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.

Mud Mud Ke Na Dekh

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.

Prelude –

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.

Oh Jaanewale mud ke Zara

An Evening with Do-Kishore!

An Evening with Do-Kishore!

Written on 9/29/2012 in Michigan – Thanks to my dearest friends Satish and Vyj for making this happen as a dream come true for me.

Dada aur bachon - Intro song. – This was an intro song from the Kishore brothers. It was a grand intro.

Hey babu!! Both

Amit

Marne ki dua - ziddi- sd – Started with the immortal Dev – Kishore da – SD Burman Da combo.

Mana janab ne pukara nahin- sd – continued with Dev

Choti si ye duniya – sj – One of the rarest combo SJ and Kishore da. Kishore’s antics about names were told and enacted here.

Surma mera nirala- op nayar – OP Nayar and his Nayariya.. tunes..

Sumit

Ek haseena thi, ek diwaana tha – grand entry with this song.

Mere bichde saath sahare. Koi lauta de mujhe beete hue din- KK lovely captions – This song brought tears to almost everyone. Amazing acting by the singing genius and singing by the young Sumit.

O mere dil ke chain!! – One of the most favorite songs of everyone in the audience. Crowd was in raptures when the young Sumit sang.  It just brought back the scene from “Mere Jeevan Sathi” into my minds.

I just closed my eyes and went into that time in my life. WOW. What a great combo – Kishore- RDBurman.

Samne ye kaun aaya- Jawani Diwani one more classic number which again was superbly sung by Sumit. He just brought his father’s midas touch and the combo with RD Burman.

Babu samjo ishare - Chalti ka naam gadi. – song inspired by a Bengali farmer singing in his native village. SD Burman could not get this tune and Kishore da gave him the clue. Nice story to listen and appreciate.

Koi humdum na raha koi sahara na raha- jhumroo – One more Kishore beauty..

Aise na main tumko seene se laga doonga- based on Mozart 40 symphony.- The anecdote goes this way. One morning RDB calls Amit to bring Mozart 40 Symphony record. When he was searching Kishore da asks what is going on? Amit says RDB wants this record. Kishore da says “he is copying”. 

Once RDB gets the record he plays it and gets very impressed but Amit tells this has already used by Salil da as “Itna na mujhse pyar bada” – RDB gets upset and walks to the bathroom but his assistant comes up with this amazing improvisation of the tune with this gem.

Ye dil na hotha bechara- inspiration bridge on river kwai.

SDB, Dev, Kishore and Amit had gone to a movie “Bridge on the River Kwai”- When SDB heard the “whistling tune” he got inspired and composed this song.

Nonsense item. – Done with the stage audience was really funny.

Din jawani ke pyar yaar pyar kiye ja. – Another Kishore gem..

Interval

Medley –

1.      Aa chal ke tujhe- door gagan ki chao me!!

2.      Woh shaam kuch ajeeb thi.

3.      Yeh jeevan hai. Is jeevan ka yahi rang roop!!

4.      Baat jo ho - inthahaan ho gayi intezaar ki!!

5.      Pal pal dil ke paas!(Maximum applause)

6.      Zindagi pyaar ka geeth hai.

Sumit sang

Yeh jawaani hai diwaani.- One of the best drums and Bass guitar live with the song brought great memories!!

Zindhagi ka safar hai yeh kaisa safar! – Kishore ki dard bhari geeth was superbly rendered by Sumit.

Chala jaata hun kisi ke dun me! – Fast RD number – tribute to RDB and Kishore da.

Bachna hai haseeno!! - remix version – Fast paced.

Amit enters

Mere sapno ki rani – Usual class song. No further comments needed. Just saw “aradhana” scene.

Roop tera mastaana-  this was a different Bangla tune and it was based on the tune like “Ore Majhi” . Annedote from Amit – Call from SDB at 1:30am to Kishore to come to his house in the morning. When he goes he see Musicians , RDB, Rajesh Khanna, Shakti samant da, SD Burman dada. Kishore listens to this tune and tells SDB that there was an old tune composed by SDB for a Bengali movie -  Ek to amar badi” Same tune as “Roop tera mastana” – rest is history..

Clippings of Elvis, Carl Perkins, Beatles, Chuck Berry, - rock and roll.

Clippings of Cliff Richards - Aap ka kahena hum ka kahena.

Clippings of Tennessee Earney Ford from Chalti ka naam gadi.. - Hum the woh the aur saama rangeen.-

Kabhi palkon pe aansoo hai..- Death of the Great singing Maestro brought tears to all of us. 

An evening with the Burmans!

An evening with the Burmans!

"The kings of ancient India, who are still appreciated and loved, in the annals of history are not only the conquerors and power-wielders but those who have enhanced their courts with rich talent and appreciation for arts and culture"

Thanks to Sistar Mortgage " Rajiv and Vinitha" for hosting this grand event. It takes a generous and appreciative heart to organize such an event and bring it to the public art lovers irrespective of time, cost and effort. 

Rajiv and Vinitha and Sistar Mortgage staff - You have won our hearts. Thanks. 

Burman Gharana was a huge success in my humble opinion. Overall it was a huge effort on the orchestra, singers , lighting and production. Thanks to Rama Raghuraman we could attend this program which was a SELL OUT!! It was 5 hours of non stop entertainment of the DADA music. First half had Burman Sr and the next half was pure Burman Jr (Chote Nawab).

 Absolute bliss!! Kuldip (the LIVE WIRE) had so much energy to run the whole show and till the end the energy was intact. Vishali Bhatt did a great job of compering and also giving us some extra knowledge about the songs and the Burmans usage of instruments. 

Our own Rama was superb in her songs bringing Lata Mangeshkar's voice with perfection (especially the GUIDE song Kaanto See Keench ke". Alka reminded us of Asha Bhosle numbers by singing so beautifully (Dum maro Dum). Amol was a great performer with his tabla skills too. He was just class in "Padosan" song - ek Chatur Naar with Kuldip. Percussion section with Richardson and Our own Mohan anna was on Congas. Anish Chandani was the PICK - His Flute, Key board and singing was outstanding. Guitar was class (especially the "Teesri Manzil" song - Aaja aaja start piece. Trumpets was played so beautifully. The highlight was the Lighting. It was done by the best in business - our own Lighting Guru Satish (Vyjayanthi Satish please convey this to him). He richly deserves this praise as he had faced a lot of challenges with the lighting equipment. Overall it was a well organized program where I had the pleasure of meeting some of our own friends - Shanta Santaprakash, Chakravarti Desikan, Radika Desikan, Vyjayanthi, Rohini Ravi, Subramanian Manjunathan, Sujatha Srinivasan Subramaniam, Radha Akkoor. It was liked by my daughter too who enjoyed the classics of yesteryears show that how much "Burman Gharana" was successful last night. We need many programs like this to make music LIVE in this MI Indian community. 

Flute - o raama re- prem ke pujari
Vatan - prem pujari
Introduction to Burman dada.
Patdip raag - megha chaya- sharmilee - Orchestration difference in interludes (classical and western).
Dil pukare -Rama
Phoolon ke rang se
Ye dil na hota bechara
DEVANAND SONGS 
Kaaton se keech ke ye aanchal- Rama - Superb singing 
Khoya khoya chand- Lighting had the moon effect.
Hoton pe aisi baath - Percussion was absolute BLISS. It was repeated again due to audience request.
Na tum hamaien jano - Rajiv sang this 
Hai apna dil to awara
GEETA DUTT SONGS
Taqdeer se bigadi hui - Isha Bhatt (daughgter of Kuldip) did a great job!!! great potential and the attitude was worth mentioning. 
Waqt ne kiya
GURU DUTT TRIBUTE 
Yeh mehalon - from Pyaasa and some dialog which reminded of Guru Dutt the great director. 
Sar to tera chakra aye - Maalish song with Jhonny Walker

KISHORE TRIBUTE

Baboo samjo ishare
Teri bindhiya re- Rama
1942 love story intro 
Doli me bitaye Rongila Rongila - SD burman dada's Bangla composition (inspiriration for Kuch na kaho) 
Kuch na kaho

RD ERA

Sapna mera
Dum maro dum
Tere bina jiya jaye na
RD's invention of instruments.
Pyar hume is mod pe - Worth mentioning - great lighting!!
Aane wala Pal 
Mehbooba- mere naina saawan
Tere bina zindhagi
Tujse naaraz nahin
Loote koi man ka nagar
Chingari
Dil aisa kisi mera thoda
Phir wohi raat hai.
Aap ki aakhon me kuch
Main shayar badnaam
Kuch to log kahenge
Jis gali me tera ghar
Zindhagi ke safar me
Mere saamne vali kidki me
Kehna hai aaj tumse
Flute - anish chandani!! Hero!!
Khoobsurat song!! Piya bawri
Lakdi ki ghoda - Masoom song sung by KIDS. 

Sax - Ye saam mastani - (Varun and Patel) This was done by two kids from Michigan - One Sax was at a higher Octave and other was in Bass. Perfect harmony and sync. Very talented kids. 

Pholon ka taron ka. - sung by a kid. 

Ek chatur naar - classic singing by Amol and Kuldip! - brought out memories of Kishore and Mehmood from Padosan. 

Vada karo 

aja aaja! - Amazing orchestration. - Guitar and Drums were too perfect. Anish was so perfect in the Keyboards (which brought out Violin effect). 
Mehbooba
Piya Tu
Duniya me

In the end it was thunder and lightning (with light effect) to bring out the best RD numbers. 

My humble feeling - This program did not have songs from "Yaadon Ki Baarat", "Hum kise se kum nahin", "Parichay" etc which was the peak in his days. 

WE DO NEED ONE MORE BURMAN SHOW FOR SURE!!
Overall great evening spent with lovely music and friends. 

This posting can also be found on my Blog - veerahindi.blogspot.com.

Tribute to Mohammed Rafi and Shammi Kapoor! - Part 2

Tribute to Mohammed Rafi and Shammi Kapoor Part 2! – Brahmachari!


Listening pleasure!

Dil ke jharoke mein tujko

This song fetched Mohammed Rafi his second National award. This is a very emotional song that conveys superb lyrics through one of the finest orchestrations by the Maestro Shankar Jaikishen.  This song has usage of Piano, drums, accordions, violins, double bass, cellos and chorus interspersing between the dance routine. I am not sure about the dance form but looks like ballroom dance.  

Scene starts with Shammi with Sharadha and Pran. Seems like old love and during the talk we can hear lovely Hawaiian guitar with drums and jingles bells and rolling by so calmly which cannot be ignored. Then starts the Piano routine (0.54) with dance assembled on a heart shaped (new year 1966) artists ladies in white and men in Black and light blue combination.

This lovely piano piece ends at 1.14 secs, then starts a violin frenzy. Two sets of violins one is at a higher octave and other in lower octave supported by cello’s, double bass and accordions. They also respond to each other. This continues as a harmony when at 1.34secs chorus voices start to overlap the violins. The chorus sings the same routine as the violins did (is this fugue?- western classical technique).  Another beauty is the chorus take over the violins role but the base violin and the cello’s remain the same support. Listen to the chorus at 1.52secs wherein they go to a higher octave (just bliss!!) and you could clearly hear the “plucking of the strings (violins). Then the chorus stops when the masked men come and violins again take over to the finish by the dual between the two men (masked and the black dress) and see the violin just convey the dance effect with the girls dancing with the masked men. 
This ends at 2.19 secs where we again see Shammi with the piano to end the magnificent prelude at 2.26secs. This prelude was from 0.54 secs with a piano piece and traverses through so many instruments and harmony while it ends at 2.26 secs.

The orchestration in the interlude takes the crescendo to a high pitch where Rafi goes Dil ki jharoke mein tuhjo bita kar – you could hear violins strings just start with Rafi but drums take over immediately after the word bita kar. Violins also follow where rafi goes  but a set of violins play counter to his voice. What is the counter effect? Rafi’s sings and if you carefully listen to the violins they play a same tune in a slightly different octave(very minimal). 
At 2.52secs violins again play a great part in the 1^st BGM . Violins playing counter to each other to start with cellos, accordions also in the bass support. At 2.59secs Trumpets join the fray with violins playing bass with cellos, accordions and double bass. 
At 3.06 secs Piano now takes the lead with the violins and cellos, double bass playing at a lower octave. Beauty of this BGM is there are three levels of orchestra arrangement – 

Level 1 Violins lead with support from cellos, violins, accordions and double bass. 
Level 2 – Trumpets in the lead with support from violins and other level support from cello’s and double bass. 
Level 3 – Piano lead with violins and bass support.

Such a classic BGM treat from the Maestros. Moreover the dance sequence is also eye catching.

At 3.20 secs When Rafi sings “kal tere jalwen me” violins follow him by giving support and  roar ferociously when he says mahak meri sanson me hogi.. Excellent follow by piano, violin combination. This is sync with the dance and Sharadha and Shammi are shown on the same screen and Pran sees her reaction based on the lyrics sung. Violins give the pathos effect so beautifully. WOW!!

This stanza is at a higher octave sung by Rafi and it flows like a river. Listen to the violins in this stanza which varies by the mood of the singer. Just total bliss!

At 4.07 Chorus goes at a higher octave with drums and then even higher octave till 4.19. With the chorus we can hear violins too but chorus forms the lead and violins are support only. violins take over with Bass and Cello at one level and Piano at the other level to end the BGM.

Over this song conveys the pathos effect with a lovely ballroom dance with ladies like flamingos and men in tights. This is a great number for orchestration arrangement. One of the finest numbers from SJ,Rafi and Shammi combination. 

Tribute to Mohammed Rafi and Shammi Kapoor! - Part 1

Tribute to Mohammed Rafi and Shammi Kapoor! – An Evening in Paris!

Song to relish! 

Aji Aisa Mauka Phir Kahan Milega

My next posting was tough to select as it was wide ranged from 1950’s through 1980’s. Lots of songs were considered and even friends and family chose the songs for me as their favorite choice.  But I chose one for this edition purely based on my daughter (Hiranmayi's request).

I have been awed by the Hindi film music of 1960’s and 1970’s. This music swayed from Maestro’s like Naushad, Madan Mohan, Shankar Jaikishen, SD Burman, OP Nayaar, N Dutta, Husnlal Bhagatram, Dattaram, SN Tripathi, Jaidev, Salil Choudary, C Ramachandra , Laxmikanth Pyarelal, Kalyanji Anandji , the evergreen RD Burman and many more who weaved music like fine silken clothes.  Each hero had a music maestro with him. Dilip Kumar had Naushad , Dev had SD Burman, Raj had Shankar Jaikishen.

Always I was fascinated by the innumerous tunes and songs of the 60’s. Especially the orchestration of Shankar Jaikishen still reverberates in my every cell as if this was a previous birth incident. They showed great variety in music. They could do Basant Bahar and Evening in Paris or Chori Chori and Seema with the same ease! Such was the versatility exhibited by them.

This posting has “Aisa mauka phir kahan milega” from Evening in Paris.

Rafi’s voice can be called the voice of the century.  I would very proudly say that India was fortunate to have a singer of Rafi’s caliber. Ever the perfectionist he always brought out more than 100% in his renditions. With Shammi Kapoor his ratio was 100% too. The music directors for Shammi Kapoor were 60% Shankar Jaikishen and 35% OP Nayaar and rest form the remaining %.

This combination (Rafi,Shammi, SJ) have given string of hits like Junglee, Brahmachari, Prince, Professor, Janwar, Rajkumar, Pagla kahin ka etc.  

Scene – This is a Title song which starts off by Shammi sings for us.

Song starts with a bang! Accordions and violins with drums race up the prelude when Rafi saab sings aisa mauka phir kahan milega. Accordions follow the singer and end the initial prelude with the same as it started.  We could notice a mild usage of Sax when Rafi sings ao tumko dikhlata hun Paris ki ek rangeen shaam.

1^st BGM - Call and Response mode of Guitar and Accordions so beautifully etched. Every time the Guitar plays Accordion responds but in a slightly higher octave. Small variation in the Accordion section is so wonderfully played.  The fourth time when the Guitar plays violins take over and the Accordions end the BGM with an awesome rhythm. Drums form the basis of the whole BGM.

When the 1^st stanza starts the Drums and Accordions are in frenzy. Especially Accordions just are out of the world. Rafi just oozes melody.

Scene – Shammi sings dekho en pariyon ki doli.. Wherein he shows girls walking (as Pari).

2^nd BGM – This is where SJ shows their major influence in usage of instruments. It starts with a Saxophone at 2:17 secs playing a superb tune with guitar and drums for 13 secs followed by violins and accordions.

Scene – Shammi goes around Paris and walks with a lady. Typical Shammi style.

3^rd BGM – This is the same as 1^st BGM.    

Scene – Shailendra’s lyrics is captivating – apne dil ka daaman bhar lo; mar joge pyar karlo; kal ka sapna kisne dekha; in rahon se raat guzar lo.

This is so poetic and says that we should live in the present!!

Song to relish! 

Aji Aisa Mauka Phir Kahan Milega

Tribute to Maestros - Dil Ki Girah Khol do

My humble tribute to Shankar Jaikishen - Orchestration and Arrangement 


Enjoy the song

Dil ki girah khol do

Shankar Jaikishen have been the pioneers for orchestration and arrangements. Most of their songs have close to a 100 member orchestra. Instruments range from Accordions toViloins to Cellos, Guitars, Grand Piano, Drums, Horns section, Brass section. You can identify the song based on their arrangement. But they have also given some songs like Basant Bahar, Seema which is pure classical and no western orchestration. 

I have been an ardent follower of Shankar Jaikishen since childhood as my dad used to listen to a lot of Raj Kapoor songs predominantly by SJ. I had later cultivated separate interest in orchestration arrangement and loved their score in around 120 movies over  period from 1949 to 1971 as a duo. 

Today i had the pleasure of listening to some classic gems from old hindi collections. Radhu and I do relish the old Hindi classics sung mainly by Lata/Mannadey/Rafi. This song is so dear to me mainly because of the orchestration and scene performance. Nargis and Feroz Khan made the song look immortal.

I remembered this movie Raat aur Din, I saw with Radhu first time on video around 1997.

During an interview with Mannadey about Lata , he describes her as a singing sensation that can flow from top to bottom like a river. Any high note was possible by Lata. What a praise?

Only when I listened to the song I realized the "Waltz" effect by the ever greatest music meastros Shankar Jaikishen. Accordions, Cellos and violins flow effortlessly. What I do like here is Waltz effect is purely Western classical and adaptation of this into Indian movie song is phenomenal. Overlapping of strings is something remarkable.

This is a typical "Waltz" style song composed by the Classic duo of Hindi cinema - Shankar Jaikishen. This has been penned by Shailendra. Awesome lyrics especially in the third stanza wherein he writes - kal humse pooche na koi, kya ho gaya tha tumhe kal  mudkar nahi dekhate hum, dil ne kahan hai chala chal.

This song has multiple paces from the start to the end. SJ has used Waltz in many of his creations during which various instruments are in place. What is Waltz?? It is a ball room dance in closed position. 

Now to the song – Listening pleasure.

Prelude to the song

Grand orchestration is the name of this song. Amazing prelude Starts off with Grand Piano, Accordions (mild)Violins, Cellos, Sax, Drums playing for the 0.23 secs where in the violin and Double Bass play call and response to each other in both octaves (may be as a Tenor and Bass) and counterpoint with each other before slowing down to Lata’s introduction.

This reminds me of "Main Shayar to nahin" of course from RK banner. Especially the prelude piece before Lata sings.

When Lata starts of Dil ki Girah – Drum roll starts off – and we can hear Piano, Viloins and Drums galore. But the beauty is this – When she takes the Aalap in the middle of the song “aaa mehfil me ab kaun hai ajnabi” the beat changes to tabla piece with heavy violin following , and the beat which changes to drums again when Lata sings again “Dil ki girah.” – JUST THIS IS AWESOME to hear!! This just gets better with the whole 100 piece orchestra. WOW!!

1^st Interlude – Memerizing – Typical Waltz flow with amazing Western techniques like Fugue has been used which means (In music, a fugue is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation ). 

How has this been used here is violin piece and double bass repeat the same notes and there is a heavy counterpoints of accordions and violins bring a total harmony. Drums form the central part with mild sax and pianos. With good headphones we can hear multiple instruments flowing like a river.This is just GRANDE!!

1^st stanza – When Lata takes over to sing “Milne do ab dil se dil ko – the Beat section is tabla, Violins follow her, Double Bass behind the violins and when she sings Kab phaslo dooriyon ko, The accordions take the lead to bring the Waltz effect through drums for one LINE alone and reverse back to tabla when she aalaps“aaa mehfil me ab kaun hai ajnabi” and again the same repeats to lead to 2^nd interlude!!

Interlude 2 – Intro of Mannadey - Violins  Double Bass, Accordions playing absolute harmony in this section. We can hear the violins roar and increase the intensity by moving to a higher octave with amazing support of Cellos and Accordions. Hear the counterpoint of Violins and Cellos/Double bass.

Second stanza has Mannadey as the lead. Same repeat of 1st interlude Background score and interludes too. 

Except in the last stanza we can hear – Shailendra’s lyric saying “Kal humse puchega koi kya ho gaya tha thumha kal- Mud kar hahin dek the hum, dil ne kaha hai chala chal”

Great lyrics and amazing orchestration.