you. I'll send you his links afterwards. And he, he says, like, you know, even he was on about get up at. Get up at four or five, do the khadas Dariyas. And on the base notes are go back to sleep if you want. Then just. But that you should do as you were saying. Yeah, that. And that. That specific time. [00:44:36] Speaker B: Yeah, yeah. [00:44:38] Speaker A: I don't do that though, by the way. I can't get up at four. It's hard. And you know, when you hear. Because if you're doing music full time and it's your profession, then. Then, you know, hey. Okay. Yeah. You sure? [00:44:55] Speaker B: Yeah. [00:44:56] Speaker A: So if you're doing music full time, it's a bit. It's a bit easier, you know, if you were getting up and doing that each and every day, but, yeah, very, very interesting. So I'm just gonna go back to your commercial stuff. So when you released, was it John? [00:45:13] Speaker B: Yeah, yeah. [00:45:15] Speaker A: What was the reception and that. That time? [00:45:20] Speaker B: Yeah, that. Was that done pretty well, actually. [00:45:24] Speaker A: Yeah. [00:45:25] Speaker B: So we shot the video in Birmingham with teens productions. No times productions. It was at the time I forgot the name of the video. Like videographers. Yeah, yeah. But they were pretty close with Steve, so. Yeah, yeah, so, yeah, it was pretty good. And obviously after that went pretty well, like, you know, like with the views and stuff. Even on parental toys back fifteen k at the moment. So stood still. Yeah, yeah. Really, really good. The bucky, like, you know, dafi be added, you know, that's it. It's just like since then I've been writing more songs. And then in 2017, obviously apart from like, singing my Vishni and stuff like that, I was singing all down, like, you know, in parties. I like, I continue singing in parties, obviously. My border side. I used to do Kavishri as well. Apart from that, in 2017 when I met me, he's an absolute phenomenal artist. Obviously. He sat on the lap of Russo Fatih Ali Khan and like, you know, it just. It goes just so, like, the first time I actually heard him, like, you know, live and direct, it was just like, you know, in both. Yeah, like, obviously he's also a british porn. And. [00:47:28] Speaker A: Is he a vocalist as well? [00:47:29] Speaker B: It's. Vocalist, yeah. [00:47:30] Speaker A: It's a shame, you know, we don't get to hit like, the way we don't get to hear of all these amazing people in the UK, which is why I'm so happy you're on here because I want people to know about you and, and get your music out there. You know, like at the end of the day, it's UK, Bangladesh. You know, the. We mented it basically. [00:47:51] Speaker B: Yeah, that's it. That's right. [00:47:54] Speaker A: That's, that's not a slight to any, any artists around the world as well. But the truth is, music was invented in the UK. [00:48:03] Speaker B: Yeah, that's right. [00:48:03] Speaker A: In the eighties, seventies, eighties. So one thing I love about your voice is that I'm gonna go into this. I'm a melody singer. I love Melody mitas in the voice. So you've got. That's the first thing I noticed when you, when you were singing is that because I know you mentioned even though you like Kaldeep monarchs, Sundar Chindaji and you know, and, but your voice, the way you sing, Hannah, you've got that, you've got that so much melody. It's not just about high pitched singing. [00:48:37] Speaker B: No, no, no. [00:48:38] Speaker A: That's what I've noticed about your voice. You're actually playing with the sur, you know, in your singing hunter. So where does that come from? [00:48:48] Speaker B: That, um, obviously it comes with the odds, like quite a lot of the hours and just, I'll be honest, it was reals, but was also listening quite a lot to that kind of music as well. [00:49:09] Speaker A: Because I've got the first song you sang on this straight away. I know that because you listen to Muhammad rafi saab, king of melody. You know, there's so much melody in his, in his music and it was so sweet, so much metas. Even when he sings the qawali, there's sweetness in the qwali. [00:49:29] Speaker B: Yeah, that's right. [00:49:30] Speaker A: You know, so. And I can see that in your voice, which is, which is really interesting. And you've carried that over into your bangladesh. Is your kirito in the same as all? You bring that sweetness and melody into it? [00:49:45] Speaker B: Yeah, yeah, definitely. Yeah. [00:49:48] Speaker A: So how did you, um. Uh, sorry. After you. You go, please. [00:49:51] Speaker B: Yeah, no, no, that's fine. [00:49:54] Speaker A: I was just gonna say. So, uh, your preparation, was it, is it different when you do, uh, your preparation for, um, uh, the, your commercial music than you'll keep the preparation different? The aria. [00:50:12] Speaker B: I'll be. I'll be pretty honest with you. [00:50:17] Speaker A: To. [00:50:17] Speaker B: Be fair, like, I don't know, it's just like, with the. To be fair, like, I kind of like practice, you know, even the commercial stuff with like folk instruments, like playing, like, okay, very down there. Like, you know, titles with, like when you go. When you have the surangi and stuff. Like, you know, you kind of feel like that. Kind of like, you know, um. It's. It's a bit like Bangladesh all kind of thing if. [00:51:06] Speaker A: Yeah, like, you know, it's a rhythm, isn't it? [00:51:08] Speaker B: Rhythm, yeah, that's right, yeah. [00:51:10] Speaker A: Rhythm is like that. That bang. Rhythm. Punchiness. [00:51:14] Speaker B: Yeah, yeah. Like, it's all. It's all, like, got to do bungalow and stuff like that. Yeah, yeah, yeah. And obviously with, um, like, kirtan and stuff, that's when I, like, go more like sort of classical, sort of bass training and stuff, like the hours. That's pretty much it, really. [00:51:39] Speaker A: Oh, nice. Yeah, it's really interesting and really insightful talking to you. So your latest track, which was yard ball, that. The medley, how did that come about? [00:51:53] Speaker B: Yeah. So since 2017, he got me to meet G Sony, a producer in the UK in the asian music in 2017. December time I released my track with him that was on the Gory Music record label. So since then, up until now, I've been with God music itself. And obviously they've done an absolute. They've done. Absolutely. There's also a pleasure working with them. Is that music? [00:52:42] Speaker A: Is that. [00:52:42] Speaker B: Yeah, yeah. Gaurav music, like, from London. So they love other artists from India, like Jeevan Martin and a lot of, like, you know, other, like, you know, singers that are not that sort of known, but obviously they got that platform from Julia. Sony Music. Absolutely, yeah. [00:53:13] Speaker A: So how did that track come about? Like, because you've chosen, like, so many. Were these your favorite tracks from when you're. [00:53:20] Speaker B: I'll be honest, I'll be honest. Like, you know, the. The leak at the mill. Actually, I never heard the actual. I never heard the old version before, ma'am. I used to listen to, you know, when obviously we had z music and stuff. [00:53:36] Speaker A: Yes. Yeah, yeah, that's what. [00:53:40] Speaker B: Yeah, that's it, yeah. The one produced by Aman Haya Budgie. [00:53:48] Speaker A: Yeah, yeah. [00:53:49] Speaker B: That was absolutely brilliant. Like, you know, I fell in love with that. They, like, you know, I kind of like. You know, I thought, like, less upper hand does and, like, Sudhir bin Rakiya. So, like, you know, there wasn't a single party in the. In the asian household that. Where Banda Kiyos wasn't played. Like, you know, I think that's since. [00:54:17] Speaker A: I think that's still the same today, isn't it? [00:54:19] Speaker B: That's right, yeah. Even. Even up until now, like, there's not a single, like, you know, meth or like a party. Like Binder Kesar has not played. So I thought like, yeah, let's, um. Let's kind of do something like, in. In that sense, like, you know, um, like, revive the old, um, like, sound and, you know, the old melodies and stuff. [00:54:43] Speaker A: What I like the way you've sung it. As I said, I'm going to go back to that mitas because Sarjeet Binder, when he sing. He sang utah. But if you listen to any of his songs, they're still metabol in the. [00:54:57] Speaker B: Haunted, you know, even. [00:54:59] Speaker A: Even though he's singing higher than anyone, you can, like, sing any hick and everything, but it's still. The. The sweetness is still in his voice, you know, which people don't realize that, you know, it's not just about, oh, you know, singing high, high. He's still. He still carries it with us, with the mitas and with swag about it. [00:55:20] Speaker B: Yeah, that's right. [00:55:21] Speaker A: You know, so. So. And you brought a bit about that bit of that into your. In the. Into your cover, which is. Which I really appreciate, and I saw. Well done. [00:55:31] Speaker B: Yeah, yeah. Thank you very much. And also, like. Like, obviously, when you have the right music to it as well, like, um. Like, it's also, like, amazing. Like, you know, juice only done absolutely amazing work on it, the, like, with the music side and. Yeah, apart from, obviously, as you know yourself, I had. Before that, I had a song called Ishari from ammo beats, and then prior to that, I had koka from, like, you know, ji Sony itself. And the actual slow melody track that I sang, like, you know, after John was a very special song to me, actually. Very, very special song, which I wrote myself in 2021, actually. It was. It was like. It was the song on Ma. So, like, you know, obviously, back in that time. Back in the time I wrote it, it was a pretty emotionally driven, like, you know, time, like, in our family, but then. Yeah, so as a. As a little gift, like a mother's day gift to my mum, like, you know, I sang that song for her. [00:56:53] Speaker A: Amazing. [00:56:54] Speaker B: Yeah, yeah, I've got. I've got. I've got. I've got g. Sorry. Like, you know, to say. I said to her, like, you know, I know it's true. Like, very, like, you know, crazy time. I'm saying. I literally told. Told him about a month before, like, before we do recording session and stuff that, you know, let's record it like a little Mother's Day special. [00:57:22] Speaker A: That's phenomenal. [00:57:24] Speaker B: Yeah, yeah. [00:57:25] Speaker A: So after you. Sorry, carry on. [00:57:29] Speaker B: No, no. So, obviously, that was appreciated quite a lot from everyone. It's always, like, to be fair. Nowadays you have very few listeners that actually sing to like sorry, listen to actual ball that have meanings to it. Even if you're just because you hear the tool you you kind of hear the lyrics and. But you don't actually understand what they're saying. Like, you know, some. It was a bit like, it was a bit crazy like the way where it came out and stuff. [00:58:16] Speaker A: Why do you think that is? Why do you think people don't listen to lyrics? [00:58:24] Speaker B: I don't want to sound wrong to say it, but you know, it's just I personally think that, you know, people are not so knowledgeable like in music itself. Again, as we were talking about music being so deep like, you know, obviously there's no sort of end to it. Like to knowledge of it. Thing is like more than music itself. Music is like. It comes down to writing as well. What you write like, you know if, if people. If you want people to connect with you. I personally think if people because you know, if I. If I go like way back in time like Baba Buleshaji warehouse, they, they actually had the proper depthness of music inside them. You have to see compose cardinal like each and every word that that's, that sung it in itself and see with the tall that's. That's just kind of. Kind of bonus really. But yeah, I think we've lost that touch in people like, you know, learn like, you know, listening to their own language or speaking to their own Punjabi marvel. Yeah. Yeah. Like, you know when we listen to songs that we don't know the meanings of the words and stuff, they feel like. I think we've lost touch with the actual authentic Punjabi bully that we use. Like that were, was used back in the day. [01:00:17] Speaker A: Yeah. It's interesting you say that because like I, I've heard it said and I've. My observation is that we've, in the UK we've managed to keep the 1970s 1980s Punjabi and it's almost like a snapshot of it and it's kept, stayed that, that those words are same. If you go India, it's changed. [01:00:39] Speaker B: It's changed. Yeah. [01:00:40] Speaker A: The Punjabi's or swag art can't those words. [01:00:47] Speaker B: Yeah. And it's. I think it's a bit like, it's. It's a bit like, you know, sarah really like, you know, millennia that much. [01:01:00] Speaker A: Yeah. [01:01:00] Speaker B: And then once you hear people, once someone's actually, you know, trying to bring in them back like in singing them, they're not, they're not appreciated as much. [01:01:12] Speaker A: As I said it might be because like, you know, language is always evolving, but we might be, you and I might be of opinion that it's devolving. [01:01:22] Speaker B: Yeah, yeah. [01:01:25] Speaker A: But the thing, interestingly, the singers that the lyricists that are in India and stuff, now, they all. They've all got english words in them, whereas you and I, we're hardly putting English in them. [01:01:38] Speaker B: No, exactly. It's really interesting, isn't it? That's right. Put some English in there. Yeah. You know. [01:02:04] Speaker A: It'S crazy, bro. Like, I don't mind English, you know, if there's a thing, but I feel that it's very forced. Like, it's trying. Yeah. It's tried to be like you put in English in the sake of being cool. Trying to be cool, but it's not cool. [01:02:16] Speaker B: That's right. Yeah, yeah. One, like, you know, I don't know, many, many people might disagree with this, but maliki industry, you know, we're. We're named punjabi music. Punjabi music industry. So that means punjabi music. Now, that punjabi music means tabala and, like, butchku and each and every, like, punjabi instrument you can think of, that's punjabi music industry. But then, now what you hear is it's a lot of, like, techno. Um, like a hip hop, r and b. Yeah. [01:03:08] Speaker A: There's no punjabi element in it at all. Is there any at all? [01:03:11] Speaker B: Yeah, yeah. It's just about it. Like, nowadays, the only. The only kind of Punjabi in a punjabi song is obviously what the words, you know, sang in Punjabi even. [01:03:22] Speaker A: That's questionable. [01:03:24] Speaker B: That's right, basically. Yeah, yeah. Like, but no, no. Like, I always say, like, you know, if. If you're in that genre, if you're in that industry, open jabihi madikina jarasanita. Just like indian music in itself, like, you know, skin, it's got a lot of emotion into it. Like the. And if you play in the right sort of rug, if you play in the right sort of element, then that emotion can come up, like, you know, in better ways. You know, they, like, if you want someone to, I don't know, feel mellow, then, like, nothing's more mellow than flute and tabla and, you know, the Maldikina, like, to have that sort of, like, mellow feeling to, like, to your. To your music and stuff to your song. You know, there's a lot of, like, indian instruments that you can use to bring out the, like, you know, a good sort of a sense of emotion into your song, whether it's commercial or whether it's not commercial. [01:04:35] Speaker A: I mean, there's this whole trend right now. Exactly. What you're saying is another slot, slight different trend is people are sampling old music just a little, you know, the little flute, what you're saying. But what they're doing, speeding it up. [01:04:47] Speaker B: Yeah. [01:04:48] Speaker A: And then rapping over it. [01:04:49] Speaker B: That's, yeah, yeah. [01:04:52] Speaker A: So they, and it's really, to be fair, like, I never want to knock a person if it's working for them. Fair enough. I might not like it personally, but I'm not going to knock a person into working because, look, it's on sonre. They're listening to it. So there was got to be something. But I don't know whether we agree with it or not. It's a, it's a different story, but they're doing it. And, you know, they were like, it. But our conversation reminds me of Aji song. [01:05:31] Speaker B: Jacking shit. [01:05:32] Speaker A: It's that, isn't it really, isn't it? He sums it all up of what we're talking about here. They've just like, everything's changed, you know? [01:05:39] Speaker B: Yeah, 100%. [01:05:43] Speaker A: So, yeah, pretty much. So what, what can we expect from you in, in the future? [01:05:48] Speaker B: In the future? Um, I've got a, um, as I said, the, the, uh, I've got a curtain album coming soon. Um, you know, I'll be recording that very soon as well. And apart from that, I've got, like, I'm working on a proper dharmic album. Obviously, the lyrics have been written for myself as well. So that I'm hoping to sort of complete for the next year for Misaki. Hopefully like the sake next year and, yeah, just a few more commercial stuff coming out. I'm hoping by the end of this year they will be released and people will enjoy them. [01:06:38] Speaker A: The one question I forgot to ask you is you writing, do you read and write Punjabi as well? Or is it you just do it in English? [01:06:47] Speaker B: It's all like, I don't read acha cha. [01:06:51] Speaker A: So you. It's just what you hear. So you write. What I'm getting at is that you do in you, you write in English. English. [01:07:00] Speaker B: Romanized. [01:07:01] Speaker A: Yeah, romanized. That's. That's the word. Okay, cool, man. That's really cool. Really interesting. So the whole purpose of this podcast is it's my journey more my pursuit of musical excellence. So what would you say, musical excellencies and how would you, how would you pursue musical excellence? And any advice to me or any advice to any listeners, like you want to get into singing, want to get all running into songwriting, how, what would be your best advice to them? [01:07:31] Speaker B: My advice will be is like, obviously, JD come Japan nil. Just make sure you can't study the background of it, the background of the sort of field that you're getting into. Like, obviously with music. Like we discussed throughout the interview, podcast, you know, the foundation of music itself is classical. You know, build a good foundation for yourself. You need to. You need to learn that classical side in music. And obviously, if you were. If you're. If you want to pursue a career as a music producer, then you need to. Obviously, you know, your sarge that you need to. Like that. [01:08:23] Speaker A: Yeah, you say that. You say that these days you got splice, right? And you could. You can go on splice and you can just get. Get with it down, and it does the keys and stuff for you, and you've just got the whole sample, and you put the samples together and you produce a track. [01:08:36] Speaker B: Yeah, that's true. [01:08:39] Speaker A: You carry on. Sorry I interrupted you. If you're a producer, you got to know your sarge. [01:08:44] Speaker B: Yeah, that's right. So, like, obviously, you got to know your sergeant that they bucky. Like, you know. Yeah. Just like, you know, keep at it. Like, keep up, you know, the. And stuff. You know, we all know, like, you know, such a busy time. We're all busy in our lives. Like, you know, we're working stuff, like family, whatever. But then even. Like, even Marco. Sadie says, like, even about 20 minutes to half an hour, like, is sufficient. Like, you know, by Jennifer. Even if a little bit is sufficient. Like, obviously, if you. If you miss out, even, like, for 21 days, like, 20 minutes or half an hour, that. That basically one day you miss equals to 21 days of you missing the ass, basically. Yeah. Yeah. [01:09:36] Speaker A: And the other thing is that these days, like, I'm a massive proponent of technology. So, like, you know, inputting technology into my practice routine. So, you know, before you. You'd have to go, like, say you didn't have a vajo or whatever, you'd have to go, how am I? Is my key right, this. Right. And before you'd have to go and sit with the star g and they're telling you now, you can just, like, check your pitch on your phone. [01:10:04] Speaker B: Yeah. [01:10:05] Speaker A: You see what key you're singing in. So there's a lot of things which you can bypass that time element. [01:10:11] Speaker B: That's right. [01:10:12] Speaker A: And you can bypass using technology. I got one of my. I've got stuff on my PC as well. So there's a lot of little tricks like that. You can get around it. Like, you. Like, you can record your studies, lesson, record their lesson. [01:10:27] Speaker B: Yeah. [01:10:29] Speaker A: On your phone while you can put your audio and record the lesson and go home and practice. [01:10:34] Speaker B: That's right. That's right. [01:10:35] Speaker A: That wasn't a possibility before, was it? [01:10:37] Speaker B: That's right. It wasn't. [01:10:40] Speaker A: So, yeah, it's great what you're saying about that 20 minutes, like, that 20 minutes now that. That back in the day was probably ours. [01:10:49] Speaker B: Yeah, that's right. As we. As we go on, like you said, use your time, like, valuable, like, value your time values or the others, like, you know, I myself, I won't be like, I won't be shameless saying this. You know, when you, like, sit on a coach or whatever, or in a bus, and then you kind of lean your head on the, um. Like, on the, like, edge or whatever, you know, on the window kind of thing, you kind of, um. The. The sound, like, you hear the sound of, like, saw, then you. [01:11:31] Speaker A: Vibration. Yeah, it's the vibration. Every. Every vibration the world's got is. Got is a frequency, too, isn't it? [01:11:38] Speaker B: That's right. Yeah. The old enough, like, you know, like, bastard backing, like, saria salary has, obviously, apart from people, like, saying, like, where does. Where they come from? But then, yeah, no, he's given us a gift, so we should definitely. [01:12:08] Speaker A: Absolutely. Absolute pleasure chatting to you. Where can people follow you? [01:12:14] Speaker B: So I'm on Facebook as Sanjeev Singh. A lot of people know me as Sanjeev Singh on Facebook, on Instagram. Sanj D official. So that's my Instagram page, and obviously my TikTok page is Sanchez, the official as well. So, like, you have to find me on TikTok, Instagram, and Facebook. [01:12:41] Speaker A: That's fantastic. Thank you so much. So I'm going to say goodbye to Sanj, and if you could do me a massive favor, leave us. Well, first favorite is follow Sanj on all these socials. And if you can also just give me a follow on. On social media and also leave a review for it on Apple podcasts or Spotify, whatever platform you're listening. Leave a review, leave a comment, even if it's negative, leave the positive for sand. Give me the negative. That's what tobs, you said to me last time. I think so, Tobeez, he goes, leave the good comments for me and give Roger the bad comments. So that's what he said. So, guys, God bless you all, and I hope you have a. A good two week, because I will release this every two weeks. So until the next one, we'll speak to you later. God bless.