Great Rd stuff folks.
Shashi, until I read you I thought I knew it all about RD. You opened up more Avenues of search for old LPs now of RD which I do not have.
Keep it going!
Regards,
Ram
Soumya Roy <skroy131-/***@public.gmane.org> wrote: Hi Shashi,
You're absolutely right in highlighting 1971-79 as Pancham's most creative period. I would probably stretch it a bit more - say, 1969-1984 and that's 15 years. You'll see that most artistes - singers, instrumentalists, music directors - have a peak creative span of <= 15 years. And that includes the most prolific music composers like SD, Madan Mohan, Shankar Jaikishen and LP. I would go as far as saying that even Manna da, Kishore and the great Rafi saab had peak spans of around 18 years. Only the Mangeshkar sis duo crossed 20 years without loss of form and that's pretty unique in world music. In international pop, I can't think of anybody besides Cliff Richard and Elton John to have done this. The only exceptions to these time-bound form spans are the doyens of classical music where rig
orous riyaaz allows the defiance of time and age to much larger extents.
And while on Asha-Pancham Bangla Puja gems, have you sampled "Ei, edike esho", "Elo melo kothha keno boli jaanina" (I don't know if these two had later Hindi conversions), "Jete daao aamay dekona" (the Hindi is I think "Jaane do mujhe" from Dil Padosi Hai) and "Jaabo ki jaabo na" (Hindi "Ab jo mile hai to" from Caravan). These songs had twin achievements - on the one hand they cemented the Asha-Pancham collaboration forever and on the other, they completely revolutionized the form, color and complexion of Bangla Adhunik Gaan (Bengali Modern Songs) for all times to come. They were path breakers in their own right. "Chokhe chokhe kothha bolo" (later, "Nahin nahin abhi nahin") and "Mohuaay jomechhe aaj mou go" followed.
Chalo, keep going!
Soumya
----- Original Message ----
From: shashirao <shashi-McdS88+M0qysTnJN9+***@public.gmane.org>
To: pancham-***@public.gmane.org
Sent: Saturday, 5 April, 2008 10:26:31 AM
Subject: [Pancham] Re: Haye re haye tera ghungata-some thoughts
Ok...I am listening to this Asha Puja LP - which seems to be from
the era of Dhongee, Kehte Hain Mujhe Raja and Nikamma.
After listening to following 4 Puja numbers that were later used in
Hindi:
1. Mohuaay Jomechhe Aaj Mou Go - which became - jiyaa meN toofaan
jagaake saiyaaNjee jaao naa re haay (KHMR)
2. Pora Banshi Shunle E Mon - which became - liyo naa baaboo tanik
peeyo naa (KHMR)
3. Chalo Chole Jai - which became - 1-2-3 Go (Dhongee)
4. Sandhya Belay Tumi Ami - which became - Tere Bina Ik Pal Jiya
Jaaye Na (Nikamma)
I have concluded this must be the best period for the Pancham - Asha
partnership. Most of the romantic numbers were rendered by a
confident and dulcet Asha - at her prime voice.
And of course there is Kishore Kumar - always in his prime -
ok..that's the image we like to keep.
I am almost tempted to call the period between 1971 thru 1979 as
the "Romantic Era" - for Pancham - with the most excellent
experimental albeit matured and nourished output.
I am also convinced that the Bengali puja albums were not only major
grooming grounds for Pancham's tunes - but they also contributed
significantly to the resulting Hindi output.
If the Puja setup was more intimate with few instruments, the tunes
were fresh and have a typical Pancham-Asha flavor to it. When we
move to the Hindi film version, one finds the tunes much
nourished/polished, longer but well-rehearsed interludes, not many
slips or extempores from the singers - a certain commercialism maybe
perhaps due to considerations for the picturisation.
Anyways...back to Dhongee:
Coming back to my favorite - 'Wahan Chalo 1-2-3 Go' and its 'Chalo
Chole' counterpart - I simply cannot decide which is better.
The Bangla version has Pancham for the male vocals. And he also
indulges with Asha in crooning in parallel. So when Asha's singing
the antara line, Pancham is humming/crooning in parallel. Great
effect.
In the Dhongee version, I find Asha seems to be more creative and
experimental with the song. Maybe because she already knows the song
better? But we do have the interesting diversions in the interludes
where they decide 'Chalo Mazaa Karte Hain', etc.
Coming to 'Dil Cheena' this is like 2 songs in one. It starts with a
folkish beats (almost Pahadi/Nepali such) but has this manic fast
tune in the antaras that is mind-boggling. I tried writing down the
antaras - but Asha's speed leaves my typing panting.
Another cute phrase I like in the song is how Asha is made to
say "Taine" rather than "Tune" throughout the song - giving it a
north Indian - almost Himachal Pradesh flavor. I had some neighbours
who were Punjabis from HP - and I remember they always
saying 'Taine' instead of 'Tune'.
Coming to the manic antara - the first 2 lines are sung twice in a
frenzy - on the 2nd turn we have the next line sung which bridges
back to the folkish tune. For instance the line 'Gussa Bhi Kaam Na
Aaya' - brings the tune back to the Dil Cheena part.
And yes...as you mention...the sss...sss... effect is quite
prominent. But also notice the use of claps in the first
interlude... most of the rhythm is in claps and guitars.
Coming back to my favorite - 1-2-3 go...some more quaint things
about this song:
It has a very James Bondish feel to it especially the dramatic
guitar start. Also is it just me or does Asha hesitate/mumble her
first line...Wahan Chalo...then something that sounds like "Jis
Jagah".
Also check out how the bass and trumpets follow the singers in the
antaras. For instance...< bass>Dhoondho Tanhaai..Kahin Baji
Shehnai..<pa- paa-pa-paah> Koi Hoga To Hogi Basi Rusvai<trumpet
signoff>
The antara is sung by each singer...but the bass, trumpet music
following them is different and distinct. For instance...the first
time the antara's sung - it ends with a trumpet.
I also like the nice jugalbandi between violins, trumpets and
guitars - after Asha does her 'Bachaao' routine.
I am not sure if it is the raciness, the following trumpets or the
bass that endears this song to me - but still my favorite.
Lots been written on 'Hai Re Hai Tera Ghunghtaa' - so here's my
extra few cents:
First - the interlude is very familar to Sholay 'Jab Tak Hai Jaan'
theme. The massive brass section used in this song is awesome.
And what is that dog whining (or door opening) sound in the first
interlude?
Also...one of those long lyrics from Majrooh - where the antara
lines are not repeated. Kudos to Pancham for composing this long
line as if it was a repeating antara lines.
As for lyrics...the line 'Madhosh Mein...Khamosh Tum...Kaise Koi
Baat Ho...Beech Mein Aaye Tera Ghunghtaa' sums up the mood well.
And by the 3rd antara I am also reminded of the 'Yeh Duniya Ghoom
Rahi Hai' from Yeh To Kamaal Ho Gaya.
Finally the 'Woh Hai Ek Behrupiyaa' is nothing but a festival of
dholaks, drums, Iktaras, dholki and that rajasthani string
instrument used in 'Kya Hua Tera Vaada'.
And a very surprising and bold outing by the madal - especially how
it always follows the first 2 lines of the mukhada.
Is it bagpipes before the 2nd antara? 'Suljah Di Aankhon Ne Dil Ki
Uljhan?
And Amit definitely sounds very raw, young and nasal in his first
outing with KK/Asha. Need to see the movie on how Premnath pulls off
with Amit's voice.
Ok...too much rambling...I must not type while and after listening
to the songs - too much insipid details. Its almost like a Dhongee
For Dummies guide for the song listener. I will stick to writing
stuff from memory.
Loin
Post by suwag11This is one of RD's best songs. As you say, the intro with its
percussion and wind instruments and violins, is awesome. The way
the
Post by suwag11rhythm gets established at the beginning is great. And then the
song
Post by suwag11begins with an infinitesimal pause, trademark RD. Kishore and Asha
are at their best here. The way Kishore makes his entry is just
brilliant. Asha is a perfect singing partner. When I first heard
this
Post by suwag11song, I thought the way she pronounced 'Ghunghata' a bit affected,
but, over the years, has grown to love it. This song has
intoxicating rhythm, cracking tune, excellent singing, and very
decent lyrics. I remember reading somewhere (it may well have been
this forum) that this is actually a folk-based tune. Folk tunes,
especially EAstern tunes, were forte of both the Burmans, more of
SDB, it is generally thought, than RD. I think RD was equally
adapt
Post by suwag11at this as his father, but such was his versatality that a song
which
Post by suwag11may well have had its roots in in folk-tunes was completely
transformed by the time he was through with it. BTW, this song was
a
Post by suwag11big hit when the film was released, although the film flopped. As
Rishi Kapur once said, RD's music was always good, no matter how
the
Post by suwag11film performed. This is an evergreen song; more than 30 years have
passed since it first came out, but it still sounds fresh. Some
years
Post by suwag11ago a re-mix of this song came out, I think it was re-mixed by
Lesli
Post by suwag11Lewis. Out of curiosity I listened to it; I must say that the re-
mix
Post by suwag11left me feeling underwhelmed. As an aside, I have listened to re-
mixes of quite a few RD songs, just to see how these songs would
sound with different orchestration: I have yet to hear a song
where
Post by suwag11I've felt the re-mix was as interesting as the original. (It
probably
Post by suwag11tells as much about my age as RD's genius).
'Dil Cheena' is another superlative songs, one of Asha's best. She
has sung it with a lot of verve. I wonder whose idea it was to add
deliberate sharp intakes at breath at strategic intervals. It
increases the pleasure of listening to this song. This song
changes
Post by suwag11its pace so often and so unpredictably, it leaves the listener in
a
Post by suwag11constant state of anticipation.
'Woh Hai Ek Baharoopiya' is the third great song from this film.
RD,
Post by suwag11IMO, is unparalled when it comes to creating a certain mood, here
of
Post by suwag11unease and suspense. I am not good at (and, therefore, don't
really
Post by suwag11care much about) instruments which are played in the background of
songs; in this song, among other things, the percussion in some of
the interludes is mind-blowing.
'One two three Go' is a terrific song, although it suffers from
pedestrian lyrics, IMO. I think the original was a Bengali song.
Finally, there is 'Tu Kaahe Roti Hai', which is a soleful song.
The
Post by suwag11tune is very melodious, and superbly sung by Kishore. This song
had
Post by suwag11also become fairly popular when the film came out.
Dhongi is an absolutely fantastic album. I know I am throwing
superlatives like confetti, but in my defence I am talking about
one
Post by suwag11of my all-time favourite albums, dominated by my favourite
Kishore and Asha.
Finally, Dhongi was produced or directed (or both) by one
Kantkumar.
Post by suwag11RD gave music to another film of his, I think: 'Professor Ki
Padosan', which was a long delayed film which was released I think
after RD's death. The music of that film was not as good.
Ajay
Post by Yogesh PatwardhanSong-Haye re haye tera ghungata
First I want to share some of my thoughts about this song when I
heard it first time....
Post by Yogesh PatwardhanIt was that time when I was in my beginning days of hearing RD
music & when I was die hard fan of Kishoreda only (still I am,but
that time was different :D )....one day I was searching for
Kishore's
Post by suwag11albums in music store & some other albums, suddenly I got stunned
with a awesome intoduction rhythmic music of a song.......it
was 'Haye re Haye'.....I asked the shopboy about it and he told me
the details..... .& then to my and your surprise, till that time I
was
Post by suwag11assuming the remix number of this song as original :(.....What a
mess
Post by suwag11these bastards have made of this great song.......& I started to
search original song as soft copy & atlast after so many years I
got
Post by suwag11it in last year. And from that date almost for every day i take
dose
Post by suwag11of this song twice a day!!!
Post by Yogesh PatwardhanNow about this song-
First of all what I have been observed is-- inspite that this is
a
Post by suwag11great song in all manners it is hardly been discussesd in subjects
like duets,rthymic songs,Brass section etc etc. Could anyone tell
me
Post by suwag11why is it so?
Post by Yogesh PatwardhanIn my opinion it has all the stuff to be a great song in all
manners. The introduction rhythem is so great, and the main point
of
Post by suwag11surprise is when the raso-raso starts. Untill that point one would
feel it as a monotonous rhythm but when raso starts it becomes
dynamic. It has a one perticular portion in that starting music
which
Post by suwag11all rhythm/taal lovers,who are learning any percussion instrument,
would love, is when the rhythem goes offbit in that portion and
comes
Post by suwag11on SAM (first beat of Taal). It can be hardly found in a song
which
Post by suwag11is based on western beats.It is common in our classical music I
think! Also,the brass section used in this song is equally
brilliant
Post by suwag11to the RDs great brass songs which we have been already discussed
in
Post by suwag11some topics.
Post by Yogesh PatwardhanSo my question is why this song remain unheard or less discussed
by
Post by suwag11Pancham lovers. I am unable to find reason for this. Or is
it 'ahead
Post by suwag11of times' song still??
Post by Yogesh PatwardhanCould anyone throw some light??
Yogesh Patwardhan.
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Post by suwag11Try it now.
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