Katra Katra Milti Hai..

While talking about the Twin Track effects, let me showcase another such gem. 

This time from one of the later movies of Pancham - where Asha Bhosle's mellow voice and Pancham's captivating use of instruments brought alive Gulzaar's poetry on the screen.

Visually one of the most captivative songs - made immortal on screen by Rekha - and more so the way ace cinematographer Ashok Mehta has captured the mood of the song.

Halke halke kohare ke dhuae mein
Shaayad aasamaan tak aa gayee hoon
Teree do nigaahon ke sahaare
Dekhoo to kahaa tak aa gayee hoon
Kohare men bahne do

 

Kya Jaanu Sajan..

Post Teesri Manzil came another movie - from the trio of Nasir Husain, Majrooh & Pancham, known for its evergreen songs: Baharon ke Sapne. This was a black & white movie, but for one song sequence, Nasir Husain decided to use colours.

Perhaps deservingly so, because through this song, Pancham introduced in Hindi movies, what is known as Twin Track effect.

So here is the mesmerising voice of Lata in this soulful number from Baharon ke Sapne:

Kaanton Mein Main Khadi, Nainon Ke Dwaar Pe
nis Din Bahaar Ke Dekhoon Sapne
chehre Ki Dhool Kya, Chanda Ki Chaandni
utri To Reh Gayi Mukh Pe Apne

 

KYA JANU SAJAN HOTI HAI KYA GHAM KI SHAAM - BAHAROON KE SAPNE from SweetSongS-58 on Vimeo.

Maar Dalega Dard-e-Zigar..

Before Teesri Manzil, released in 1966, went on to create waves, another event took place at the beginning of that year, which brought two multi-talented & multi-faceted artists together.

Here is a song from another movie of 1966 - Pati Patni (again not so popular). Not so well-known, yet this song, magical on its own, was the beginning of a relationship which went on to enthrall Hindi movie music buffs for almost 3 decades. So here is first song that brought Asha & Pancham together.

This was also the first time that Brazilian Bossa Nova rythm was used in Hindi movies. 

Apparently, in an interview later in Screen, following was Asha ji's observation: 

" Till then, whatever the ultimate garb of the tune itself was seedha-saada with straight counting of the matras, which any performer with a minimum vocal training could sing. But in 'Maar Dalega Dard-E-Jigar', I found that I had to keep careful count of the beat, if only because it was so unusual. This is something so technically testing that only a singer or a composer can truly appreciate it. It was this test, to which I was put in 'Maar Dalega Dard-E-Jigar' that first made me sit up and take notice Pancham as a composer. I came to discern that even a seasoned singer like myself had to be alert while negotiating his tunes, which are none too easy to render while being so appealing to the ear."

The movie also was among the first ones where Pancham collaborated with Anand Bakshi. As you listen to the verse in tandem with the Saxophone of Manohari da, you realise this composition was just a precursor to the musical storm this team was to unleash in the years to come:

Yeh wafaayen bahut ho chuki
Aaj koi jafa kijiye
Mar dalega dard e jigar
Koi iski dawa kijiye

Ishq hoon, mein kaheen theharta hi nahin....

At the time when Teesri Manzil was being produced, actor Shammi Kapoor was a force to reckon with. When Nasir Hussain informed him of his intention to sign up young R.D. Burman for the film, the actor was not really too pleased. However, once RD played a few of his tunes, Shammi Kappor agreed - specially after listening to the tune which went on to become the signature song of Teesri Manzil.

Garm hain, tej hain, yeh nigahe meri
Kaam aajayengi sard aahen meri
Tum kisi raah mein to miloge kahin
Ishq hoon, mein kaheen theharta hi nahin

With Asha & Rafi's vocals, Helen setting the dance floor on fire, and amidst the byplay between Asha Parekh & Shammi Kapoor, you almost miss the person behind the drums - a small appearance by someone who came to the industry wanting to be an actor, but went on to become one half of the most prolific screenwriting duo of Hindi Cinema alongwith Javed Akhtar- Salim Khan.

Tumne Mujhe Dekha, Ho kar Meharbaan..

Having started on his own in 1963, Teesri manzil, in 1966, was the first mega hit which RD helmed as a music director - Creating a hit pair with Majrooh Sultanpuri, who incidentally was instrumental in bringing RD together with Nasir Hussain, the producer of Teesri Manzil. These three, together, went on to deliver 7 major hits over the years. But more about it later. Enjoy one of my most favourite songs - purely for the enigmatic music that suited the situation.

kaheen dard kee seharaa me, rukate chalate hote
in-hothhon-kee hasarat me, tapate jalate hote
meharabaan ho gayee, zulf kee badaliyaan

Ironically, this was also the first shoot of Shammi Kapoor after he had lost his wife. His expressions lend so much more meaning to the lyrics & the mood.

 

Jaane tu Ya Jaane Na...

Shailendra had worked alongwith S D Burman for a number of movies. However, when it came to Pancham, apart from penning the lyrics for his debut movie Chhote Nawab, they never worked together.

There was another contemporary of Shailendra who had worked with S D for a number of movies - but it took a long time before Pancham & he came together. However, when they finally did, they created some of the iconic songs of Pancham's journey through hindi movies.

This was Sahir Ludhianvi, whose first film with Pancham came only in 1973 - Aa Gale Lag Ja, and who can ever forget the songs of this movies - specially this one:

Dhuaan Dhuaan tha wo samaa
Yahan Wahan jaane Kahan
Tu aur main, kahin miley the pahle
Dekha tujhe to dil ne kaha
Jaane Tu Ya Jaane Na

Ghar Aaja Ghir Aayi

Pancham has been known for the music that he composed for Majrooh, Gulzar & Anand Bakshi. Real wordsmiths they all were. But there are other lyricists with whom RD created magic - not as often as we would wish - but magic for sure.

Chhote Nawab, the movie from where RD began his independent journey - provides one such rare combination: Pancham & Lata with lyrics by Shailendra.

Here is a song from the movie, the first ever that Lata Mangeshkar sang for Pancham, also the first song amongst his vast repertoire of the monsoon inspired compositions.

The composition, in Raag Malgunji, & mellow rendition of Lata Mageshkar brings the melancholic feelings of a forlorn heart in an overcast sky right inside the room. The interludes that mix Saarangi & Sitar with the sound of Ghunghroo & that brief & very subtle lilting pause at the beginning of the last line of each stanza is indeed an interesting and  an auspicious start to the career of a maverick & trend-setting music composer  - himself a Chhote Nawab: 

Soona soona ghar mohe dasane ko aaye re

Khidakee pe baithee baithee saree rain jaye re

Tap tip sunata mai toh bhai rey banwariya

Ghar aaja ghir aaye badara sanwariya