Duo, in Disguise

OP Nayyar's music came stamped with his own, distinct class - the freshest brew of melody and rhythm, and probably the most innovative choice and use of instruments. Though the superficial listener might just associate him to the hoof-beats, the more ardent listener would smile contently whenever those Sarangi, Santoor, Sitar or even the Harmonium would cast a spell in those magical pre-ludes/interludes. And, discounting his occasional use of the other singers, there is no doubt about his choice of THE male voice for his songs. I guess Rafi Sahab not only sounded the freshest when singing for OPN, but also elicited an unmatched painful-romanticism (I do not know how else to describe the feeling in Aanchal mein sajaa lena kaliyan, Deewana Hua Baadal or Hai Duniya Usiki). In fact, one can go, and has gone, no ends to talk about these songs.

For this post, however, let us take one of those songs which do not carry that stamp. A song that - if you did not have prior knowledge of its details - would never make you think that Rafi Sahab is with OPN in the recording room. The duo in disguise, so to say.

Here goes this stunning disguised composition from the Balraj Sahni-Nutan starrer Sone Ki Chidiya.

Maut kabhi bhi mil sakti hai
Lekin jeevan kal na milega
Marnewale soch samajh le
Phir tujhko ye pal na milega

Raat bhar ka hai mehmaan andhera
Kiske roke ruka hai savera

Raat jitni hi sangiin hogi
Subah utni hi rangiin hogi
Gham na kar gar hai baadal ghanera
Kiske roke ruka hai savera

Lab pe shikwa na laa ashq pii le
Jis tarhe bhi ho kuchh der jee le
Ab ukhadne ko hai gham ka dera

Aa koi milke tadbeer soche
Sukh ke sapnon ki taabir soche
Jo tera hai wohi gham hai mera
Kiske roke ruka hai savera

The video of this song is available here, and it gets more pertinent if we have a look at the situation in the film.

A song of such profundity, had to be created and sung adequately as well. The moment Rafi Sahab's voice rings in the opening lines, the song attains a level that tells us that it can only become more thought-provoking from there. In the film, there is a duet version of this song with Asha Ji and a part of that song is added towards the end of this video.

It is worthwhile to notice the striking difference in Rafi Sahab's singing in the two versions, even if it is the same song. The duet version is sung during times of hope, while this solo version is at a time of abject despair. Even though it is the same philosophy, the duet version professes it while this version brings it to practice. This subtle difference is understood and executed (yes, one more time) by Rafi Sahab in his own inimitable way. The texture of the voice changes as the hope gets trapped in the quagmire of pathos. The prophecy, however, remains unchanged. For, giving up is - somehow - never an option. Words cannot completely express what the voice does. Hear it yourself, listen to the same line sung at 1:07 minutes and then again at 4:53 minutes. I call him the Sublime Sorcerer for countless tricks like this that only he could unleash, with that innocent smile undiminished.

Glorified Tears

You need not be tearful when talking about tears. Poetry - the traditional and old-fashioned type is what I like - has this uncanny ability to turn the most depressing emotions sweet. This song from Naya Kanoon is one such example; it keeps talking about the tears without a mention of the crying. Hasrat Jaipuri shows us why lyricists of the golden era were poets as well. Madan Mohan keeps his musicians off this track to give the total attention to the lyrics. They had to resort to - no surprises here - Rafi Sahab to deliver the goods.

Here goes the words -

Unhe qissa-e-gham jo likhne ko baithe

To dekhe kalam ki rawaani mein aansoon

Ye anmol taare, ye ulfat ke moti

Unhe humne bheje nishaani mein aansoon...

Unhe hum kahaani sunane na paye

Unhe daag dil ke dikhane na paye

Ye aansoon hamare bade kaam aaye

Zubaan ban gaye be-zubaani mein aansoon...

Na samjho ke aansoon hai gham ki kahaani

Ye aansoon hai ulfat ki pehli nishaani

Muqaddar ke qaatib ka kitna karam hai 

Ke likkhe hai meri kahaani mein aansoon...

Zamane mein taqdeer sab ki judaa hai

Tujhe kuchh mila hai, mujhe kuchh mila hai

Udhar hai teri zindagi mein khushiyan

Idhar hai meri zindagi mein aansoon...

Unhein qissa-e-gham jo likhne ko baithe

To dekhe kalam ki rawaani mein aansoon.

Still marvelling at - zubaan ban gaye be-zubaani mein aansoon!

Itni Haseen, Itni Jawan Raat Kya Kare?

I was tempted to post the photographs of a host of actors who came, or lingered longer, in the limelight largely due to a voice that they merrily lip-synced to. As I now browse through my collection and play from it randomly, the voice adapts and modulates effortlessly - bringing these faces up in memory. I shake my head, once more, in desbelief and look at the photo I posted instead. He smiles at me, as if knowingly.

I prefer not to write about his achievements in this post, least so assert why he was the best. If he were present he would have definitely not liked any of it. It was this love I, and countless other people in this world, have for him that he aspired for. Maybe it's just a coincidence that at this precise moment, he whispers - 'Saanson mein ghul rahi hai, kisi saans ki mahek'. The mind wanders, but he puts it in its place as he tells me its just a song - 'Daaman ko chhuu raha hai, koi hath kya kare?' He reads my mind, wraps the unexplained feelings in the most melodious way - "Jaage hai kuchh ajeeb se jasbaat kya kare?" Indeed, the emotions running inside spoil all efforts I make to write something coherent. I smile, pause the song and complete it myself - "Shayad tumhare aane se, ye bhed khul sake - hairaan hain, ki aaj nayi baat kya kare?"

If God was not so selfish, Mohammad Rafi would have celebrated his birthday with us today. He would have known that superlatives used for him in his lifetime were not mere words to extol his virtues. His voice, indeed, pervades time like time itself.

Mesmerising voice, a divine soul -
One who left, but never could go
How could we? When what you gave
Draws us close, closer than you know.

Remain you will, like this forever
All you've done will get back to you
For, each life you sustained, enriched
Is adding its years to yours, anew.

A Rare Purchase

I don't usually visit music stores to get my music - and normally rely on MP3s and online music sites. Youtube has been a recent addition to my musical destinations. It is because of this site that I could witness Ghulam Ali and Mohd. Rafi singing live, and also could unearth some very rare Rafi gems like this one.

9 out of 10 songs I listen to are either by Rafi Sahab or by Ghulam Ali. I have formed a decent collection now - 500+ Rafi and 100 Ghulam Ali numbers. If you want to know more about them, do a simple search in google or look up the wikipedia entries for MR or GA.

Opinions may vary and everyone is entitled to one's preferences, but in my book Mohd. Rafi will remain the best playback singer ever and Ghulam Ali the best ghazal singer ever.

Coming back to what I started with, I don't visit music stores often. But whenever I amble into one, either with my friends or just to pass time, I browse the Ghazal and the Old Hindi sections. In one such recent visit to Planet M when I was in India in December, I chanced upon this double CD Ghulam Ali collection called Kohinoor. I decided to take it at once, solely because of this one ghazal spanning 23 minutes - Apni Tasveer Ko Aankhon Se Lagata Kya Hai. I am simply speechless each time I hear this one. Smooth, soft and elegant - the rendition leaves me wanting for more despite the unusually long duration. Vintage one.

Kohinoor also has Dost Bankar Bhi Nahi Saath Nibhanewala which is right up there in my favourite list, mainly because of its maqta -
Tum takalluf ko bhi ikhlaas samajhte ho 'Faraaz'
Dost hota nahi har hath milanewala.

takalluf = formality
ikhlaas = sincerity

I paired it off with a different CD by the Ustad - one on classical raagas. I do not have a critical assessment of the CD as I don't understand the Raagas and their intricacies. But I love listening to this album as well.