I have now selected for you a duet from this movie produced and directed by Raj Kapoor. Some of the most enchanting romantic duets in the Hindi movies have been sung by Mukesh and Lata Mangeshkar in Raj Kapoor movies.
Revival – Hum Tumhare Liye – Romantic Duets Of The 60’s
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As romantic duets go, Dil ki nazar se is one of the most enchanting compositions, if not the most enchanting, of Shankar Jaikishan. Together with its ethereal lyrics, it transports you to another world; the world of pure love. If you then come to the conclusion that there cannot be a more heart-warming romantic duet than this in Hindi movies, you are not too much off the mark.
This is very much a IMHO article, and this particular instrumentfigures in so many songs, so RMIMers will probably have loads of theirown favourites to add. All additions, corrections and opinionswelcome!THE ACCORDION This handsome instrument was invented (1822) in Germany by FriedrichBuschmann and till today remains prominent in European folk music,although in N. America - except in enclaves of die-hard and cult fans- it has a reputation as a geeky instrument. Some of the bestaccordions are made in Germany (like Hohner) and Italy. It is a portable reed instrument, and the classic piano accordionfeatures a keyboard for the right hand and bass buttons for the left.The vertical line of bass buttons on the inside are root notes, andthe buttons in subsequent lines represent whole chords of thoserespective notes - usually in the order of majors, minors, sevenths,diminished etc. depending on how big a specific model is. In fact, thesize of an accordion is conventionally represented as being of 'xbass', meaning the number of bass buttons it has. The bellows allowfor a variety of crescendo and shimmering effects unique to thisinstrument, but more about that later. What endows it with that uniquely rich sound are those reeds, whichexist as two treble sets and one bass set (not to be confused withbass buttons as above), which may be combined or played solo usingcouplers - larger piano-type keys that lie above its regular keyboard.With its extended bellows, visible keys and highly polished andusually colourful grill the accordion looks as rich as it sounds andwas once the centrepiece of stage programmes. In India its presence was restricted to enclaves of Goa and amongAnglo-Indians and even today it has not been adapted (like themandolin or saxophone) for classical or semi-classical Indian music. Film music has been its mainstay, but when exactly did it make itsappearance? The muted quality of older 78 rpm records make itdifficult to determine if a particular piece was played on theharmonium or accordion. Somewhere around the late 40s is my guess,with songs like "Chhod gaye baalam" (Barsaat).Before we get into specific songs in HFM, a few random instances wheredifferent combinations of reeds have been used: (1) single treble (2)both trebles (3) bass and both trebles together.(1) - Tere bina zindagi se koi shikwaa (RDB, Aaandhi) - Sheesha ho ya dil ho (LP, Aasha) - Meet na mila re man ka (SDB, Abhimaan)(2) - Sub kuchh seekha hamne (SJ, Anari) - Teri pyari pyari soorat ko (SJ, Sasural) - Har dil jo pyar karega (SJ, Sangam)(3) - Kya hua, ye mujhe kya hua (SJ, Jis Desh Mein Ganga Behti Hai) - Ek bewafaa se pyar kiya (SJ, Aawaara) - Andaz mera mastaana (SJ, Dil Apna Aur Preet Parai)Do you see what I see? Yessir, the duo who loved the accordion with apassion was Shankar-Jaikishan. It's easier to find a song or moviescored by them that did *not* feature it! So it only seems appropriateto have them head our Hall of Fame list, MD-wise. Other MDs appear inno particular order.Shankar-Jaikishan A rumour used to float around that it was Jaikishan who played theaccordion but in reality it was Goody Servai who was the man behindall those now legendary songs, like the title songs of Aawara andAnari (a fact divulged to me by S-J's long-time assistant Sebastian).In their very first movie Barsaat S-J made full use of the accordionin songs like "Chhod gaye baalam" and "Patli qamar hai" - not justplain elongated notes but rapid staccatos that weave around goingberserk between the vocals and other instruments. Sadly, this ispronounced only in the movie version of both songs, and mysteriouslysubdued or missing in the record versions. S-J also made full use of the 'slide' - sweeping the finger rightacross one or more octaves of the keyboard - a pro player's show-offmanoeuvre that works in sight and sound! For the upward or ascendingslide there is again "Sub kuchh seekha hamne" in the 1st interlude,and Parvarish's "Masti bhara hai sama" (okay, I know it's Dattaram butI'll club him with S-J for now). The reverse or descending slide isheard at the end of the antara in "Banke panchhi gaye pyaar kataraana" (Anari) and that grandaddy of accordion songs "Aaja sanam"(Chori Chori). In fact "Aaja sanam" is 'inspired' by an Italian tunecalled "Tarantella", itself an accordion favourite (Taxi Driver's"Chaahe koi khush ho" also had the same tune). More S-J gems, but still only scratching the surface: - "Ae mere dil kahin aur chal" (Daag): Listen only a little harder atthe end of Talat singing the first line of the stanza "Chal jahan ghamke maare na ho..." and the accordion takes off in a series ofcounter-melodies of its own, accompanying the vocals all the way.Stunning. - "Andhe jahan ke andhe raaste" (Patita): Who can forget thatmajestic solo accordion beginning and the subsequent riffs? - "Sheeshae dil itna na uchhalo", "Andaz mera mastaana" (Dil Apna AurPreet Parai), "Aawara ae mere dil" - fast version (Raat Aur Din) -many enjoyable little riffs between the sung lines. - Repeating, but giving its own spin on the stanza lines theaccordion makes its presence felt in "Kahe jhoom jhoom raat ye suhani"(Love Marriage) - "Tera mera pyar amar" (Asli Naqli): a convoluted series of notesfollow the strings in the interludes before taking over completely. - "Dil ki girah khol do" (Raat Aur Din): a combination of strings andaccordion used to ultra-rich effect, also seen in many other S-J songslike "Jab bhi yeh dil udaas hota hai" (Seema) - "Baat baat mein rootho na" (Seema): An exciting beginning thatallows the accordion to briefly expound on the notes of a 7th chordbefore the whole gang kicks in. Many pleasures are scattered throughthe antaras as well. - "O sanam tere ho gaye hum": (Aayee Milan Ki Bela) - Not so muchin-your-face as some of the songs above, but delightfully anddelectably subtle, flitting between santoor, piano and strings.S.D Burman The carefree happy-go-lucky and innocent accordion of S-J acquires asexy, throwaway swagger under the baton of SDB. It's all in the subtlevarying of the volume using the bellows, plus a trick of jamming achord and allowing the hand to slide down - fingers still in position. - "Ye meri zindagi, ek paagal hawa" (Ziddi) - the 1st and 3rdinterludes end with that showy effect. Don't miss those chords dodgingabout Lata's "Aaj idhar, kal udhar..." at the end of the stanzas.Cool! - "Choodi nahin mera, dil hai" (Gambler), and "O meri, o merisharmilee" (Sharmilee): Stylish riffs run through both songs whilebeing allowed full interludes as well; also the zingy pieces of "Meghachhaye" (Sharmilee). - "Roop tera mastana" (Aradhana): In my opinion, this cultfavourite's secret weapon is the accordion. The very opening is anarresting C-seventh chord that rapidly swells and breaks off. Thefirst interlude sports accordion chords followed by a solo sax line,until the accordion reppears to play peekaboo with it; the secondinterlude is all accordion crescendo and diminuendo. Was there ever abetter instrument to illustrate the song's theme of surging and barelysuppressed passions?Salil Choudhury Salil's trademark is his unpredictability and that goes for hisaccordion pieces too. It is prominent in "Zindagi khwab hai" (JaagteRaho), as an exciting opening in "Sapnon mein meri" (Poonam Ki Raat),and breezy in "Jungle mein mor naacha kisi ne na dekha" (Madhumati);Maya's "Tasveer teri dil mein" has that arpeggio line that dashes awayevery time the main line is sung, with longer drawn out ones for theinterludes; in "Khush ho rahe the pehle thukra ke zindai ko" (PremPatra) the cascading riffs are on their own trip interspersed betweenthe vocals. "Banki adaayen" (Amaanat) too is arresting.But my Salil entrant for the accordion Hall of Fame? "Teri yaad na dil se ja saki" (Chand Aur Suraj). I heard from Salilhimself how he drove an accordion player nuts trying to get him toplay the exceedingly complex passages in the interludes of this song.You "Most Complicated Song" list-minded fiends, note: the singingpart is as difficult. A true gem of a song.Finally a word about Salil's use of the accordion in "Guzar jaye din"(Annadata). Kishore found this song exceedingly difficult (it's like avocal exercise in scale practice), and Salil had to add a small piecein mid-antara to take KK to the (correct) next note.Madan Mohan One doesn't associate Madan Mohan often with the accordion, given hispenchant for the ghazal and semi-classical kind of song. But listen to"Thodi der ke liye mere ho jaao" (Akeli Mat Jaiyyo): A great mix ofrhythm guitars and castanets - and an invigorating accordion runningthroughout. Still earlier, during his non-Lata OP-ish period MMcomposed "Na dar sanam", the title song of Aakhri Dao, a jazzy swingnumber with some stylish accordion pieces.A few years later Madan Mohan put his 'chaap' on the instrument - hewas also the only one to use a double accordion. From listening to theintricate nature of the pieces I assume there were *two* players, oneplaying seconds, to achieve a rich and beautiful effect in thesesongs: - "Yun rootha na haseena" (Neend Hamari Khwab Tumhari) - "Chhod kar tere pyar ka aalam" (Woh Kaun Thi)And if it is indeed a single person playing those pieces, then hatsoff to you sir, whoever you might be.O.P. Nayyar O.P. did find time from his favourite and ever-present staccatoclarionet and march beat, to dabble with the accordion. Check theseout:"Babuji dheere chalna" (Aar Paar): Almost exclusively an accordionsong, over-familiar perhaps, but worthy of inclusion"Man more gaa jhoom ke" (Mangu), and "Hoon abhi main jawan" (AarPaar): Especially in the latter's antara the accordion has somethingto say after every sung line. To digress a bit - also a rare instanceof a lady (in this case, Shakila) shown playing it on screen - couldonly recall Reena Roy's "Zindagi imtihan hoti hai" (Naseeb)"Ye hai reshmi zulfon ka" (Mere Sanam): Mischievous arepeggios fillout the gaps in the antaras.But my top O.P. spot goes to "Woh baat jis pe ki dhadke jiya" (Hum SubChor Hain)'s superb and mesmerising opening lines.A quick nod to O.P.'s long-time assistant G.S. Kohli, who also used itto electrifying effect in "Mere do naina matware" (Namastejee).R.D. BurmanSurprisingly Burman Jr. doesn't seem to have been too enamoured of theaccordion. But before he did get full-fledged into electronic music,several songs show a sparkling use of it:"O mere sona re" (Teesri Manzil): A great intro and second interludeby the accordion. Unfortunately the intro is obscured by conversationin the LP and movie; the second interlude is missing from standardplay versions."Aana to sajni din ko aana" (Raaton Ka Raaja): The entire opening is alavish solo accordion that upstages the song itself. Also noteworthyis "Agar saaz chheda taraane banenge" (Jawani Diwani).The richest use of accordion by RDB is in the opening bars of "Mainchali, main chali" (Padosan) - but again, don't look for it in themovie! It's edited out.RaviJust like most of his compositions Ravi's accordion use too was of thesoft-touch type. The tunes are pleasant without being invigorating in"Ye mausam rangeen sama" (Modern Girl), "Ye parda hatado" (Ek Phool DoMali), "Baar baar dekho" (China Town) and "Sheeshe se pee" (Phool AurPatthar) - in the last, it is subdued to the point of being faded out,but not one bit less effective for it.Laxmikant-PyarelalWas Bobby's zesty accordion L-P's doing or Raj Kapoor's? It hogs mostof "Hum tum ek kamre mein band ho" but L-P had made good use of it asfar back as Parasmani's "Hasta hua noorani chehra" and ShrimanFuntoosh's "Ye dard bhara afsaana". It also made a pleasant appearancein Majboor - "Aadmi jo kehta hai". L-P's accordion otherwise was verymuch a showy-song fixture, as in Amar Akbar Anthony's title song andNaseeb's "John, Jani, Janardhan".Kalyanji-AnandjiLike most '50s and '60s music directors K-A too had their share ofaccordion-based songs, as in Ishaara's "Chal mere dil" and "Dilbeqraar sa hai" (Lata version). The Subir Sen-Kamal Barot duet "Dilleke jaate ho kahan" (O Tera Kya Kehna) can give "Masti bhara haisama" a run for its money any day, and remember "Naina hai jadoobhari" (Bedard Zamana Kya Jaane)? The chord that ends the openingnotes is inviting enough for a dead man to sit up and break into song.(This minor 6th was also effectively used in the intro to Jugnu's"Jaane kya pilaya tune" (SDB) and Night Club's "Kahan phir tum, kahanphir hum" (MM).)NaushadThe veteran maestro has made sparing use of accordion. Was it becauseof his fondness for ethnic music? Still, it is present in later movieslike Saathi and Ganwaar (perhaps under the influence of arranger/accordionist Kersi Lord). Some other Naushad tunes:"Mujhe duniya waalo" (Leader)"Pyaar ki raah bahaar ki manzil" (Saaz Aur Awaaz)"Koi pyar ki dekhen jadugari" (Kohinoor)Usha KhannaI don't know if it was L-P or Usha Khanna but between them the'stunt-movie' orchestration developed as a distinct entity in the'60s. Arabian rhythms and tunes, trumpets, strings, a variety of drumsand of course, the accordion, all contributed to it.Aao Pyar Karen's "Ye jhuki jhuki nigahen teri" comes to mind, as doscores of others: remember these?"Gaa deewane jhoom ke" (Flat No 9)"Teri nigahon ne sawaal kiya" (Main Hun Alladin)"Dil to nirala hi sharabi hai" (Awaara Baadal)all the way up until"Zindagi pyar ka geet hai" - Lata version (Souten) - dream pieces foran accordionist.Some of the older lot of MDs, and some lesser-known ones too deserve amention. I like C. Ramchandra's "Gore gore" (Samadhi) intro and firstinterlude, Ganesh's "Dil ka nazrana le" (Chalaak), and two ofChitragupt's finest, "Jaag dil-e-deewana" (Oonche Log) and "Yeparbaton ke daaere" (Vaasna). And who can forget N. Dutta's unique useof the instrument, whether unobtrusive as in "Ab woh qaram karen"(Marine Drive) or ecstatically sparkling as in "Main tumhi se poochtihun" (Black Cat)? Or Hemant Kumar's "Beqrar karke hamen" (Bees SaalBaad) and "Bheegi bheegi phiza' (Anupama)? Also Roshan's "Mujhe milgaya bahana tere preet ka" (Barsaat Ki Raat) and Khayyam's ethereal"Cheen-o-arab hamara" (Phir Subah Hogi) where the accordion hassomething to say after every line by Mukesh.What of the accordion in HFM today? Place it along with the dodo andthe slide rule. Except for occasional revival and nostalgia programmeson stage it has all but disappeared, especially in the studios. Itscatchy riffs in "Tu hi tu starangi re" (Dil Se) make you brieflywonder but knowing ARR's fondness for the synth, that's what itprobably is. 2ff7e9595c
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