After the breathless
rendition of Bamchiki Chaam Chiki, here is another rarely heard
composition of Pancham - once again involving Kishore Kumar & Biswajeet.
However, before that, kindly bear with me as I take you on a trip down my
memory lane. You will soon know the reason.
As a child, I always
felt privileged to visit my Dad's office, on a rare occasion, in that building
which is popularly known as the Old Lady of Boribunder. After travelling
through a crowded local train and crossing the busy road outside, as the
massive gates of that awesome stone structure would close down behind me,
silence of the passage could actually be deafening.
A few steps would
bring me to an old, mahogany paneled elevator, which would creep upward
elegantly, carrying me through a strong waft of freshly inked newspapers &
magazines, and deposit me on the floor where my Dad's office was.
Stepping out of the
elevator would be the time when I used to hear the noise that, till the advent
of personal computers, was synonymous with any well-established office: a
constant mechanical staccato of typewriters hunched upon which, like orchestra
players on their respective instruments, would be the typists of all hues &
ages, using their fingers to push the keys for striking the paper in the
carriage. The sound would be regularly embellished with a tinkling or a bell
sound as the carriage having travelled from right to left across the width of
the paper would be brought back, with a slash of hand, to begin the next line.
I am sure most of you still remember that sound.
Now, Pancham is known
for his penchant to use all kind of sounds in his compositions. I am not
surprised, hence, when I found one of his compositions largely based on the
roll & rattle – and of course that tingling bell - of a Typewriter. This is
from Hrishikesh Mukherjee's Phir Kab Milogi. Yes, the same movie which took
about 4-5 years in making and had that immensely popular Mukesh – Lata’s Kahin
Karti Hogi Woh Mera Intezaar.
The success of Kahin
Karti Hogi & failure of the movie otherwise, meant that other
compositions were never well appreciated. Amongst those remained hidden this
lovely song; well composed, very hummable with Kishore da gliding
ever-so-smoothly through the contours of the stanza, and with the verse from
Majrooh that one finds relevant even now:
Kahne Ko To Hum Hain Babu
Par Jeb Hai Khaali Aksar
Hai Dard Se Bojhal Kursi
Aahon Se Bhara Hai Daftar
Savere Ko Mukh Pe Khushi Thi Zara Si
Labon Pe Suhaani Hansi Thi
Shaam Ko Jab Babu
Ghar Chale Apne
Fileon Ke Neeche
Dab Gaye Sapne
Khaali Khaali Aankhen Hain Bechaara Hairaan Hai
Sar Jhukaaye Huye
Palkon Mein Dhool Bhare
Par Jeb Hai Khaali Aksar
Hai Dard Se Bojhal Kursi
Aahon Se Bhara Hai Daftar
Savere Ko Mukh Pe Khushi Thi Zara Si
Labon Pe Suhaani Hansi Thi
Shaam Ko Jab Babu
Ghar Chale Apne
Fileon Ke Neeche
Dab Gaye Sapne
Khaali Khaali Aankhen Hain Bechaara Hairaan Hai
Sar Jhukaaye Huye
Palkon Mein Dhool Bhare
Bharpoor Hai Jiski Muthhi
Duniyaa Mein Wahi Hai Tagdaa
Paise Ke Liye Har Uljhan
Paise Ke Liye Har Jhagdaa
Jo Kaho Kar Guzarta Hai Logon
Jise Dekho Paise Pe Marta Hain Logon
Jaane Kyun Paise Par
Main Bhi Marta Hoon
Jo Na Karna Chaahoon
Wo Bhi Karta Hoon
Ab Samjha Main
Phir Bhi Kyun Dil Ko Itminaan Hai
Ham Bure Hain To Kya
Jag Men Sabhi Hain Bure
Duniyaa Mein Wahi Hai Tagdaa
Paise Ke Liye Har Uljhan
Paise Ke Liye Har Jhagdaa
Jo Kaho Kar Guzarta Hai Logon
Jise Dekho Paise Pe Marta Hain Logon
Jaane Kyun Paise Par
Main Bhi Marta Hoon
Jo Na Karna Chaahoon
Wo Bhi Karta Hoon
Ab Samjha Main
Phir Bhi Kyun Dil Ko Itminaan Hai
Ham Bure Hain To Kya
Jag Men Sabhi Hain Bure
Khit Pit Khit Kare
Aur Kat Kat Ke Mare
Pyaar Se Ye Jahaan
Kaahe Na Milke Rahe
Aur Kat Kat Ke Mare
Pyaar Se Ye Jahaan
Kaahe Na Milke Rahe
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