When Parallel Lines Meet

by Manisha Shahane

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about

Mumbai and Southern Virginia converge in a kaleidoscope of Kate Bush, Norah Jones, Loreena McKennitt, & Susheela Raman. A 2008, 2009, & 2010 recipient of the ASCAPlus Award in the Jazz and Popular Division, Manisha Shahane is bridging hemispheres with her second album. Shahane brings over a decade of experience as a performing songwriter to this project featuring her as a singer, songwriter, pianist, composer, arranger and co-producer, working alongside Daniel Cantor. Cantor recently added African Underground Vol.1 (Nomadic Wax) and a cut for In the Name of Love: Africa Salutes U2 (Shout Factory) to his numerous production credits. When Parallel Lines Meet showcases an array of instrumentation resulting in “music of this universe,” a lyric that Shahane penned for the album’s opening track, titled “Girls Gone World.” Exceptional performances are delivered by Brahim Fribgane (oud), Mark Simcox (cello), Kevin Barry (lap steel guitar), Chris Brenne (guitar), George Ruckert (sarod), Iyeoka Ivie Okoawo (spoken word), and Akili Jamal Haynes (trumpet, bass clarinet, trombone). Returning from Shahane’s Peace in Progress album (2004) are Blake Newman (upright bass), Jerry Leake (tabla/multi-percussion), and Dominique Gagne (flute). Members of her Los Angeles-based trio are also introduced, as are the voices of children.

EARLY RESPONSES TO THE ALBUM:
"The Los Angeles-based singer/songwriter is a marvelous performer and her pristine vocals only prove that this sublime blending of sounds and tones is no accident...Like a global voyage with no limits, When Parallel Lines Meet is an adventure through cultures and countries that proves incredibly satisfying and energizing...Her ability to draw listeners in with various styles is remarkable and many will be mesmerized by her transitions and the clarity of her tone. When Parallel Lines Meet is a unique experience, an album tinged with international flavor and the aroma of home."
- Jordan Richardson, I HEAR SPARKS, BlogCritics
**Read the full review here: blogcritics.org/music/article/i-hear-sparks-manisha-shahane-when/#ixzz0qV9yYgW5

“The whole album is actually pulling you towards worldly beats and experiences...There is a sense of authenticity and clear-headed approach in her story telling and singing which tends to touch your inner spirits...Manisha Shahane comes across as a naturally gifted talent with a very compassionate and loving heart...her music is fresh, uncluttered and right from the heart with a true universal vibe to it.”
- Raj Yadav, MastRadio.com
New York, NY
**Read the full review here:
www.mastradio.com/content/view/4322/

"If I had to describe the styles or influences that I can hear - Alison Krauss meets folk, jazz, Indian classical, and even a bit of rock. These styles all blend beautifully and honestly, and that same honesty carries through in the spiritual and sometimes political themes in the lyrics. Production on the album is superb."
-Graeme Sacks, AfricanTreehouse.com
Johannesburg, South Africa. Guitarist/Composer/Producer/Arranger & 2010 South African Music Award Nominee

credits

released April 16, 2010

Produced by Daniel Cantor & Manisha Shahane
All songs by Manisha Shahane, except for "Still"
"Still" by Manisha Shahane & Gal Bitan
Artwork by David Grant
Photography by Chris Yeager
The CD contains a complete listing of credits.

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Track Name: Girls Gone World
Girls Gone World by Manisha Shahane
Some lyrics were inspired by the song & are offerings from the girls gone world featured in this recording. Translations are in ( ).

Aaeeye, hamaari duniyaa mein aapka swaagat (Hindi, “come, welcome to our world”). Namaskaar (Sanskrit, a greeting offered with humility, usually with hands held in union. Its spiritual origins suggest that it is meant to elevate one’s consciousness and reduce our egos, acknowledging that each of us is a small part of an infinite cosmos). Bienvenue dans notre monde (French, “welcome to our world”).

Song lyrics by Manisha Shahane:
Welcome to our world of girls gone world. Or, rather, welcome to our music—music of this universe. When home is everywhere and, yet, no place, beats and grooves that know no race give us life, make us smile. We pen our words Earthling style. <Chorus> Go everywhere. Asech aamhi jiwant raahto (Marathi, “this is what keeps us alive”). My sisters go everywhere. Ringel Ringel Reihe (German, “ringlet, ringlet, row”). These words around the world we sing; yet, at the same time, round the ring of roses red and daffodils, we all fall down. We wake to smell the jasmine past. No time, the future calls us fast—Hurry, blurry, flurry, fly into the light. The worldly lies we leave behind.

Spoken word contribution by Iyeoka Ivie Okoawo:
This is the place that always seems to be better than where you have been. This one comes from a sunrise in Edo state, Nigeria—a new Benin City horizon. This music will chronicle the brilliant potential of us. This moment: magnifying the larger universe beyond this one voice. We will speak of planets orbiting suns and galaxies becoming one. Gravity will find us back on earth in the morning. History will remember this. Us on the edge of everything like this. Dancing closer to these notes and rhythms—so brilliant, so glorious.

Bodiaye (Esan, “how are you?/you are welcome”). Il faut y aller (French, “we have to go”). Ringel Ringel Reihe. Sind wir Kinder dreie. Sitzen unterm Hollerbusch. Schreien alle 'husch, husch, husch!' (German version of traditional song Ring Around the Rosie: “Ringlet, ringlet, row. We are children three. Sitting under the elderberry bush. All yelling shoo, shoo, shoo!”) Mina-san yokoso (Japanese, “everyone welcome”). Namaskaar.
Track Name: Mother Don't Cry
Mother Don't Cry by Manisha Shahane
Mother don’t cry, for me. Where the sullen breezes blow, where the salty waters flow, into that world I watch her go, hearing her sigh. When she wishes to confide, to escape the world in which she resides, I move her hair gently to the side, uncovering her eyes. Mother don’t cry, for me. On the stove the kettle screams, while in the hall the doorbell rings; but mother goes back into her dreams, closing the door. When I walk into her room, I take a ride on her carousel of gloom, before I fall asleep safely in her womb—for she is no more. Mother don’t! Mother don’t cry, for me.
Track Name: Remember This Day
Remember This Day, by Manisha Shahane
Waiting for the break of day—When the circle letter comes, I turn three times and pray to the god of light, to the god of sunshine rays, that when I remove the old, I’ll have something good to say. Remember this day before the picture fades. A simple thought reframes the world I see. I don’t know from where it came, nor how it chose to leave. I’m caught up in the day’s never-ending siren. For a moment’s peace, I am dying. Remember this day before the picture fades. Oh lullaby, will you sing the sun to sleep, so I can close my eyes and wonder what tomorrow will bring.
Track Name: Mrs. Underwood
Mrs. Underwood, by Manisha Shahane
She sits on the front porch; with her hand, she waves a fan. Sammy and James are walking home from school and, when they pass by, they ask, “Mrs. Underwood, do you have some lemonade? Mrs. Underwood, did you bake some brownies or a cake? It’s hot outside and we’re thirsty and tired. Can we come in for a break?” Sammy and James are out at sea on a naval battleship, where five-minute showers are just enough to wash the soap off of their skin. They know that twelve miles away, on the shores of Country X, the people living there have four minutes less. And for those children there’s no Mrs. Underwood—no one to whom they can confess that they’re thirsty and tired. <Chorus> On the front steps of America’s dream, sit shadows of the past. The windows stare onto empty streets, where the dreams are fading fast. <Chorus>
Track Name: How Things Change
How Things Change, by Manisha Shahane
[This song incorporates excerpts of Hindi language lyrics from the song “Le To Aaye Ho” by Ravindra Jain. Translations are in ( ).]
Le to aaye ho hame sapano ke gaon mein. Pyar ke chhaaon mein bithaaye rakhanaa. Sajanaa O Sajanaa. (You brought me into this dream world. Oh, my dear, now keep me in the shade of love.) As the gravel kissed the wheels goodbye, I turned right onto the paved road, onto the winding path, through grassy knolls, past the 11 acres that are yours—where the birds and flirting with the deer and the butterflies unfold, as if heaven was upon the earth. Then I see the highway just ahead, so I pause to take a left, when I am greeted by a Rebel flag on the fireworks stand. How things change, yet remain the same. Just a little farther up the road, I’m looking for the bend, for the shortcut that will take me home, the one I used to know. How things change, yet remain the same. At the Apple Valley Motel, I pause to make a left and on that 17th mile I wondered, “when will I see you again?” Tumase shuroo, tumhipe kahaani khatam kare. Dujaanaa aaye koi nainoke gaon mein. (This story begins and ends with you. For me, there is no one else.) Le to aaye ho hame sapano ke gaon mein. Pyar ke chhaaon mein bithaaye rakhanaa. Sajanaa O Sajanaa. I kissed your belly thrice—once for each babe you held inside and again for the love of sisters and of friends that would bring us back together, when things change.
Track Name: Still
Still by Manisha Shahane and Gal Bitan
Where the moonbeams fly is a place where she would hide. There we heard her sing of fortune and fate, of childhood dreams. Still I hear her voice; but when I call, there’s no reply. Even her sigh weighs on my mind, the scent of her sin, the smile of her nights. Although the sun wakes in the east, all through the dawn, she is asleep...still. Flee the light of joy in the absence of her voice. Fill the void, I plea, with her song, her soul, her seed. Even her sigh weighs on my mind, the scent of her sin, the smile of her nights. Although the sun wakes in the east, through the dawn, she is sleeping. Not a word I say will keep her breathing, still. Still I hear her voice; but when I call, there’s no reply, no reply...still.
Track Name: Into the Valley
Into the Valley by Manisha Shahane
Borderlines drawn by the hands of war, through our hearts and our homes. They laugh, perched on mighty walls. Yet the air still is free to carry news of our dreams, as our voices sing out into the valley. See my hand reach out in search of yours, as my lips mouth the words. You hear, but you cannot comfort me, though the air still is free to carry news of our dreams, as our voices sing out into the valley. In the mist of shouting hill, we hear a scream so shrill—a cry across the borderline. For the air still is free to carry news of our dreams, as our voices sing out into the valley. Oh, the air still is free to carry news of our dreams, as our voices sing out into the valley.
Track Name: First Dance
First Dance, by Manisha Shahane
The lights were slightly dimmed in our junior high school gym for the Sadie Hawkins Dance—where, once a year, the time had come for every girl who had a crush to take a chance. I took a deep breath, before I asked: “May I have the first dance, the last dance, and every dance in between? I hope that you don’t mind. Tonight I’m going to take the lead. You won’t step on my toes, when I’m dancing every step in Daddy’s steel-toed shoes.” On the Edge of a Dream was the award-winning theme of our senior prom—where the charm of my date (whose name I will not say) saw us through ‘til the dawn. As the skies began to melt, he asked: “May I have the first dance, the last dance, and every dance in between? And, this time, I’ll ask if you would let me take the lead. I won’t step on your toes; would you please dance without your Daddy’s steel-toed shoes?” There’s a hush in the room, as the bride and the groom appear at the door. Look closely and you’ll see that the bride there is me, stepping onto the floor. I take a deep breath; then I ask: “May I have the first dance, the last dance, and every dance in between? And, sometimes, you might find, I’ll even let you take the lead. Now trusting you so much, I’ve thrown away all my Daddy’s steel-toed shoes.”
Track Name: See Light (Collage #2)
See Light, by Manisha Shahane
[This piece incorporates a traditional Hindu prayer recited in the Marathi language, the translation of which is in ( ).]
Mother told me it was time to light the candles of the night, drive the evil from our minds, and make a home where good resides—where we can see, see light, see light. Deewyaa deewyaa dipatkaar, kaani kundale moti haar, deep dekhoon namaskaar, diwaa laawla Tulshee pudhe, ujed padlaa Vishnu pudhe, gharaatli peedaa baaher jaawo, baaherchi Lakshmi gharaat yewo, gharchya dhanyaalaa, mulaa maansaannaa, udanda aayushya dewo. (I see and bow to this beautifully ornamented light form. We light the wick of the oil lamp in front of the sacred Tulshee plant symbolic of the Goddess Lakshmi, so that the light is carried to her husband and our protector, the Lord Vishnu. With this light, let the evil spirits leave our home, and may good fortune enter and provide long life to the whole family.) See light.
Track Name: In Search of Yaman
In Search of Yaman, by Manisha Shahane
[This piece begins with an introduction to Raag Yaman, one of the scales used in the North Indian Classical Music tradition. Translations of Hindi language lyrics are in ( ).]
Ni re ga, re ga pa re, ni re sa, ni re sa. In that space between the words, in that breath of life I wonder, did our paths cross long ago in a dream? Ek raat, ek din. Ek raat, ek din. Ek saas mein sab ho chukaa (One night, one day. One night, one day. It all happened in one breath). Did our paths cross long ago in a dream?