Monday, November 17, 2008

Music Review : Rab Ne Bana Di Jodi


Facts about the music of Rab Ne Bana Di Jodi :
  • Aditya Chopra shifts to Salim-Suleiman who replace Jatin Lalit as music directors!
  • The death of Anand Bakshi sees Jaideep Sahni step into the shoes of the great lyricist!
  • This is the first directorial venture of Aditya Chopra where Lata Mangeshkar is not singing a single song!
  • Even Udit Narayan does not feature in a single song!
  • Sonu Nigam sings for the first time for Aditya Chopra!

Aditya Chopra is back after Mohabbatein! This is in itself the biggest reason to lend ears to the music of Rab Ne Bana Di Jodi। The music style has seen a dramatic change in the eight years that has separated Mohabbatein and Rab Ne Bana Di Jodi (RNBDJ). Although the quality of songs have deteriorated significantly in this period, the name of Aditya Chopra donning the cap of director raises the expectations from the soundtrack of RNBDJ to preposterous levels. I approached to the soundtrack keeping in mind all these facts, trying to be as reasonable and fair to Aditya Chopra and the times in which the movie has been filmed. And I did listen to the whole album with all the excitement a Yash Raj movie deserves. I was aghast, when the album was over! I just could not digest the fact that this is a soundtrack coming out of a movie directed by a person who single handedly has taken an Indian production house to be the 27th largest production house of the world! I have got it wrong - that's what came in my mind after the first hearing. I put on the CD once again to have an another take on the songs of RNBDJ. There has been no change in my opinion about the soundtrack, even after numerous hearings!
I know that I am being very harsh to the soundtrack of RNBDJ, but you dont expect any average stuff coming out of Yash Raj stable. This is not me who has raised the bars, but it is the sheer quality of Yash Raj in the past, that has made this album a tad disappointing!

Let's check out the songs individually!

1. Tujhmein Rab Dikhta Hai (Roop Kumar Rathod)
The opening song of any movie directed by Yash Chopra or Aditya Chopra always had been the flag bearer for the whole album. Just rewind to Mere Haathon Mein (Chandni), Kabhi Main Kahoon (Lamhe), Tujhe Dekha To Yeh (DDLJ), Dil To Pagal Hai (Dil To Pagal Hai), Humko Humhi Se Chura Lo (Mohabbatein), Tere Liye (Veer Zaara) and you know what I mean! Tujhmein Rab Dikhta Hai is probably the weakest opening song of an Aditya Chopra/Yash Chopra directed movie of all times! The composition and the lyrics, both are very ordinary, and the only saving grace is the singing of Roop Kumar Rathod. The lyrics are so passable and the composition so dull, that you are just left cold after the song is over! Ideally when Roop Kumar Rathod croons the line - Rab Ne Bana Di Jodi - at the end of the song, the listener should have felt a strain in his heart, but the coldness just left me seeking for a blanket!
This song is sub standard, and will not be heard for long!

2. Haule Haule Se Hawa Lagti Hai (Sukhwinder Singh)
The song starts good and things just feel like picking up! The singing prowess of Sukhwinder Singh is to be heard to be believed. Control over the singing even in the higher notes is so refreshing. The lyrics just get the passing marks, and the composition is somewhat similar to the title song of Chak De India. What makes this song stand out is the arrangement! Salim-Suleiman have done an excellent job in using the tabla and harmonium in this song!
This song is going to make this album sell - nothing more, nothing less!

3. Dance Pe Chance (Sunidhi Chauhan, Labh Janjhua)
Haule Haule sounded good, but what's this? Is this song from a Yash Raj movie - I just don't believe it! A song that has it's origins in One Two Cha Cha Cha (Shalimar, 1978), it just falls flat. The hook line is embarassingly weak, and that has been the problem with each and every song (barrring Haule Haule). The singing of Sunidhi Chauhan is average, nothing extraordinary. Labh Janjhua is just passable. If the song aspired to teach non dancers the skills of dancing, then Aditya Chopra is sure going to create many Sunil Shettys, as far as the dancing skills goes!
Very uninspiring song, only the kids may get a grab of it! Rewind back to One Two Cha Cha Cha instead, and have a blast!

4. Phir Milenge Chalte Chalte (Sonu Niggam)
The song starts from where Mere Jeevan Saathi (Ek Duje Ke Liye) had ended! Salim Suleiman use the original music clips of the evergreen songs and Jaideep Sahni use hook lines of songs that are still heard. A very interesting concept and the song genuinely starts well, but the problem again lies with the hook line - Hum Hain Rahi Pyar Ke, Phir Milenge Chalte Chalte. You somewhow don't connect with the song just because of weak composition and weaker hook line! Sonu Niggam's singing is plain bad in this song. How a good concept just falls apart - listen to the song and you will know!
I prefer Mere Jeevan Sathi (Ek Duje Ke Liye) any day. Don't think will ever like to hear this song again!

5. Tujhmein Rab Dikhta Hai (Shreya Ghoshal)
The sad version of the title song - it fares much better! In fact, this is the only song that has the vintage Yash Raj flavour. Notably, the lyrics, the composition, the singing all come good in this song! Singing is simply top class! What Roop Kumar Rathod could not do in a 5 minute song, Shreya Ghoshal did that only in 2 minutes!
A very good song. How I wish it could have been longer! Listen to Shreya Ghoshal and you feel blessed!

6. Dancing Jodi (Instrumental)
I enjoyed this instrumental piece! Very well put together by Salim Suleiman, this instrumental piece has clips of the rest of the songs of RNBDJ. Lot's of energy is what we get in this piece! The arrangement is top class and this gets my thumbs up!
Very enjoyable, you will love it!

The biggest mystery of 2008 - What made Aditya Chopra take Salim Suleiman as music director? My personal opinion is that they are not ready to take the challenge to give music in movies of such scales! It's been 8 year since the death of Anand Bakshi, and his place still remains to be filled. Yuvvraaj and RNBDJ, both missed Anand Bakshi as hell! I can bet you that the songs of RNBDJ could have been much better, had Bakshi Saab been there to pen the lyrics! On the whole, the soundtrack of RNBDJ is a big disappointment. There is absolutely no repeat value, and the songs will just fade away. Repeat value had been the biggest strength of the Yash Raj Films, as far as the music is concerned. This year has been a letdown for them, with no album having any repeat value, be it Bachna Aye Haseeno, Thoda Pyar Thoda Magic, Laaga Chunari Mein Daag, Aaja Nachle, Tashan, or Road Side Romeo. Add Rab Ne Bana Di Jodi to this list!

Rating : Below Average!

Bye for now!
आपकी अपनी आवाज़
Vishal

P.S. Please put up your comments by clicking on comments below!

Sunday, November 9, 2008

Why Laxmikant Pyarelal Became An Addiction To The Directors ??

Hi!!!!!!!!!
The biggest news of this week was the release of the music of 'Rab Ne Bana Di Jodi'. The music review will be here this week - that's a promise!
Coming back to Laxmikant - Pyarelal (LP) and their Long Playing (LP) association with the biggest directors of the Hindi Cinema, the most notable thing is that they had a long lasting relationship with not one or two, but several prominent directors! When we speak about Shankar Jaikishan, their association with Raj Kapoor leads the party! When we speak about Ravi, B. R. Chopra was his man! Remember Kalyanji - Anandji, Manoj Kumar and Prakash Mehra's name flashes in your mind! R. D. Burman had Shakti Samanta and Nasir Hussain! S. D. Burman and Vijay Anand were inseparable! Now come to Laxmikant - Pyarelal, and there is list out there! Raj Khosla, Raj Kapoor, Subhash Ghai, J. Om Prakash, Mohan Kumar, Manmohan Desai, Manoj Kumar are some of the names that come in our minds! It must have been a miracle to have a long term bonding with these legends who had such varied taste as far as music in their films was concerned. Raj Khosla's music had earthiness, Raj Kapoor's music had to had a larger than life quality in even the simplest of songs, Subhash Ghai's music demanded melody, Mohan Kumar's musical inclination was simplicity, Manmohan Desai's music was aggressive, and Manoj Kumar had a taste for emotions! God, such diverse demands and two gentlemen always had something in them to satisfy each and every one of them! That was the beauty of Laxmikant-Pyarelal!
What I have said can be argued - readers may point out that apart from LP, the other music directors also had a long association with prominent directors, and that is very true! But the point is that LP had a bonding with not one but several of them, while others had a impactful relation with one or two!
Let's read more about LP's association with some melodic filmmakers.

Raj Khosla and Laxmikant-Pyarelal (10 Films)
Raj Khosla worked with S. D. Burman, O. P. Nayyar, Ravi and then he shifted to LP , who worked with him for 10 films right from Anita (1967) to Mera Dost Mera Dushman (1984). The association produced eternal scores like Anita, Mera Gaon Mera Desh, Do Raaste, Main Tulsi Tere Aangan Ki, Dostana! Raj Khosla had said on an occassion- Once you have LP, you don't need anybody else!


Raj Kapoor and Laxmikant-Pyarelal (3 Films)
The Showman of the Millenium - Raj Kapoor had a very successful bonding with Shankar Jaikishan (SJ) who worked with him right from Barsaat (1949) to Mera Naam Joker (1970). When he decided to launch his son - Rishi Kapoor in Bobby (1973), LP were signed to take over the SJ legacy! And what a brilliant choice it turned out to be! LP went on to give us memorable numbers like Main Shayar To Nahin, Hum Tum Ek Kamre Mein, Jhooth Bole Kauwa Kaate among many others in Bobby! Raj Kapoor directed three movies after Bobby - Satyam Shivam Sundaram, Prem Rog and Ram Teri Ganga Maili. Two of the last three movies directed by Raj Kapoor had Laxmikant Pyarelal as music directors!


Manoj Kumar and Laxmikant-Pyarelal (4 Films)
Manoj Kumar had a strong bonding with Kalyanji Anandji (KA) in Upkar and Purab Aur Pachchim. He shifted to LP with Shor, and post Shor only once he turned away from LP in Clerk! LP gave Manoj Kumar - Shor, Roti Kapda Aur Makaan, Kranti, Jai Hind-The Pride!


Manmohan Desai and Laxmikant-Pyarelal (9 Films)
Manmohan Desai, the Maestro of Formula Films, always aspired to have popular music in his directorial ventures, and had more or less been successful in that aspiration. He had started his career with Chalia in 1960 and till 1973 made 9 films using six music directors - Kalyanji Anandji, Shankar Jaikishan, O. P. Nayyar, Sonik Omi, R. D. Burman, Ganesh! In 1974 he made Roti, and for his next 9 directorial ventures LP was the constant factor! They together amalgamated to give us memorable scores in Roti, Dharam Veer, Amar Akbar Anthony, Suhaag, Parvarish, Suhaag, Naseeb, Desh Premee, Coolie! The last two ventures of Manmohan Desai had Anu Malik as music directors. Incidently, the last movie concieved by him saw the return of LP in MKD Films (Deewana Mastana 1997)!

Subhash Ghai and Laxmikant-Pyarelal (9 Films)
Subhash Ghai has been looked as a director who always had a flair for good music. He started his directorial career with Kalicharan which had Kalyanji Anandji, moved on to Vishwanath with Rajesh Roshan, and then he found his musical anchor in LP. The Subhash Ghai - LP association started in Guatam Govinda (1979) and lasted throughout the 80's and successfully culminated with Khalnayak in 1993! In between these years LP provided their magical touch in 9 out of the 10 movies directed by Subhash Ghai!

J. Om Prakash
and Laxmikant-Pyarelal (9 Films)
J. Om Prakash had worked with Madan Mohan before he took R. D. Burman for Aap Ki Kasam in 1974, and he extracted excellent work from him. In Aakraman (1975), he teamed with LP, and that bond lasted till Agnee (1988). In between these 13 years, he directed 11 movies out of which 9 had music by LP. They together entertained us by giving us fantastic scores in Aakraman, Apnapan, Aashiq Hoon Baharon Ka, Aasha, Aas Paas, Arpan and Aap Ke Saath.

Mohan Kumar and Laxmikant-Pyarelal (9 Films)
Shankar Jaikishan and Madan Mohan were the favourite music directors of Mohan Kumar, but it all changed with Aap Aaye Bahaar Aayee(1971). Right from 1971 to 1990, Mohan Kumar never directed any movie without LP. The magic of LP with Mohan Kumar was evident in scores of Aap Aaye Bahaar Aayee, Anjaana, Mome Ki Gudiya, Amir Garib, Avtaar and Amrit!

The above are to be taken only as examples, because LP had a very successful tuning with other acclaimed directors like Mahesh Bhatt (Naam, Gumrah, Dhun), Satyen Bose (Dosti, Wapas, Aasra, Jeevan Mrityu), Brij (Night In London, Paise Ki Gudiya, Do Bhai), Mukul Anand (Insaaf, Hum, Khuda Gawah, Trimurti), J. P. Dutta (Ghulami, Batwara, Yateem, Hathyaar, Kshatriya), Dulal Guha (Dushman, Dharti Kahe Pukar Ke, Pratigya, Dost), Raghunath Jhalani (Aaye Din Bahaar Ke, Aaya Saawan Jhoom Ke, Man Ki Aankhein, Badalte Rishte), Raj Kumar Kohli (Lutera, Gora Aur Kala, Naagin, Jaani Dushman, Bees Saal Baad), Amar Kumar (Mere Humdum Mere Dost, Pyasi Shaam, Barkha Bahar), Harmesh Malhotra (Lafangey, Nagina, Nigahen, Heer Ranjha), Ramanand Sagar (Jalte Badan, Charas, Prem Bandhan, Baghavat), amongst many others!

The point I have tried to make by illustrating the association of LP with various directors is that LP were probably the only one who were chameleons as far as the requirements of the directors, script, setting was concerned. Once a director had the oppurtunity to work them, rarely they let them go! Why - ask this question to yourself and you will get the answer! The music of Raj Khosla's movies and music of Raj Kapoor's movies were as different as chalk and cheese. There was only one LP who could have bridged this gap between the varied tastes of filmmakers and change colours so magnificently!

बन्दा परवर मैं कहाँ
ये आपकी महफिल कहाँ
आपकी बंदानावाजी है
मैं इस काबिल कहाँ !

Bye for now!
आपकी अपनी आवाज़
Vishal

P.S. Please put up your comments by clicking on comments below!








Wednesday, November 5, 2008

Composers' Enduring Quotient - Longest Peak-Times

HERE ARE THE 15 COMPOSERS WHO HAD THE LONGEST PEAK-TIMES IN TERMS OF CREATIVITY & POPULARITY TOGETHER.


SENIOR COMPOSERS ARE LISTED FIRST WHEN SPANS ARE EQUAL. ALL OTHER COMPOSERS HAVE HAD SPANS OF LESS THAN 10 PEAK YEARS.

AMONG CURRENT NAMES WE FIND THAT SHANKAR-EHSAAN-LOY (1999-) ARE IN THEIR 8TH YEAR (2001-), HIMESH RESHAMMIYA (1998/2000 AS SOLO) IN HIS 7TH YEAR (2002-), VISHAL-SHEKHAR (1999 / 2002 AS SOLO) IN THEIR 6TH YEAR (2003- ), PRITAM (2001 AS JEET-PRITAM, 2003 SOLO) IN HIS 5TH YEAR (2004-) ,SAJID-WAJID (1998/ 2000 AS SOLO)IN THEIR 2ND YEAR (2007-) AND SALIM-SULAIMAN (1999/2005 AS SOLO) IN THEIR 2ND YEAR (2007- )AT PEAK.


TOP FIFTEEN COMPOSERS:

#1. S.D.BURMAN CAREER 1946 TO 1975 LAST RELEASE 1977 FILMS: ABOUT 70
PEAK: 1951-1975 (25 years)


#2. KALYANJI-ANANDJI CAREER 1958-2001 FILMS: ABOUT 250
PEAK: 1965-1989 (25 years)


#3. LAXMIKANT-PYARELAL CAREER 1963-1999 LAST RELEASE 2004 FILMS: ABOUT 490
PEAK: 1969-1993 (25 years)



#4. NAUSHAD CAREER 1940-2005 FILMS: ABOUT 70
PEAK: 1944-1967 (24 years)

#5. SHANKAR JAIKISHAN CAREER 1949-1987 FILMS: ABOUT 150
PEAK: 1950-1972 (23 years)

#6. ANU MALIK CAREER 1978- FILMS: ABOUT 250
PEAK: 1983-1987 / 1993-2005 (18 years)

#7. R.D.BURMAN CAREER 1961-1994 LAST RELEASE 2000 FILMS: ABOUT 300
PEAK: 1971-1985 (15 years)

#8. RAJESH ROSHAN CAREER 1974- FILMS: ABOUT 150
PEAK: 1975-1987 / 1995-1996 (15 years)


#9. ANIL BISWAS 1935-1965 FILMS: ABOUT 60
PEAK: 1938-1951 (14 years)

#10. C.RAMACHANDRA 1942-1971 FILMS: ABOUT 100
PEAK: 1950-1963 (14 years)


#11. RAVI CAREER 1954- FILMS: ABOUT 70 (HINDI ONLY)
PEAK: 1959-1972 (14 years)

#12. O.P.NAYYAR CAREER 1952-1994 FILMS: ABOUT 50
PEAK: 1956-1967 (12 years)

#13. BAPPI LAHIRI CAREER 1973- FILMS: ABOUT 350
PEAK: 1982-1993 (12 years)

#14. NADEEM-SHRAVAN 1981- FILMS: ABOUT 100
PEAK: 1990-1997 / 2000-2003 (12 years)


#15. A.R.RAHMAN CAREER 1993- FILMS: ABOUT 50 (HINDI ONLY)
PEAK: 1999- (10 years)

Monday, November 3, 2008

Reign of Music Directors

Dear all,

It is very interesting to day that in 78 years of film music (1931-2008) so far, Shankar Jaikishan (1950-1968) and Laxmikant-Pyarelal (1969-1992) - that is 43 years have been ruled by these two duos ON MERIT & WITHOUT HYPE OR MEDIA PROMOTIONS LIKE TV, CONTROVERSIES, MULTIPLE TV CHANNELS & NEWSPAPERS ETC. True, S-J had their position threatened temporarily by names like O.P.Nayyar(late '50s and early '60s) and Ravi (mid-'60s), and L-P by R.D.Burman (early '70s)and Bappi Lahiri (mid-'80s), but they never let go their Numero Uno positions. L-P eclipsed S-J by 1969, and Nadeem-Shravan took over in 1993.

EVEN MORE INTERESTING is the fact that from 1931-1949 and from 1993 onwards no single music director has been on top for more than a max 2-3 years!
Pre-1949, Naushad, Anil Biswas, Husnlal-Bhagatram and C.Ramachandra were sort of jointly at the top in see-saw flip-flops, and here is the scenario post-1992.

1993 NADEEM-SHRAVAN & ANU MALIK (Hum Hain Rahi Pyaar Ke, Baazigar, Sir, Phir Teri Kahani Yaad Aayi)
1994 ANU MALIK & ANAND-MILIND (Imtihan, Vijaypath, Main Khiladi Tu Anari, Raja Babu, Laadla, Suhaag, Krantiveer, Gopi-Kishan)
1995 A.R.RAHMAN (Rangeela, Bombay)
1996 NADEEM-SHRAVAN (Raja Hindustani, Agnisakshi)
1997 ANU MALIK (Judwaa, Border, Ishq, Virasat, Tamanna)
1998 JATIN-LALIT (Kuch Kuch..., Ghulam, Jab Pyaar..., Pyaar To Hona...)
1999 JATIN-LALIT & A.R.RAHMAN (Sarfarosh, Taal)
2000 NADEEM-SHRAVAN (Dhadkan)
2001 A.R.RAHMAN (Lagaan)
2002 NADEEM-SHRAVAN (Raaz)
2003 ANU MALIK & NADEEM-SHRAVAN
2004 ANU MALIK
2005 ANU MALIK & HIMESH RESHAMMIYA (Ishq Vishq, Aashiq Banaya Aapne)
2006 HIMESH RESHAMMIYA & PRITAM (Aksar, Tom Dick And Harry, 36 China Town. Phir Hera Pheri, Dhoom:2, Gangster, Woh Lamhe...)
2007 A.R.RAHMAN, HIMESH RESHAMMIYA & PRITAM (Guru, Aap Kaa Surroor, Namastey London, Bhool Bhulaiya)
2008 A.R.RAHMAN, PRITAM, HIMESH RESHAMMIYA, SHANKAR-EHSAAN-LOY (Jaane Tu..., Jodhaa Akbar, Karzzzz, Race, Singh Is Kinng, Rock On!!)

These positions also tended to be score-based or even song-based rather than work- or consistency-based and the music scores' popularity were completely dominated by promotion/marketing, media-hype, claims, and the films' successes. Also except in some of these years, NO SINGLE COMPOSER HAD A DISTINCT SOLO TOP STATUS.

HERE IS ALSO WHAT I FEEL IS THE VERSATILITY QUOTIENT (OUT OF 10) OF TOP COMPOSERS OF ALL TIME, STARTING 1950s:

C.RAMACHANDRA 9
NAUSHAD 5
S.D.BURMAN 7
SALIL CHOWDHURY 6
ROSHAN 5
RAVI 6
CHITRAGUPTA 7
O.P.NAYYAR 7.5
MADAN MOHAN 5
SHANKAR JAIKISHAN 10
KALYANJI-ANANDJI 10
R.D.BURMAN 8
LAXMIKANT-PYARELAL 9.5
RAJESH ROSHAN 7
BAPPI LAHIRI 7
NADEEM-SHRAVAN 4
ANAND-MILIND 5
JATIN-LALIT 5
ANU MALIK 8
A..R.RAHMAN 4
HIMESH RESHAMMIYA 6
SHANKAR-EHSAAN-LOY 6
VISHAL-SHEKHAR 5
PRITAM 5
SAJID-WAJID 6


RAJIV VIJAYAKAR