Nodir Pare Utchhe Dhoa

Maati Mange Khoon, a multi-starrer with Shatrughan SInha, Reena Roy & Rekha in the lead, was released in 1984. It was an otherwise forgettable movie, and people did precisely that, with only noteworthy feature being Ghulam Ali's classic "Yeh Dil Yeh Paagal Dil Mera", an original composition of Ghulam Ali, where RD re-touched the interludes to suit the situation. There were a few Mujra songs too - all on Rekha - one being "Lo Saheb Phir Bhool Gayi Main".

Last week, while listening to some of Bangla renditions of Pancham himself, I came across a gem, which was released a couple of years after Maati Mange Khoon. I am not sure as to which one was the inspiration, Yet, I am so awestruck with this Bangla composition as well as its rendition, that for once I am not playing the Hindi version at all

The song has a very sufi-ish rendition, for which he used deep percussions, strumming of guitar, and flanging, and.. then to match it all, himself, like never before. This is one song, where he is able to portray the sense of loss in a way that is as melancholic as was Sachin Da when he sang for Bandini - Mere Saajan Hain Us Paar. 

The Pooja nights are over. but I still feel intoxicated & immersed in this song. I think I would rather go back to listening it again, and perhaps that is what you will prefer to - experiencing his magic. So here it is:

Deewana Karke Chhodoge / Ami Bole Tumay Dur Thako

Another night of Durga Pooja and here is another combination. This is one of the only two songs that Lata sang in Bangla for Pancham, but there are two reasons for me to showcase this combination today - for two persons whose birth anniversary falls on 1st October. It is interesting that these two not only shared their birthday, but also happen to play very important roles in Pancham's life as well as career.

One was Sachin Da, who obviously being the father, and also a genius music composer himself, imparted his creativity to his son. The years Pancham acted as an assistant to his father's movies, also perhaps gave him an opportunity to hone his own talent.

Originally this composition was one of the few tunes composed by RD for his debut album for Durga Pooja of 1965. The reason he made his debut, despite not being too comfortable, was because for some reason, Sachin da in that year chose to cut a pooja album only of the songs penned by his wife. Bangla lyricist Pulak Banerjee, who wanted an abum with Sachin da, finally chose two of the compositions of RD for that year's album. Both the songs were sung by Lata  and were instant hits, Both were used by Pancham in later years as the base for his Hindi compositions. One of the song was "Ami Bole Tumay Dur Thako", a very sweetish composition, that starts with just a few notes of Guitar, but has some very interesting interludes that uses Sax and other western instruments. You can hear it at the end of the post, but before that let me speak about that other person., who shares 1st October as birth anniversary with Sachin Da.

He was one of the most prolific lyricist & very sensitive poet of all times - Majrooh Sultanpuri. Majrooh was the one who introduced Pancham to Nasir Hussain, and thus started alongwith them a journey at Teesri Manzil in 1966 which en-route went on to enthrall the music lovers through a roller coaster ride right upto early 80s.

One of the movies Majrooh did with RD was Mere Jeevan Sathi - a movie that was released in 1972 at the height of Kaka's popularity and yet was perhaps his first major flop.

For one of the duets of the movie, Pancham used the basic tune of "Ami Bole Tumay.." but made it peppier, lengthened the prelude itself - which has tune of another song from the movie - chala jaata hoon -, added flamboyance to match the Guru shirt wearing Rajesh Khanna, and again used Sax, Trumpet & Guitar, alongwith lovely Bongo beats, added special touches like that of slowing down of tempo to end each stanza - and the song, alongwith other songs of the movie has remained an all time hit. It was one of the few exceptions of Hindi cinema where the music went on to become a super hit, despite movie being a flop.

Here is the compositions I am talking about:

First, Kishore & Lata, singing Deewana Karke Chhodoge...

...and here is the original Bangla version

Ae Sakhi Raadhike / Bolo Ki Achhe

Once again it is the time of Durga Pooja. Living in Powai in these days is indeed a privilege with all the festivities around. Keeping with the festive spirit, like last year, once again I am using this as an opportunity to put across two songs of Pancham on each post - one Bangla & another Hindi; the similarity being the composition - with one inspiring the another.

Today being the birth anniversary of Hrishikesh Mukherjee, one of the most sensitive director of Hindi movies, it will be a befitting tribute to select a song from one of his movies. This one is from Jurmana, released in 1979. Sandwiched between Golmaal & Khubsoorat, Jurmana was less popular, (and hence was lucky of not having been remade in its modern, heartless, glamourised versions!) despite a stellar cast, good performances and some amazing compositions of Pancham.

In my last post, on Lata Mangeshkar's Birthday, I wrote about her singing some classical compositions under the baton of Pancham. One such gem is from Jurmana. The composition was based on Raag Kalavati, which he had earlier used successfully for the title qawwali of Hum Kisi Se Kam Nahin. 

Coming back to Jurmana - or rather the song I am presenting here. It is essentially a Lata solo, though begins with a cameo vocal by Manna Dey.  Once the song is on its way, & Lata takes over, the composition has Pancham using a host of Indian instruments, including Sitar and Santoor. Lata of course rises to this difficult & delectable composition and shows her absolute mastery over the genre. Before I move on, let us hear her rendering Ae Sakhi Radhike:

Gali-gali men Gokul ki yeh naam pukaare,

Shyaam pukaare baithi hai jamunaa kinaare, 

Kabhi mere kabhi tere ghar ko gai

Shyaam ko dhundhate aap hi kho gai

Ae sakhi Raadhike baavari ho gai

Lata's perfect rendition of this Hindi song is not surprising though. What is surprising is the Bangla composition, - Bolo ki Achhe - released in 1977. Here, the composition has lesser instruments, and hence used in more pronounced manner - with emphasis on flute & Sarangi. What makes it more special is finding the singer Pancham in altogether a different avataar, modulating his voice and flowing with each of the notes of the composition

So here it is - a Durga Pooja special for the fans of Pancham:

Albela Re..

Each art has certain personalities who end up defining the art itself. The Hindi movies music lovers - specially those of 60s to 80s, were luckier as there have been a plethora of such towering personalities. Those who not only kept extending the parameters of their own performances, and went beyond it, but also created a Gold standard for those who were to follow them in the later years. Of all these great personas, Lata Mangeshkar, who has turned 85 today, remains the first among equals. To put things in proper perspective, in a country with 67 years of post independence history, her's has been one of the omnipresent voices.

Pancham idolised her, and hence chose to make his own debut with her singing Ghar Aaja Ghir Aaye - a classical number matching Lata perfectly. And why not? For is not Lata's singing essentially about a sound that purists & the classical music lovers would love? Over the years, there were many more such classical or sugar syrupy compositions which Pancham created keeping only Lata in mind, and most of them went on to become all time hits.

However, it would have been a very un-Pancham like to not give her the compositions where she had to get out of her own boundaries. Yes, he did manage to give her a number of such compositions - like the raunchy - "Bangle ke Peeche" from Samadhi or Anamika's seductive "Baahon men Chale Aa". Another such number was from Rampur ka Lakshman, picturised on Rekha - in her those days when she was yet to become the proverbial beautiful elegant swan.

This composition is zany and has very interesting interludes, specially the way Bongo beats have been used through out, intermingling with Guitar notes. Add to that the peppiness with which Lata has sung it, giving emphasis on some of the words, making them sound so fizzy, as Rekha tries to stop the running-away Randhir Kapoor, singing Albela Re..

Phir Se Aaiyo, Badra Bidesi..

While on my regular evening walk today,there it was - after a hiatus of almost 2 months - a perfect setting Sun. There were a few clouds but too few and too scattered to make any difference. It seems the time to bid adieu to another monsoon is here. A perfect way to end a week that began with the birthday of Asha Bhosle.

Now, just in case you all are wondering about the missing connection that my ramblings are hinting at, here is another gem of Pancham. A not so heard composition from one of Gulzar's unsung works - Namkeen.

Namkeen was a 1982 release starring Waheeda, Sharmila, Shabana, Kiran Vairale and Sanjeev Kumar, and was centered around the world of Waheeda & her three daughters, and the interplay of their emotions, aspirations & relationship - before and after the entry of Sanjeev Kumar in their household.

The composition I was talking about is at the moment when one you are in love with has gone away, without a hint of promise to return. It is not really a complete heart-break. There is an uncertainty, a lingering doubt and yet there is a hope.

Pancham created a haunting melody, using the reverberating effect of percussion instruments which coupled with a drawling & distortion effect of very soft Guitar notes bring out the pathos. Asha's voice, with the mountains as backdrop, echoes Shabana's musings & sentiments, as she roams amidst the melancholic & foggy Rohtang Pass, almost touching the clouds, asking:

Tere jaane ki rut main jaanti hoon , 
Mud ki aane ki reet hai ki nahi?

Kali darga se poochungi jaake

Tere mann mein bhi preet hai ki nahi?

Kachchi puliya se hoke gujariyo, 

Kachchi puliya kinaare milungi

Phir se aiyo badra bidesi, 

Tere pankhon pe moti jadungi  

Dar Ke Jeena Hai Koi Jeena Yaaron..

Though Javed Akhtar and R D Burman were part of a number of movies, beginning from Seeta Aur Geeta of 1972, their collaboration as a lyricist & music composer began more than a decade later, after Javed Akhtar broke up with Salim, and also started writing lyrics. As a result, there are very few movies where they both worked together.

For the artists like these however the quantity is immaterial. Even in these few movies, their team had started making an impact.

Like Gulzar, Javed Akhtar has also been a poet with an acute sense to capture the sensibilities & language of the young generation & turn it into lyrics. His Hum Hain Naye Andaaz Kyun Ho Purana from the 2002 release Dil Chahta Hai was one such song that went on to become the anthem of a whole post-liberalisation generation.

Much before that there was another such anthem penned by him - reflecting the social settings of a different India - an India of mid eighties, which had gone through a decade long textile mill strike, unemployment, corruption, and rising anger in the aspiring youngsters of lower-middle class. The lyrics from the movie Arjun, a slice from the life in the city, were reflection of the rebellious mood, and hence also needed a composition to match it. Who better than Pancham - a born rebel?

The song itself was on a unique situation - a street fight - perhaps inspired by west-side story. But since the situation warranted, after a long time, he again created a long prelude that begins with whistling tune, added clicking of fingers, and as the tension builds up, kept adding the instruments, even using chorus, till the prelude reaches a crescendo. Even the interludes keep up the tempo & energy - using Tabla and flute among other instruments, while the gang of youngsters, led by Sunny Deol, moves across the Mumbai city, lip-syncing to Shailendra Singh singing:

Ghar ne jo dil se nikala humen
In raasto ne hai pala humen
Muskara ke hum jhelte hain gham
Ro ke beete woh koi zindagi hai kya
Duniya mane bura to goli maro
Dar ke jeena hai koi jeena yaaron

Chhuo Na, Chhuo Na, Mujhe Chhuo Na...

Of course, he belonged to "The First Family" of Hindi cinema, yet was aware that this tag alone will not get him success. He also had good looks, but again that alone would not have been enough. Fortunately for him, in his generation from this family, his DNA was the only one bestowed with natural flair to act &, since it helped him a lot, dance. Perhaps that is why, besides Amitabh & Rajesh Khanna, the only star who got a large number of scintillating compositions of Pancham was - Rishi Kapoor.

He arrived as a full-fledged hero in 1973 in Bobby - one of the all time biggest block-busters that brought the showman Raj Kapoor back into business - from the abyss of bankruptcy. His pairing with another newcomer Dimple Kapadia was a kind of magic not created too often. Since she immediately got married to Rajesh Khanna & left the movies, it also remained an enigma for a long time, till they came together again, more than a decade later in Saagar - a movie by Ramesh Sippy.

While the pair could not scorch the screen the way they did it in Bobby, if audience felt still enchanted, the music was the reason behind. Pancham, in one of his most creative mood & phase, provided a score that has outlived the movie. Almost each of the songs went on to be an evergreen hit, but the one I like the most has him showing a very sensual avatar of his music.

The composition I am talking is simply delectable. It begins with a very sexy flute & sax, giving way to the notes of Guitar while Tabla adds to the mood. Even in the interludes - specially the first one, as Dimple paints the screen red with her unfurled saree, the piece of Sax & flute add an elegant touch of raw sensuality without which the scene is absolutely incomplete.

So here it is with Shailendra & Asha lending their voice to the verse of a very very romantic Javed Akhtar, for whom this song was his first one with Pancham:

Mera Woh Samaan Lauta Do..

For a person who plays with simplest of the conversational words to create magical verse, has an amazing array of stories, screenplays & directorial ventures to his credit, it is indeed an interesting combination that his names create. Yes, I used the plural “names”, because he has two – one the real and another the pen name. The real name “Sampoorna” which means encompassing everything & the pen name that means a garden full of flowers - Gulzar.

Gulzar and Pancham gave some of the finest songs to Hindi movie buffs. In fact, there is hardly a movie where they both collaborated without creating a magic. Starting their journey together with Parichay they took us on a route that had milestones like Aandhi, Khushboo, Kinara, Ghar, Basera, Sitara, Golmaal, Khubsoorat, Massom, and Namkeen before culminating in – at least as far as a released movie is concerned - at Ijaazat – which according to me is Gulzar’s best work forever.

The movie - a poignant tale of the eternal love triangle, comes across like a poem on celluloid. Absolutely stunning locales, breathtaking photography, very mature handling of the story, crisp direction and power-packed performances by three protagonists – Rekha, Naseer & Anuradha Patel ! The movie had everything going for it, and if this was not enough, the troika of Pancham, Gulzar & Asha lent that extra something which made Ijaazat into an all time classic.

While all the compositions of the movie were superb, since Gulzar is well-known for turning simple conversations into lovely verse, it is befitting to present a composition where Pancham, after hearing the verse, asked him – are you going to get me a newspaper headlines next to compose a song on!

The song, picturised on uff-so-ethereally-captivatingly beautiful Anuradha Patel, finds Pancham at his creative best. The composition – difficult one to suit a metre-free verse – finds him using santoor, sitar, tabla and guitar – in manner that enhances the mellifluous vocals of Asha Bhosle. The impact is sensuous yet full of a heart-ache and as mesmerising off screen as much as on-screen when you hear Maya sing:

Ek Akeli Chhatri Me Jab 

Aadhe Aadhe Bhig Rahe The

Aadhe Sukhe Aadhe Geele, 

Sukhaa To Main Le Aayi Thi

Geela Man Shaayad Bistar Ke Paas Padaa Ho

Woh Bhijavaa Do, 

Meraa Woh Saamaan Lautaa Do

It was interesting that while the music of Parichay got Lata Mangeshkar & Bhupendra their National Awards, Ijaazat got Asha bhosle & Gulzar get their national awards for this song. Pancham, however, remained un-rewarded. That however is a story for some other time. Just now, listen to this simply amazing song:

Yeh Raat Hai Khwab Ki..

Sing, Sing a Song

Sing out loud

Sing out strong

Born 85 years ago, his was a voice for all seasons. Calling him merely a singer though would be a terrible injustice to the genius that he was. In the history of Hindi cinema, he has remained the only genuine one-man industry. A genius who tried & succeeded amazingly in each field related to movie making. No prize for guessing! He was Kishore Kumar, an entertainer par excellence.

And if at all there was one person who could bring out each of his moods in singing, it was Pancham. From masti to romance to melancholy - Pancham created some of the most magical compositions and Kishore brought it alive for the listeners.

Talking about romance & melancholy, here is a song hovering in the zone in between. One of my most favourite songs from this duo, this is a composition that is yearningly romantic, and yet at its core has a deep underlying feel of tragedy.

Movie: Ghar , a sensitive masterpiece dealing with the topic of rape & the trauma relating to it. 

Situation: Vinod Mehra, the husband in the movie is trying to normalise the situation for his wife Rekha, wooing her with a smile that was so infectiously sensuous. Yet, the event of the recent past is casting its shadow on their moods.

A difficult situation – portrayed so well by the performers, and brought forth superbly by the composition itself. As was his wont, Pancham used the opening strand of The Carpenter's classic "Sing, Sing a Song", mixes with delicate notes of guitar; and then ensembles his instruments to match the mood. Listen to the interlude pieces, that is so subtly arranged to bring out both - pain & love.

And the sheer poetry that goes with it! Gulzar toys with an imagery as fragile as a dream and a glass. It would be difficult not to get that extra beat in your heart when Kishore renders these simple yet such eloquent verse:

Kaanch ke khwab hai, 

Aankhon me chubh jayenge

Palkon me lena inhe, 

Aankhon me ruk jayenge

Yeh raat hai khwab ki

Khwab ki raat hai

Phir Bhi Mera Man Pyaasa

In the last post I wrote about the troika of Anand Bakshi, Pancham & Kishore creating special compositions for Rajesh Khanna starrers, and the effect that flute created in Main Shayar Badnam.Well, as they say, "Mauka bhi hai, dastoor bhi aur mausam bhi". In the season of rain, how could I not play this one - a gem of a composition, from Mehbooba, based on Raga Shivranjani, with such beautiful verse that meets Kishore at his best.

The song was to be used in the movie at two different occassions - once for the heroine and again for the hero. Since the movie was based on the theme of reincarnation, love and classical music & dance, Pancham used a confluence of Dholak & Flute, while complementing the chords of a Guitar - his favourite instrument. The composition also was challenging as it required the singer to display a wide vocal range, and yet having that thehraav for staying true to the notes.

Pancham's natural choice for female version was Lata. However, when it came to male version, Kishore Kumar flatly refused because not being trained in classical music, he found it difficult. I am sure Pancham could have gone to Rafi, but he did not. He insisted, and finally Kishore Kumar relented on one condition - that he will only practice and replicate whatever Lata will sing. This is what he finally did, practising for a week, listening to Lata's version.

Picturised in the rain, the song starts with a bit low key humming and guitar chords, just like a brief calm before the impending storm. That is what Kishore Kumar creates - a storm with this song. Even now, when I listen to this song, and the goosebumps that I get every-time he raises his pitch in between the stanza, making it sound so simple, it seems unbelievable that anyone else could have done better than Kishore da in this song.

And the verse! Sumitra Nandan Pant had written - "Viyogi Hoga Pahla Kavi, Aah Se Upja Hoga Gaan". It required a real empathy with emotions and mastery over language to come up with something like -

Ae Dil Deevane

Khel Hai Kya Jaane

Dard Bhara Yeh

Geet Kahan Se

In Hothon Pe Aaye

Door Kahin Le Jaaye

Bhool Gaya, Ya

Bhool Ke Bhi Hai

Mujhko Yaad Zara Sa.

Phir Bhi Mera Man Pyaasa

Toota Khaali Jaam..

Armed forces & poetry rarely go together but he had the distinction of having been part of both. In the pre-partition days, he began his career in navy while post partition he joined army. These, for him, were only the stop-gap arrangements, as his passion lied in poetry & Hindi movies.

He did come to Bombay in between his two stints with forces, but could not succeed. He finally bid adieu to Army forever, and decided to take head-on the challenge of writing for Hindi movies.

It took some time for people to recognize his creativity, but thereafter he went on to become one of the most prolific song writers - writing across four decades for diverse generations - from Jab Jab Phool Khile to Bobby to Sholay to DDLJ - he was in fact part of the biggest blockbusters of Hindi cinema. Without compromising on aesthetics & creativity, he yet managed to strike a chord with the changing mood of the audience. Interestingly, while he was nominated record 40 times for Filmfare, he won it only 4 times.

Anand Bakshi – one of the most popular lyricists, whose birth anniversary was last week on 21st July.

He first teamed up with Pancham for Teesra Kaun. Something was missing though till a few movies later Kishore Kumar joined them for Kati Patang. The troika of magicians was complete which, through their craft & creativity casted a spell that the music aficionados are still intoxicated with, even after so many years.

This team created a number of excellent songs together but there was something special about what they created for the heartthrob of millions of girls in early 70s – Rajesh Khanna. Kati Patang, Amar Prem, Ajnabee, Apna Desh, Mehbooba, Namak Haram, Humshakal and many more, and each one with some of their best efforts. My favourite though is this one - profound verse about life through the eyes of a poet on his final journey – written in a bit of a haiku style, with last line of each stanza adding more depth.

The music is minimalist with that unmistakable Pancham touch, with emphasis on flute. Listen to that brief flute piece just before the last line of each stanza, and you will know what I mean. And of course, there was Kishore Kumar, going full throaty taking your soul deeper into the melancholy. Listen to it now:

Mere ghar se tumko kuchh saamaan milega

Deewaane shaayar kaa ek divaan milega

Aur ek cheez milegee 

Toota khaali Jaam

Do Ghadi Bahal Jata Hai, Dil Deewana..

RD's first movie with Rishi Kapoor was Zahreela Insaan in 1974. The movie, though not a hit, will always be remembered by RD afficiandos. For, it featured one of the best songs from Pancham & Kishore combination - and also perhaps one of the most romantic songs of all time - O Hansini.

Rishi was launched in 1973 in Bobby - one of the most successful love stories of all time. The movie was a big success and apart from creating two overnight sensations - Rishi & Dimple, it also gave the halo of stardom to a new singer - Shailendra Singh, chosen by Raj Kapoor to be the singing voice of Rishi.

Ideally, Pancham should have given all the songs of Zahreela Insaan to Shailendra, and perhaps he would have. However, a strike by the musicians during those times led to RD getting Kishore Kumar to sing O Hansini.

I am not sure if Shailendra would have been able to do justice to the ethereal composition of O Hansini. I am sure, though, he must have regretted forever, missing out on singing this number.

Listening to another composition from this movie however makes me feel that there is nothing for Shailendra to complain about. Though overshadowed by the Kishore classic, this composition was much different from what Pancham was known for. It was also a difficult number - specially the beginning of the stanza - for any newcomer. A wholesome credit to Pancham to trust Shailendra, and to Shailendra for executing it so well, specially when he had to match the caliber of Asha Bhosle, who adds that lilting sensuality to the song.

This is also one of the few compositions where Pancham has used Sitar. You must listen to the interlude before second stanza, where the lovely sound of Guitar & Saxophone give way to Sitar & tabla, changing the structure, yet maintaining the mood so effortlessly.

Here it is:

Mere dil se ye nain mile rahne do janeman

Ki do ghadi bahal jata hai, dil diwana

Humko Zamane Se Kya...

"Khel Khel Mein" was released in 1975, and found RD at his creative best. If a taut screenplay, and crisp direction (Ravi Tandon) & editing made the movie watchable, the chemistry of a fresh lead pair set the screen on fire. For Rishi Kapoor & Neetu Singh, this was one of their early movies - and perhaps one of their biggest hits.

The movie itself was a suspense thriller, and despite this being a disadvantage for a repeat viewing, Rishi-Neetu's palpable energy & groovy moves on the effervescent compositions of RD kept bringing the audience back - in turn making the movie a runaway success.

One of my favourite songs from the movie is the sequences that had Rishi-Neetu prancing around on the streets, in drunken stupor. The song was about caring a hoot for the world. Naturally, RD had to add something extra to prove it. So while the composition has all his hallmarks - lovely guitar piece to set the rhythm, trumpets during those pacy interludes and the light beats for the pair to groove on, in one of his crazy moods, he uses street sounds like gargling, or zipping up of a trouser, with such a flourish - and yet it makes the composition so classy.

So listen to Asha and Kishore in one of the zaniest songs about love:

Tu Na Raha..Kuchh Na Raha..

This blog began its journey last year on Pancham's birthday. Today, the Journey has completed its first year, and I am putting up its 125th post. A year that was personally fulfilling and enjoyable as I came across such facets & compositions of RD, which I had never known about. Hope you all have enjoyed it too so far.

On his birthday today, here is the 125th post containing one of my most favourite compositions. Keeping with the trend of last week - a roller-coaster ride of emotions featuring Asha Bhosle & Aruna Irani.

Aruna Irani has been one of the few actresses who could successfully perform across all the genres that a female actress gets to perform in Hindi cinemas. A heroine, a vamp with golden heart, an outright negative character, a mother - she has done all - and very efficiently.

She was also one of the few lucky actresses who got a good share of RD's compositions. One of the earliest one was from Bombay to Goa - a duet with Amitabh - created based on a strand from a Chaplin's composition. The song however was not retained in the movie. She also got a number of lovely compositions in Caravan. There were many other songs, but the song displayed today, I think, had one of her best performances - again as a Cabaret dancer.

The composition is a roller coaster ride of conflicting emotions & time zones - romance & melancholy - past & present. RD again used only the initial strand from "A Soldier's Story" from "The Good, The Bad & The ugly", and created an inimitable classic, that I never get tired of hearing.

To match the situation, Gulshan Bawra in his 2nd movie with Pancham came up with some lovely verse. Keeping in with the conflicting emotions, the composition is two paced - slower in present mixing so well with faster interludes of the flashbacks. Asha Bhosle carries off both the emotions with a panache, with her laughter, sobs, recitation, completely infusing the soul in her rendition. If this was not enough, the song is also special as it is one of the few songs where one can hear Pancham singing in his original voice - rendering vocals for Rakesh Roshan.

Why wait further.. so here it is:

Dekho Mujhe Dekho..

Talking about the punch that Pancham's music carried, here is another song, with an insane performance - this time from - Hum Shakal.

No, though the word insane may misguide you, the song is not from the recent release of Sajid Khan. Rather, this was a Rajesh Khanna, Tanuja & Moushmi starrer of 1974. Not a major hit again, the movie had some lovely & lively numbers from RD - with Rafi & Kishore, both singing for Pancham in this movie.

There were two compositions, not as popular, however, which stand out. One of those was later chopped out when the movie was released in its VCD / DVD version. However, we will come to that song later.

Let me first play this - Dekho Mujhe Dekho, sung by Asha and picturised on Tanuja, performing as an insane woman. Both these performers, whenever demanded by a situation, have always performed at the level, which can be termed as sheer Chutzpah.

Fortunately for them, here they get the no-holds-barred backing of Pancham - who uses jazz & Blues to create a composition which is outstanding in its innovation. The rolling drums, sax, trumpet, organ, all are used at a scale which complement Asha Bhosle who modulates her voice so effortlessly in this difficult composition. Tanuja, of course, has always been one of my most favourite actresses, and she, with her on-screen so natural antics, take the song to another level altogether.

Look at the result yourself:

Udti Chidiya...

There was another Asha Bhosle number in Hum Shakal - this time a full fledged cabaret & picturised on Aruna Irani. Somehow, when the movie was re-released on VCD / DVDs, this number was done away with. Fortunately, there are a number of fans passionate about Pancham's legacy, and one of them restored it from the old VHS tapes & put it on youtube.

Of course, Asha Bhosle & RD were a potent combination when it came to cabarets. This composition is not an exception.

RD combines the sounds of Trumpets, Bongo & Guitar to create a space for Asha Bhosle to engage in her vocal calisthenics. Listen to the way the vocals go in a deeper octave at the end of each stanza, and then gets lifted in such an effortless manner, underscoring their own chemistry.

Now if only the choreography & the print could have been better! Yet, I am sure, the song is a treat for the fans of RD & Asha.

Kya Ghazab Karte Ho Jee..

Early eighties were the time when the first batch of star-sons arrived on the Hindi cinema screen. Sunil Dutt was not the first one. Rather, it was Rajendra Kumar, who had introduced his son Kumar Gaurav - through Love Story. Soon followed Sanjay Dutt in Rocky, Sunny Deol in Betaab & Suniel Anand in Anand Aur Anand. Barring Suneil Anand - who had his father to compete with in youthful energy - each one of these stars were well received. In fact, Kumar Gaurav received an adulation that was reminiscent of Rajesh Khanna's hay days.

Since all the movies were centered around youth & romance, it was natural for each one of them to have RD Burman - the only youthful music director - helming the compositions. However, to my mind, this was not the logic which made everyone go to Pancham. Rather, it was the super success of Love Story & its music, which made the ever insecure film industry look for the already proven formula & combinations - while launching these new kids on the block.

Of course, apart from Kumar Gaurav, the credit for the movie to be a big hit also went to its music. The songs of Love Story - sugar syrupy most of them, with Amit Kumar pairing with Lata for those romantic songs - were lovely, melodious, sounding sweet to the ears as intended, yet lacking that Pancham Punch.

Except this one - a seductive number penned by Anand Bakshi. Starting with the clicking of fingers, the song has Guitar chords soon striking a rhythmic pattern to match the lift of a Bossa Nova. The overall effect is a lilting melody, to which the verve of Asha Bhosle off screeen, and Aruna Irani on screen, add right dose of impishness.

I am sure you will agree too.

Haan Yahi Pyar Hai...

Talking about achingly romantic songs where Pancham & Sunil Dutt collaborated, here is one more special from this combo – a couple of decades later. Oh, but this time Sunil Dutt was off screen, directing his son’s debut movie – Rocky.

After the runaway success of “Love Story” a couple of years ago, starring Kumar Gaurav, suddenly there was a spate of movies launching star-sons. Rocky was perhaps the second in that series. As a movie, it was not a patch on Love Story. Even the story line and the acting were far off the mark. Yet, if the movie could do well, the credit was chiefly to its music, which found RD in his full elements. In fact I find the composition of Rocky more interesting than the ones of Love Story.

There were six tracks in the movie, and each one had something that RD alone could have created. Be it Aa Dekhe Zara or Hum Tum Se Mile. Of course, the pick remained this lovely Kishore –Lata duet, picturised on Sanjay & Tina Munim.

This composition – wovern around Anand Bakshi’s lyrics - has a number of woodwind instruments, right from the beginning, including flute & saxophone, mixed so brilliantly with the varying chord of guitars throughout the song. One cannot but help falling in love with the way Saxophone is used – specially at the beginning & in the interlude before the first stanza. 

In fact the composition & the vocals by Kishore Kumar & Lata – almost in their 50s by the time this movie was released - sound more expressive (& fresher too) than the pair on-screen, when they sing:

Kya Yahi Pyar Hai

Haan.. Haan Haan Yahi Pyar Hai..

Kahna Hai Aaj Tumse Yeh Pahli Baar

He was a man with multiple skills, who knew his limitations and working around those, optimized his capabilities. Beginning his career as an Anti Hero, he was the original Angry Young Man of Hindi Cinema – much before the phrase became a synonym for Amitabh Bachchan. He also could portray the character of a lover – even a jilted lover – with ease. His sensibilities made him produce & direct movies that, within the grammar of a mainstream cinema, were socially relevant in their own way.

There was only one facet of his acting that remained under-utilised – and that was - comedy. Only one movie really offered him that opportunity, and surprisingly, he was not the first choice. It was only after the movie’s music director’s refusal to play the role, he landed up this role. The movie went on to be an all-time classic comedy, and notwithstanding the presence of a cast like Kishore Kumar and Mehmood, an equal share of credit also was to movie’s hero – Bhola, who was in love with his Padosan – Sunil Dutt, in one of his finest performances.

On his birth anniversary today, here is a gem composed by Pancham for Padosan. While Ek Chatur Naar, and Mere Samne wali Khidki went on to be super hits, the composition of this song is much more subtle and rhythmic – akin to a classical western. Beginning with the slightly echoing vocals, this achingly romantic song has Kishore Kumar’s vocals matching Pancham’s composition like a well-choreographed Waltz. Listening to that slight nano-secondish pause just about at the beginning of each stanza before the composition starts rising with a different tempo, it is easy to fall under another spell that only RD could create with his magical music.

So here it is, one of my most favourite numbers of Pancham, with superb verse by Rajinder Krishan:

Kab Se, Dil Ne Mere, Maan Liya Hai, Tumko Apana

Aankhe Meri Dekh Rahi Hain Jaagte Sote Yeh Sapana

Mere Gale Men Daal Rahi Ho 

Tum Bahon Ka Haar

Tum Hi, To Lai Ho, 

Jivan Me Mere, Pyar Pyar Pyar 

Kahana Hai, Kahana Hai, Aaj Tumse Ye Pahali Bar

Duniya Men, Paise Bina, Kaise Hum Jiyenge

Devata was released in 1978, which was a below average kind of a year for Pancham - as far as number of releases are concerned. Surprisingly, post the release of Sholay in 1975 and despite its mega-success, for next 3-4 years, his average number of movie releases were just about 10-11. Comparatively, he had composed for 18-19 movies every year between 1971 till 1975. Perhaps he became more selective post Sholay.

Coming back to 1978, apart from Devata, there were a few more, very noteworthy & successful releases, which found RD in his full elements. These were Ghar, Kasme Vaade & Shalimaar. I will surely get to those compositions, but just now, would love to play a song from another Dharmendra starrer from that year - Phande Baaz.

In 1977, RD & Rafi had got together - after a long time - to create Kya Hua Tera Wada. Phande Baaz was another movie where he used Rafi's voice - this time for Dharmendra. Of course, the movie, a social comedy also had Kishore Kumar singing Abhi Gyarah Nahin Baje Hain to suit Dharmendra's comic avataar.

The pick of the compositions was however a duet by Rafi & Lata. The composition has an earnestness, and a sweet sound, and RD's idea to introduce a whistle & humming at the end of each stanza, adds that little special touch which he was known for. Listen to this as Moushmi tries to make an honest man out of "Phande Baaz" Dharmendra:

Gulmohar Gar Tumhara Naam Hota...

This was indeed a long break - unintended though. Somehow, with the cacophonous discourse of the ongoing election, it was difficult to sit back and appreciate good music. Nature however took over in last couple of weeks - specially in Mumbai, as the scorching heat in the bargain added a lovely scarlet red hue to all the green patches.

The season of Gulmohurs is here!. This brings to the mind one of the loveliest melodies from Pancham. This is from Devata - a movie made in 1978 starring Sanjeev Kumar & Shabana Azmi in the lead roles.

The song is penned by Gulzar in his inimitable style, (who else could have used a phrase like Diya jala hai chand ka) and sung by Kishore & Lata. The composition is very simple, beginning at a fast pace, before easing out to a lovely beat. RD's choice of instruments add that lilting silken touch of romance- which otherwise was fast losing space to loud & blaring music in late 70s.

So here it is - watch Rakesh Roshan wooing one of the most beautiful & graceful actresses of my teen years - Sarika. Watch it in HD format to really appreciate her - and the Gulmohurs.

Sham ke gulabee se aanchal me

Ek diya jala hai chand kaa

Mere un bina uska kahan chand nam hota

Gulmohar gar tumhara nam hota

Kaanp Rahi Main...

Namak Haram was released in 1973. This was indeed a good year for Pancham - with 19 releases. His compositions for the movies like Yaadon ki Baraat, Aa Gale Lag Ja, Namak Haram, Heera Panna & Anamika were instant hits & remained chart-toppers forever. On the other hand there were movies like Bandhe Haath where it took a long passage of time before its music got appreciated.

There were also mixed fares like Joshila - produced by Gulshan Rai (whose first production was Johny Mera Naam and whose son Rajiv Rai went on to make movies like Gupt & Mohra) and directed by Yash Chopra. The movie had that rare combination of Sahir & Pancham, yet except Kishore Kumar's outstanding rendition of "Kiska Rasta Dekhe", none of the songs really got the due recognition.

For example, this cabaret number, picturised on Padma Khanna. With a long prelude and longer interludes, the song is remarkable for its varying pace of composition as well as the vocal - which were rendered by Asha Bhosle. Listening to the number, one really wonders the reason for its not getting the kind of popularity which some of his other cabaret compositions could garner. Perhaps, again the reason could be that the movie itself turned out to be a dud - despite having Dev Anand, Hema & Rakhee as the lead cast.

Anyways, here is the number. I recommend that you must listen to it with earphones, to really enjoy the jamming of instruments in this not so often heard composition of Pancham:

Diye Jalte Hain...

While talking about Aap Ki Kasam &  Bandhe Haath I touched upon the downfall of Rajesh Khanna on one hand & rise of Amitabh Bachchan on the other. As is the wont, these coincidences of life also led to all kind of talks about their animosity. 

Strange as it may sound, the audience never really knows the truth about such talks. the fact however is that much before the success or lack of it resulted in spoiling relationships, both had co-starred in roles that had depicted great friendships - amidst all trials & tribulations of the stories.

The first one was the all time Hrishi da classic - Anand and both had really done justice to not only their roles, but to the movie also. It must have been their chemistry together that made Hrishikesh Mukherjee cast them again in what went on to be amongst his best works  - Namak Haram.

Namak Haram was loosely based on Jean Anouilh's French play Becket, made into a movie in 1964 starring Richard Burton & Peter O'Toole. These roles, in Namak Haram, were reprised by RK and AB.

Though the movie worked around class clashes and labour struggle, (and seems to be as relevant & concurrent even now as it was in early 70s), with Hrishi Da as Director & Gulzar as the writer, there were enough opportunities for a musical score. All it needed was a genius that could create classics out of those.

Using some lovely and poetical verse crafted by Anand Bakshi, and the magical voice of Kishore Kumar, this is precisely what Pancham did. He wove a magic spell & created such compositions that even four decades later each of them is as memorable, as hummable and as fresh sounding as it was then.

And the pick of the songs was this one - mine & my wife's one of the most favourite songs. If the verse are profound, the musical treatment is scintillating & unique. The interludes has Guitar, Tabla & Flute, while the vocals work purely on reso-resso, Tabla and perhaps santoor - that too at the end of each line only. More than the instruments, the composition relies solely on Kishore Kumar, and his voice touches the soul deep within - even now. 

So here it is - Kishore Kumar's heart warming rendition as an ode to the friendship:

Jab Jis Waqt Kisi Ka

Yaar Judaa Hota Hai
Kuchh Na Poocho, Yaaron Dil Ka
Haal Bura Hota Hai
Del Pe Yaadon ke Jaise
Teer Chalte Hain

Is rang-roop pe dekho,

Hargiz naaz na karna

Jaan bhi maange yaar to de dena

Naraaz na karna

Rang ud jaate hain

Dhoop dhalte hain

Daulat aur Jawaani
Ek Din Kho Jaati Hai
Sach Kahta Hoon, Saari Duniya
Dushman Ho Jaati Hai
Umr Bhar Dost Lekin
Saath Chalte Hain

Diye Jalte Hain
Phool Khilte Hain
Badi Mushkil se Magar, Duniya Men
Dost Milte Hain

Tu Ne Chheen Liya, Dil Ka Chain Piya

Bandhe Haath's music had some more gems which people started relishing only after the movie's flop status became irrelevant, and Pancham's own stock had risen high.

One of these was a number sung by Lata Mangeshkar, for a very oft-repeated situation of heroine dancing around the hero. The location was also quite cliched - Chhota Kashmir of Aarey Colony in Goregaon.

The lyrics & the composition though are sounding much more fresher. Majrooh uses the imagery that is provocative while the composition adds the lovely lilting silken touch to it. The heroine - Mumtaz - in love, tries to express her emotions to the sombre looking Amitabh, with her usual sparkle & froth, also suiting her role as a dancer in the movie. Lata too pulls out all stop in her singing to match her step by step.

Interesting to note are two aspects - one, the interlude before the first stanza has a tune on saxophone while the interlude after the same stanza has that same tune in Saxish mode but this time on Guitar; and two - the subtleness of the percussion which add to the lilting mood.

On a lighter note, looking at the clumsiness of AB's performance in the romantic scene, specially in another typical to-kiss-or-not-to-kiss scene of those years, it is clear as to why he hit the bull's eye only after getting into the avatar of the Angry Young Man - with romance always at the back-burner.

Anyways, listen to this lovely number from Bandhe Haath:

Dil To Lei Gava...

Aap ki Kasam was released in 1974, amidst the downward trend of Rajesh Khanna. On the other hand, just a year ago, Zanjeer had marked the beginning of a rising graph for Amitabh Bachchan. Zanjeer was his first major hit, after a series of 13 flops (excepting Bombay to Goa - which had an average run on the box office, when first released).

Just before Zanjeer, came a movie which was last of Amitabh’s series of initial flops. Bandhe Haath – written & produced by O P Ralhan, which had Amitabh in his first double role alongwith Mumtaz, Ajit & O P Ralhan. 

This was Pancham’s second movie with O P Ralhan. The first one was Hulchul, which had no song, but a few very interesting dance compositions. 

Bandhe Haath, as I said earlier, failed to make any impression at the box office. As happens with most of the flops, even its music really did not create any waves. In the bargain, some of Pancham’s brilliance failed to shine – at least for the time being.

It was much later that Bandhe Haath’s music got some recognition. Listening to the quality of these compositions, it still was not enough though.

Take for example this number, a dance composition with Mumtaz dancing her heart out to an effervescent medley of instruments with funky rhythm and rapid African beats – alongwith mouthing of some of inane words -  that under anyone else’s baton could have resulted in a chaos. However, with R D at the helm, it sounds cohesive as well as energetic – something like Caravan’s Daiyya Main Kahan Aa Phansi.

On screen while Amitabh tries his best to keep up with Mumtaz, off screen, it is Manna Dey & Mahendra Kappor playing a supporting role to an absolute in-form Asha Bhosle. And just as a trivia, the police inspector in the scene is character actor Ram Mohan, whom Pancham later lent his voice for, in that  classic from Kitaab – Dhanno ki Aankhon Men.   

However, why digress? It is time for Asha Bhosle & Mumtaz to step up the beats in Dil To Lei Gava..

http://www.dailymotion.com/video/xlx4r8_dil-to-lai-gava-bandhe-haath-1973-asha-manna-day_music

Woh Phir Nahin Aate

Aap Ki Kasam was quite a well made movie, with reasonably good performances from all the three lead performers. Rajesh Khanna, as an excessively jealous husband doubting his wife forever, and in the bargain ruining the entire relationship, portrayed the role amazingly well, though the movie was preceded by a number of flops.

Of course, the movie had everything going for it, as far as its music was concerned. Another song of the movie, on a forlorn note, starts with the close-up of Rajesh Khanna, and the pain on his face can almost make one understand how closely he must have related to the lyrics – not only due to the story of the movie, but also of the turmoil he himself must have been going through with a number of flops.

While the lyrics, penned by Anand Bakshi, are simple & yet profound, it is the composition – based on Raag Bihaag –which is brilliant.

It begins with a beat – resembling a train journey – that remains constant through the song, with a number of instruments that keep adding the sound, before a very brief pause, and then the vocals start. As the song progresses, the structure & the instruments used in the composition also change – to denote the passage of time and the seasons.

There is a well created fusion of western as well as Indian instruments, with Santoor & Flute used judiciously to bring out the melody. Each of the interludes has such a distinct identity that it can be a part of an independent composition. Post each interlude, to bring the composition back to the main theme, ensuring that they are not perceived to be out of place is the hallmark of a genius. Of course, that is what Pancham was, and he was accompanied by another genius – Kishore Kumar – whose rendition ensured that the song has remained to be an all time classic – even after four decades.

Here it is:

Subah Aati Hai, Shaam Jaati Hai 

Waqt Chalataa Hi Rahataa Hai, Rukataa Nahi

Ek Pal Me Ye Aage Nikal Jaataa Hai

Aadami Theek Se Dekh Paataa Nahi

Aur Parade Ka Manzar Badal Jaataa Hai

Ek Baar Chale Jaate Hai Jo Din-Raat Subah-O-Shaam

Woh Phir Nahi Aate, Woh Phir Nahi Aate

Jai Jai Shiv Shankar

Lutf-e-Maye tujhse Kya Kahoon Nadaan

Hai Kambakht, Tune to Pee hi Nahin

Well, playing Holi without having a couple of glasses of Bhang - the drink favoured by no less than Lord Shiva himself, could be considered a sacrilege. And so would be not playing this song - another of Pancham's evergreen composition. This is from Aap ki Kasam of 1974, the movie where J Omprakash (Rakesh Roshan's father-in-law) turned from a producer to a director.

The movie itself was not a hit, rather proving to be just another step in superstar Rajesh Khanna's climbdown from stardom. The music however turned out to be super-hit with this bhang induced song & dance sequence ruling the chart for most of the year - ranking second on Binaca Geetmala's annual list of hits for that year. 

Rajesh Khanna had once mentioned in an interview that he had gone to a temple with Pancham. The clanging bells had a distinct sound and a peculiar rhythmic beat which caught Pancham’s attention, and were used by him in the beginning of the song. Of course, as the song moves on, the number of instruments keep getting added, reaching a finale, which has an unmatchable chaotic rhythm & energy to it.

There is another reason to listen to the finale of this song, an interesting story recently recounted by Mr. Annu Kapoor on his Big FM programme.

Apparently, due to the number of instruments used by Pancham for this song, the budget of the song recording had gone haywire - reaching a figure of 50000 - an astounding sum for a song recording in early 70s. Upset with this, Mr. J Omprakash, at the time of rehearsal kept complaining to Pancham & everyone else - "pachaas hazar kharch ho gaye, par mazaa nahin aaya". This constant barb naturally affected RD, and he shared his anguish with one of his best friends in the industry & the male singer of this song - Kishore Kumar. 

Of course, a friend in need is friend indeed. Kishore Kumar did not let the matter go unheeded. In the final version of the song, as the instruments are reaching a crescendo, you can hear him shouting - Bajao re Bajao imandari se bajao Pachas hazar kharch kiye hain. 

Holi Re Holi..

Holi has been a festival closest to my heart. Something in the weather - just turning cold to warm - also brings out the warmth amongst ourselves, while making us drop all our pretensions and open up our heart. It is a festival that brings out bohemian of most of us. A festival like this, naturally also opened up the possibility for Pancham to unleash his creativity most effectively. No wonder he has a number of songs centered around Holi.

Beginning from Kati Patang to Sholay, I can remember at least six movies where Pancham had composed a song for Holi. Each of these have remained amongst the playlists for the Holi parties.

My favourite, of these, is from a movie - Paraya Dhan, released in 1971. The movie, starring Rakesh Rohan & a very beautiful Hema Malini, alongwith Balraj Sahni & Ajit was shot for a major part in the valley of Kullu. Its composition had a different flavour altogether, something like the sound from western curry classic meeting the music of the valley. The fusion was simply brilliant as most of the songs went on to become classics over the year.

For example, this Holi song, lyrics for which were written by Anand Bakshi. It has a rhythm that is unlike a normal Holi song. Even the instruments are not really the traditional instruments.Asha Bhosle & Manna Dey add their brilliant vocal rendition to the composition. The result is a song which conveys the mood of this festival of colours in a perfect manner.

Wishing you a very happy Holi, as you listen to this gem from Pancham:

I Am Falling In Love With A Stranger

To dream of replacing Amitabh is much easier than actually doing it. It requires a combination of talent, self-belief & tenacity that few are capable of. 

Tenacity? Yes, excluding Anand - where his introvert Dr. Bhaskar Banerjee proved to be a perfect juxtaposition for Rajesh Khanna to walk away with all laurels, it was only after delivering a series of flops (which could have made anyone else decide to look for an alternate career) that Amitabh could get Zanjeer, his 13th movie, and the first role that started shaping him as a rebellious young man. 

Post Zanjeer, there were a number of good performances - like Abhimaan, Majbiir, Mili & Chupke Chupke. Yet, he was still a hero for the feel good small budget cinemas. Then came 1975 - the year in which his brooding performances in two mega budget movies and their super success finally put him on the road to being called Super Star. One was Sholay, and just before that, at the beginning of the year, was Yash Chopra's Deewar.

Pancham already had composed for a number of movies starring Amitabh but Deewar was different. Here, the role had no, absolutely no, possibility of a song for Amitabh. The movie however had an interesting night club scene just before Amitabh is on his way to meet - nonchalantly - a probable death. 

RD used the situation for an English number, penned by Pancham himself & sung by Ursula Vaz. The composition is interesting & in two parts. The first part - of a romantic ambiance where a very beautiful Parveen Babi gets introduced in the movie & strikes a conversation with Amitabh. The composition here is suitably centered around Bossa Nova & Jazz in a lilting slow tempo, with refrains from instruments that include Trumpet, Piano & Drums. However, half way through the sequence, the time for words get over, tempo changes & gives way to a composition to match the suspense the situation carries. 

The end result is superb & pleasant, as while Amitabh survives & finds a soulmate in Parveen, we get a very hummable number: I am falling in Love With A Stranger:

A Note: Since the movie sequence has the song only in background, I am putting up the song & the composition itself:
Please check this out.

Ik Din Sapne men Dekha Sapna

Talking about dreams, most people do have a dream that gives them wealth & fame. A dream like this has to have a name & a face - someone whom you would aspire to replace.

Here is another composition of Pancham - whacky in style & whackier in lyrics, penned by Gulzar for the topmost grosser of 1979. Amol Palekar, the hero of the movie, whom this performance landed his first & only Filmfare award for the Best Actor, has aspirations to fame and talent both, and the song reflected those. Of course his character, apart from being essentially a middle class guy, also struck closer home - as he was shown pursuing the professional course of CA. 

Yes, this is Golmaal - that hilarious comedy by Hrishikesh Mukherjee which also got Utpal Dutt an award for the best comedian. 

At the time when this movie was released, there existed an actor who was not only one of the most celebrated stuntmen of Hindi Cinema, but also quite dreaded due to his looks, whenever he appeared on his screen. His son, then about 6 years old, after growing up went on to make a series of comedies titled Golmaal - of course with different kind of sensibilities yet quite witty. This is Rohit Shetty, son of the Fight Master Shetty. 

Interestingly Rohit Shetty's series of Golmaals were stories far different from the movie made in 1979. However, finally when he made the remake of Golmaal, it was titled Bol Bachchan - revolving around the name & fame of Amitabh Bachchan, whom, in original Golmaal, Amol Palekar is trying to be better than while singing this song.

The picturisation also had the Director paying homage to one of the scenes from his own Guddi, while another scene shows Rekha in her Khubsoorat avataar. In fact, considering the attire of Rekha, and knowing that Golmaal was quickly followed by Khubsoorat, I would not be too surprised if Rekha's special appearance was shot on Khubsoorat's set.

The song was sung by Kishore Kumar in his zany style. However, that small refrain of yodelling at the end of first stanza is not by Kishore, but by his son Amit Kumar. Believe me, one can not make out a difference.

So here is Ik Din Sapne men Dekha Sapna:

Maine Dekha Ek Sapna

As I wrote earlier, Samadhi had Dharmendra playing double role. A double role by a hero naturally means two heroines, and if the story demands, then possibly compositions which can denote two different generations.

In Samadhi, the second heroine's role was played by Jaya Bhaduri. In fact, this was Jaya Bhaduri's 2nd movie with Dharmendra, and the first one where they played a romantic couple. (The first one was of course Guddi, where she had a crush on Dharmendra - giving an amazing performance playing himself - while he worked on getting her cured of that crush.) While the first generation couple was shown more in village, with traditional clothes, bullock carts and wells, the second generation was urbanised - with large cars, fashionable clothes and well landscaped gardens.

Both parts of the story had two songs each with a clear distinct identity to suit the change of location. One of these songs was also an experiment by Pancham. I wish I had the requisite technical knowledge to describe it better. However, as a listener, I find it unique in many ways. Despite being a romantic song, the composition is far from being called soft. In fact, it is quite vigorous. The interludes are also brief. However, most interesting is the way the it has been structured, with notes changing fast almost like overlapping each other. 

May be it could be a good idea to just play it now, for you to understand yourself what I mean. So here it is, Kishore & Lata rendering their voice for the lyrics penned by, once again, Majrooh: