Achchhi Nahin Sanam Dillagi..

It was not by design, but a coincidence, that last two songs on this page had Asha Parekh as the heroine. Having done that, now by design, let me present another duet that starred Asha Parekh. Asha Parekh being the key protagonists of all Nasir Hussain movies from Dil Deke Dekho to Caravan and also one of the topmost actresses in 60s, it was quite natural that Pancham had some of his best compositions picturised on Asha Parekh. 

The duet presented here is from a movie - Rakhee Aur Hathkadi - another spin on the cliched formulae of "Lost & Found", so popular amongst the producers-directors of late 60s & early 70s. The movie had Asha Parekh in double roles - one as a courtesan and another as of her daughter. Apart from Ashok Kumar, Pran & Helen, all other key protagonists of the movies were rank new-comers at that time - including Danny for whom this was perhaps the first movie as a full fledged villain. Asha Parekh herself being past her prime by then, the movie had nothing interesting for the cine-goers and hence tanked. Fortunately, some of the songs survived, due to freshness that RD offered.

Getting back to the composition, it is a lilting duet - penned by Majrooh - that starts of with a Sax prelude and has very subtle score through out, including interludes. The harmony is created by relying more on the vocal chemistry of Asha & Kishore - who carry out their bit so well that song remains as sweet as it was 4 decades ago. 

Unfortunately, same can not be said true about the chemistry of the performers on-screen, the other Asha - looking a bit tired, and her co-star Vijay Arora - who tries his hardest to find a balance between his hangover of Shammi Kapoor & Rajesh Khanna.

See for yourself, and then close your eyes, and just enjoy the song:

Pyar Ka Mausam Aaya...

Talking about the romantic duets sung by Rafi & Lata under Pancham's baton, here is another of their classics- one of my favorite. 

Once again, a Nasir Hussain, Pancham & Majrooh combination. The song is set amidst a valley, which gave a reason to Pancham to make one of his first forays into using folk as the base for his composition. The Composition has a lovely and very interesting prelude. It opens with guitar chords followed by an echoing alaap by Rafi & Lata. This is in turn followed by a heady mix of santoor, guitar & clicking of fingers before Pancham's own brief "O...", somewhere in the distance, takes the prelude into the main song. 

Picturised on Shahi Kapoor & Asha Parekh, the composition has a beautiful rhythm. Interestingly, song also features a very young actress who later on went on to become one of the most famous TV anchors - during Doordarshan's Black & White era – Tabassum of Phool Khile Hain Gulshan Gulshan. 

Here it is – from Pyar Ka Mausam:

Kitna Pyara Waada Hai...

With formula driving the Hindi movies always, almost each movie has a tailor-made situation to infuse a romantic duet. And irrespective of the actors performing, the most popular duo to perform these duets were Lata & Rafi. With their mellifluous & pure rendition, and their command over ragas, together, they always managed to create that effect of pure romance which was difficult to match for most of the other singers. 

Pancham had worked with them , as assistant to his father in a number of movies - specially those of Navketan banners. However, there have been very few numbers where he himself used their magical chemistry for a romantic duet. This, despite Lata being one of his favourite singers. Partly, this could have been due to him preferring Kishore for most of his male songs. 

Yet, when he did work with them together, the compositions & the songs turned out to be not only super hits, but also have been rated amongst Rafi & Lata's best songs together. 

One such song was in 1971 from the Jitendra & Asha Parekh starrer - Caravan. Being a Nasir Hussain movie, with a story woven around gypsies, the compositions - across the movie - were outstanding. Pancham used the theme of road journey to bring in sounds that were as varied as jazz, the blues as well the folk. Amongst all the compositions, one closest to Hindustani sound was this lovely duet with a two-paced composition. The interesting part is the way song ends with a refrain on Harmonica as the caravan moves on. This refrain was later used by Pancham for another of his composition - Jaane Tu Ya Jaane Na - from Aa Gale Lag Ja. 

Of course, with Majrooh in his prime, Lata & Rafi lending their voices to suitably subtle & coy Asha Parekh with dancing Jitendra - much before white shoes became his trademark - the songs could not have been anything but sweet & melodious - to remain a chart toppers for years to come.

Har Khushi Se, Har Gam se Begaana Hota Hai....

"At the touch of love everyone becomes a poet..." Thus spoke Plato.

Well! Love not only creates poets, it also creates music. More so, when it comes to Hindi movies where a song has remained the perfect way to express one's love. Almost each movie, irrespective of its theme and mileu, has a love story going for it, creating a need for those love ballads. Bit it is not always only about verse. A good verse needs good composition to create that feeling of perpetual warmth in one's heart which only love can evoke.

Pancham, in tandem with some of the best lyricists of Hindi movies, created songs which have retained their freshness - even after so many years. One such song is a classic from the repertoire of that eternal loverboy of Indian Cinema - Rajesh Khanna!

The situation in the movie provided an opportunity to the lyricist Anand Bakshi to pen verse which make an attempt to define the love - an undefinable emotion otherwise - and its inevitability . Kishore brings to life the emotions in his rendition. And Pancham? He used one of the stock instruments in most of the movies of late 60s, a grand Piano, in a manner that spell-bounds the listener, forever. I never get tired listening to this song as Rajesh Khanna tries to explain to reluctant & reticent Asha Parekh:

Rahe koi sau pardon me, dare sharam se 

Nazar aji laakh churaaye, koi sanam se 

Aa hi jaataa hai jisape dil aanaa hotaa hai

Pyaar divaanaa hotaa hai, Mastaanaa hotaa hai

Har khushi se, Har gam se, Begaanaa hotaa hai

Ab Jo Mile Hain...

I mentioned yesterday about how difficult it was to differentiate the voices of Mangeshkar Sisters - when they sang in tandem in Dulhan Maike Chali. It was all the more difficult because each of them, like a true playback singer, were trying to ensure that their voice was matching with the performer on-screen. Fortunately, each one was singing for only one of the characters.

Now here is a song, where there were two different performers on the screen - in two different kind of characters exhibiting two contradictory moods - and yet RD used only one singer. 

Ab Jo Mile Hain to - from caravan picturised on Aruna Irani & Asha Parekh had Asha Bhosle singing for both the actors. Starting seductively to match the on-screen persona of Aruna Irani wooing Jitendra, the song has a strong bossa-nova influence - perfectly matching the moves of Aruna Irani.

Half-way through, the seduction gives way to unrequited love and as the song changes the mood, one can not but notice that subtle yet distinct variation - in Asha's voice, in the lyrics and in the music. With Asha Parekh performing at her best, the song manages to bring out the pain that she is going through. 

No wonder, this song has remained one of the most popular one of Asha-RD-Majrooh combination.

Tu hai hawa, shola hu main,

Mil key bhee jo mil naa sake

Bujh naa sake tere bina, 

Tere bina jal naa sake

Listen to this here:

Mera Naam Hai..

With the last week beginning with Asha Bhosle’s birthday, for last few days I showcased only RD-Asha combination. To round up the working days of this week, heere is another song - not so rare, yet a path-breaking one for both of them.

Picturised on Bindu, this was the first ever cabaret sung by Asha Bhosle. The situation demanded, unlike a normal cabaret, a constant much closer view of the performer on-screen, while singing. On the other hand, the song does not have a base metre at all, rather more of a conversation directed at the heroine of the movie interspersed with jazz kind of interludes, which makes it more difficult for lip-syncing. That the singer & composer have been able to pull it off with such ease is what makes Asha-RD combination so endearing and so refreshing.

The irony is, yet again, the other songs from the movie turned out to be so popular that this one lagged behind always. That does not take away the brilliance of the composition & singing though. Judge yourself:

Aaja Aaja, Main Hoon Pyar Tera...

Asha Bhosle!

An artist par excellence who, alongwtih her elder sister, ruled the Hindi movies music for decades. Hers is the voice which, singing under the baton of RD, could rock an entire generation - or perhaps a few more to come, with her rendition of foot-tapping numbers. Yet, RD also made her sing some such songs which were more of the domain of her elder sister.

She is turning 80 tomorrow, and it is a fitting tribute to her as a singer and to RD as a composer to feature a few of her songs over here over next few days.

The first one to feature - a song from Teesri Manzil, a duet with Rafi.

The composition finds RD in his full elements - creating the kind of sound that was yet new to the industry - with a 73 second prelude starting with a rocking combination of Guitar & Drums at a furious pace, before suddenly slowing down to the sound of vibraphone and other instruments, halting for just a beat leading into the vocals of Rafi.

However, what is worth noticing is that while Rafi carries out his portion competently, the song actually comes alive only half way through when Asha picks up the vocals (while on-screen Asha Parekh sets the dance floor on fire) taking the song to an altogether different level. It almost seems as if this song was made for her alone.