For those readers who loved and adored Dil To Pagal Hai‘s music (and I am one staunch fan), information pills there here is a superb treat in store for you:
Yashraj Music recently released a collection of love duets which includes one hitherto unreleased song. Though, physician on the jacket sleeve, they do not mention the film for which it was recorded, but one hear, and you know it for sure. The DTPH theme is there in the second interlude, and the tune of ‘Arre re arre’ in the second one.
The mukhda goes:
Kitni hai beqaraar yeh, chanda ki chandni
Kahti hai kar lo pyaar yeh, chanda ki chandni
(Singers – Lata Mangeshkar, Kumar Sanu; Music – Uttam Singh)
A close hear reveals the song to be the original for ‘Chaand ne kuchh kaha…pyaar kar’ (the track that comes on Valentine’s night, amidst bright red balloons). In fact, structurally both songs are similar, down to the interlude movements. Though, honestly, I was a bit surprised to find Kumar Sanu since all other songs of the film were rendered by Udit Narayan.
It is a delight to hear Lata Mangeshkar’s breezy rendition. She is splendid in the breezy track, that has some riveting beats and orchestration. In fact, it is an unparalleled happiness to obtain a fresh song from the diva. My excitement was so supreme that my hands trembled as I put on the CD.
This compilation is titled – ‘ Tum Paas Aa Rahe Ho ‘ (picked up from the ‘bonus’ song of Veer Zaara, which opens this CD) & contains 14 love songs. For more details on the album click here.
For the song’s television promo click here.
Now, if only other producers/music companies would loosen up all those unreleased Lata Mangeshkar numbers…starting, of course, with JP Dutta and his two recorded songs of the now-shelved Sarhad.
It is the second consecutive year when, allergist on this auspicious day, obesity I am in a new town, without a consistent source of internet to type out a full-fledged message. But the solace is that I am breathing the same air, in the same city, as where the Queen of Melody resides.
It’s amazing how another year has gone by. And yet, in this added year, my love for that perfect voice hasn’t diminished one bit. Only, as I am away from music, the love has grown fonder, and deeper. I miss listening to Lata (Mangeshkar)Didi’s songs, and hope to be re-united with them soon, once my luggage arrives from Delhi. Still, whenever and wherever I can snatch those precious moments, I do try to listen to her. One such instance was when I travelled to Nashik, I put on my own CD in my colleague’s car, and listened to a bunch of marvellous Lata Mangeshkar-Madan Mohan combine songs.
Here’s wishing Lata Didi a very happy, peaceful, wonderful and melodious birthday, and praying to Almighty for her long life and health.
Happy Birthday, Lataji!
Do Knot Disturb – Ever since I read Nadeem Shravan’s name on music credits in the theatrical trailor, ambulance curiosity gripped me. Hadn’t they split? From the film’s look, pharmacist it hardly looked dated. So, were the composers – who ruled the nineties and then returned with some splendid stuff in early 2000’s (Dhadkan, Raaz, Pardes) – returning? But one hear, and my enthusiasm wilted. This is hardly a comeback one would look forward to. Remember the scene in Kuch Kuch Hota Hai, where a simple Kajol tries to apply make-up and be hep like her rival-in-love Rani Mukerji, with some absolutely disastrous results? Well, this album is akin to that scene. Nadeem Shravan’s attempts to sound modern descend in pathetically cacophonous consequences. They even get the current chart-topper Pritam’s regular singer Neeraj Sridhar to croon two utterly uninspiring numbers.
The album opens with Zulphein khol khaal ke (Anuradha Sriram, Sonu Nigam). It takes no CID to unravel the opening lines are lifts from old O P Nayyar hit Leke pahla pahla pyaar, which Nadeem Shravan had already pilfered earlier for Tu hai solah satarah (Jeena Sirrf Mere Liye). Is the producer responsible for this double lift, since if I recall correctly JSML was also a Vashu Bhagnani production? But the lift is restricted to the first few lines. In the antaras, a bit of the old Nadeem Shravan surfaces. English lyrics are peppered liberally. In Don’t Ever Leave Me they look particularly forced, especially the ‘O baby o baby’ refrain. Still, this is the only other decent song. Both songs are arranged by another nineties man – Viju Shah.
Mere naal chal soniye is hackneyed with its Punjabi flavor, though the first line is somewhat catchy. Sameer must have sleep-wrote most of the lyrics especially in this one (Imagine rhyming ‘cutie cutie‘ with ‘beauty beauty‘!!). Sachin-Jigar (of Teree Sang fame) arrange this Punjabi concoction. If the picturization can make up for the musical deficit, this one might just linger awhile. Thereafter, the album slips into a mish-mash of uneasy beats and haphazard rhythms. And pray, what is the use of a song called Bebo, when the film doesn’t even star Kareena Kapoor?!
Nadeem-Shravan’s forte included melody and ear-worthy interludes. In Do Knot Disturb, both are missing.
Agreed that David Dhawan movies hardly provide scope for quality music. Even in that limited ambit, Nadeem Shravan had come up with a few decent songs earlier in Saajan Chale Sasural. This one is a complete no-brainer and perhaps the title is prophetic – Do Knot Disturb yourself by buying this one.
Overall – Largely avoidable; buy for N-S’s nostalgic sake!
Kaminey – Vishal Bhardwaj’s music is as off-beat as the films he directs. Off-late, he is composing for only his own films. The results are no less spectacular than when he wrote the music for Gulzar’s Maachis and Hu Tu Tu. Kaminey is a deeply satisfying album, a potent portion of melody and spunk, intoxicating and interesting. Stirred & stirring. But nothing shaky or shaken. From the motley bunch, the clarion call Dhan Te Nan has screamed its way up the charts and hearts. Sung with vital verve and vigor (Sukhwinder and Vishal Dadlani), the number is infectious. And bloody swine, it flu‘s its way to make you hip, hop and hit the floor.
Raat ke dhai baje, another catchy song, would have instantly taken centre-stage in any beer-bar. Yet it retains an exquisite grace, perhaps because of its singers Suresh Wadakar (resurfaced after ages), Sunidhi Chauhan and Rekha Bhardwaj. The AIDS number Fatak has some lip-smacking guitar riffs, and another easy-on-the-hips tune. The theme music is a thrilling saga that seagues the seventies Hindi film background scores with Hollywood caper movies.
The only dampener is Mohit Chauhan’s Pahli baar mohabbat ki hai (a refrain repeated in Raat ke dhai baje); somehow, Mohit’s Anglicised accent gets on my nerves especially when he croons ‘humne gilhari ke jhoothe matar khaaye hain’(whatever that means).
But what took my breath away, and pierced my heart, and settled into my soul is Vishal’s self-sung title track Kaminey. At first I was puzzled by the slow tune. But steadily the number settled, like the cottony snow flakes falling on a full moon night, enveloping you with their warm & comforting softness, and soaking you in their cold & shivery touch. Gulzar’s lyrics aid the number. Sample the lines – Jiska bhi chehra chheela andar se aur nikla, masoom sa kabootar naacha toh mor nikala, kabhi hum kaminey nikle, kabhi doosre kaminey. Pretty much summarizes a life. It’s the kind of number which one wishes to hear alone on ‘repeat’ mode with lights dimmed.
Overall- Must buy.
Love Aaj Kal – Pritam & Imtiaz Ali collaborated for the hugely inspiring Jab We Met. I awaited their second outing. Unfortunately, it falls way short of expectations. True, We twist (Neeraj Sridhar) is catchy and all that. But was it necessary to maul Hemant Kumar’s brilliant Nagin tune ? From thereon, the album only goes down-hill. Chor bazaari do naino ki (Neeraj Sridhar) is good for a couple of hears, but eventually becomes monotonous. Perhaps its the lacklustre tune progression that hampers. Yeh dooriyan (Mohit Chauhan) has potential to be liked, and will outlive all the other songs; though, personally, I preferred Aaj din chadaya tere rang varga (Rahat Fateh Ali Khan). Aahun aahun is partially interesting.
I have more or less stopped bothering about interludes in new songs, so finding anything exciting in Love Aaj Kal was out of question. On that note, definitely the album doesn’t provide any pleasant surprises.
Overall – Average
Kisaan – Let’s face a fact squarely. Kisaan‘s music has as much chance to hit the charts as the crops to grow in a drought. Daboo Mallik seems to linger in a time-warp which is neither fully nineties nor completely modern, somewhat like Sajid-Wajid.
Having said that, the reason I bought Kisaan‘s cd is the exceedingly sweet Humko kahna hai tumse kahna hai– agreed, nothing path-breaking. But it has a deeply pleasing rustic charm. And some very good interludes. Plus, its tabla/dholak base is interesting. Shreya Ghoshal sounds dulcet, though Shaan’s urbane voice is a misfit. The song creates a loving ambience.
Neeche saari duniya hai upar rab hai maa is a typical ‘thematic’ song that extols a farmer’s virtue. Harshdeep Kaur renders few ‘Wahe Guru Wahe Guru’ chant to what is actually a Roop Kumar Rathod’s solo. Good flutes in first interlude, though a tad reminiscent of Rab Ne Bana Di Jodi‘s title track.
In Waqt ki dhoop mein yeh badan jal jaaye toh kya (Chal chal re yaara ve chal) – philosophical and partially rousing- Toshi delivers poignantly a short track, but is largely let-down by a lacklustre tune.
However, Punjabi munde, even sans the horrible remix, is painful in its tiredly worn out Punjabi groove. The pop-Kisaan ketchup doesn’t work! Come on Mallik, there are better ways of presenting Punjabiyat. How about hearing Uttam Singh’s Pinjar for starters?
Overall – Good For Two Songs
Shortkut – The Con Is On – Huh?! Was that really Shankar-Ehsaan-Loy who composed this tripe? Ok, I guess their shadows lingered somewhere while recording Kal nau baje tum chaand dekhna, which looks like a reject from Karan Johar’s Kabhi Alvida Na Kahna. An advice- please discard the ‘thapki’ beat, SEL! Tell you what? Kal nau baje is the only good song. And it’s nice to hear Alka Yagnik and Sonu Nigam in a duet. These voices really do help in carrying a mediocre song forward. Nikal bhi jaa patli gali se nikal bhi jaa holds momentary attention. But the rest are as about interesting as eating stale food. And very indigestible, when Shankar-Ehsaan-Loy sound Anand Raj Anand’s pale imitation in Mareeze Mohabbat!!!
Overall – Avoidable
Do Knot Disturb – Ever since I read Nadeem Shravan’s name on music credits in the theatrical trailor, medicine curiosity gripped me. Hadn’t they split? From the film’s look, adiposity it hardly looked dated. So, sales were the composers – who ruled the nineties and then returned with some splendid stuff in early 2000’s (Dhadkan, Raaz, Pardes) – returning? But one hear, and my enthusiasm wilted. This is hardly a comeback one would look forward to. Remember the scene in Kuch Kuch Hota Hai, where a simple Kajol tries to apply make-up and be hep like her rival-in-love Rani Mukerji, with some absolutely disastrous results? Well, this album is akin to that scene. Nadeem Shravan’s attempts to sound modern descend in pathetically cacophonous consequences. They even get the current chart-topper Pritam’s regular singer Neeraj Sridhar to croon two utterly uninspiring numbers.
The album opens with Zulphein khol khaal ke (Anuradha Sriram, Sonu Nigam). It takes no CID to unravel the opening lines are lifts from old O P Nayyar hit Leke pahla pahla pyaar, which Nadeem Shravan had already pilfered earlier for Tu hai solah satarah (Jeena Sirrf Mere Liye). Is the producer responsible for this double lift, since if I recall correctly JSML was also a Vashu Bhagnani production? But the lift is restricted to the first few lines. In the antaras, a bit of the old Nadeem Shravan surfaces. English lyrics are peppered liberally. In Don’t Ever Leave Me they look particularly forced, especially the ‘O baby o baby’ refrain. Still, this is the only other decent song. Both songs are arranged by another nineties man – Viju Shah.
Mere naal chal soniye is hackneyed with its Punjabi flavor, though the first line is somewhat catchy. Sameer must have sleep-wrote most of the lyrics especially in this one (Imagine rhyming ‘cutie cutie‘ with ‘beauty beauty‘!!). Sachin-Jigar (of Teree Sang fame) arrange this Punjabi concoction. If the picturization can make up for the musical deficit, this one might just linger awhile. Thereafter, the album slips into a mish-mash of uneasy beats and haphazard rhythms. And pray, what is the use of a song called Bebo, when the film doesn’t even star Kareena Kapoor?!
Nadeem-Shravan’s forte included melody and ear-worthy interludes. In Do Knot Disturb, both are missing.
Agreed that David Dhawan movies hardly provide scope for quality music. Even in that limited ambit, Nadeem Shravan had come up with a few decent songs earlier in Saajan Chale Sasural. This one is a complete no-brainer and perhaps the title is prophetic – Do Knot Disturb yourself by buying this one.
Overall – Largely avoidable; buy for N-S’s nostalgic sake!
Kaminey – Vishal Bhardwaj’s music is as off-beat as the films he directs. Off-late, he is composing for only his own films. The results are no less spectacular than when he wrote the music for Gulzar’s Maachis and Hu Tu Tu. Kaminey is a deeply satisfying album, a potent portion of melody and spunk, intoxicating and interesting. Stirred & stirring. But nothing shaky or shaken. From the motley bunch, the clarion call Dhan Te Nan has screamed its way up the charts and hearts. Sung with vital verve and vigor (Sukhwinder and Vishal Dadlani), the number is infectious. And bloody swine, it flu‘s its way to make you hip, hop and hit the floor.
Raat ke dhai baje, another catchy song, would have instantly taken centre-stage in any beer-bar. Yet it retains an exquisite grace, perhaps because of its singers Suresh Wadakar (resurfaced after ages), Sunidhi Chauhan and Rekha Bhardwaj. The AIDS number Fatak has some lip-smacking guitar riffs, and another easy-on-the-hips tune. The theme music is a thrilling saga that seagues the seventies Hindi film background scores with Hollywood caper movies.
The only dampener is Mohit Chauhan’s Pahli baar mohabbat ki hai (a refrain repeated in Raat ke dhai baje); somehow, Mohit’s Anglicised accent gets on my nerves especially when he croons ‘humne gilhari ke jhoothe matar khaaye hain’(whatever that means).
But what took my breath away, and pierced my heart, and settled into my soul is Vishal’s self-sung title track Kaminey. At first I was puzzled by the slow tune. But steadily the number settled, like the cottony snow flakes falling on a full moon night, enveloping you with their warm & comforting softness, and soaking you in their cold & shivery touch. Gulzar’s lyrics aid the number. Sample the lines – Jiska bhi chehra chheela andar se aur nikla, masoom sa kabootar naacha toh mor nikala, kabhi hum kaminey nikle, kabhi doosre kaminey. Pretty much summarizes a life. It’s the kind of number which one wishes to hear alone on ‘repeat’ mode with lights dimmed.
Overall- Must buy.
Love Aaj Kal – Pritam & Imtiaz Ali collaborated for the hugely inspiring Jab We Met. I awaited their second outing. Unfortunately, it falls way short of expectations. True, We twist (Neeraj Sridhar) is catchy and all that. But was it necessary to maul Hemant Kumar’s brilliant Nagin tune ? From thereon, the album only goes down-hill. Chor bazaari do naino ki (Neeraj Sridhar) is good for a couple of hears, but eventually becomes monotonous. Perhaps its the lacklustre tune progression that hampers. Yeh dooriyan (Mohit Chauhan) has potential to be liked, and will outlive all the other songs; though, personally, I preferred Aaj din chadaya tere rang varga (Rahat Fateh Ali Khan). Aahun aahun is partially interesting.
I have more or less stopped bothering about interludes in new songs, so finding anything exciting in Love Aaj Kal was out of question. On that note, definitely the album doesn’t provide any pleasant surprises.
Overall – Average
Kisaan – Let’s face a fact squarely. Kisaan‘s music has as much chance to hit the charts as the crops to grow in a drought. Daboo Mallik seems to linger in a time-warp which is neither fully nineties nor completely modern, somewhat like Sajid-Wajid.
Having said that, the reason I bought Kisaan‘s cd is the exceedingly sweet Humko kahna hai tumse kahna hai– agreed, nothing path-breaking. But it has a deeply pleasing rustic charm. And some very good interludes. Plus, its tabla/dholak base is interesting. Shreya Ghoshal sounds dulcet, though Shaan’s urbane voice is a misfit. The song creates a loving ambience.
Neeche saari duniya hai upar rab hai maa is a typical ‘thematic’ song that extols a farmer’s virtue. Harshdeep Kaur renders few ‘Wahe Guru Wahe Guru’ chant to what is actually a Roop Kumar Rathod’s solo. Good flutes in first interlude, though a tad reminiscent of Rab Ne Bana Di Jodi‘s title track.
In Waqt ki dhoop mein yeh badan jal jaaye toh kya (Chal chal re yaara ve chal) – philosophical and partially rousing- Toshi delivers poignantly a short track, but is largely let-down by a lacklustre tune.
However, Punjabi munde, even sans the horrible remix, is painful in its tiredly worn out Punjabi groove. The pop-Kisaan ketchup doesn’t work! Come on Mallik, there are better ways of presenting Punjabiyat. How about hearing Uttam Singh’s Pinjar for starters?
Overall – Good For Two Songs
Shortkut – The Con Is On – Huh?! Was that really Shankar-Ehsaan-Loy who composed this tripe? Ok, I guess their shadows lingered somewhere while recording Kal nau baje tum chaand dekhna, which looks like a reject from Karan Johar’s Kabhi Alvida Na Kahna. An advice- please discard the ‘thapki’ beat, SEL! Tell you what? Kal nau baje is the only good song. And it’s nice to hear Alka Yagnik and Sonu Nigam in a duet. These voices really do help in carrying a mediocre song forward. Nikal bhi jaa patli gali se nikal bhi jaa holds momentary attention. But the rest are as about interesting as eating stale food. And very indigestible, when Shankar-Ehsaan-Loy sound Anand Raj Anand’s pale imitation in Mareeze Mohabbat!!!
Overall – Avoidable
Eighty years back Goddess Saraswati chose to bless mankind, see She incarnated & gave it the most beautiful Voice ever heard. Lata Mangeshkar, viagra born this day in 1929, turns 80 today. On this auspicious day, coinciding with Vijay Dashmi (Dashera) this year, I bow before her and once more pay my gratitude for the innumerable pleasurable moments she has imparted with her mellifluous voice and melodious songs.
Her unsurpassable career zoomed into a never-declining orbit in 1949 when three consecutive hits installed her permanently into music lovers’ collective hearts – Barsaat, Andaz and Mahal (Aayega aanewaala). Since then, year after year she churned out hits upon hits, tirelessly – slogging her way from one studio to another to deliver those aah-inspiring melodies. In the eighties, (a majorly suspect-decade musically), she voluntarily took back-seat. But a repeat of 1949 was in the offing. Forty years after she blazed the musical countdowns, she repeated that feat. Once again, with three consecutive superhits – Maine Pyar Kiya, Chandni and Ram Lakhan (Bada dukh deena); proving that she was the undisputed queen. The Goddess had blessed the recording rooms again. And therafter, we had a musically decent decade.
For me, Lata Didi means more than just a ‘singer’. She is like my breath. An integral part of my being. Her voice has been a rock-solid constant. Time passes. Years roll by. Careers switch. Cities change. But her songs remain. Carried in various formats. Always close by. When the day gets tough, she soothes and caresses in the evenings. When the mornings are bright, she further adds color with her devotional numbers. When the evenings are warm, she plays like a gentle breeze.
My latest acquisition is a record-player (finally, I did buy one). And all the records I buy the lynchpin remains her songs have to be present in them. My eternal quest has entered an interesting phase. I am buying songs I had either heard in my childhood (e.g. Ram kare umar qaid saath saath lag jaaye – Aadat Se Majboor) or I had only known of but not heard (e.g Mohabbat khuda hai – Love & God). There are many discs that I have bought either having a single or two songs. But they are worth it. My collection grows. And it gives me immense happiness.
Bahut bahut shukriya Lata Didi!
Aapko shat shat pranaam!
Long live Lata Didi!
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Tags: Lata Mangeshkar
I was watching Javed Akhtar’s interview with Latadi today morning and she came across as a very simple, down to earth human being….She knows she has conquered the world with her music but she says “she has a long way to go” after singing 30,000 songs in various languages….i am amazed at her simplicity…
Happy Birthday Latadi!!!
DJ – i am lil disappointed reading this post…i was expecting some thing more from you…..probably your stress at work is getting on to you literally…take care buddy…:|
Saw it was Latadidis bday and thought DJ for sure musta wriiten something 80 years of marvel happy birthday lataji
Hey DJ 🙂 I happened to stumble upon a very interesting programme on TV while surfing the channels yesterday. Luckily it was Part I. Part II will be broadcast on CNN IBN at 8:00 p.m. on Saturday 3rd October 2009 with a re-run (that I caught) some time around 10:30 a.m. or 11:00 a.m. on Sunday 4th October 2009. OK, enough with the suspense 🙂 It is Latadidi being interviewed by Javed Akhtar. Part I was really very interesting and so will Part II be, I’m sure. Do watch.
You know what I hate about the interviews some ppl do on Lataji’s bday; that they invariably ask her if she was ever jealous of her sister Asha. Why do they ask that every single time? Between siblings there may be some rivalry but that is nobody else’s business!
Btw, although I am able to read your blog on Google Chrome, if I need to post a comment I need to access it through Internet Explorer. Is there a reason Chrome is not supported?
I was glued to all of LM’s songs the whole day…they all were a league apart from the songs that are on today. In fact can’t be compared. (And of course…issi bahane I finally got a message from the busy bee DJ after ages 🙂
Hope you are doing good.