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.

Dekho Yeh Kaun Aaya

The chemistry of Kishore Kumar & R D Burman is by now one of the most discussed phenomenon of Hindi movie music. If there were compostions that seemed to be tailor made for Kishore Kumar; there were also compositions which only Kishore Kumar could infuse life into. Even if a movie had other male singers, the song that Kishore sang always sounded more special. Perhaps Pancham had paraphrased the learning from Goerge Orwel's Animal Farm - For a music composer, all singers are equal but some are more equal than others.

Saveray Wali Gaadi was an exception to this rule. Despite there being a couple of solos reserved for Kishore, It was Suresh Wadkar, the other male singer for Sunny Deol who got better compositions - a solo and a duet with Asha Bhosle.

It is the duet specially that is really noteworthy. Beginning with plain vocals - too plain for a romantic song - the song takes off with the mix of Santoor, Tabla & Flute - all combined in a manner to create a lovely melody. Within each of the stanza, there are two different parts - the first part with Tabla while the second part seems to also have Bongo accompanying the beats - and both change seamlessly. Add to that the pause in between  - a clasp of a finger followed by what sounds like a temple bell - and the effect is beautiful as well as at some place very sensuous - matching the mood of an absolute romantic poetry penned by Majrooh.

Suresh Wadkar carrries out his part competently - suiting Sunny Deol's persona on screen. However the song actually belongs to the females - on screen as well as off screen. Poonam Dhillon portrays the playfullness sensuality of an innocent & vulnerable girl, and is aided by a perfect mellow gold rendition by Asha Bhosle - sepcially the way she carries off at the end. Between both of them, they manage to serve an audio-visual treat for the audience which keep you hooked on for a long time. 

Aa meri bahon me 
Baitha hoon kabse
Main teri raahon me
O main teri raahon me

Jalti hoon main bhi
Jabse pada hai
Dil pe tera saya

Dekho yeh kaun aaya
Dekho yeh kaun aaya
Meri sada pe bhul ke rasta
Ae dil yeh kaun aaya

Din Pyar Ke Aayenge Sajaniya

Bharathiraja, the director of Red Rose, has remained amongst one of the most prolific directors of Tamil Cinema - having won as many as six national awards for his films. Most of his movies were love stories entwined with social issues - largely of the South India. 

The times were differerent & hence not many of his movies were remade into Hindi. He himself also ventured into Hindi Cinema only a little. 

His first foray in Hindi movie was Solva Saawan - a remake of his own first movie as a director - which had introduced Sridevi. A few years after Red Rose, he directed another movies - Saveray Wali Gaadi - which was produced by Dharmendra & starred Sunny Deol, and Pancham again went on to create some stellar compositions.

Unfortunately, this movie, too, did not do well, and it was only a few years later that the music of Saveray Wali Gaadi got its due recognition. In fact, now, its rated as one of his finest works from the 80s.

Of all the songs this movie had, there is one which has also been ranked amongst the best that Pancham created with Lata Mangeshkar. With the name of the movie itself based on the morning train - used in the movie by Sunny & Poonam to exchange messages -  this composition had RD using the sound of a moving train as the constant rythmic refrain (Guitar, with perhaps, Madal) while its whistle - seems to be created through electronic synnthesizer - works as the harmonic pattern to combine vocals & interludes. The prelude itself, with the whistle like sound, makes one look forward to the romance. The composition that follows ensures that you remain hooked on.

Lata of course is at her best - portraying the hopes of a girl in love, while the song itself is picturised on an absolutely gorgeous & innocent villege belle - Poonam Dhillon - who makes this song - a lyrical treat anyways with Majrooh penning the verse -  a visual treat too.

Enjoy it.

Teri raah men, o Sajan, Teri dhun me chur
Khuli dhup me ithlati, phiri  door door
Mil ke sunaungi, kaise hans hans ke, 
Jhela maine dukh intezar ka
Din pyar ke aayenge sajaniya

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.

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

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..

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

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:

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.

Gum Hai Kisike Pyar Men

Manmohan Desai - the director of Aa Gale Lag Ja, was a connoisseur of the lost-and-found formulae. Later on he went on to make superhits like Amar Akbar Anthony, Parvarish and Suhag, amongst many others. However, for whatever reason, Aa gale.. was his second & the last movie with RD Burman as a composer. 

Considering the fact that both the movies where MKD worked with Pancham, the music was a major propeller towards their success, this has remained a mystery to most of the fans of Boss.

Which was their first movie? 

Well - another lost-and-found potboiler starring Randhir Kapoor & "dusky-and-pretty-who-went-on-to-become-one-of-the-most-beautiful" actresses Rekha with a villain who was becoming more popular than the hero himself - Shatrughan Sinha. This was Rampur Ka Laxman, with RD & Majrooh combining again to create some amazing numbers, the most popular one being this duet of Kishore & Lata.

The song is in conversational style - beginning with minor chords with a lovely liting feel to it. While Kishore Kumar sings his part so efficiently, it is Lata's rendition that really casts a spell making the song so bewitchingly romantic:

Chaha hai tumane jis bavari ko

Woh bhi sajanava chahe tumhi ko

Naina uthae to pyar samajho

Palken jhuka de to iqarar samajho

Rakhati hai sab se chhupa chhupa ke, kya,

Apne hotho me piya tera naam

Kahin Karti Hogi, Woh Mera Intezaar..

Golmaal was directed by Hrishikesh Mukherjee - one of India's finest directors - who believed in presenting a story & not a star cast. He was one of those directors who could get the best out of Pancham - even in late 80s when RD's career was at its lowest. In fact, as a director it was Hrishi da, for whom RD composed largest number of movies, their first release being Buddha Mil Gaya in 1971. 

This however was not where their association began.

Hrishi da had signed RD for a movie in 1966, starring Biswajeet & Mala SInha. The movie had a story that was similar to another movie - O P Ralhan's Talash which got into production at the same time & was released in 1969 . Talash's music was composed by SD Burman, and due to its superlative quality went on to become super-hit, just like the movie itself. 

Meanwhile the movie being directed by Hrishkesh Mukherjee, titled Phir Kab Milogi, got into lots of production hiccups & could be released only in 1974, by when Pancham & Hrishi Da had already given Buddha Mil Gaya & Namak Haram. 

Considering the kind of movies Hrishi Da had produced, Phir Kab Milogi was a disaster - in its quality and also on the Box Office. In the bargain, one of the gems from RD also was lost - for a long time, till a lady called Anamika created a re-mix out of this gem in 1996.

This was a composition where RD took the basic tune from a Spanish Classic - The Lonely Bull (byHerb Alpert), and created a composition that brings out romance, hope and longing, as Mukesh & Lata sing, in tandem, the verse of Majrooh - who, incidentally, had also written songs for Talash:

Door zulfo ki chaon se, Kahta hu ye hawaon se

Usi But ki Adaaon ke, afasane hazar

Woh jo baahon me machal jati, Hasrat hi nikal jati

Meri duniya badal jati, Mil jata Qarar

Kahin Karti Hogi... 

Maanga Hai Tumhe, Duniya Ke Liye...

Rajesh Khanna

He was the first star of Hindi cinema to attain a success that could be called nothing but Super-stardom. 

Starting with Aradhana in 1969, he gave a series of solo hits – almost 15 movies, over next 3 years. Such was his success that Dharmendra, playing himself in Hrishikesh Mukherji’s ‘Guddi’, had to say – Aaj kal to sab sirf Rajesh Khanna ke fan hote hain.. 

All his hit movies had one thing in common - great music. From Aradhana, where he started his journey on the road to success singing to his heroine in an open jeep - a SD movie but with major inputs from RD to RD's sollo works in The Train, Amar Prem & Kati Patang - each of the movie carried within itself songs that added to his charisma and style.

Interestingly, and sadly, his first major flop after these many hits also had RD at his best. Unlike other flop movies though, the soundtrack of the movie went on to become much bigger hit - forever. Each of the songs has a special quality that RD alone could have come up with - specially this one - an Anthem for all the guys in love & wanting to serenade their lady.

This is a song, whose tune haunted RD so much one night that he got up at Four in the morning & composed the tune. True to the quality of the tune are the verse - penned by Majrooh after the tune was created, sung by Kishore in his inimitable matchless style. 

So here is the song on Rajesh Khanna, as part of a series on his birth anniversary on Sunday,with him singing to - oh, so beautiful (no wonder, one of my most favourite actresses) - Tanuja, in Mere Jeevan Sathi:

Yun to akelaa hi aqsar, Gir ke sambhal sakataa hoon main

Tum jo pakad lo haath meraa, Duniyaa badal sakataa hoon main

Maagaa hai tumhe duniyaa ke liye

Ab kud hi sanam faisalaa kijiye

O Mere Dil Ke Chain...

Kya Hua Tera Waada

Mohammad Rafi - a singer par excellence, absolute pure in sound with mellifluous rendering that was as much at ease while singing “Man tarpat Hari darshan” as with “Yahoo…”. 

Rafi’s “Illahi tu Sun le Hamaari Duaa” was the first recording, that Mehmood okayed in his role as the producer of Chhote Nawab, where RD made his debut. Rafi’s rendering of “Aaja Aaja” & “O Haseena Zulfon Wali” added the spring to Teesri Manzil, the movie that catapulted Pancham to the success, and never looked back.

Notwithstanding RD’s preference for Kishore & Manna Dey, his songs with Rafi kept creating waves, and the best example of this is the song that got Rafi back into limelight, and as a “Sone par Suhaga” also got him his National Award. 

The composition had all the elements that RD was known for – specially when it came to his teaming up with Nasir Hussain & Majrooh. Electric Guitar riffs (played by Bhupendra) that the song begins with and a lovely piece on violin, before the first stanza, by Uttam Singh (who went on to compose music later for movie like Waaris, Dil to Pagal Hai & Dushman) were woven wonderfully in the composition. 

Here it is, Kya Hua Tera Wada, from Hum Kisi Se Kam Nahin:

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:

Aage Bhi, Hoga Jo, Uska Karam...

With Pooja nights over, let us get back to only one song at a time. The research was taking a toll on my time..

Since we were talking about Yaadon ki Barat, let me play its theme / title song.

The song has two versions in the movie - one sung by Kishore Kumar & Mohammad Rafi..and another sung by Kolhapure sisters - Shivangi & Padmini..under the lead of Lata Mangeshkar.

Years later, Padmini Kolhapure, who sang as one of the children in Nasir Hussain's biggest hit, was cast in the lead role in one of his biggest flops - Zamane ko Dikhana Hai.

On the other hand, one of the child artists in the version sung by Lata - has went on to become one of the biggest stars of the Hindi Cinema - and a heart-throb of millions - including my wife. 

So this song - not only for RD's lovely & evergreen composition..or Lata's superb rendition ( I love the way she carries the antaras into the mukhda)..

but also for my wife..and for her childhood memories with her brothers - as well as for her most favourite actor - Aamir Khan..who comes across not only very cute..but quite methodical even at this young age in this song..

Age bhee hoga jo usaka karam

Yeh din toh manaayenge har saal ham

Apane aangan naache gaayenge chanda sitaare

Aap Ke Kamre Men Koi Rahta Hai..

Almost forty years ago to date, Nasir Hussain released, perhaps his most ambitious, and most successful movie – in its own right a cult movie (my wife and her three brothers still sing the theme song with the same fervor) – Yaadon ki Baraat. 

Working on his favourite formula of Lost & Found – this time about three brothers, the movie also had some of RD’s most amazing compositions – which ensured a recall & a repeat value for the movie, forever.

One of the songs was very unlike a normal movie song for those times. A friend had remarked once: Pancham’s music was the celebration of life itself. That being the case, this song is a perfect example of joie-de-vivre. 

The sequence had a fair share of drama to begin with. Tariq, one of the heroes – who being a singer in the hotel, is entertaining the patrons with some serious jamming, before in a very formulaic manner, misses out reuniting with one of the lost brothers - Vijay Arora. The actual song starts after this melodrama – with Kishore Kumar & Asha Bhosle grooving to some excellent guitar chords.

What makes the composition different is the whole treatment – conversational in style as well as lyrics – with the singer also inviting patrons to join him in chorus. 

However, before showcasing this song, today being the Dashmi – last day of Durga Pooja, sticking to my promise, let me first give you the original Bangla composition. 

Bandho Dared Andho Kare , from black & white movie of 1970 -Rajkumari - starring Uttam Kumar & Tanuja, and sung by Asha & Kishore..

And now the song from Yaadon ki Baraat.

An absolute turnaround in the treatment as the composition turns into a full-fledged rock sound. While Kishore pitches in for both the heroes, once the final jamming starts, RD grabs the opportunity to pitch in with his own voice too. Since the song had Zeenat Aman as one of the characters, Asha brings in Dum Maro Dum – thus increasing the heat & the glam quotient of the entire composition. 

Enjoy this amazing number..

Agar main kahun jo dekha, nahee tha woh koyee kwaab
Pada tha table pe chasma, woh kiska janaab

Gore gale me woh muffler, tha kis hasin kaa

Jara haath dil pe rakh ke, hame dijiye jawaab

Aapke kamare me koyee rehata hai 

Mone Pore Rubi Ray.....Meri Bheegi Bheegi Si..

Navratri – Nine nights of celebrating the power of & of seeking blessings from Devi Durga! For us brought up in Mumbai, during our teenage and just-out-of-teenage years, this was the time to get a chance to dance with some of the prettiest girls in the neighbourhood – those who otherwise would not have even given us the time of the day – and thus breaking our heart regularly.

I had observed a curious phenomenon during those years. There was a house across the road from my home – shut almost throughout the year – but would come alive about a month before Navratri. I could not only see lights in the night, but also a lot of shouting – sometimes seething with anger, and often with a lot of laughter. Seeing me concerned with such going-ons, once my father explained – Oh, this is the group called Kallol – and they are preparing for Durga Pooja. This was the first time I heard about the Pooja festival. Of course I had not realized the passion with which Pooja was celebrated by Bengalis till we moved in Powai about 13 years ago.

Much before that however, unknowingly, I and so many fans of Pancham’s music like me, had celebrated Durga Pooja through his music. Like the Diwali special issues in Mahrashtra where all noted writes make a special effort to contribute, in Bengal existed a trend where almost all the celebrated composers with their roots in Bengal, would create special albums for Pooja festival. RD also composed some of his masterpieces specially for Pooja – which later found place in some of his most celebrated tunes in Hindi movies.

Over next few days, till Durga Pooja, I will bring to you two of his creations each day – one which was composed for the festival & then its Hindi version.

Since I was talking of 1972, let me begin with one of his most popular songs in Hindi movies from a movie released that year. First the Bangla version. This song was apparently inspired by the unrequited love of Sachin Bhowmik – noted writer who also wrote this song. Composed in 1967, this was RD’s first Bengali solo – as a singer - & one of the most popular ones too.

So here it goes: Mone Pore Ruby Ray..

And now the Hindi version

Recreated for Anamika, RD retained the same raga but rearranged the music, to suit the movie sequence. 

The result – a song that brings out the longingness, loss and a sense of betrayal – with the combined creativity of Majrooh & RD which only Kishore could have sung & perhaps only Sanjeev Kumar could emote. In such a manner, a classic was born that has retained its charm & flavour even after 4 decades.

Tujhe bin jaane, bin pahchaane

Maine hriday se lagaayaa

Par mere pyaar ke badle mein toone

Mujhko ye din dikhlaayaa

Jaise birhaa ki rut maine kaati

Tadapke aahen bhar-bhar ke

Jale man teraa bhi, kisi ke milan ko

Anaamikaa, tu bhi tarse

Aao, Aao Jaan-e-Jahan..

From Canyons & deserts to the bank of a river – sometimes the inspirations move across the whole geography - like this particular song.

Ol Turkey Buzzard, Ol Turkey Buzzard
Flyin, Flyin high,
He's just waiting
Buzzard just a-waiting
Waiting for something down below the dive

Old Turkey Buzzard, sung by Jose Feliciano & composed by Quincy Jones, was the theme score from Mckenna’s Gold, running in background through the movie as a strand. Sounding ominous in its structure, it was made more so with its lyrics and powerful visuals of desert & canyons.

Pancham, always ready to experiment with whatever inspired him, took the basic structure of its two lines, made it into a harmony, composed a tune around it and turned it on its head totally.

Rather than the strong visuals of a desert, this harmony arrangement managed to convert it into a soft party composition - suiting perfectly the lyrics. Interestingly, while the basic theme runs like a mukhda, there is not really a definite mukhda in the song. The song starts with a stanza and continues into three different stanzas – each of them ending in a way into a tune that is akin to a mukhda.

It was an experiment that went right and created a really hummable composition. However, since the movie tanked, despite it being the last movie of Meena Kumari, this excellent composition, along with the other songs, never got their recognition.

Here it is now, from the movie – Gomti Ke Kinare, picturised on Mumtaz & Samir Khan (brother of Firoze & Sanjay Khan) – with lyrics from Majrooh (whose birth anniversary I missed out on 1st October).