Path: msunews!uwm.edu!cs.utexas.edu!news.sprintlink.net!newsfeed.internetmci.com!in1.uu.net!news.wwwi.com!news.soadl.org!gt-news!cc.gatech.edu!pkohli From: pkohli@cc.gatech.edu (Prince Kohli) Newsgroups: rec.music.indian.misc Subject: RJGK-28 (Repost) Date: 9 Nov 1995 16:41:25 -0500 Organization: College of Computing, Georgia Tech. Lines: 869 Message-ID: <47tsi5$83n@sagittarius.cc.gatech.edu> Reply-To: ADhareshwar@WorldBank.Org NNTP-Posting-Host: sagittarius.cc.gatech.edu NNTP-Posting-User: pkohli Posting on behalf of Ashok. -Prince ======================================================================== Note: This is a repost. Prince e-mailed me that the earlier posting hadn't been picked by some hubs. There is one correction (one so far!). Vandana pointed out the error in one of the MD names. Shyamal Gupta is wrong. It should be Shyamal Mitra. RJGK 28: Jaane Anjaane: Great Songs by Obscure Music Directors Welcome to RJGK 28. The theme is 'jaane anjaane': jaane pehchaane geet, anjaane sangeetkaaro.n se.' It tries to showcase the great contributions made to our popular-music heritage by those music directors whose songs are sung, but who themselves have remained 'unsung.' Preliminaries _____________________________________________________________ The most important rule: DO NOT POST YOUR ANSWERS ON THE NET. E-mail them directly to me at: ADhareshwar@WorldBank.Org (In some systems, you might need to add @internet at the end.) The last day for entries is Monday, 27th November, 1995. ____________________________________________________________ What you have to do RJGK is a quiz on Hindi popular music in which the questions are in the form of lines from somewhere in a song and all you have to do is: guess the song. It has become customary to refer to the lines of the song as a clue. Many clues are accompanied by verbal sub-clues, that is, hints and information that's meant to point you in the right direction, plus whatever philosophizing the quiz organizer feels like inflicting on her/his captive readers. :)) The following is an example of a complete question/clue you will encounter in this quiz: {#0 laDka: jab se pehlu se gayaa hai dil kisi pehlu neend nahin aati laDki: jo soorat dil mein samaayi hai (2) wo soorat dil se nahin jaati aao aur bataa jaao kya raaz hai dil mein samaane ka (2) kya raaz This delicate Hemant-Asha duet was composed by a famed sarod maestro in one of his rare encounters with Hindi film music. It was written by a real poet, as you may judge from the play on 'pehlu.' Hint: Speculatively, the song perhaps inspired the opening in a great duet with Lata that Hemant composed for Shart.} Knowledgeable RMIMers will immediately recognize (kidding!; rather, after frantic research, will discover) that the song is from a 1952 Chetan Anand film, 'Aandhiyan,' starring Dev, Nimmi, and Kalpana Kartik; words by Pandit Narendra Sharma and music by Ustad Ali Akbar Khan. The song begins Hemant:wo chaand, wo chaand nahin hai, dil hai, kisi deewane ka aakaash se kehti hai duniyaa, wo naam hai is veeraane ka wo chand You compress all your efforts into just the following answer: 0. wo chand nahin hai dil hai kisi deewane ka Start your entry by giving the name of your team, if any, followed by names of the team member(s), along with the e-mail address of each. Then give a numbered list of the opening lines of the songs that you have been able to guess. There is no need to repeat the clue-lines. Please feel free to follow the entry with (or in independent e-mail) any criticisms, comments, cussings, and so forth, on the clues, the songs, the quiz, etc. They are highly welcome, but be warned: anything you say becomes the property of RMIM and RMIM (that's me for now!) reserves the right to misquote, quote out of context, distort and otherwise mangle whatever you write. :))) About RJGK RJGK is a second-order abbreviation that stands for "Rmim"-Jhim Geeto.n Ki, where Rmim stands for, well, you know. Starting the quiz series and nurturing it through self-sustained adulthood have been the lasting contribution of Sami Mohammed to RMIM. The series has given a continuity of tradition to the group. I have even started marking time in terms of which RJGK was going on when something happened! An important contribution during the early history of RJGK came from Abhay Avachat, who suggested a thematic orientation for each quiz. All the past RJGKs can be accessed through Sami's WWW home page. The URL is http://www.lehigh.edu/sm0e/public/www-data/sm0e.html For a concise history of RJGK, check out the introdoctory writeup in Sami's own RJGK 23. After some experience of participating in RJGKs, I recommend organizing one of your own on a favorite theme. Watch out for Ajay Nerurkar's posting on the first of every month for information on coming attractions and for instructions for conducting an RJGK. About RJGK 28 I have always been interested, perhaps out of ideological leanings, in the contributions to culture and civilization by the poor, the have-nots, the nameless, and the outsiders. Our musical treasure from the past would be far poorer if we focus only on name-brand artists. Hence my selection of the theme. The theme generates mixed feelings in me. One is that of sadness. I hope you will agree that many of the songs represented here are great songs and many of the MDs do not have more than a couple of films, often only one. As Vandana Sharma recently observed, a masterpiece is never a fluke. It means that the MDs featured here had the potential to give us a lot more of great music. An alternative setup where opportunities were in line with talent and not the result of myopic decisions of risk-averse producers would have immensely increased our treasures from the past and held out a more promising future. But let me not dwell on the negative, but use the occasion to celebrate the achievements. Like any artistic endeavour, in music also some moments seem to be special: when lyricist, MD, the singers, and instrumentalists (and perhaps the director) are in harmony and something beautiful is born. It's as if the muses of poetry and music smiled together. I hope I have captured the outcome of some of those moments here. Initially, I had toyed with the idea of including MDs who had five or fewer films to their credit. Once I discovered that Sudhir Phadke has composed music for 8 or more films, I abandoned the search for a foolproof criterion. My working criterion now is somewhat vaguer. I have considered for inclusion any MD who does not have a professional presenece in Hindi film industry as an MD. The MDs included fall into roughly four categories: a. A core groups of virtual unknowns (e.g., Pardesi, Lachhiram Tamar). This category comes closest to my original intention. b. MDs from regional film industries (e.g., Adi Narayana Rao, Sudhir Phadke). c. Classical musicians who have occasionally composed film music (e.g., Alla Rakha, Raghunath Seth). d. Artists from other links in the chain of music who have dabbled into composing (e.g., lyricist Prem Dhawan, singer Pankaj Udhas). A degree of arbitrariness has been unavoidable. For example, I have judged that Kishore has a professional presence as an MD, while Mukesh does not. In order to eliminate the need for you to try to guess who all I might have in mind, after considerable wavering I have decided to append a list of MDs featured in the quiz. This has some danger of making the quiz a delight for P-statisticians and encyclopaedists! To counter it partially at least, I have generally given more expanded clue-lines than is commom. It is perhaps as well given that this quiz has less of a natural context than a single-person theme. A couple of my favorite clues got nibbled away by some recent RJGKs. I would like to place two of them on record, for completeness' sake: One is Sudha Malhotra's composition for 'Didi': "tum mujhe bhool bhi jaao." This was used in RJGK 21 by Ms. Neeraj Malhotra. I particularly miss it because now there is no entry with a woman MD. The second one is Suridhakar's 'Kanch Ki Gudiya' song: "sath ho tum aur raat jawaa.n". This featured in the just previous RJGK by Shashikant Joshi. There are 36 clues (groan :)). I'm sorry for the length. I started with about 60 and had a hard time pruning it down. I might as well declare it ahead of time: It's generally unfair to edit the clues substantively mid- course; so, there will be no changes if I can help it. As all the organizers say, you should participate for the fun of it, blaa, blaa, blaa. I also accept the point made by Mohan Rathore that, in turn, the organizer should not try to maximize the number of entries, but should be happy if RMIMers just enjoy the quiz. (Having said it, let me come clean with my real feeling in parantheses: "You lazy bums! Get going, do your best, and send in the entries!" :))) No tie-brreakers. Only a verbal pat on the back for early birds. Acknowledgements The smartest thing I ever did was to post on the net requesting suggestions. I couldn't believe it, but I got flooded with suggestions and within minutes, literally (True. After I finished posting, I logged onto my e-mail and there was a suggestion waiting! As I finished reading it, one more showed up!!) If you find the quiz too long and too tough, you have yourselves to blame. :)) Seriously, I was pleased to discover that the nettors understood the theme right away and accepted it readily. I thank the following for suggestions: Ambrish Sundaram, Arun Verma, Mahesh Chaubal, Neeraj Deshmukh, Ravi Kumar V. Pariti, Shekhar K., and Swapna S. Gokhale. In addition, I have benefited from discussion with and help from Ajay Divekar, Chetan Vinchhi, Sami Mohammed, and Surjit Singh. I thank Dr. Rajan Parrikar for raaga information in clue #1 and Shashikant Joshi for his transcription of instrumental passage in clue #14. Finally, I have drawn a lot from all the nettors who have posted on RMIM, too numerous to mention. ----------------------- Beginning of the quiz ------------------------- Last date for entries: Monday, 27th November e-mail address for sending entries: ADhareshwar@WorldBank.Org (In some systems, you might need add @internet at the end.) Please do not post answers on the net. -------------------------------------------------------------------------- #1 laDki: kaahe kaahe ghaTaa mein bijali chamake (2) laDka: ho sakataa hai megharaaj ne baadariyaa ka shyaam shyaam mukh choom liya ho One of humanity's elemental experiences of nature is that of seasons and it has influenced all art forms. The most celebrated artistic expression of this experience is perhaps Kalidasa's 'Ritu Samhaar.' Discovery of Indian philosophy and art had a deep impact on Enlightenment Europe even as the latter was enslaving it. The impact can be seen in Kant's philosophy and Goethe's poetry, but even before them, in Vivaldi's music. As can be expected, our own producers of music (MDs and lyricists) have contributed toward keeping the tradition alive by creating songs about the cycle of seasons. Bharat Vyas and SN Tripathi gave us a fairly literal representation (of course, the film was 'Kavi Kalidas') in Manna Dey's "nayi nayi rango.n se likhti dharti nayi kahaani." Another example is the Lata song from Mamta by Majrooh-Roshan. The clue is from perhaps the best-known of such songs. The stanzas relating to the different seasons are set to different raags: sohoni, yaman, jaunpuri, and bahaar. The clue is in bahaar and the mukhDaa, your answer, is in sohoni. The composer is a great MD from Telugu films. Another gem from the same film is Lata's "mujhe na bulaa" with the fantastic flute passage at the beginning. I have come across the MD in another Hindi film, 'Phoolo.n ki Sej.' He is also the MD credited with bringing C. Ramchandra's style into Telugu film songs. -------------------------------------------------------------------- #2 laDki: palako.n ka hai qalam banaayi kaajal behakar bani siyaahi kaise likhoo.n kahaani gham ki, tu hi mujhe bataa de re Pandit "Madhur" (Buddhichandra Agarwal) penned these "namesake" lines. The poet is sqaurely in Kalidasa's tradition: if a cloud and a swan can be messengers, why not the moon! The MD is an outsider, even by name! It's one of those perfect moments when the muses smiled and an absolute gem was born: one of the greatest Mukesh-Lata duets ever. I haven't come across the MD in any other film. The film also has a cute Mukesh-Geeta duet: "dil tu ne diya, dil main ne liya, phir bhi duniya jale to ham kya kare.n" ----------------------------------------------------------------------- #3 laDka: aati ho to aankho.n mein, bijali si chamakati hai (2) laDki: shaayar ki mohabbat hai, aankho.n se chhalakati hai (2) laDka: chhoDoo.n na tera daaman, chhoDoo.n na tera daaman mai.n hu.n tera, saudaayi [saudaayi: insane, melancholic] Continuing with the seasons, here is another duet, this time by Asha and Manna Dey: if the rainy season were a fairy, what would her hair be? The MD had a burst of three films with very good music in the mid-60s, the other two being 'Chaalis Din' and 'Naqli Nawab.' I believe he also has other films in partnership with Bipin. ----------------------------------------------------------------------- #4 [prelude] namaami brahma, namaami viShNu, namaami maheshwaraa [stanza] uDe gandh swar dishaa dishaa mein bhed rahe na, uSha nisha mein bhuvan bhuvan sarase In the late 50s, Hindi film industry held a contest with a view to locating new singing talent. The winner among male singers was Mahendra Kapoor (the winner among female singers was Aarti Mukherjee). As the then leading MDs, Naushad and C. Ramchandra were prompt in giving a chance to the newcomer. Unfortunately, the song he sang for Naushad (from 'Sohni Mahiwal') was a typical Rafi song and did not showcase his strengths; it, instead, pinpointed his weaknesses. Rafi's voice brings to my mind the picture of molten steel, which can be cast into any shape and can quickly harden into tempered steel; it is able to meet almost any demand an MD places on it. MK's voice, on the other hand, is like soft clay, which has to be carefully shaped and is always fragile. What were good niches for such a voice? I think two useful niches were identified by perceptive MDs. The first is relevant for this song (more about the second niche in the last clue): sugam-sangeet type bhaavatmak songs; not very demanding but where MK's buttery voice can be put to good effect. The model is the 'Navrang' song "shyamal shyamal baraN". Some other MDs who pursued this line fruitfully were Vasant Desai, SN Tripathi, Roshan, Madan Mohan, Chitragupta, and Ravi.... ...And a relatively obscure MD, as in this song. He had composed very good music for a couple of mainstream films in the 50s: 'Oonchi Haveli' (Rafi's "daulat ke jhooTe nashe") and 'Raftaar' (which had a couple of very nice Talat songs, recently released in EMI's Talat complilation CDs). He seems to have become typecast into mythological films in the 60s, as is the case in this song. He is perhaps from Rajastan; I have come across his name as the MD for many Rajastani films. Interestingly, the quiz has an entry composed by his two sons, who form an MD pair (the clue below), which means, unlike Chitragupta, this MD's sons couldn't break through, either. ----------------------------------------------------------------------- #5 TooTe rishte, yaad mein unki, kyon bheegi hai.n palake.n bikhare bikhare dil ke TukaDe, unki khaatir taDape pyaase aankhe.n pee jaaye aa.nsoo, aankho.n se na chhalake jab tak main ne samajhaa aa.nsoo kya hai daaman bheeg gaya, daaman bheeg gaya This song reminds me of "kaaravaa.n guzar gaya" in terms of length and virtuosity of rendition, in this case by Kishore. The lyrics are, of course, no match to the heights attained by Neeraj in 'Nayi Umar Ki Nayi Fasl,' but quite good all the same. Like their father, this pair of youngsters has also composed music for many Rajastani films. The only other film of theirs I have heard of is the recent 'Birjoo.' (Hint: The name of the film appears in a slightly modified way in the above stanza.) ------------------------------------------------------------------- #6 har haal mein khushaboo mein, kuchh bhi nahi.n kehanaa hai jis haal mein rakhe tu, us haal mein rehanaa hai minnat nahi.n karenge, ham se na tu ye kehanaa o aasamaanwaale, ghaflat mein tu na rehanaa [ghaflat: negligence, carelessness] A very non-typical Mukesh song. Typically, a Mukesh song reminds me of an Indian middle-class gent: wimpy, whining, shallowly showboating, running away, unable to accept responsibility, always blaming the society and the other person, etc. But, here he is talking about smilingly confronting the obstacles. He sings the last line of the stanza tere hi faisale ko, manzoor ham karenge with remarkable dignity and poise. The identity of the MD is uncertain: the name I remember from the radio is different from what I saw on a recent HMV CD. (I have given both the names in the list of MDs.) In either case, it is a totally obscure MD coming up with two Mukesh gems in this film. The other one is "sab pyar ki baate.n karte hai.n, par karne aataa pyar nahi.n". Mukesh sounds quite Saigal-ish in both. ------------------------------------------------------------------- #7 buraa ho in bairan ankhiyo.n ka, kar baithi naadaani pehale aag lagaa di man mein, ab barasaaye paani What beautiful imagery! Written as it is by one of the grand old men of Hindi film poetry, that is to be expected. What is unexpected is that this film is his debut as an MD and the music is superb, to say the least. He has consistently given good music for a couple other films as well, e.g. 'Pavitra Papi' and 'Raat Ke Andhere Mein.' ------------------------------------------------------------------- #8 nayi umange.n, naya zamaanaa nayi tarange.n, naya taraanaa mast nazar se teer chalaakar, koi hame.n taDapaa hi gayaa If a drummer can head a rock group, why not have a great tabla maestro as an MD! One of the many Talat gems from the film. There is also a faster Lata version, but the song is rendered immortal by Talat. The MD has also scored music for another film, 'Sabak.' ------------------------------------------------------------------- #9 laDka: amrit ke saagar, mein, shruti mandir ke deepak, ki jyoti alhaD kamalo.n par, paDe hue teer-e-neelam, maaNik moti teri uThati jhukati palako.n mein (2) sooraj dekha, chandaa dekha laDki: main samajh gayee re, deewane, ... In the early-to-mid 70s, there was considerable excitement among aficianados of melody, generated by MDs like Bappi Lahiri, Rajesh Roshan, and this MD, whose name could stand for one or two Gujaratis! :)) This song had quite a lot to do with it, because this superb melody, with one of the most hummable mukhDaas, featured two singers who, it was hoped, would be harbingers of the next generation of singers. None of the rosy predictions materialized, for either the MD or the singers. (You folks are more familiar than I regarding how the other two MDs turned out!) He also scored 'Thokar.' More recetntly, I have seen the name of the MD only with narrlowly marketed films, like 'Quraan Aur Imaan.' ------------------------------------------------------------------- #10 aiso hai niDar hai ri braj kaa gwaalaa | beech Dagar chherat matawaalaa | (2) he more raam, he more raam, he more raam Can two "tandem" songs come from different films?! This song is an example. This stanza is from a a wonderful Getta Dutt solo. There is a song with identical mukhDaa, but different stanzas, sung by Rafi and a classical singer, from another film. Two different lyricists get credit for the two versions! I suspect the mukhDa is 'traditional' with lyricists adding on stanzas. The film is an import into Hindi from the South. Two MDs are featured: One of them is, I believe, from Kerala and has functioned as MD for many Tamil and Kannada films. The other MD is from the North, judging by the name; he has also given music to a film loaded with Talat gems: 'Daak Babu.' In addition, C. Ramchandra gave overall assistance in transforming the sound for a Hindi audience, in addition to composing some songs for the film. ------------------------------------------------------------------------ #11 laDka: wo phool fazaao.n mein mehake bin piye hi gori ham behake ye mastibhari teri angaDaayi jaise koi bijali leharaayi ye teri jawaani ka zor ye teri jawaani ka zor, ke teri paayal thi kamzor ......... The MD for the song is a ghazal-singer much-maligned by RMIM, unfairly. According to a recent posting by Ajay Nerurkar on Sajjad, he and Khaiyam were the only persons who had the decency to call on Sajjad in his last days. This seems to be another song to have had more than one life, in this case, many lives! It appears that it started life as an Asha solo by Majrooh- Naushad in a fairly recent film. Using the same basic template, but different words and somewhat different tune, and as a duet, it is supposed to have shown up in more than one film! I am sure of one film, which does give this ghazal singer MD credit. Let me briefly switch to a Chitrahaar mode here! When Om Puri finds out that on the first night of their marriage, Divya Rana is remembering Raj Kiran and singing "deevaron se, mil kar rona, achchha lagataa hai (an affecting Anuradha Paudwal solo)" it is understandable that he ends up being a man with 'only one aim.' Has the journeyman ghazal singer improved on Naushad's tune for this song? Well, mum is the word from me! Judge for yourself. (Note: Full mukhDa needed for full credit! :)) --------------------------------------------------------------- #12 dekh kitanaa hasee.n mausam hai har taraf ik ajeeb aalam hai jalawe is taraha aaj nikhare hai.n jaise taare zamee.n pe bikhare hai.n A lovely Suman KalyaNpur song, composed by a noted qawali singer. One of the three songs in the quiz with a woman lyricist. ---------------------------------------------------------------- #13 laDka: gore badan ki khushabu aisi, kastoori jaise mehake |(2) hoTh tumhaare sindhoori, angaaraa jaise behake laDki: dekh ke tum ko main kya, koi hoor bhi ho to behake |(2) naino.n ke ye taare, hoTho.n ke ye angaare sab kuchh tumhare liye, piya sab kuchh tumhare liye laDka: aahaa, ........... This MD (one of the many Bangla MDs featured in this quiz) seems to have come in on just a couple of bilingual Shakti Samant films starring Uttam Kumar and Sharmila. Refreshing tune, fresh voices. --------------------------------------------------------------- #14 har kisi ko chaahiye tan kaa milannn Right. Good poetry is supposed to be about universal truths! It is one of the two clues in this quiz where I am going to violate the RJGK guideline to give complete stanzas! I disagree with that dictum, because it depends on the song: there are cases where one word might be enough and there are cases where half the song won't be! The MD hails from KoDagu (Coorg) district in Karnataka, but don't look for any Karnatak music influence here. He has a jazz-pop workshop in England, but don't look for any jazz influence either. It's unadulterated pop. He has had some measure of success in the Western pop scene. Two of his albums (Eastern Man, Rain Forest) have been reviewed favorably in Rolling Stone, getting three stars each. The summary review in the Rolling Stone Record Guide says, "Heavily arranged, glibly orchestrated disco project. You need a good sound system and an auditorium to appreciate this stuff, though." The song has a 'tandem' song, which is purely its 'ham-tarannum' but not 'ham-radeef', for the simple reason that it is instrumental only! It goes Dhung DhuDhungDhuDh DaDungDha Dhung DhuDhungDhuDh DaDungDha Tung TuTungDhuDh TaTungDha Dhung DhuDhungDhuDh DaDungDha TaNTaN~~~ [guitar] TaiN~~ TeN TiNTiNTiNTaaN TaNTaaNTaa~N TaiNTai~~N ------------------------------------------------------------------- #15 dono.n:bheegi hui hawaa hai, ab raat Dhal rahi hai aise mein do dilo.n ki, ik shammaa jal rahi hai ye pyar ka ujaalaa, mil ke amar banaaye.n In an article on Majrooh posted sometime ago by satish, the credit for the success of this song was given to Majrooh; success has many parents, I suppose! The song is certainly worth claiming the credit for. A great Rafi-Asha duet. Rafi adopts such a silken-smooth, low-pitched tone that his voice nearly approaches that of Talat, while retaining the resilience; the effect is wonderfully atmospheric. The instrumental bridge between the stanzas is superb. It is one of those muse moments. The film had a nice Rafi solo: 'ye kaisi deewaar hai duniyaa.' The only other film of the MD that I have heard of is a vague one 'Teri Pooja Kare Sansar.' ------------------------------------------------------------------- #16 laDka: bolo ji bolo, ye raaz kholo ham bhi sune.n dil ko thaam yaa to hai dharati, yaa hai gagan yaa to hai sooraj, yaa hai pawan laDki: u.n hu.n, us ka to saajan hai naam The MD from Assam (also a noted Bangla singer) treats us to a beautiful Kishore-Lata duet in perhaps his only foray into commercial (i.e., Dabba) films. You have admired his music and singing in a very recent art-house film. ------------------------------------------------------------------ #17 binaa tumhaare hame.n, chaand aisa lagataa hai | (2) ke jaise zaqm ho (aalaap) ke jaise zaqm ho, is aasamaa.n ke seene mein birhaa ki aag lagi hai, dhaDakate seene mein This Rafi solo is here by special request of Sami, reinforced by satish! (You may say that they brought it on themselves, and on RMIM:)) When I was toying with the criterion of including those MDs with five or fewer films and solicited suggestions from RMIMers, one arrived promptly from Sami: Shankar-Jaikishen! There are two theories about the MD here. I was told by some reasonably well-informed friends that it was the only film of an assistant MD of S-J. Another theory, repeated by the Encyclopaedia of Indian Films, is that it is Shankar alone moonlighting away from the partnership (this was some years prior to Jaikishen's death). Also the facts that the name of the MD is three-lettered, begins with S, and is the same as the name of one of S- J's major successes at the time might have added to the second theory. In either case, the MD is welcome to this quiz! Hints: The film is a namesake of a great Saigal film. The song is a ghazal. The first line begins somewhat similarly to the stanza. ----------------------------------------------------------------- #18 laDka: aa a aa, aa a aa ye bheegati hui fizaa, baras rahi hai chaandani laDki: taaro.n ne mil ke chheD di, madhur milan ki raagini laDka: leke qaraar, aayaa hai pyar kya hai agar mera dil gayaa dono.n:........... Another of those special muse moments. The song creates an almost tangible romantic ambiance around you. A Hemant-Geeta duet, composed by one of Geeta's two brothers who have occasionally been MDs in Hindi films (the other brother is Kanu Roy, who is not included in the quiz). Another film of this MD is 'Shailaab,' which had the lovely Hemant/Geeta tandem, "hai ye duniya kaun si." ---------------------------------------------------------------- #19 kaise is ka karz chukaaye.n maang ke apani maut ke haatho.n um_r ki sooni see hai ham ne baat kuf_r ki kee hai ham ne [kuf_r: act of infidelity, paganism] We fans of Hindi film music tend to treat songs and poetry (and song-writer and poet) interchangeably. Perhaps the distinction is inherently elitist. Be that as it may, here one of the great sitar maestros has taken a pure poem, written without regard to being set to music, and turned it into a musical jewel. Beautifully rendered by Asha. The film is based on a kaadambari by Amrita Pritam entitled 'Dharti, Saagar, Aur Seepiyaa.n'. The poem is also by her, making it one more of the three entries in the quiz written by a woman. -------------------------------------------------------------- #20 laDka: bewafaa ham nahin, bewafaa tum nahin | phir wo jazbaat kyon so gaye |(2) laDki: pyar tum ko bhi hai, pyar ham ko bhi hai |(2) faasale phir ye kyon ho gaye "Love is not merely looking at each other, but looking in the same direction, TOGETHER" Very appropriate motto for the film, but I don't remember director Raman Kumar acknowledging the source of the quotation; it is by Antoine de Saint Exupery, the author of The Little Prince. The Singhs sing for a Singh (almost surely a Punjabi MD?). --------------------------------------------------------------- #21 geeto.n ka toofaan hai naach ki bahaar hai, naach ki bahaar hai paanch aane ka das aanaa (3) (said very fast) are waapas nahi.n jaanaa, jaanaa, jaanaa waapas nahi.n jaanaa ........... I liked the expression 'geeton ka toofan' so much that I used it as a name of the RJGK! You can date the film: when a movie ticket cost 5 annas! You have heard the song with a regular frequency; you even read about it with regualar frequency! This is, in fact, a replacement clue. When I started thinking of this RJGK, my clue for this MD went: ambar kunkum kaN barasaaye, phool pankhaDiyo.n par musukaaye bindu tuhina jala ke |(2) with the statment that: "Celebrated film and non-film MD from Maharashtra brings an equally exquisite sensibility to a Hindi film song here." Once this song showed up on Mahesh Chaubal's RJGK, I decided to scramble; hope it's a touchdown throw! Hint: Same MD, different film, different singer, different kind of song! ------------------------------------------------------------- #22 laDka: tarango.n mein dhaDkan, larazataa jigar | raqs karate kamal, thartharaataa bha.nwar |(2) ye chheeTe.n kisi ki tamannaa na ho |(2) kahi.n aap ke haatho.n tanahaa na ho [larzaa.n: trembling; raqs: dance] This MD has come, generally (but not exclusively), with Sai Paranjpe films and has given very refreshing music. Here, he introduces a noted Bangla female singer to Hindi audience. The third and final song written by a woman in the quiz. The context in the film is: imaginary, wishful flashback! ------------------------------------------------------------- #23 [mukhDa] koi dil mein hai aur, koi hai nazar mein mohabbat ke, sapane.n, main kis pe luTaa_u.n isi kashmakash mein, jiye jaa rahaa hu.n [stanza] udhar dil mohabbat mein, unko diyaa hai idhar farz kaa, bojh, sar pe liyaa hai ari zindagi tu ne, ye kya kiyaa hai These stanzas should be enough for you to guess, not just the song, but the story of the film! Hint: MD, singer, and hero are the same person. ------------------------------------------------------------- #24 laDki: mast nazaare, chaand sitaare raat ke mehamaa.n hai ye saare laDka: (hmm hmmm hmm hm) laDki: uTh jaayegi shab ki mehafil noor-e-sahar ke sun ke naqqaare laDka: ho na ho dubaaraa mulaaqaat [sahar: morning; naqqaara: bheri, nagaaDaa] Does one refer to a queen as 'sultaan' or 'sultaanaa'? I thought only I had such funda doubts, but two films about the same personage show that I am not alone! Here, Rafi and Asha capture the great muse moment again. The MD has mixed hummings and aalaaps with great effectiveness to convey a sense of the mood. Don't know any other song from the film, but the MD has another film with many musical trasures: 'Main Suhaagan Hun.' -------------------------------------------------------------- 25 laDka: aankho.n se chhalake teri~~, amrit ki dhaaraa~~ tera saath gori mujh ko~~, jeevan se pyaaraa~~ mile ham tum donon jaise, lehar se kinaaraa A lovely ballad by Manna Dey, composed by a total unknown. It's a stunt film and the person who wants to drink her beauty with his eyes is Ranjan. -------------------------------------------------------------- #26 laDka: door gagan mein, dekho chamake aashaao.n ke taare aashaao.n ke taare, hilamil pyare pyare laDki: badali mein chhup kar taaro.n ke sang |(2) chandaa kare ishaare, chandaa kare ishaare dono.n:kis ki lagan mein, aaj pawan hai baago.n mein ikalaati The MDs had the honor, when they were together, of being referred to as the Shankar-Jaikishen of Tamil films. Here, have they managed to excel the great S-J song "aa neele gagan tale, pyar ham kare.n"? Perish the thought! I brought in that song just to hint at the singers. A melodious song in its own right. It's an import from a Tamil film (Santosham, I think) and Madan Mohan assisted in the process, in addition to composing independent songs for the film. --------------------------------------------------------------- #27 mad_bhari chanchal ye shaam deti hai tujh ko payaam patthar pe kar shaayari tujh ko hamaaraa salaam tu hai jahaa.n ham wahaa.n jhoome zamee.n aasamaa.n This MD's CV reads: Back-to-back two films for a major producer-director; both fantastically successful musically; the first film was a flop for no fault of the music while the second was a major hit; the range of singers used is spectacular: Rafi, Mahendra Kapoor, Lata, Asha, Kishori Amonkar, and CH Atma! not a single dud song and many songs were sensational hits, liked in the elitist suburbs as well as paan-Thelas. With such a CV, one might have expected the launch of a major career. Can one offer a rational explanation (based on the logic of the market mechanism, or whatever) for the reality that his career ended with the two films? --------------------------------------------------------------- #28 laDka: ye husn tera khilataa hua, saa gulaab hai (2) aankhe.n teri haseen, ka.nwal ka shabaab hai tu laajawaab hai wo khush_naseeb hai teri, mehafil mein jo gayaa Is a trio of MDs better than a duo of MDs? (As you folks know, a more interesting question is, Is a duo of MDs better than one MD?, but we'll leave it for another forum. :)) In addition to this Rafi solo, the film had a Lata-Kamal Barot duet, 'Dam Dam Dam Dam Damaroo baaje.' (Remember a duo of MDs who launched their career with a Lata-Kamal Barot duet?) How good is this song? Well, I must say very good, because I have often confused it with two Madan Mohan compositions of roughly the same period: "mai.n nigaahe.n tere chehare se haTaau.n kaise" from 'Aap Ki Parchhaayiyaan' and "kisi ki yaad mein duniyaa ko hai bhulaaye hue" from 'Jahaan Ara.' --------------------------------------------------------------- #29 mil jaaye tera pyar to, qismat sa.nwaar lenge ham |(2) kadamo.n me tere zindagi, yu.n hi guzaar lenge ham |(2) dil mein na rakh sake to kya, nazaro.n se bhi giraaoge A mesmerizing Geeta Dutt song that can stop you in your tracks, not just for a while as the song beseeches, but for good. The MD seems to have come just for a couple of Satyen Bose films. The other film is 'Parichay', which had two fabulous Lata solos of the caliber of Shyam Sundar and Sajjad. The current film had another Geeta Dutt song, a fast mushaayaraa number "maane na, maane na, maane na", a lovely Lata song, "nadiyaa ke paani", and a very popular children's song with the line 'billi bole miaw.n' (the song is "chhupa chhupi, ho chhupi, aagaD baagaD jaaye re" by Lata and Manna Dey). --------------------------------------------------------------- #30 bas itani si hai daasataa.n bachpan ke pyar ki |(2) do phool khilte khilte, gulshan ujaD gayaa gulshan ujaD gayaa The MD here used to be assistant to Salil Chowdhury. I don't know any other song from the film or any other film by the MD. The name is Bangla, but the only other context where I have enountered his name is as the MD for the famous Marathi patriotic song of Kusumagraj, "garjaa jaijaikaar kraantichaa." -------------------------------------------------------------- #31 jhilamil wo, taare~~ --------------------------------------------------------------- #32 ye raahe.n kahaa.n se aati, ye raahe.n kahaa.n le jaati raahe.n dharati ke tan par, aakaash ki faili baahe.n Lovely Hemant song under the baton of the noted flutist. Couple of other films of the MD are 'Ye Nazdeekiyan' and 'Ek Baar Phir.' The words are by Pandit Narendra Sharma. The lines in the mukhDaa involve a play on the two uses of 'ham' (pronoun and prefix). ---------------------------------------------------------------- #33 laDka: sur hai meeTha, la_y hai meeThi, us se meeThi raagiNi us se meeThe hoTh hai.n tere, aur teri aawaaz hai Another Bangla MD. I don't know anything else about him other than this Kishore beauty. Cleverly constructed lyrics by Naqsh Layalpuri. The stanzas follow the pattern with mathematical precision: black, black, blacker, blacker still, which! Similarly for white, blue, and sweet. ----------------------------------------------------------------- #34 Mubarak Begum: o_o, o_o_o aalaap by chorus Rafi: (slowly, no accompaniment) rain bhaari hai, gehraa andhera haath de lo, haatho.n mein mera rain bhaari hai (instruments and chorus come in, as Rafi continues) so gaye mandiro.n ke pujaari goonjati hai muraliya tumhaari aatamaa jhoomati hai.n hamaari Mubarak Begum: dil khinchaa jaa rahaa hai hamaaraa (2) I lack the words to describe the greatness of this song. Within seconds from the beginning of the song, you realize that you are participating in a majestic event and the next time you are aware of the external world is well after the six and a half minutes for which your soul has been captured by the song. A masterpiece. ---------------------------------------------------------------- #35 rang hamaare, teri jawaani | ban jaaye ek prem kahaani |(2) door kisi ko le le jaa ke, sun lu.n aur sunaa_u.n dil ke kore kaagaz par ulfat ki laqeer banaa_u.n aa, ................. The next two entries are in the quiz by way of exercising the prerogative of the organizer! I can't claim that they were well-known, but only that those who were exposed to them loved them. This delectable Talat song is composed by an MD with a delicious, if unlikely, name. He was part of the Goan contingent that enriched C. Ramachandra's entourage at the turn of the 1950s. CR took the extremely rare and generous step of allowing the assistant MD to get credit as MD for a film in which he himself was involved. (He also did the same with another film, Rangeeli). Recent HMV inlay cards credit CR for 'supervision'! --------------------------------------------------------------- #36 pyaas le aayi hai saaqi tere, maikhaane mein Daal de husn-o-rooho.n bhari, paimaane mein dil ki sheeshe mein utar aayi hai, soorat teri The second niche for Mahendra Kapoor was uncovered by the genius of N. Dutta and consisted in ghazals and nazms; perhaps the ones where the need for expressiveness was less pressing and where the natural smoothness of his voice was sufficient. N. Dutta used this approach with great effectiveness in 'Dharma Putra.' Ravi followed up on this, but with highly inconsistent results. Coming to the current clue, here an unknown MD has produced a gem of a nazm by MK. He seems to have been around for just a couple of KA Abbas films, the other one being a children's film, 'Hamara Ghar.' The words by Ali Sardar Jafri are simply lovely. I have reproduced the words from faraway memories, from a time when my Hindi was much shakier--hence the words are more error-prone than elsewhere. I would kill to get a copy of the recording! Some other rhyming lines are: kee hai in aankho.n ne din raat, ibaadat teri and shart bas ye hai ke mil jaaye, rafaaqat teri ________________________________________________________________________ Reminder PLEASE DO NOT POST YOUR ANSWERS ON THE NET. E-mail them directly to me at: ADhareshwar@WorldBank.Org (In some systems, you might need to add @internet at the end.) Last day for receiving entries: Monday, 27th November, 1995. --------------------- End of Quiz ____________________________________ Music directors featured: A.R. Qureshi (bka Alla Rakha) Adi Narayan Rao Ajit Merchant Bhupen Hazarika Biddu (nE Biddappa) Babul Chick Chocolate J.P. Kaushik Jamal (Jomol) Sen Janibabu Qawal Jugal Kishore-Tilak Raj Kanu Ghosh Kuldeep Singh Lachhiram Tamar Lala-Asad-Sattar Mukesh Mukul Roy Pandit Ravi Shankar Pandit Shivram Pankaj Udhas Pardesi Pradeep Roy Chowdhary Prashant Bannerji or Jayant Joshi Prem Dhawan R. Sudarshanam and Dhaniram Raghunath Seth Rajkamal Ramlal S. Madan Shailesh Shyamal Mitra (NB: Previous version said Gupta, incorrectly.) Shyamji Ghanshyamji Sudhir Phadke Suraj Ustad Vilayat Khan Vishwanathan-Ramamurthy Singers featured Solos: Lata 2 Asha 2 Geeta 2 Suman 1 Nazia Hasan 1 Rafi 2 Kishore 3 Mukesh 3 Hemant 1 Talat 2 Manna Dey 1 Mahendra K. 2 Duets: Asha-Rafi (2) Lata-Rafi Mubarak Begum-Rafi Lata-Kishore Lata-Mukesh Asha-Manna Dey Lata-Hemant Geeta-Hemant Asha-Pankaj Udhas Chitra-Jagjit Vani Jayaram-Nitin Mukesh Preeti Sagar-Yesudas Haimanti Shukla-Hariharan (I am not sure of the male singer here, making it stochastic P-stats! I blame it on RMIM; no one gave me the info when I had asked for it a while ago!) Ashok