Wednesday, July 10, 2013

Duniya Mein Logon Ko - RDB Classic

Duniya Mein Logon Ko - Please enjoy the video and read my notes below. 

DEDICATION – To my loving daughters (Hiranmayi and Thejomayi) who love old Hindi songs!


My older daughter Hiranmayi, came to me one evening to ask "appa will you write about a song for me"? I was pleasantly surprised as to what song she would ask. She played it on you tube and said "appa this song is like Piya Tu, and I like it". Knowing me I went into the history of the song and its original "Nam Naadu" song of MGR. 

This sprang an idea -

How about Nam Naadu song (Ninathathai Nadathiye Mudipavan) and Apna Desh (Duniya mein Logon Ko)? My next posting in my blog features these songs.

This proves Greats MSV and RDB match on par with each other in these creations!!
MGR the phenomenon created a path for himself in the TFM with grand success. All of his songs, acting and on screen persona was well planned and orchestrated. In addition to this he was a brilliant strategist. He rode to popularity through songs and won the elections even before his foes knew what was happening. The common public just thought they were happy at being entertained. One such movie was Nam Naadu featuring MGR and Jayalalitha. MSV has donned the music mantle. And what an awesome job has he done!
One of the best cinematographed songs with lots of orchestrations, TMS and LRE voicing to make it a huge hit!

This section is to write the greatness about both songs – Hindi version called “Apna Desh”.  This song featured Rajesh Khanna and Mumtaz who was the heart throb during those days. RD has matched every bit of his music with MSV. This Hindi version was released after the Tamil version. The orchestration, voices by RD and Asha make the song popular even till date.

What puzzles me is how RDB took the original composition of MSV and generate a new song purely with his own style. When we see the original song we had MGR who was all over the song. No one else could dominate the scene, but in this song all the actors,the singers as well as dance women get preference and exposure (in the literal sense too). Be it the villains (Om Prakash, Madan Puri) or the main stars RK and Mumu. The dancers feature ending every interlude and have a special music to their dance movements. The lighting is also noteworthy especially when RK starts his singing.

That is the genius of RDB aka Pancham.  The original song is an amazing piece of orchestration by our own genius MSV which had such an impact on the Tamil audience.
This Hindi version has every character on the screen get importance.

Prelude - 

Starts with a trumpet noise and the great yelling by RDB “beeraa...tara tara taraa, para para para taraataraataraatara taraaru “ 

Drums start off in a frenzy and RDB continues the yelling in a totally different voice (In my humble opinion even experienced singers would avoid doing so because it would damage the vocal cord). Electric guitar plays a lovely routine once he finishes his yelling. Again he repeats the same notes.

Just before he starts “Duniya mein” listen to the trumpets. RK dances his way to sing Duniya mein and of goes one of the toughest singing when he sings the line and does a breathless voice. I tried it and am not able to imitate this at all. Even to consider this could have been done by track mixing it seems not possible with such perfection. Hat’s off to RDB the Maestro. Just listen to the “Dhoka kabhi ho jata hai”. It is so raw and sexy. This sets the mood of this rocking number!! 

When he finishes the first prelude we can see the lovely Mumtaz dance her way into the scene in a skimpy outfit. Asha starts off following a lovely guitar piece and drums still continue. RDB still does the breathless noise.

Interlude1 – 

Mesmerizing mixture of instruments with Guitars (Bass and Electric), Trumpets, Bongos, Saxophone. Guitars start off (multiple guitars) one for the Bass support, one for the electric lead, acoustic guitar following the Bass. It sounds like “Jaane ne Jaan” from Jawani Diwani movie. At least the Guitar piece does so. Trumpets follow the guitar and a lovely Sax piece played by RK. This is followed by a classic rhythm bongos, drums section and Mumtaz dancing again with the camera moving as she comes forward. This follows by a superb electric guitar section with Rhythm support and ends in Trumpets (the scene is also very interesting as we see three lovely women dancing with the tune).

When Mumtaz sings “Naagin meri jaan” she gyrates as she in a snake position. The whole stanza she does the snake movement. The beat is very fast and her dancing with the villains behind is very funny to see. RDB again comes across with his breathless technique.

Interlude 2 – Guitars in support of each other play a routine and Sax is played with Trumpets overlapping and another amazing guitar routine with the three women is played again with the guitars followed by Trumpets and Wah Wah pedal like instrument to end the interlude.

Interlude 3 – Guitar routine and the drums routine seen earlier is repeated and another short trumpet to start off the final stanza.

One thing about the stanza’s to be said here is RDB sings with a hoarse voice but his breathless technique is just out of the world.

Usage of instruments vary in range from Guitars (acoustic, bass and electric) , trumpets and Saxophone, Bongos and drums.  The orchestration arrangement with these instruments proves why RDB is a genius.  

Friday, June 14, 2013

Madan Mohan Classic - Naino Me Badra Chaye

Naino Me Bhadra Chaye  - Lata - Raja Mehdi Ali Khan.

Tribute- Dedicated to Dr Subramaniam Ramamurthy mama whose love for yesteryear classics are memorable and worth enjoying. 

My next song in the blog is from another wizard of Hindi Film Music. He was called the “Ghazal ka Shehzadaa” by none other than the great Lata Mangeshkar. His songs brought reality to the fore front. The feeling I get is once I hear his song I get transformed into the lyrical mystery of the song. Maybe the music or the shaayari makes it so I am not aware. But I get goose pimples whenever I hear any composition of his.

Madan Mohan and Lata shared a Brother Sister relation ship as their first meeting was singing a brother sister song. Madan wanted to use Lata for his first film "Anken" but could not. He felt so bad that he promised Lata that she is his Rakhi sister and every movie found her song which was a gem of a composition

By now music lovers should have found out who is such a genius I am writing about. YES it is MADAN MOHAN!! He had the vision of making Rafi and Lata sing many of his numbers. Just because of the reason they were mainly Ghazals and the depth in their voices took the music to a different level. His poets or lyricists were greats like

Madan's favourite lyricists were Raja Mehdi Ali KhanKaifi Azmi, and Rajinder Krishan, but Sahir Ludhianvi and Majrooh Sultanpuri also collaborated with him on a few movies. The Madan-Raja pairing in particular produced the song Aap Ki Nazron Ne Samjha from the movie Anpadh (1962). Among the admirers of the song was the Naushad who reportedly said, "Let me have this ghazal and take all my compositions in return” upon hearing it. Madan and Raja also came up with the tunes for Mera Saaya in 1966, a film starring Sunil Dutt and my personal favorite actress Sadhana as the male lead.
For this posting I found it so difficult to finalize a song from his variety of compositions. But I just took the first song that impressed me way back in 1974 when I was at my aunt’s place in Orissa during my summer holidays. It was from the movie “Mera Saya”. There were many songs to name and this is my favorite- Naino Me Bhadra Chaye-
Mera Saaya was the second of the trilogy by Raj Khosla. The others were Woh Kaun Thi and Anita. The first two had Madan Mohan in the MD role and the last had LP.
Situation is the husband thinks of his wife and imagines her beauty and singing. The beauty is the lyrics do convey the feeling as the composition music wise. Santoor- Sitar – Tabla and Violins are the main players along with LATA!
Prelude – The palace should be set in Jaipur. The song starts with a lovely Santoor piece which is played when the camera shows the river or lake and the palace surroundings to deliver a lovely picturesque scenery. When the camera zeros in on Sunil Dutt the santoor stops and sitar takes over for a lovely routine with tabla and santoor overlaps as a CALL AND RESPONSE mode bringing an awesome effect. We can hear Lata at a far distance and see Sadhana join Dutt saab. Lata’s voice is like honey roasted peanuts. Her modulation of Garva lagaye is just mind blowing. From here on you will hear Lata only!!
Interlude 1 – Santoor starts off again with Sitar taking over and tabla as a percussion support. Violins complete the interlude.
1st stanza – Hear Lata sing Madhira me dube akhiyan. It feels like we really immerse ourselves in the nectar of love. The repeat of the line and the violins roaring emphasize it more. Lovely picturization of the temple and steps where they meet.

Lyrics beauty!

naino mein badaraa chhaye , bijalee see chamake haaye 
ayese mein balam mohe, garawaa lagaa le 

When the rain clouds fill your eyes, and the lightning flashes,
At this instant, oh my lover, hug me forever

madiraa mein doobee aakhiyaan, chanchal hain dono sakhiyaan 
chhalatee rahegee tohe , palakon kee pyaaree pakhiyaan 

My both eyes are restless as if they are heavily intoxicated with Love

My eyelashes will keep fanning you like beautiful fans (pankhees).

sharamaake dengee tohe , madiraa ke pyaale 

My eyes dipped in shyness will offer you cups of wine

Interlude 2 – Santoor effect in water and boating takes it to a different plane. Also we hear Lata’s humming with tabla followed by sitar and violins.
prem  diwaanee hoo mein, sapanon kee raanee hoo mai 

Being a queen of dreams I crave for your love

pichhale janam se teree , prem kahaanee hoo mein 

I was your love story from our previous birth

aa is janam mein bhee too , apanaa banaa le 

Please make me your love in this birth too

My verdict - this is one of the masterpieces from the Ghazal king. It is on my top favorite in a grand list of his compositions.

Sunday, May 12, 2013

Tribute to Dada SD Burman - Chupke Se Mile - Manzil - Dev Anand and Nutan - Rafi and Geeta Dutt

Chupke Se Mile - Rafi - Geeta- (1960) - SD Burman

My next posting is a SD Burman number. I have been a very big fan of Burman senior as his music has shown a lot of versatility and style. He has a very strong classical base and moved to do some great western numbers too. Also his classical or folk numbers had some western interludes which were his trademark. Ilayaraaja considers Burman dada as his topmost favorite. Those were the ages in 1950, 1960’s when there were music composers like – My personal favorites are highlighted

  1. .        Khemchand Prakash – Mahal
  2.      Naushad, - Dilip Kumar’s favorite
  3.      C Ramachandra, - All historical classic numbers
  4.      SD Burman,- Dev Anand and Guru Dutt’s favorite
  5.      Salil Chowdary – Madhumati, Bimal Roy movies
  6.      Hemant Kumar,- Nagin and All thrillers like Bees Saal Baad etc
  7.      SN Tripathi,- Rani Roopmathi and others
  8.      N Datta, -Classic numbers like “Tere pyar ka aasara”
  9.      Anil Biswas, - Age old movies
  10.      Shankar Jaikishen, - Raj Kapoor , Shammi Kapoor’s favorite
  11.     Madan Mohan,- Mera saaya, Woh kaun thi, Do Bhai, Dastak etc
  12.     OP Nayaar, - Shammi, Joy Mukerjee’s favorite
  13.    Roshan, - Tajmahal, Barsaat ki raat
  14.      Chitragupt, - Main chup rahoongi
  15.      Ravi, - Bluff master, Chaudivin ka chand
  16.      Vasant Desai. – Almost all Shantaram movies.
  17.      Jaidev – Hum Dono
  18.     RD Burman - Of course!!

Which means my next postings will have the songs from these geniuses who lilted the Hindi film industry during the 1950, 1960 and 1970’s. The list does not have Laxmikanth Pyarelal, Kalyanji Anandji and Khyaam.

This posting is from the movie Manzil (1960). This was a Dev-Nutan starrer and had a song called “Chupke se mile pyase pyase”.  This song was sung by Geeta Dutt and Md Rafi. The creation of this song was with limited instruments. The first time I ever listened to this number was in 1992 in Allahabad. My neighbor called me once for a dinner and played this song. I was mesmerized the first time I listened to this. Especially the simplicity in the orchestration from such a creative composer who has done numbers like “Hoton Pe Aisi Baath” bewildered me. The instruments in this song is as follows
1.        Harmonica – Played by RD Burman
2.        Bongos
3.        Violins
4.        Mild guitar piece
5.        Piano piece in the prelude
Composing such a tune which is a classic number with limited instruments can be done by SD Dada Burman.
Prelude starts with Geeta Dutt’s solo and soothing voice without any instruments. Then you can hear a piano keys or harmonica play a fast bit and the Guitar strum. This is a classic beginning as with such a light prelude you expect some crazy orchestration BUT dada Burman takes this even lesser orchestration in the Antra and Mukra portion. Rafi starts singing and we can hear solo violin follow Rafi’s voice with rhythm support mainly with Bongos. Also in the mix we can hear a mild guitar strumming. Hear him sing “kuch” and the sentence is completed by the Harmonica. This is a beauty.  

The interlude1 has a great piece of orchestration of western style. Harmonica and Violin Counterpoint with Bongos rhythm support is just amazing. What is meant by Counterpoint? Harmonica and violin play different routines in absolute harmony with each other. Listen to the Harmonica piece first when Violin starts at the same time when the Harmonica takes a breather the Violin sustains longer and completes the routine for the Harmonica to take over this again. I call this as a class arrangement of instruments with superb rhythm set.

Geeta starts the 1st stanza with “Jhukthi hui” and the whole support is more like plucking of an acoustic Bass guitar. The Bass plays its own routine to Geeta’s voice. Then Rafi sings “Jhukthi hui” when the orchestration starts again with Violin and Bongos support.

Second Stanza is lovely with Rafi and Geeta sharing the lines with each other and the overlapping aalap when Geeta sings and Rafi alternate is just classic. Listen to Rafi sing “Madhyam”. Again the Harmonica completion during the lines.

Please hear the postlude where we can listen to the Harmonica with guitar strumming – Just a great piece to end the song!

Saturday, April 20, 2013

Tribute to Talat Mehmood's silken voice. Aha Rim Jhim ke ye pyare pyare – Usne kaha tha – Salil Chowdary ; Lyric by Shailendra;

Aha Rim Jhim ke ye pyare pyare – Usne kaha tha – Salil Chowdary ; Lyric by Shailendra; Singers – Talat Mehmood and Lata.


While I was debating what should be my next song to post, I was requesting from many folks about their ideas. Radha mentioned that I should write about Mannadey- Talat and Hemant. The trio with the silken voice. Since I had already done a Mannadey-Lata number (Dil Ki Girah Khol do) I wanted to do a Talat classic. Two songs came to my mind – “Itna Na mujhse tu pyar bada” and “Aha Rim Jhim ke ye pyare pyare geet liya”. I selected the latter BUT I love the former one too. Both songs have been composed by Salil Chowdary known as Salil da. 

I heard this song in a cassette format during my Allahabad days in 1992 and just fell in love with the song (aptly the cassette was “Love duets from Hindi films”. What impressed me was the complex chord progression and orchestration arrangement with Lata and Talat oozing melody soaked with honey.  

Another interesting feature was when I had mentioned another song “Rim Jhim ke tarane” from Kaala Pani to Radha she thought it was this song as she was introduced to the song by her mom. Both our daughters are also very fond of this song as it has become a regular feature in our car trips to play this lovely number. So here you see our family is attached to this number!!

When I saw the scene of this song I loved it more as this is the best way one could show the love between two individuals. It is perfectly decent and very tidy to watch too. As the song states the rain drops are the shot effect and the lines from Shailendra has been immaculate to pen “Rim Jhim”.

Song Orchestration and Scene:

The shot starts as it shows a jhoola and rain drop dripping with the effect.  This is a great beginning with flute and accordions giving chord support playing a lovely melody when they show the trees, nature and lovely moon. Suddenly there is a rush of violins when Nanda sits on the Jhoola and is swinging. The music gives the swing effect in absolute mind blowing manner! Flute is in Call and Response mode to the violins but also playing counter to the violins (in the background). This is done with constant rhythm support of tabla, maracas and kabashe. When the mandolin plays the tune when you see the beautiful Nanda (I would say gorgeous) just shows her expression of shyness. This is just too good!!

Just see the shot picturized here – Guitar routine on Nanda and immediately violin/accordions plays and they show Sunil Dutt and immediately repeat the Guitar routine Nanda is shown. That is called involvement in a song shot where every nuance is taken care of.

When Talat maharaj( I love calling him so) goes “Aha Rim Jim ke ye pyare” we can hear the most silken voice of the industry. We can hear the violins play in the background, tabla and other rhythm support play and Xylophone giving the support with 5 chords beats. Listen to the violins here. We can hear two sets of violins (maybe 40 or 50 in number) play counter to each other (one is with Talat and other counter to the first one).

First interlude is just out of the world. The chord progression is just too good. Salil da had a great appreciation for Western classical music and it is shown in his chord arrangements too.  Behind the moon light drop we see Nanda and Accordions play to start off the interlude leading to violins roaring and this is repeated twice. Then we can hear the Accordion playing responding to a bang and a lovely flute routine to lead to the first antra. This is called Staccato progression which is described here - Staccato (Italian for detached) is a form of musical articulation. In modern notation it signifies a note of shortened duration,[1][2] separated from the note that may follow by silence.[3] It has been described by theorists and appeared in music since the 18th century.

Shot of this interlude – Nanda runs around and the accordions play while Sunil pushes the Jhoola we have one more accordions routine and intermediate close up shot with both Nanda and Sunil, this ends in the flute routine but look at the lighting effect. This is supposed to be taken in moon light and the scene steals the show as it is so pleasing.
Melody king Talat just oozes honey when he sings “Koi si Bheegi Bheegi” we can her rhythm section and violins take off with him. Flute responds between Talat and Lata. Hear the violins counter to Lata when she sings this line. When he sings “Dil ki ye duniya aaj” we have the flute respond to end the antra.

Interlude 2 - Just see when Nanda takes the twig and listen to the Xylophone chord progressions it matches. Listen to the SCAT (Scat singing gives singers the ability to sing improvised melodies and rhythms, to create the equivalent of an instrumental solo using their voice. We can hear rhythm beats with Talat/Latha scat singing mild flute and violins- flute counterpoints. This is just bewildering. We have to notice this!

In the end when we hear the scat singing again now Lata and Talat are at different octaves and the flute and violins counterpoints in my humble opinion is a masterpiece creation of the GREAT SALIL DA.

Lyrics by Shailendra !

The following lines show pure love between two souls that is so beautifully translated through the lyrics. Innocence is everywhere in the acting and situation is also aptly taken.
aaha rimjhim ke yeh pyaare pyaare git liye
aai raat suhaanee dekho prit liye
mit mere suno jara hava kahe kya aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye

Lovely drizzle day when the nature brings happiness, two lovers share their love in a very subtle way.

 (khoyee see bhigee bhigee raat jhume
aankho me sapano kee baraat jhume) - (2)
dil kee yeh duniya aaj baadalo ke saath jhume
aaha rimajhim ke yeh

The happiness in the eye and mind is equal to the cloud that brings these drizzle.

(aa jaao dil me basa lu tumhe
naino kaa kajara bana lu tumhe) - (2)
jaalim jamane kee nigaaho se chhupa lu tumhe
aaha rimajhim ke yeh

Let us be together without the whole world knowing it.

(haatho me tere meraa haath rahe
dil se jo nikalee hai woh baat rahe) - (2)
meraa tumhaara saaree jindagee kaa saath rahe
aaha rimajhim ke yeh

Typical love lines where the unison of lovers is etched very beautifully.

Tuesday, April 16, 2013

Tribute to Chote Nawab- AmarPrem - Chingari Koi

Chingari Koi - Sung by -  Kishore da, Kyrics - Anand Bhakshi. 

Gratitude – This posting is for my dear friend Satish Subramanian who wanted me to write about this album (AmarPrem) and in particular this song “Chingari”. I have done some justice and hope this will provide some new insights to the mastery exhibited by RDB.

RDB remains an enigma for the whole age group who are in their 40’s to mid-50’s. He has done some amazing work in his life time. Son of an illustrious and very successful music maker SD Burman , he did not get his cake from day 1. He had to work hard. He had to learn Classical Hindustani music. Learn to play instruments and also be an assistant to his dad on number of movies. 

He broke his way through Chote Nawab through his good friend (Mehmood)’s production house. Later he tasted immense success through Teesri Manzil. For Teesri Manzil he had to prove to Shammi Kapoor about his expertise and talent. 

He was recommended to Shammi by a fellow music director Jaikishen of the SJ fame. You wonder where are those folks now who could recommend a new comer to be successful fully knowing that this individual could take their work. That shows they were so secure.
This posting has one of the amazing compositions of RDB.

Most critics and music wizards quote this as his best creation.  Salil Chowdary has also mentioned this in an interview. Pandit Ajoy Chakravarthy loves this song. I wanted to start my thread on RDB from this magic song.

The thirst in a man’s voice is depicted in these lines. Every line conveys the inner meaning where he searches for peace of mind.

Lyrical wonders

What does this song convey?  For a generation of Music lovers this song was the typical example that laments the loss everyone faces. This song remains a puzzle of the deepest and most passionate romance. This song sequence with dusk setting in and the lead pair enjoying a boat ride on the Ganges under the Howdah Bridge, in an escape from the confines of the separate world they inhabit.  Shakti Samanta filmed the entire song in a studio and projected the same on the backdrop of the softly lit Calcutta Skyline as seen from the banks of its twin city, Howdah.

This is more of paradox lyrics as every statement has a counter question. Like lines below

chingaaree koee bhadake, to saawan use bujhaaye 
saawan jo agan lagaaye, use kaun bujhaaye  -
patajhad jo baag ujaade, wo baag bahaar khilaaye 
jo baag bahaar mein ujade, use kaun khilaaye?
koee dushman thhais lagaaye, to meet jiyaa bahalaaye 
manameet jo ghaav lagaaye, use kaun mitaye? 
duniyaa jo pyaasaa rakhe, to madiraa pyaas bujhaaye 
madiraa jo pyaas lagaaye, use kaun bujhaaye? 
majadhaar mein naiyyaa doobe, to majhee paar lagaaye 
maajhee jo naaw duboye use kaun bachaaye? 

Lines which explain what his current state is.

hum se mat poochho kaise, mandir tootaa sapanon kaa 
logon kee baat naheen hai, ye kissaa hain apanon kaa 
maanaa toofaan ke aage, naheen chaltaa zor kisee kaa 
maujon kaa dosh naheen hai, ye dosh hai aur kisee kaa 
naa jaane kyaa ho jaataa, jaane hum kyaa kar jaate 
peete hain to zindaa hain, naa peete to mar jaate 

Orchestration wonders!

Song starts with Guitar fretting playing an F minor chord – An interesting note here is this was played by a musician as a fault note and when folks started laughing RD wanted to play it again and this ended up using it as the main course of the song.
I tried playing this note on my keyboard and it did sound weird though. But RD came up with a GEM. Along with the Guitar strumming which is the rhythmic pulse of the whole song we hear the flute by none other than Pandit Hari Prasad Chaurasia. This flows as the guitar is strummed with the river Ganges.

When Kishore da hums please hear the flute mildly played, As you hear Kishore da sing “Chingari koi” and leaves it in thin air, only to be completed by Hariprasadji’s flute shows the mastery of RDB. Second time when he sings Chingari koi” the tabla also joins the rhythm section.

Additionally the rhythm section is supported by Maracas, and kabashe. Mild violins section in the background keeps playing throughout. RK with a drink in his hand and the evergreen Sharmila with a beautiful Blue sari adds to the song’s glory.

Let us see how we call RDB a genius wizard of improvisation.

In interlude 1 he has used an instrument called Tar Shehnai which takes off with bongos and tabla section and the guitar strumming. One more instrument that is used is qanun (Arabic instrument) . Flute and the guitar strumming take us to the Antra portion of the song.

Listen to the lines “Humse math” – Guitar strumming, Rhythm section flute, violins support so beautifully. When he says “logon ki baath” listen to Hariji’s flute WOW mesmerizing.

During the second BGM the Arabic instrument Qanun starts the proceedings followed by roaring of Cellos  with counterpoint Violins respond and Flute again comes to the rescue along with the guitar strumming and Xylophone

Second Antra- Sharmila’s reaction is just mute and mild – She is just awesome. Of course RK makes this phenomenal song. Flute is just mind blowing. Violins just play in the background.

Roaring Cellos, violins respond and Tar Shenai, Qanun form a counterpoint melody in this interlude. Just a classical bliss!!

Saturday, March 30, 2013

Tribute to RK-SJ combo - Mud Mud Ke - Shree 420

Tribute to Raj Kapoor and Shankar Jaikishen combination- Shree 420 (1955)

 Lyrics - Shailendra,
 Singers - Mannadey and Asha.
Actors - Raj Kapoor, Nargis and Nadira.

Again I am venturing into my Shankar Jaikishen territory after a rendezvous with Shammi this time it is another of the Kapoors – Raj. I promise I will come back with Shammi again.  There are only handfuls of hero’s in the industry that were very well versed in music and could influence them in their movies. We could name them – Raj Kapoor, Shammi Kapoor, Dev Anand.

Raj Kapoor had vast music knowledge from his upbringing in the Prithvi Raaj troupe. He tried his luck at direction and at 21 years he became a director which was a record in those times. He did not do well with his first movie Aag. He directed Barsaat that was a beginning of a new trend – Raj Kapoor and Shankar Jaikishen.  “There was a saying that Raj mentioned SJ that the songs by them should be heard after 50 years”. What a prophecy? We are still listening to the gems of SJ-Raj starrers.

The song for this posting is from Shree 420. This movie had such amazing tunes which my dad used to play for me. Especially the beats were very catchy. Mind you these were 1955 tunes. All the songs like – Mera Jootha hai japani, Ramaya Vasatavaya, Dil ka haal sune dil wala, Pyar hua Ikraar hua, Ichak dana , Sham Gayi Raat Aayi etc. Of these I am picking two gems – Mud Mud ken a dekh and O jaanewale.

This song Mud Mud na dekh Mud Mud ke is so aptly shot in this movie as this forms a part of the story line. I have added this clipping for folks who have not watched the movie. So beautifully the director brings in the song with lovely dances.

The song starts when he says “Maya ki jaroorat hai”. This has an inner meaning too - Worldly pleasures. Raj is a good hearted poor man and he fights against the cunning guy and he is lured into the haughty and wealthy in this song.

This song translates the emotion and also so soulfully makes a transition in the music also. The product creators were lyrics - Shailendra and orchestration by - Shankar Jaikishen. Also one of the classiest dance numbers shot in Hindi cinema of yesteryears.

Routine starts with sets of Violins with call and response mode. You can see Nadira opening the dance floor and Nargis in tears. Raj is caught on the dark side now. Fast paced excellent guitar strumming routine and snare drums coincides with the Violins roaring behind it. We can also hear the clicking instrument behind. This is repeated as the dancers come around.  Just before Asha sings Mud Mud ke we hear a mild guitar piece playing the tune. When Asha sings we have guitars strumming, snare drums, Violins responding to her. This routine is haunting as we can hear Asha’s voice, Violins background following her, Accordions following her, Snare drums in a very slow pace. Chorus singers are just mind blowing repeating Asha. When Asha ends the singing we can see Raj is in the dark.
The interlude #1 is Violins and Accordions in a harmony – Violins playing the routine with Double Bass and Cello forming another layer with Accordions supporting. Listen to Asha humming with the routine along with Violins in a lower octave and chorus repeating the routine. Violins continue the routine with a great ending by Accordions.
At 1.47secs Asha sings the lines Aye gayi manzilons ki – Please listen to the violins, drums and Accordions playing with her voice at the same octave. This is repeated for the chorus singers too. Just listen to the beautiful humming by Asha along with the instruments, it is a great harmony. This ends with the Mud Mud ke routine sung once and repeated by chorus
At 2.32secs we see the magic of Shankar Jaikishen at its peak. Trumpets just blare into a great routine. This shows Raj slowly recognizing the mood and his face changes to a different flavor. Trumpets play a routine which counterpoints with each other (4 of them in picture) and maybe multiple more. We can listen to two sets of trumpets playing with each other. This is very clearly seen in the trumpet routine Raj plays and listen to the loop is completed. When the trumpets end the violins come up now and the snare drums with guitar strumming and this is played at a FASTER PACE!!
When Mannadey sings Mud Mud ke the tune is different than what Asha sings. Pace is changed which means the mood is changed. Listen to the lines “Zindagani ke safar me” and the Accordions routine is beautiful.
The shot from 3.16secs till 3.42secs is the BEST routine. Nadira starts singing and the dance routine is BLISSFUL. Raj and Nadira do a superb dance routine. SO GRACEFUL!! So much elegance is exhibited when both of them dance.
Instruments wise this is a great Accordion routine and Drums for beat section. Two accordion pairs play here in a CALL AND RESPONSE mode. Violins repeat the same routine with Accordion support and the Accordions end the interlude so beautifully for the next stanza of the song.

When Mannadey sings the lyrics are so positive. Sensing the mood of the song and situation we have a great coordination with the Lyricist and Music composer.

nainon Se Naina Jo Mila Ke Dekhe
mausam Ke Saath Muskura Ke Dekhe
duniya Usi Ki Hai Jo Aage Dekhe
nainon Se Naina Jo Mila Ke Dekhe 
mausam Ke Saath Muskura Ke Dekhe
duniya Usi Ki Hai Jo Aage Dekhe
 “Naino se naino” violins roar at the background. Chorus repeats the lines and the same instruments are heard in addition to the Accordions that are intercepted. Again Nadira does such a graceful dance to sing the Mud Mud routine.
Trumpets start the interlude from 4.10secs with all the other instruments Accordions, Double Bass, Guitars, Violins. 

Raj playing the Trumpet and look at Nadira (WOW SO GRACIOUS) who dances so beautifully. See her going around Raj with the trumpet.

The lines are so catchy. Lyrics say these – Very positive lines.

duniya Ke Saath Jo Badalta Jaaye
jo Iske Saanche Mein Hi Dhalta Jaaye
duniya Usi Ki Hain Jo Chalta Jaaye

Listen to the pace of the song now. It is at an even faster pace. Trumpets and accordions play the routine faster and this ends a glorious song!!!

Hat’s off to all those who have created this MASTERPIECE!

Here added to the above melody where Nargis wants Raj to turn back. This is in response to the earlier number. Very mild orchestration and weight is given to the Lyrics and Lata’s immortal voice.