Category: Music and Cinema

The first of the movies in which the quartet was together was the 1948 Mela. Its title song ‘Yeh zindagi ke mele duniya mein kam na honge afsos hum na honge‘ is still the standard in Urdu poetry. Taste this:
Duniyaa hai mauj-e-dariyaa, qatare ki zindagi kyaa
Paani mein mil ke paani, a.njaam ye ke paani
Dam bhar ko saans le le, ye zindagi …

Two years later the great Mehboob Khan got the quartet toegther again for the movie Amar. The song close to my heart is the bhajan ‘Insaaf ka mandir hai ye bhagwan ka ghar hai‘. Just imagine all four Muslims getting together and making a mandir (Hindu temple) song. This was the essential greatness of the society, the movies and songs of that era: people of all communities participated in hymns of all religions. Two years earlier, for Baiju Bawra, Shakeel-Naushad-Rafi had combined to make one of the best Hindu bhajans: ‘Man tadpat Hari darshan ko aaj’.

The next movie of the quartet was the 1955 movie Uran Khatola that was produced by Naushad. The story-line was about a plane that crashed near an isolated town that is ruled by women. I have a problem now. There are so many good songs in this movie that I don’t know which one to select. There are, eg, Na toofan se khelo, na sahil se khelo’, ‘Hue ham jinake liye barbaad’ and ‘O door ke musaafir’. My choice is ‘Mohabbat ki raahon mein chalna sambhal ke‘. It is about the hopelessness of love. There are these immortal lines in the song:

Hamen dhoondhati hain, bahaaron ki duniyaa
Kahaan aa gaye ham, chaman se nikal ke.

And if you can see better acting than Dilip Kumar, do let me know.

This is not an expert’s coverage of the NH7 Bacardi Weekender at Pune (from 18 to 20 Nov 11). That I am sure Arjun S Ravi would have done in NH7 and Indiecision and some of his coverage was live too. Nor are the photographs in the article even one tenth of the professional excellence, clarity and story-telling quality of Kunal Kakodkar’s. This is an ordinary music lover’s response at being amongst the music loving crowd during the music fest in Nov 11.NH7 Bacardi Weekender this year was simply great in its organisation, crowd response, and the gigs that participated. One can listen to the music and the songs on You Tube and one’s best hi-tech music system. But, there is nothing like the Live Experience. It is electric. It transports you into another world of excitement, love, ecstasy and happiness.

Papone and the East India Company at the Dewarist Stage

This year was probably the best assembly of gigs in an Indian music fest. There were five stages in all at the same Laxmi Lawns: The Dewarist, The Other Stage, Pepsi Dub Station, Eristoff Wolves Den, and Bacardi Black Rock Arena. The organisers need to be congratulated for having put up the stages, and the programme so meticulously. Arjun told me that most of it was done by his friend Dhruv and his team.

A view of the on-site admin office – Arjun and friends operated from here

Whilst the stages buzzed with music and crowd frenzy the organisers “quietly” (???) went ahead with their job

In addition to the music gigs, what makes an even like this special are organising and ensuring participation by the crowds; for example, the flea market selling anything from memorabilia to T shirts, hair dos, caps, hats, trinkets.

A happy visitor at the Flea (not free) market

Then there are food and drinks stalls and…hold your breath, a Tattoo Pavilion.

One of the many watering holes. The pictures collage at the rear wall is by Kunal Kakodkar and all the pics were lit at night

Even though the crowds were huge (when Imogen Heaps had the stage about 700 people had to be sent back due to no place available for the crowds to even stand), these were managed very well. At the parking lot, there was complete order. One of the newspapers brought out at the end of the fest that the policemen on duty had nothing to do since the crowds were so well behaved. They were in there to have a good time and they were genuine music afficiondos. Have a look at the total orderliness even at the entrance despite the ‘bouncers’ frisking everyone for drugs etc:

Entrance to the music fest

We enjoyed the music, the ambience, the young foot-tapping crowds with their lovely, colourful hair dos and head gear. To our surprise we found that Anna Hazare is the rage with the youngsters and Gandhi caps were the most preferred headgear:

An Anna Hazare Designer cap

This group of girls were always in these hats

A nice blue hair-do

Some more colours

As you entered the fest arena they gave you a Guide Book to the facilities there and a Pocket Guide. Both were very beautifully done and provided complete information about the stages, the programme, the artistes, flea markets, food stalls, watering holes etc. Here is Lyn holding one of these Guide Books:

A Gibson stall in the fest

Let me now give you a glimpse of  the Food stalls and the Tattoo shops in the Tattoo Republic

The armed forces bands play the Tattoo!

The atmosphere at the food-stalls

Before I go on to the music, the real reason for the fest, let me give you glimpses of riot of paints and colours:

Lyn trying to merge with the paintings.

As far as Music was concerned, there was so much to choose from. On the first day, Friday, the 18th Nov, there were three live stages: Eristoff Wolves Den, Pepsi Dub Station, and Eristoff Club Invasion. The gigs that played included Sky Rabbit (formerly Medusa), Midival Punditz, Ash Boy, Dualist Inquiry, Basement Jaxx, Jatin Puri, and DJ Swaggamuffin. Here is a pic of Sky Rabbit in action:

Sky Rabbit (formerly Medusa)

The second day was a delectable treat of music: On the Dewarists stage there were, amongst others Imogen Heap and Raghu Dixit. How did it go? Well, even though the crowds filled the lawns fully, they were not really on the grounds; most often than not they were airborne. Bacardi Black stage had, amongst others, Tough on Tobacco, Pentagram, and Blackstratblues. Eristoff Wolves Den stage had Reggae Rajahs.

The third day was sadly the last day. There were gigs like Scribe, King Creosote, Swarathma, Papon & the East India Company, Bhayanak Maut and Indian Ocean. In the end, another treat awaited the fans in the shape of Weekender All Stars on Bacardi Together stage.

See how neatly the organisers had worked out everything:

A Directions Map from the Guide Book

 

And an ‘Out of Toon’ Guide to the fest

When the last of the gigs, Indian Ocean played there was not an inch of ground left to stand on. Well, no one was standing anyway. People were air borne most of the time. Lyn and I found a good vantage point to watch Indian Ocean live. Halfway through a girl tapped me from behind and said with becoming pleading, “Sir, you are tall you can watch from anywhere, can I come in front?” What would you have done? I did the same. She stood next to Lyn and watched and I felt like a boy scout having done my good deed for the day.

Lyn not allowing her place near the stage to be taken by anyone

There was a treat waiting for Lyn and I at the end of Indian Oceans performance. We could meet the versatile Rahul Ram of Indian Ocean and even take pics with him; all this courtesy Arjun:

Lyn and me with Rahul Ram of Indian Ocean

For Lyn and me another great and warm feeling was to be with Arjun; he lives music, breathes music. His friends say about him that other than music nothing registers in his mind.

Arjun looking satisfied with the response to NH7 Weekender and Lyn looking happy that Arjun is satisfied

The last item was the All Gigs Together and….like one often did with a long novel just before the ending, you didn’t want it to end.

The last item: Weekender All Stars – jampacked

On return, we were on the Expressway back to Mumbai and the only thought in our mind was: The real expressway (to heaven) was in Laxmi Lawns, Magarpatta City, Pune, from 18 to 20 Nov.

I am very fond of Hindi songs, especially old Hindi songs. Most of the lyricists of the era when I was small and later young wrote in Urdu. I have brought out elsewhere in this blog that Urdu – A Language of the Heart is best suited to give expression to the emotions of people in love. Indeed, I have often concluded that  poets and lyricists of yore must have been in love themselves to bring out such deep and meaningful thoughts in their poems and songs. For example, Kaifi Azmi’s “Dil ki naazuk ragein toot ti hain, yaad itna bhi koi na aaye” (why should I miss someone to that extent that heart’s tender threads should break down?) or Neeraj’s “Saara aalam hai giriftaar tere husn mein jab, mujhse hi kaise yeh barsaat sahi jayegi; aaj to tere bina neend nahin aayegi” (Complete ambience is as if captivated by your beauty; then how can it be expected that I should go through the rains without being with you? Tonight, I won’t be able to sleep without you)

One of the obsessions of the Hindi lyricist, or rather Urdu lyricist has been Chand (Moon). Some of the finest songs have been written on it.

Having Chand in the lyrics has had various purposes; the commonest one being to describe the beauty of the beloved. It is difficult to pick the best in this category. However, I think my maximum votes would go to the 1960 song Chaudhvin Ka Chand (14th day moon or full moon). Shakeel Badayuni has carved out the words to perfection. I can’t imagine a woman listening to it and not being in a trance (as Waheeda Rehman was when Guru Dutt sang this for her in the movie by the same name). Ravi provided such excellent accompanying music that one cannot imagine the song without it. Finally, Hindi movies best singer ever, Mohammad Rafi sang it in such a way that the words seem to come alive. Sample just one of its three stanzas:

Chehra hai jaise jheel mein hanstaa hua kanval,
Ya zindagi ke saaz pe chhedi hui ghazal,
Jaane bahar tum kisi shayar ka khvaab ho.
Chaudhvin ka chand ho, ya aftaab ho,
Jo bhi ho tum khuda ki kasam lajwaab ho.
(Your face is like a lotus smiling in the lake,
Or you are a melody played on the instrument of life,
The Spring that you are, you are a poet’s dream come true.
Are you are a full moon, or a fairy,
Whatever you are, God knows, you are incredible.

Anand Bakshi penned some exquisite lines describing the beauty of a woman in his 1963 song, “Chand aahein bharega, phool dil thaam lenge, husn ki baat chali to sab tera naam lenge.” (Moon will mope, flowers will feel defeated; when they talk about beauty, all will only think of you). The song was sung by the most versatile singer of that era Mukesh. Another song of the same combine of singer-lyricist was the 1965 number: “Chand si mehbooba ho meri kab aisa maine socha tha; haan tum bilkul vaisi ho jaisa maine soch tha” (I used to wish that I’d have a beloved like the moon; yes, you are exactly like how I had wished)

Here is a variation from the great lyricist Hasrat Jaipuri for the 1967 movie Diwana (Crazy): “Ai sanam jisne tujhe chand si surat di hai; usi malik ne mujhe di to mohabbat di hai” (O’ my darling the one who has given you a moon-like countenance; the same almighty has given me something called Love):

Then, there is nothing like Chand as a witness of the lovers; a friend who can be asked by the lovers to do anything they want in love. There are many songs on this theme. The best is difficult to choose from amongst so many really good numbers. However, I would repeatedly listen to 1960 number sung by Lata Mangeshkar  and Mukesh for the movie Banjaarin (Bedouin). The lyricist was Pandit Madhur and music was provided by Pardesi: “Chanda re meri patiyaa le jaa saajan ko pahuncha de re; vo likh sakein jawab unhe tu mera pata bata de re” (Moon, my pal, take my epistle and deliver it to my Love; so that he should be able to write back, please tell him my address):

Raj Kapoor and Nargis in 1951 movie Aawara

How about Chand building an atmosphere or trance or enchantment? Once again, there are many on this theme. Here, I don’t have to be confused about choosing the best. My favourite singer Hemant Kumar sang this for the 1952 movie Jaal (Net): “Yeh raat yeh chandni phir kahan, sun ja dil ki daastan” (This night, this moonlight will not come again; tonight listen to my heart’s tale):

Dev Anand in Jaal singing the best song ever on Moon

Talking about Hemant Kumar, there was no one like him to convey an entire ambience through his singing; he easily transported you to the world being talked about in his songs. His “Yaad aa gayin vo nasheeli nigahein” (Memories of those intoxicating eyes haunt me) remains an all time favourite with me. However, I shall talk about it when I write a post on my best Hindi songs on eyes (aankhein).

Getting back to being entranced by the Moon, here is another favourite: “Dil ki nazar se, nazron ki dil se; yeh baat kya hai, yeh raaz kya hai koi humein bata de.” You are bound to ask, where does Chand get into it? Well, here is a stanza: “Hum kho chale, chand hai ya koi jaadugar hai; ya madbhari yeh tumahaari nazar ka asar hai?” (We are being entranced, is it just Moon or a Magician; or is this the hypnotic effect of your eyes?):

https://youtu.be/t8vDu-C7u1Q

How about a combination of wet night with Chand as in: “Yeh raat bheegi bheegi, yeh mast nazaare; uthaa dheere dheere vo chaand pyaara pyaara“. The song is by Lata and Manna De for the 1956 movie ‘Chori Chori‘ with lyrics by Hasrat Jaipuri and music by the pair of Shankar, Jai Kishan. The song is one of the memorable duets between Raj Kapoor and Nargis:

https://www.youtube.com/watch?v=f1DZxkiMjRo

How about Chand being a witness to first expression of love as in “Dekho vo chand chhup ke karta hai kya ishaare; shayad vo keh raha hai, hum ho gaye tumhaar” (Look, the Moon, is beckoning us from its hiding place. Perhaps, it is saying I am yours now). The music director is Hemant, the singers are Lata and Hemant and lyrics are by SH Bihari for the 1954 movie Shart (The Bet):

One lovely Chand number was enacted by Meena Kumari and Sunil Dutt in 1962 movie ‘Main Chup Rahungi’ (I Will Keep Mum); Rajinder Krishan penned the lyrics and music was composed by Chitragupt. Mohammad Rafi and Lata Mangeshkar sang it very well indeed: “Chand jaane kahan kho gaya? Tumko chehre se parda hatana na tha.“(Where has Chand gone suddenly? You shouldn’t have lifted your veil):

Here is one from 1959 movie Anaadi (Novice) enacted by Raj Kapoor and Nutan and sung by Lata and Mukesh: “Vo chand khila, vo taare hanse, yeh raat gazab ki aayi hai. Samajhne vaale samjh gayen hain, na smajhe vo anaadi hain.” (There Moon has risen and stars are out, this night is really wonderful. Those who know can get the hint (to love) and the others? Well, they are just novices.):

https://www.youtube.com/watch?v=OvtU5FYxK-c

How about a proclamation of Love in terms of the age of celestial bodies like moon and stars? Easily the best number in this is, “Na ye chand hoga na taare rahenge, magar hum hamesha tumhaare rahenge.” (The Moon will cease to exist, the stars will fade away; but, I shall always be yours). The movie, once again, is 1954 movie Shart (The Bet) and the singers are Hemant Kumar and Geeta Dutt:

Chand, in Hindi songs, is not always supposed to bring good tidings; it is also a silent spectator when the lovers are pining. Time weighs heavily on the lovers when they are separated and they often measure the Time in phases of moon. For example, this one is an all time favourite with me from the 1957 movie ‘Paying Guest’ starring Nutan and Dev Anand; Majrooh Sultanpuri was the lyricist and music was composed by SD Burman:

Here is a 1977 number for the movie Alaap by Yesudas: “Chand akela jaaye sakhi ri, man mora ghabraye ri” (O’ friend, Moon goes alone and my heart is fearful); though it is mock pining: