Pyar Se Yeh Jahan Kahe Na Mil Ke Rahe

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

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

Khit Pit Khit Kare
Aur Kat Kat Ke Mare
Pyaar Se Ye Jahaan
Kaahe Na Milke Rahe

Baam Chik Chaam Chik

Indian Cinema has seen a number of great artists but there have been very few who can be rated as versatile performers as well a complete entertainer. Kishore Kumar was one of such few artists - a maverick always wanting to do something unexpected; one of those persona, full of character, who enriched whatever they touched.

He might not have been close to the heart of purists, the way Rafi or Manna Dey were. Yet, his charisma and his popularity has remained unchallenged, unmatched. A sensitive artist & a quick learner who could sing songs in a manner that made it sound so effortless. If you have a doubt, just listen to his rendition of Mere Naina Sawan Bhado from Mehbooba. Despite no classical music training, he could perform better than the one sung by Lata Mangeshkar, and only by learning from the manner in which she had performed. 

Think of songs for any mood and most of the time an immediate recall would be of more than a couple of Kishore Kumar songs. Be it any genre; romance, melancholy, pathos, compassion, philosophical or any other one can think of and one would find his gems amongst the top notch ones. 

Yet, one genre which he really excelled in was also the one that matched his personality to a T. In one word this could be called Joie-de-vivre. The dictionary defines this French word as "Exuberant enjoyment of life". Truly, that was his entire persona. 

Unlike Rafi or Mukesh who had sober demeanour, in Kishore da's case, such songs seemed to be the ones which were natural for him. Just think of songs like O Meri Pyari Bindu from Padosan; Aa ke Seedhi Lagi Jaise Dil Pe from Half Ticket, Guni Jano re Bhakt Jano from Ansoo aur Muskan, Rafta Rafta from Kahani Kismat Ki or even his own introduction which he used to start his concerts with - Mere Nana Naniyon, Mere Dada Dadiyon.

Here is another song from the same genre where he has excelled himself, not heard so often, but is another example of his zest of living life to the fullest. This is from a 1975 movie Kahte Hain Mujhko Raja, starring Dharmendra & Biswajeet. The movie  was produced & directed by Biswajeet, perhaps as his last ditch effort to extend his career. It seems, looking at the clips that by then it was already quite late. As a result, along with the sinking of the movie also were lost the compositions despite being of the same class that one expects from a Pancham & Kishore Kumar combination. It is indeed unfortunate that this number did not get the attention it deserved. 

Perhaps this could be my opinion, and hence I invite you to judge it yourself - on Kishore Kumar's birth anniversary, this breathless performance of Kishore Kumar that is matched only by its verse & composition.

Ek Ajnabee Haseena Se

Charisma is a word that tries to define something which is otherwise unfathomable.  It means compelling attractiveness or charm that can inspire devotion in others.  If ever, there was a star with Charisma on Hindi screen, it was Rajesh Khanna.

How else can one decode a phenomenon like him - average looks, good performer who could speak a lot with his eyes, broke through the accepted mould of a hero to create his own style, and then got confined within that. 

His fame was also like a comet that dazzled everyone with it for a while, and then disappeared as suddenly as it had arrived. During the brief period – relatively brief as compared to other superstars who followed him – that he shone through, his fan following was not only unprecedented but could always make even the later & bigger stars envious of it.

Apart from his charisma, another factor going for him was a troika that gave soulful songs for his screen avatars; songs which coupled with his crinkling eyes and a disarming smile could woo not only the actress on the screen but the entire female fan following to the extent that many of them were willing to lay their life for him.

The troika comprised of; yes, Kishore Kumar, Pancham & Anand Bakshi. In fact, even as his movies started faring badly, the songs created by these three continued charting new waves. Here is one such song, from Ajnabee, another movie by Shakti Samanta - whose Aradhana, Kati Patang & Amar Prem had ensured a golden run for Kaka earlier.

As a composition, with hardly any prelude, what make it interesting are those interludes – specially the first two, where Pancham mixes Santoor, Guitar & Sax so brilliantly. 

Kishore’s throaty rendition, the mischievous smile of Kaka & the subtle blushes of Zeenat, while he hints about their previous interaction, and all I can think of is the lost innocence of that era, where a serenade was an essential part of the life itself:

Woh Achanak Aa Gayee, 
Yun Nazar Ke Samane

Jaise Nikal Aaya Ghata Se Chand

Chehre Pe Zulfen Bikhari Huyi Thi,

Din Men Raat Ho Gayee

Jaan-e-man Jaan-e-jigar, 

Hota Main Shayar Agar

Kahta Ghazal Teri Adaaon Par

Maine Yeh Kaha To, Mujhse Khafa Woh

Jaan-e-hayat Ho Gayee

Ek Ajnabee Haseena Se

Yun Mulaqaat Ho Gayee
   

Tum Aa Gaye Ho

Last few days, one has seen a plethora of articles & posts about Emergency, that was imposed in India on 26th June 1975 & lasted for a period of 19 months.

Amongst some of the casualties that censorship imposed at that time, was a movie that was released in 1975 & was banned after a few weeks . It was allowed to be released only after the lifting of Emergency & subsequent defeat of Congress in 1977. Of course, the movie went on to become a classic, also getting Best Movie Award in the Critics category for that year from Filmfare.

This was Aandhi, a political drama which saw confluence of an amazing array of artistes;  Gulzar, at the helm of the affairs,  who collaborated with Kamleshwar – one of the leading media & literary persona of the time, Sanjeev Kumar, Suchitra Sen (in her last Hindi movie) & Om Prakash brought their characters alive  on screen. In the background, it was time for Gulzar to also play the role of a lyricist, and with Pancham, Kishore Kumar & Lata Mangeshkar, the movie gave some of the most romantic songs of Hindi cinema.

Though it seems that the key protagonist Aarti Devi (played by Suchitra Sen – her last Hindi movie) was inspired by Nandini Satpathy, a leading politician of Orissa, her gate-up, specially the white streak in her hair led I & B Ministry to believe her to be modelled on Indira Gandhi. As a result, despite the movie being very sympathetic to the character, it was banned for a short while. The music of the movie  became an instant hit, till even that was banned in May 1976 – not because of the movie, but due to an unofficial ban on Kishore Kumar, who had refused to sing in a Congress Rally in Mumbai.

Be as it may be, even after 4 decades, the compositions of this movie have remained amongst the best of Pancham; often compared to Amar Prem for the class of rendition & depth of verse.

It is indeed difficult to really favour any one particular song from this movie, but the one I am showcasing is special for today – this being Pancham’s birthday.

The song has very little prelude & has all favourite instruments of Pancham – Guitar, Sax & Madal, with violin that act as a bridge to carry the tune seamlessly. 

However, what is special are the verse that – despite being penned for a romantic situation, also manage to convey the feelings that all the fans may have about Pancham & his music.

So here is wishing all his fans, a very special day with this lovely song:

Tum Aa gaye Ho

Noor Aa Gaya Hai

Nahin To, Chiraagon Se

Lau Ja Rahi Thi
Jeene Ki Tum Se
Wajah Mil gayi Hai
Badi Bewajah
Zindagi Ja Rahi Thi

Rimjhim Gire Saawan

Two years ago, when I started sharing my favourite Pancham songs, little did I know how interesting & fulfilling this journey would be. On one hand, it helped me exploring such different facets of Pancham, also enriching my knowledge about the music itself. On the other hand, I got to know so many other die-hard fans of his music – much more passionate & aware of the magic that R D Burman created during his life time & of his legacy.

This 150th post is, hence, dedicated to that legion of Pancham fans for whom his music is a window to another world altogether - for whom Pancham's sur is the whole sargam. It would have been difficult to choose a befitting song but the weather outside made it easier.

I am sure the moment it starts raining, there are a number of songs one can think of from RD’s repertoire, but the one that comes uppermost to everyone’s mind is this one – a perfect song – more so because it has two solo versions sung by two most preferred singers of Pancham – Lata & Kishore

Yes, it is Rimjhim Gire Saawan – from Manzil, a Basu Chatterjee movie with Amitabh & Moushami, released in 1979.

The song was featured in two different situations in the movie with two – though not strikingly –different moods.

One is picturised outdoor in the real rain, with K K Mahajan’s incognito camera following the pair (Moushami at her natural best) through the city, and capturing South Bombay’s beauty in monsoon. The other is an indoor song, set in a party to celebrate a wedding.

One is of a girl in love, experiencing the rain with her beloved, letting her feelings & thoughts take flight. The other, in a male voice, is more about the feeling of getting attracted, but being unsure if the feelings are right or will be reciprocated.

The composition – set in Raga Kirwani - remains same yet the treatment differs with the situation.

The one sung by Lata has faster tempo, more instruments and with Lata’s aalaap during each stanza, and the way it extends to meets the notes of Santoor & Guitar, really soars.

The one sung by Kishore has lesser number of instruments, Sitar being the major one, but brings out the feelings of that growing attraction. The verse, or rather really the poem, penned by Yogesh, differs too – again to match the moods.

Normally it is always the case of at least one version having an upper hand, but for this particular song, it really is difficult to choose which one would be my favourite – specially since both bring to you that whiff of petrichor that comes with the very first rains. So here is the combination – giving you both the versions together:

Mahafil Men Kaise Kah Den Kisi Se,

Dil Bandh Rahaa Hai Kis Ajanabi Se

Haye Karen Ab Kyaa Jatan, 

Sulag Sulag Jaae Man

Bheege Aaj Is Mausam men

Lagi Kaisi Yeh Agan

Rimjhim Gire Saawan

Is Bar Saawan Dahaka Hua Hai 

Is Bar Mausam Bahaka Hua Hai

Jane Pee Ke Chali Kya Pavan, 

Sulag Sulag Jaye Man

Bheege Aaj Is Mausam men

Lagi Kaisi Yeh Agan

Rimjhim Gire Saawan

Kiski Sadaayen Mujh ko Bulaayen

(It is always difficult for a blogger to find out a perfect way to return to his blog - specially after such a long gap. The last strand is long forgotten; too brash a post may be frowned upon while too dull a post may not even make people realise that he is back. 

Fortunately for this blog, all that I have to do is select one of the gems from Pancham's vast repertoire and post it - and more often than not, it works.  

So, after all this verbosity to wake up all Pancham fans, here is a lilting tune from one of the flop movies of 1980s.)

Rajesh Khanna, the first ever superstar of Hindi Cinema, was at that point in his career by late 70s where nothing seemed to be going right for him. There were a string of flops and audience had unanimously decided to reject his romantic hero and accept the angry young man & anti hero - brought alive by Amitabh Bachchan.

Kaka needed an image makeover and perhaps that is why he chose a few movies which were an absolute anti-thesis to his established image. One such movie was Red Rose, a remake of a Tamil movie Sigappu Rojakkal that had originally Kamal Hasan & Sridevi in the lead roles.

The movie was directed by Bharati Raja, also the director of original Tamil movie, and had Kaka reprising Kamal hasan's character that had a hidden dark side - a sex-maniac preying on young females before killing them. 

Unfortunately, despite an interesting story line - quite misogynist in its treatment though - the movie remained trapped in the cliches of those times. As a result, it was befitting for the main character, if having a negative shade, to have no choice but to die in the end - in this case due to efforts of the heroine. 

However, just imagine, the interesting possibilities this movie could have had in the current age of sequels & dark-noir movies - with perhaps each new movie with the same hero & a different - may be tougher - heroine. 

The female lead in Red Rose was played by Poonam Dhillon - who celebrates her birthday today - for whom this was first major movie outside Yash Chopra productions, and she performed the interesting role with quite an ease. 

The movie's background score was a tailor made opportunity for Pancham and he excelled in that. However, there was limited scope for the songs, and yet the two songs that Pancham composed for the movie, have remained amongst some of his best compositions.  

The one showcased here remains amongst my favourite duets from 80s. It begins with the strings of Irani Santoor - played by Pt. Ulhas Bapat - and the instrument remains the back-bone of the song through-out. Kishore Kumar and Asha Bhosle bring in their expert & flawless rendition - you just need to listen to their variations while singing Adaayen & Sadaayen in the mukhda - bringing alive the romance that was penned by Nida Fazli.

Kiski Sadaayen Mujh ko Bulayen

Anjane Sapne Neenden Churaye
Teri Adaayen Jadu Jagaye
Dharti Sanware Mausam Sajaye

Dil Machal Raha Hai

What was the connection RD had with RK? It could be quite coincidental, but the movies which had RK as a hero always inspired Pancham more.

RK, who? Of course Rajesh Khanna!

An easy enough answer, except that this also holds true for two more heroes - Rishi Kapoor & and who else but one of Pancham's best friends in the industry - Randhir Kapoor.

Beginning with Rampur ka Laxman, Randhir Kapoor & Pancham did about 14 movies together. A large number of them did not really fare well. If Jawani Deewwani, Rampur ka Laxman, Dharam Karam & Kasme Vaade did extremely good business, there were movies like Khalifa, Harjaee, Dhongee and many more which turned out to be quite a damp squib.

Damp squib, only as far as their commercial success or artistic value is concerned. Their scintillating musical score was always the saving grace – perhaps the only reason for which even now these movies merit a recall.

Take Khalifa, for instance. This 1976 movie, directed by Prakash Mehra, had Randhir Kapoor, in double role - one good & one evil, along with Rekha. The movie had nothing much to write home about - except its compositions - specially this one.

The composition is very stylish – pacy and very unpredictable as it moves. If the interludes are sensuous – the structure of stanza, with its pulsating beats arrangement & high octave singing that effortlessly glides into seductive crooning, carries hallmark of what Pancham was famous for. Add to that Kishore Kumar in play-full yet romantic full- throated rendition & smooth as honey singing of Asha Bhosle – it was a perfect recipe for creating the magic. This was also the first movie where Gulshan Bawra, till then more of an actor & less of a lyricist, & Pancham collaborated first time. Later they went on to do many more movies, including Kasme Vaade, Harjaae & Satte pe Satta.

On screen, while RK’s acting fortunately does not really create a jarring note, what is worth noticing is Rekha – specially the nuances that she brings to her face while singing. Those were early days – “Ghar” was still a couple of years away - but watching her you would know for sure that the process had begun of her evolving into the beautiful swan that she went on to be.

Look at it yourself. I am sure you will agree too.

Jeena to Hai, Par Ae Dil Kahan..

Sometimes, I really wonder what makes a movie song really hit – good lyrics, great composition, flawless rendition or the way it is presented on-screen?

I am sure there is no clear answer to it. Yes, verse, vocals & composition are a must, but somehow, I have observed that a movie being a visual medium, its picturisation, the actors involved & finally the success of the movie make a bigger difference. This held true at least for the movies produced till late 70s, where in the absence of a 24x7 television, and lack of easy availability of music other than radio (Record players were not so common then!), in case a movie did not fare well, there was hardly any scope for the music to survive. Of course, there were exceptions where the good music became popular, despite dismal performance of a movie, due to sheer star power of the performers; but as I said, these were exceptions.

What else could have been a reason for the song that I am presenting today not to be rated amongst the evergreen classics from Pancham-Kishore?

No, it is not an exaggeration. Since the time I have heard this song a couple of weeks ago, I have been absolutely mesmerised - reeling under its spell.

This one, as promised earlier, is from Paanch Dushman. Yes, the same one which was first released in 1973, and later as Daulat ke Dushman in 1983. 1973 was the same year where Kishore & Pancham combination was on an upswing – what with super-hits like Tera Mujhse Hai Pahle Ka Naata Koi, Kiska Rasta Dekhe, Diye Jalte Hain & Main Shayar Badnam – just to name a few. Yes, amongst their own repertoire, 1973 was a tough act to beat. I am sure, among those sterling releases, a movie like Paanch Dushman with only villains being the noteworthy performers, it would have been perfectly justified, had Pancham not bothered to be at his usual self. However, such was never the case with him.

He still gave his best and the result is this composition. It begins with the notes derived from “The Sound of Silence” of Simon & Garfunkel, and then charts a course which has Kishore Kumar giving a no-holds-barred rendition – changing scales & pitch so effortlessly - that coupled with the very subtle notes of flute & guitar, brings out the melancholic mood of the situation in the movie. Majrooh, of course one of the mentors of Pancham, ensures to add depth with his verse – bringing me back to the question – why is this song not amongst Kishore & Pancham’s all-time bests?

Perhaps Majrooh’s verse were also wondering about this:

Naaraaz koi, Na koi Meherbaan
Naa kahin koi Bijali, Naa koi Aashiaan
Are baithun to, Nahin milti hain Zameen
Main Udana chaahun to, Hai door Aasmaan
Jeena to hai, Par aye dil kahaan

Listen to this yourself, and I am sure you will agree with me.

Main Aur Meri Awargi..

In my last post, I had promised the other song, a Kishore Kumar solo, from that rare - twice released under different names movie. However, let me first take a detour and take you to a Kishore classic, but from a different movie -Duniya, a 1983 release. The movie was a typical pay-back revenge drama with Dilip Kumar & Rishi Kapoor in lead, and did fare quite well.

However, the reason for this detour is very simple. Today one of the most prolific poets of the recent times - Javed Akhtar, has turned 70. After having worked for a long on various movies together - but as the story writer & the composer, this was the first movie where Javed Akhtar & Pancham collaborated together for music. In fact this was the first movie where Javed Akhtar had penned the lyrics.

Though there is no original movie clip available on internet for the song featured here, the reason to choose it was very elementary - It showcases the simple play of words that Javed Akhtar always manage to bring out while detailing the emotions. Quite possibly that is why, once again, more than a decade later, the same lyrics were used by Nusrat Fateh Ali Khan for his Sufi music album – Sangam – in collaboration with Javed Akhtar.

Perhaps it is the lyrics itself, written as if emanating from the inner most emotions of a nomadic soul, that found resonance in Pancham & Kishore Kumar. As a result, though not sufi-ish in style, yet the composition & rendition they came up with is also very simple – almost zen-like when one really think about it.

Hum bhi kabhi aabad the
Aise kahan barbaad the
Befikar the, azad the
Mashhoor the, dilshad the
Woh chal aisi chal gaya
Hum bujh gaye, dil jal gaya
Nikle jalake apna ghar
Main or meri aawargi

Jaana Hai Humen To Jahan Karaar Mile

Movies that take a long time to make are innumerable and they do tend to fare miserably. Adhura Aadmi was not an exception. However, rarely does one come across a movie that gets released twice – under different titles. Pancham had this distinction too.

In 1973, a Mumbai based builder, enamoured with the cinema & related glamour produced a movie that was supposed to be anti-smuggling. Unlike a multi – heroes, this was a movie with multi-villains - five to be precise and all top notch in early 70s: Pran, Manmohan, Prem Chopra, Shatrughan Sinha & Vinod Khanna – all pitted against one hero – who alone graced the posters of the movie. Movie was aptly titled Paanch Dushman. The movie tanked, and tanked big time.

Not to be deterred though, and perhaps because of the misplaced notion of being ahead of the time, the producer re-released the movie in 1982-83, this time with a new title – Daulat Ke Dushman. A few of the dynamics though had changed in the intervening years, and hence Vinod Khanna & Shatrughan Sinha got the top-most billing this time. Well, the change of name of the movie or the billboards did not alter its fate – justifying that Shakespeare was right when he wrote - What’s in a name?

Oh, yes, a few more trivia that I should have mentioned, the producer of the movie also decided to cast himself as the hero. Perhaps his success in his other business interests - involving construction & hospitality – did make him feel eligible enough to take on these 5 stalwarts actors. After all he also owned one of the key & an iconic hotel of its time in Mumbai . This was Manu Narang – also known as Manohar Lal Narang who owned Ambassador Hotel at Churchgate – the first one to have a revolving restaurant in the country.

Getting back to the movie, it had two lovely compositions of Pancham – a Kishore Kumar Solo & a duet featuring Kishore- Lata.

Let me play today the duet because once you see the performance of the lead actors, you will understand the reason why even Pancham’s music could not help it survive – neither first time nor in its re-christened avatar.

However, the song is an absolute gem with verse by Majrooh. Listen to it here:

Khush Raho, Ahal-e-Watan..

It has been a long time since I visited this page. There have been reasons - the procastination being one of them, and finding a suitable occassion being another. I realised that today could be a good day to begin another phase where we explore the genius of Pancham.

It was 21 years ago, this day, when he moved away from this world and yet his legacy has lived on. In fact, his music is sounding as fresh and is as popular now, as it was then. While writing about him today I was looking for a suitable song and came across this gem .

Words – especially those which are well thought out lasts forever. The times may change and one fine day the same phrase re-appear again, looking as befitting and as apt as they were years ago – or in this particular case – centuries ago.

Around 1857, Wajid Ali Shah, the Nawab of Awadh was forced to abdicate his throne & was exiled from his beloved city Lucknow. It was this pain that made him pen a couplet that has been used many a times.

Our history tells us that one of the earliest user was Shahid Bhagat Singh when he wrote his final farewell letter from the gallows to his brother.

Almost 50 years later, in 1982, Gulzar was making a movie based on a truck driver’s life and his interaction with a family full of women. Perhaps taking an inspiration from the truck art – this couplet is quite often seen on the trucks - Gulzar used the last line of this couplet and penned lyrics of what could be an eternal journey song, in Kishore Kumar’s inimitable baritone for movie Namkeen.

Pancham of course was at his prime when Namkeen was produced, and created a composition where simplicity of instruments and the creative use of Hindustani Ragas – Malkauns for the night drive & Megh Malhar for the rainy season – turned it not only a classic, but also a perfect song as his legacy for his fans.

So here it is:

Aise Ujade Ashiyane, Tinke Ud Gaye 
Bastiyon Tak Aate Aate Raaste Mud Gaye 
Hum Thahar Jayen Jahan
Usko Shahar Kahte Hain 
Raah Pe Rahte Hain 
Yadon Pe Basar Karte Hain 
Khush Raho Ahal-e-Watan, Hum To Safar Karte Hain

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

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

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:

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

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

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

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