Roshan-Yeh Dil Maange More

Introduction

Friends were quick to respond to my last blog – Rahen Na Rahen Hum – on music director Roshan’s songs from the 1950s. Raghavendra thanked me for writing about some of the rare numbers of Roshan who was one of his favourite music directors both for his melodies and background music score. He pointed out that the song I had chosen as the title of my blog was inspired by Thandi Hawayein of S D Burman. He also forwarded the clip of a song from Vallah Kya Baat Hai, observing that the score was O P Nayyar-like. His last comment was that he liked the Mukesh songs of Roshan. Krishna also thanked me for the unusual collection of songs by Roshan. He felt that Nau Bahar had other good bhajans. Jambu said that he would have picked Bade Armaanon Se Rakha Hai Balam Teri Kasam, Man Re Tu Kahe Na Dheer Dhare and Laga Chunari Mein Daag. These comments made me sit up to do some further checking. Rather than save the output of that ‘research’ for the future, I thought I would do a ‘quickie’ and share with all of you a few more memorable songs of Roshan till his death in 1967.

Thandi Hawayein and Rahen Na Rahen Hum

This Lata solo is from Naujawan, a 1951 film with Sahir and Burman Da as the lyricist and music director. Raghavendra is a vainika and a musician himself. I agree with his observation about the resemblance between this song and Rahen Na Rahen Hum from Mamta (1964). However, I feel that this begins and ends with the mukhdas of the two songs. Even there, Burman Da imbues the song with the cheery Ha Ha Ha Ha, La La La La, Hoon Hoon Hoon Hoon at the start and through the song to give it the light touch the situation requires. Roshan, on the other hand, uses an instrumental intro that sets a sombre tone for the song to follow.

With that out of the way, let me list some of the other great compositions of Roshan. In doing so, I have re-visited the 1950s and picked up a few great songs from that decade which it will be unfair to ignore in an overall assessment of Roshan’s achievements.   

Kahan Ho Tum Zara Aawaaz Do – Lata-Mukesh – Kaif Irfani – Malhar (1951)

Malhar had many good solos and duets by Mukesh and Lata. I have picked a KamSune duet for its pathos that is so beautifully brought out by the young voices of Lata and Mukesh.  

Unse Rippi Tippi Hogayi – Rafi-Geeta Dutt – Prem Dhawan – Agra Road ((1957)

In an earlier blog – Duets (Re) Discovered – I had observed how Roshan seemed to have been ahead of O P Nayyar in using Kishore Kumar and his yodelling. That comment was based on the Kishore-Meena Kapoor duet Yeh Samah Hum Tum Jawan from Mashooqa (1953). Here, if you do not read the title of the music director, you may think that it is one of the KamSune songs of O P Nayyar. Roshan proves that he can handle the genre of light-hearted songs as well as anyone else. There’s yodelling too.

Garjat Barsat Sawan Aayo Re – Kamal Barot-Suman Kalyanpur – Sahir – Barsaat Ki Raat (1961)

This blockbuster film was a runaway success and won critical acclaim for Madhubala’s acting and Roshan’s melodious music. Rafi’s title song is one of his best. But this duet set in Gaur Malhar which is among the best by two lady vocalists is my pick for this blog.   

Khanke to Khanke Kyon Khanke – Asha-Rafi – Prem Dhawan – Vallah Kya Baat Hai (1962)

Here, Roshan shows that even in using Punjabi folk music, he may have been ahead of the latter. The intro and the tune of the song that follows could easily have fitted into the musical score of Kashmir Ki Kali (1964). The Rafi-Asha duet Hai Re Hai Yeh Mere Haath bears a strong resemblance to this Roshan duet with the same singers, both in the melody and the beat.

Gham-E-Hasti Se Bas Begana Hota – Rafi – Anand Bakshi – Vallah Kya Baat Hai (1962)

In the same film, Roshan switches effortlessly from Punjabi folk to his favourite Raag Yaman. It is so subtle that you notice it more in the instrumental score than in Rafi’s silken voice. Anand Bakshi impresses with his simple lyrics. I liked his use of the compound word gham-e-hasti!

Aap Ne Yaad Dilayaa To – Rafi-Lata – Majrooh – Aarti (1962)

Aarti had some half-a-dozen songs each better than the other. During my college days, I had enjoyed the breezy Lata-Rafi duet Bar Bar Tohe Kya Samjhyaye for its brilliant intro using the harmonium. In later years, I have come to regard Aap Ne Yaad Dilayaa as one of the all-time great Rafi-Lata duets. Roshan’s blended use of the sarod, sitar and flute in one and the same song is masterly. When you hear Rafi sing Aasman Par Ye Kadam and Roshan introduces a small note on the flute before he lets him continue with Jhoom Ke Rakhna Chaha, you get the goosebumps. The flute interlude allows Rafi to stretch the word and give us Jhoooom with added emphasis. And the sarod outro at the end literally plucks your heart. Sheer musical genius at its creative best!

Bahut Diya Dene Waale Ne Tujhko – Mukesh – Shailendra – Soorat Aur Seerat (1962)

Shailendra’s earthy poetry comes alive with Roshan’s melodious music and the sonorous voice of Mukesh. Shailendra capsules pearls of philosophical wisdom in the simplest language. The song reveals an interesting contrast between Shailendra’s and Sahir’s conceptualisation of ‘maalik’. In Naya Daur (1957), Sahir uses both ‘maalik’ and the synonym ‘bhagwaan’. For him ‘bhagwaan’ is a benevolent presence who looks after you and gives you justice – Jo Tu Nahin Kar Paaya Wo Bhagwaan Karega, Bande Tere Haal Pe Maalik Ki Nazar Hai and Bhagwaan Ke Insaaf Pe Sab Chhod De Bande. Surprisingly, Shailendra takes a less personal view of God. He only wants you to accept His many gifts and carry on – Jo Bhi De-De Maalik Tu Kar Le Qubool. For him, Time rather than a benevolent God is the great equaliser – Kab Roke Ruki Hai Samay Ki Nadiyaa. And his logic is simple – Denge Dukh Kab Tak Bharam Ke Ye Chor.

Tu Humko Dekh – Lata – Veer Mohammed Puri – Zindagi Aur Hum (1962)

A melodious Lata solo penned by a lesser-known lyricist. Lata’s ghazals for Madan Mohan are justly raved about. But if any of us sat down and did an actual count, then Roshan may have as many enchanting songs by Lata as Madan Mohan. This song will rank up there with the best of both these composers.

Paon Choo Lene De Phoolon Ko – Rafi-Lata – Sahir – Taj Mahal (1963)

Taj Mahal was another blockbuster musical hit of Roshan which won him the coveted Filmfare Award in 1963. I have chosen this lesser-known duet for the sake of Sahir’s unusually light-hearted verses.

Nigahen Milane Ko Jee Chahata Hai – Asha – Sahir – Dil Hi To Hai (1963)

After Barsaat Ki Raat, Roshan became the acknowledged king of qawwalis in Hindi films. Those were group songs by mainstream singers joined by well-known qawwals like Shankar-Shambu. However, for this blog, I have picked Nigahen Milane Ko Jee Chahata Hai where Asha delivers a full qawwali that has the instrumental prelude, aalaap, verses, handclapping, etc. The song is testimony to Asha’s vocal dexterity and stamina as well as Roshan’s brilliant choice of the singer.

Man Re Tu Kahe Na Dheer Dhare – Rafi – Sahir – Chitralekha (1964)

When you listen to this classic, you wonder how Roshan is able to coax so many melodic nuances from the same raag Yaman. And how that inspires the great Rafi to bring out those nuances so subtly through his voice modulation! Sahir’s lyrics transcend the immediate context of the film to drive home a universal philosophical truth – Utna Hi Upkaar Samaj Koi, Jitna Saath Nibha De/Janam Maran Ka Mel Hai Sapna, Yeh Sapna Bisra De/ Koi Na Sang Mare! The sarod notes at the beginning and end set the tone for the entire song.   

Sansar Se Bhage Phirte Ho – Lata – Sahir – Chitralekha (1964)

I confess that I have included a second song from Chitralekha for Sahir’s poetic insights that have relevance and validity even today. The verses of the first antara “Ye Paap Hai Kyaa Ye Punya Hai Kyaa,/Riton Par Dharm Ki Mohare Hai/Har Yug Me Badalate Dharmon Ko Kaise Aadarsh Banaaoge?” have so much relevance to the divisive forces that are working in many countries. The third antara is a subtle summing up of the Vedantic position on Maya and the Bhakti/Karma Marg contrast – “Ham Kahaten Hai Ye Jag Apanaa Hai, Tum Kahate Ho Jhuthaa Sapanaa Hai/Ham Janam Bitaa Kar Jaayenge, Tum Janam Ganvakar Jaaoge.”

Aaya Hai Mujhe Phir Yaad Wo Zalim – Mukesh – Anand Bakshi – Devar (1966)  

This is a piano song on the screen. But Roshan uses the sitar and the flute to create the melody in raag Bhairavi to set the reflective tone demanded by the lyrics and the sequence. Mukesh is his usual self and notches up one more hit with Roshan.

Chhupaa Lo Yun Dil Mein – Hemant-Lata – Majrooh – Mamta (1966)

This song is not a conventional duet sung by two lovers in each other’s presence. It had to be picturised separately on Ashok Kumar and Suchitra Sen. It is one of Roshan’s most sensitive creations. The melody based on raag Yaman proceeds at a slow pace. Roshan’s choice of Hemant here is as surprising as that of Burman Da in Pyaasa but in retrospect, both are songs that Hemant was meant to sing. Majrooh comes with the evocative words “Ki Jaise Mandir Mein Lau Diye Kii”. Roshan responds brilliantly by adding the manjira to the normal percussion so subtly that most listeners do not even recognise its presence. Exquisite stuff!

Duniya Kare Sawaal – Lata – Sahir – Bahu Begum (1967)

Sahir leaves his philosophical predilections to come up with a song that echoes the mental turmoil a woman who has been disappointed in love and faced a lot of hardships in life goes through. Lata and Roshan combine beautifully to come up with yet another gem.

Oh Re Tall Mile Nadi Ke Jal Mein – Mukesh – Indivar – Anokhi Raat (1968)

Let me conclude with what is regarded as Roshan’s swan song. As I had noted in my last blog, this song is the epitomisation of the ocean-like spread and depth of Roshan’s music.

Conclusion

I hope that through this blog and the earlier one, I have been able to present a case for Roshan being regarded as an evolved, musician’s musician. There is no genre that he did not attempt and come out with flying colours. I feel that his mastery over classical music was more subtle and internalised than that of Naushad. Equally, he was as good or even better that O P Nayyar in exploiting folk music. And as numerous Lata solos in these blogs show, he could match Madan Mohan song-for-song. And yet, he did not flaunt any of these as his exclusive trademarks. Such was his nature, his modesty. Two weeks after his 55^th death anniversary, I pay my humble tribute to this gentle colossus!  

Dedication

Today is the 49^th wedding anniversary of my sister Priya who is as fond of Hindi film music as I am. She, her husband Pathy and their son Naveen are on a two-week holiday in Turkey and Egypt. I dedicate this blog to her. Many happy returns of the day, dear sister! Wish you all many more years together and may all those years be filled with melodious music!

S. Krishna Kumar,

29^th November, 2022

Bengaluru.

Blog # 50        

Rahen Na Rahen Hum

Introduction

Roshan Lal Nagrath, recognised and admired as just Roshan all over the world, composed the music for the above song from the 1966 film Mamta. A year-and-a-half later, Roshan then at the peak of his creative career, died at the very young age of 50 years. 16^th November was his death anniversary. This blog is a tribute to the music of Roshan based mostly on his earlier movies of the 1950s.

Roshan’s Career

Roshan stepped into the Hindi film world rather late in life. He was born on 14^th July 1917 in Gujranwala in the then undivided Punjab Province. He began to learn music from a very young age and soon became an accomplished player of the esraj (a variant of the dilruba) and sarod. From 1940 to 1948, he worked as a staff artist at AIR, Delhi and then moved to Bombay. After a couple of flops initially, he made a mark on the Hindi film music firmament with his music for Kidar Sharma’s film Baawre Nain (1950). After that, there was no looking back. Despite a number of good scores and many hit songs in the 1950s, Roshan had to wait till the 1960s to taste commercial success. But sadly, he was gone before the decade was out.

Roshan – An Appreciation

Rather than praise Roshan only on the basis of his music in later films of the 1960s like Barsaat Ki Raat, Aarti, Taj Mahal, Dil Hi To Hai and others, I propose to share a few melodious songs from his early years in Bombay.

Mujhe Sach Sach Bata Do – Kidar Sharma – Mukesh & Rajkumari – Bawre Nain (1950)

Bawre Nain had some ten songs of which the duet Khayalon Mein Kisi Ke (Geeta Dutt and Mukesh) and the Mukesh solo Teri Duniya Mein Dil Lagta Nahin were hits that are popular even today. I have chosen another duet sung by Mukesh and Rajkumari. It has a restrained melody and slow beat that blends well with the freshness that Raj Kapoor and Geeta Bali exude on the screen.

Chun Chun Baaje Payal Mori – Udhav Kumar – Lata – Hum Log (1951)

Roshan comes up with a playful tune here and the song is picturised on Shyama. The combination of the music and the singing makes you feel that it is Geeta Dutt who is the playback and not Lata. The music itself anticipates many hit songs of Geeta Dutt and Asha in later years and goes to show the versatility of Roshan.   

Mein Dil Hoon Ek Armaan Bhara – Satyendra Athaiyya – Talat – Anhonee (1952)

This is surely among the best solos of Talat that did not become as popular as the others. It is a ‘piano’ number but Roshan cleverly blends the piano with other instruments in the interlude to create a seamless musical experience.  

Erii Main To Prem Diwani – Meera – Lata – Nau Bahar (1952)

This Meera Bhajan was one of the earliest in Hindi films. Roshan’s forte was his ability to effortlessly combine classical and folk music. This simple bhajan based on Raag Bhimplas showcases this ability so well. That Vasant Desai and Jaidev followed him in later years with similar bhajans shows the kind of inspiration Roshan provided to his peers!   

Dil Bhi Tera Hum Bhi Tere – Prem Dhawan – Lata – Taksaal (1956)

This is a soulful Lata solo. The tune is simple and Roshan makes Lata give it the right cadence to convey the pathos contained in the lyrics. Madan Mohan would have been proud to have this song among his many Lata gems!

Saari Saari Raat Teri – Farooq Qaisar – Lata – Aji Bas Shukriya (1958)

Another popular Lata solo that was quite a hit. In the film, the mukhda of the song is picturised on Geetha Bali recording it in a studio. In the subsequent antaras, the song dissolves into flashbacks. But Roshan’s orchestration and Lata’s voice modulation ensure that the transition from the one to the other is seamless!

Tere Pyaar Ko Is Tarah Bhulana – Rahil Gorakhpuri – Mukesh – Maine Jeena Seekh Liya (1959)

A sonorous Mukesh solo that reminds us of his many songs for Roshan earlier and anticipates the numerous gems that would follow in the 1960s. This is the first time I have come across lyricist Rahil Gorakhpuri. I liked the refrain “Na Dil Chahata Hai Na Hum Chahaten Hain”, particularly in the context of “jo such tha use ek fasaana banana”! Roshan’s use of the sarod is masterly.

Salaam-e-Hasrat Qabool Karlo – Sahir – Sudha Malhotra – Babar (1960)

This melodious song leaves you wondering what to admire more – the tune set in Roshan’s favourite Raag Yaman, the evocative poetry of Sahir or the voice and singing of Sudha Malhotra. Fortunately, we can press the AOTA (All Of The Above) button in our mind’s voting machine. Sahir is his at his pessimistic and bitter best. Just when you finish admiring his

“Tumhin Nigaahon Ki Justaju Ho, Tumhin Khayalon Ka Mudda Ho/Tumhin Mere Waaste Sanam Ho, Tumhi Mere Waaste Khuda Ho/Meri Parastish Ki Laaj Rakh Lo, Meri Ibaadat Qabul Kar Lo”

Sahir delivers his sucker punch: “Gam-E-Judaai Hai Jaan Lewa, Ye Ik Haqiqat Qabul Kar Lo”. You may or may not like Sahir’s sombre conclusion but you are left admiring how deftly he uses the Urdu language to convey that a complaint (shikaayat) and a prayer (ibaadat) are nothing before the reality (haqiqat) of sorrowful separation! Sudha Malhotra imbues the lyrics with genuine feeling without descending into the melancholic. A masterpiece of musical and lyrical creativity!       

Hothon Pe Haseen Palkon Pe Hayaat – Anand Bakshi – Lata – Warrant (1961)  

This song is set in the Thumri style and can rank among the best in the genre created by the likes of S D Burman, Madan Mohan and Khayyam. The genius of Roshan on display in this song is that he combines Thumri with a qawwali touch that was to become his own inimitable trademark in later films. I chose this song also because Roshan was the one of the first music directors to give Anand Bakshi a break.

And It Goes On

I could have continued with more memorable songs of Roshan from films like Barsaat Ki Raat (1960), Aarti (1962), Dil Hi To Hai (1963), Taj Mahal (1964), Chitralekha (1964), Bheegi Raat (1965), Mamta (1966), Bahu Begum (1967) and Anokhi Raat (1968), to name but a few. Listing all those songs might have made the blog tedious reading. Also, I might have been tempted to discuss the lyrics of other poets like Majrooh and Shakeel in a blog that was meant to be a tribute for the one and only Roshan.

Sagar Mile Kaun Sa Jal Mein Koi Jaane Na

In one of the last songs composed by Roshan and sung by the inimitable Mukesh, lyricist Indeevar says that while the waters of the lake flow into the river, that of the river into the ocean, no one knows where the waters of the ocean mingle. It is rhetorical statement. We know that the ocean water is the start of cycle of evaporation, transpiration, condensation, precipitation and runoff. Roshan was indeed a musical ocean. The lake of folk music and the river of classical music fed that ocean till, in its fullness, it could create songs like the ones listed above and many more. Roshan was a very modest man. So, it would have been against his nature to claim in the singular ‘Mehaka Karenge’. Music lovers the world over can however assert that 55 years after his untimely death, his music I still full of sweet fragrance and will always be!

S. Krishna Kumar

24^th November 2022

Bengaluru

Blog # 49