Song Reviews By Samir Shah

Chayn Se Humko Kabhi Aapne Jeene Na Diya

Song rendered by Asha Bhonsle and Music Direction by O.P. Nayyar

Movie : Pran Jaye Par Vachan Na Jaye (1974)

Instruments used in this song...

1. Bell like sounds
2. Mandolin
3. Guitars
4. Flute
5. Piano
6. Small group violins
7. Lead violin
8. Sur Mandal (harp)

One voice and 8 instruments is all it takes to produce one of the best songs ever. The song begins with the bells, guitars and mandolin. The bell sound is loud clear and melodious giving spiritual vibrations, behind the bell are the chords on the guitar which provide the base and the mandolin strings give ripple like effect to the bell vibrations. The solo flute without any chords accompanied by the harp lays the foundation for the entry of the voice led by the piano. The first rhythm/chords are next heard on the syllable bhi in kabhi. The flute before "chaand ke rath" and especially after "raat" is like a lonely heart wailing at night.

The mood of the song encompasses the past, present and future, there is fariyaad but no complains, sadness yet contentment, there is clarity in doubt, there is bechaini in chain, fullness in emptiness, life in death... many dual emotions captured so beautifully in the composition rendered to divine perfection, .... just FEEL. Enjoy...

(their last recorded song, together. Song of death or song of life?)

Some music sensitive mother, please let me know whether the feel of this song is similar to that at the time of cutting of the umbilical cord? (kya karein, reverse gender issue... ;) hota hai, hota hai).

Humne To Dil Ko Aapke Kadmon Mein Rakh Diya

Song Duet By Asha Bhonsle & Mohammad Rafi

Movie : Mere Sanam (1965)

The song begins with four notes played on the guitar, followed by a 10 second violin piece which is repeated. In all 22 seconds piece. The beauty of this piece is the neatly concealed flute. The flute is not easily audible in the first 10 second piece on the violin because it is playing alongwith the violin. One can make out a layer alongwith the violin but the flute is not individually audible. Then in the repeat violin piece the flute plays the contra thus separating out from the violin, therefore, audible. A careful listening reveals that the guy playing the flute has played it as if his life depends on it, i.e. perfect.

The flute guy has only 10 seconds to play each time, a very insignificant role, yet he plays it to perfection. In those ten seconds he has surpassed "time". On most occassions all of us feel that ten seconds is too insignificant, too short, too less and so we give less than our 100%. So, we allow time to run our life. On rare occassions like this one, an unknown artist has given 100% to something insignificant, less and short, thus going beyond time, adding Godliness to the whole thing. Instead of himself becoming insignificant he has made time insignificant. One may need repeated (gaur se) listenings of the opening piece to fully appreciate this aspect.

Later, as the song progresses, the voice takes over the role played by the violin and the violin plays the role of the flute. When the singer is singing, the violin plays the lead and contra alternately. The scale of the violin is altered to contrast the male and female voice of the singers. All well thought out and executed delicate intricacies and balances. A rare composition, allowing full expression of the wonderful lyrics, set in waltz, the effect of the brush (3-6) on the drumset giving variation to waltz, the santoor contrasting the sitar, the two sets of tablas to get the right depth of tonal quality to the bass, and Ashaji trying to sound like the violin at the end of the second antra for variation and to add to the continuity of the song ! Amazing !

Enjoy !

Pukarta Chala Hoon Main

Song By Mohd. Rafi

Movie : Mere Sanam (1965)

This song is picturised possibly on the Jammu-Srinagar Highway. The road lined up with trees on both sides, mountains in the background. A group of girls on bicycles and The hero Vishwajeet in an open jeep. The opening of the song with guitars, mandolin, santoor, triangle ghantis, surmandal...all these are blended beautifully to create melody out of the bicycle bells sounds, the santoor covering the beautiful background landscapes.

This is one song where Rafi saab is made to sing without using any harkats. he has sung just the chords, flat. Possibly because the hero/actor had less expression than the erstwhile Shammi Kapoorsaab or Johnny Walkersaab. That Rafisaab has managed to create melody without using harkats and the fact that this song is a huge hit even today and appeals to all generations, speaks volumes for both the composer and singer.

The use of light/heavy sitar/sarod to signify "ghata utar ke aa gayi zameen pe" and the single chords played by the flute in the lead are noteworthy. The claps at the end of the song are used in two tones? Add life to the song even while parting? Great detailing, superb balance!

A very unique and rare composition/singing, which is also very popular. Hats off to Nayyarsaab for demanding flat singing from rafisaab, without compromising on melody and to Rafisaab for obliging.

Happy Listening !

Diwana Hua Baadal

Song Duet By Asha Bhonsle & Mohammad Rafi

Movie : Kashmir Ki Kali (1964)

The first words of the song are "Oho Ho Oho Ho Aahaha...Yeh Dekh Ke Dil Jhooma".

Kya dekh ke dil jhooma? That "kya" is painted by the opening piece on Sitars, Mandolin, and Sarangi/Cello, the sitars depicting bountiful nature in Kashmir with slightly overcast skies, the mandolin has a bit of nasal sound which signifies wet weather or wetness as in nami in the air. The sarangi/cello represent the virginal feel about the fresh Kashmiri beauty both as in nature and as in the heroine.

Note the way the "maaaa" in jhooma is said in the second instance in the song. Listen carefully it will touch you to tears almost. The sitar piece that follows has two sitars, one of which plays straight while the other gives variations. the notations are simple because two sitars are playing and because nature has to be depicted with simplicity, the thrust being on the punch generated by two sitars. The follow up by the straight but longish piece on flute and cello is for the camera to explore the depth of the landscape in the yonder, again sitar to bring one back to base, followed by "aisi toh meri taqdeer......" the tone of Rafisaab's voice is as if he is still wondering as to whether he deserves someone as good as the heroine, as if it is all a dream, so much in awe and happy at the same time, with an attitude of gratitude.

The Taarshehnai piece that follows expresses extreme pain and pleasure at the same time, like losing something and gaining something, like the delivery of a child by a mother who experiences extreme pain while delivering and bliss on beholding the child, like a rock being torn apart by a stream of water springing from within the rock, the pain that the rock feels and the bliss on beholding the gushing divine, pure water.

Ashaji then sings for the heroine and expresses the other side of the feelings. the lyrics say it all "sailaab mere roke na ruka, jeevan mein machi hulchul aur bajne lagi shehnai" sailaab is like a tidal wave which destroys everything that comes in its path. Shehnai is symbolic of happy feelings, marriage as in finding new, never before felt feelings. Ashaji always tries to pack something extra in the sense that the second time she says "tinake ki tarah main beh nikli" she tries to make her voice and harkats as much in sync with the sitar as possible.

In the last antara the dexterity with which Rafisaab has changed the tone of his voice is just superb. In a sad tone he says "barson se khiza ka mausam tha, viran badi duniya thi, (twice) and then "haathon mein tera aanchal aaya ke bahaar aayi" in a very happy, positive tone. Very smooth, supple, quicksilver shift in gears. Would do even a Schumacher proud!

Jee Chahta Hai

Song Duet by Asha Bhonsle and Mohd. Rafi

Movie : Basant (1960)

The opening solo alaap by Asha sums up the theme of the song. It starts with a twin aa aa aa aa aa aa ha hm mm mm mm mm mm hm..... which reminds one of the song "tere sur aur mere geet" Goonj Uthi Shehnai sort of lovey dovey feelings overflowing. The next Aa aa_aa_aa_aa with flute in the lead slowing down to lend a sad colour, is almost on the verge of going sad but it does not. Only makes the feeling of love obvious. The variation at the last aa aa aa summing up the light mood, laden with feelings of love and at the same time naughty.

This is a simple song of girl teasing the boy. The way Asha says "jee chaa-hata hai khainch loon tasveer aapki". The break-up of the word chaa-hata with a very subtle harkat (see how she pauses for a microsecond between "chaa" "hata") followed by an obvious harkat on khainch are unbelievable but so true as gold. Rafi is no match. Simply filling in.

Asha is in terrific form and has gone for the kill throughout the song. There are so many tones used, combining the mixed feelings of love and masti. Each time a different variation in singing without altering the feelings. In some places the singing may be in different note (sur) not necessarily the correct sur but the feeling generated makes it sound like the perfect sur.

The flow of the song is like "zulf ki chhaon mein chehre ka ujala lekar" Phir Wohi Dil Laya Hoon with very little space between the mukhda and antara.

Mujhe Dekh Kar Aapka Muskurana

Song by Mohammad Rafi

Movie : Ek Musafir Ek Hasina (1962)

The song begins with a simple humming. As if the singer is lost, confused. The singer is drunk on alcohol, unsteady speech, steps. He needs to drink to get enough strength to confront his beloved who has rejected him, to speak up his mind.

This song is so radically different from normal compositions. Least music and maximum effect.Just the tabla and guitar are audible with soft violins in the background, which come to the fore with the sax in the interlude. The flute played in the interlude after "yaa ke diwana" caresses, creates sympathy for the singer. Rafisaab at his supreme best. He has put life into this song. The measured words like a drunk but not a trace of arrogance, no sarcasm, no hatred. When he says "muskurana" followed by "Ho!" it is as if in all the sadness a silver lining of the memory of the smile is relived by him. Each word uttered in this song is perfectly balanced, measured yet sounding natural. Simple expression of true feelings of love.

The deliberation, easily visible in "khayalon mein khoyi khoyi" is perfect to suit the situation. The song has been composed in a laid back mood. How well Rafisaab has utilised the huge spaces afforded by the meter/composition! Not letting go of the mood of the song even for a moment. The tone of the voice so real, so correct. Arguably one of the best compositions/singing. This song has no precedent, no antecedent. ORIGINAL. One song I could die for.