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Tere Mere Sapne - Guide

2012-07-25T12:44:00.000+05:30

One of my fav song, from Guide "Tere Mere Sapne ab ek rang hai" -...

Rosie comes at such crossroad of life and Raju who is in love with her tries to convince her of his love..even Rosie has soft corner but there are lot of social constraints for her.

"tere mere sapne ab ek rang hai,ho jahaa bhi le jaaye raahe, hum sung hai" . our dreams are common, hence will always be together....

Then begins the first interlude with just solo violin and tabla depicting the grief and confusion of Rosie.

Raju in first antara continues to woo her more saying that our companionship was destined...

"mere tere dil kaa, tay thaa yek din milanaa
jaise bahaar aane par, tay hain fool kaa khilanaa"...

Now if you note the hook line "O mere jeevansaathi" comes here for the first time to reassure her of his true companionship and also that boldness has come for Raju even to call her "O mere jeevan saathi"

Comes the second interlude, Look how well, what is in her mind is conveyed beautifully. She just embraces Raju but then the next moment thinks it's not correct, the saxophone just starts from high scale expressing her sudden burst of love but comes down on low scale as she realises her folly....after that santoor playing beautifully depicting Raju's advancements....

In next lines Raju assures her that whatever grief or joy, will always be my concern from now onwards...

"tere dukh ab mere, mere sukh ab tere
tere ye do nainaa, chaand aaur suraj mere
o mere jeewan saathee.. .."

After this lines even Rosie feels it's better to be with Raju than her vagabond husband, this was the promise she seeked in Raju....

The Third interlude beautifully depicts bridging of the gap....beautiful short pieces of Saxophone and Santoor depicting both the character's advancement towards each other...

Now since she has accepted her love, Raju's final assurance comes in this way...Duniya kucch bhi kahe, but i will always be with you...

"laakh manaa le duniyaa, saath naa ye chhootegaa
aa ke mere haathon me, haath naa ye chhootegaa"

Devsaab, Rafisaab, S D Burman, Shailendra...all great legends....Hat's off to you.

Jaane Kya Sochkar - Kinara

2012-07-24T19:55:00.000+05:30

"Zindagi Kabhi Palo Mein Guzar Jaati Hai,
Kabhi Zindagi Bhar Ek Pal Nahi Guzarta"

"Jaane Kya soch kar nahi Guzra" happens to be one of the best songs of R.D.Burman-Kishore Kumar.IMO, only and only Kishore Kumar could do justice to this song, such mature singing coming to the fore.Gulzar's lyrics so apt, with so much depth.

The prelude starts off with a santoor and mukhda too interspersed with santoor between the lines.

jaane kya soch kar nahi guzraa..
ek pal raat bhar..nahi guzraa..

The 1st interlude is beautifully woven with violins, santoor and a tar-shehnai

Apni tanhaayi ka auron se na shikwa karna, followed by brief saarangi piece as if extending the previous line.
Apni tanhaayi ka auron se na shikwa karna..(the way kishore uses sings "auron se" is an ufff moment)
Tum akele hi nahi ho sabhi akele hain..(tabla beat changes)
Yeh akelaa safar nahi guzraaa...(and then lovely connect from "guzraa" to "jaane kya" )

jaane kya soch kar nahi guzra..
ek pal raat bhar nahi guzra..

the 2nd interlude is well executed..the guitars change the mood as if it is some energy-filled song..overlapped by santoor and ending with xylophone..followed by saxophone which gets back to the mood, countered with Santoor again leading to antara.

Do Ghadi jeene ki mohlat tho mili hain sabko..(again that saarangi)
Do Ghadi jeene ki mohlat tho mili hain sabko..
tum bhi miljaao..ghadi-bhar to yeh kam hota hain..(table beat changes..)
yeh ghadi kaa safar..nahi guzraaaaaaaa...

jaane kya..(tabla..) soch kar ..nahi guzra...
ek pal raat bhar nahi guzra...

Each and every instrument given so much importance, whether it is Santoor, Saarangi, Saxophone or Tar Shehnai, especially love the way Tabla changing its beat for brief duration, for a single line.

Aaina Wohi Rehta Hai - Shalimar

2012-07-24T18:37:00.000+05:30

A song which is said to be not fitting in the movie, but leaving that debate aside, the song is a gem in its own, oscillating between happy and sad moments.

The songs starts on a sad note shifting to happier interludes reminiscent of past times. The first two lines of first 2 anataras also is more about celebrating love with the punch(or why love happened) coming only in last line

Mukhda ( the rhythm based on dholak)

aaeenaa wo hee rahataa hai, chehare badal jaate hai
aankhon mein rukate naheen jo, aansoo nikal jaate hai

With first interlude enters Maadal, Violins, Keyboards depicting the romantic times

First Anatara (shifts back to dholak)

"pahalee mulaakaat kee, tobaa wo pahalee najar
kyaa ho gayaa, kab huaa, hotee naheen kuchh khabar
(kitanaa bhee dil ko sanbhaaloo, aramaa machal jaate hai)"

Second interlude again depicting happier times with some lovely Santoor, Sitar, Violins

Second Antara (shifts back to dholak)

"gulashan mein foolon ke saath khilate hain dil mein gulaab
hotaa hain jab pyaar to, lagataa hain paanee sharaab
(do ghoont peete hee lekeen ye honthh jal jaate hai)"

Now comes the major difference with third interlude and third antara.

Zeenat catches Dharam red handed and Lata just stops at "Chehre Badal Jaa"...the racy violins as she runs towards her car, chorals adding to the pain, keyboards and flute dual playing on the shock factor, ending with slower maadal beat along with saarangi.

Last Antara ( note the difference in dholak play, along with violins following the lines)

Then starts one of the longest anatara, starting on lower scale , reaching on crescendo with "jhoothe vaade tere" and again coming to lower scale on same words seamlessly merging with the main mukhda...

"bekhabar, bekadar, pyaar sach hain agar
dekhanaa yek din royegaa mere been
raah mein chhodakar, meraa dil todakar
muz ko tadapaayaa kyo, too bhee tadapegaa yoo
yaad rakh bewafaa, ye meree baddoowaan
toone jisake liye, muz ko dhokhe diye
wo teree dilarubaa, legee badalaa meraa
mai ye gam humanashee, bhool sakatee nahee
wo iraade tere, zoothhe waade tere
jab yaad aate hai, dil par bas teer chal jaate hai"

Saawan Ke Jhoole Part 2 - Jurmana

2012-07-24T18:25:00.000+05:30

From here the story moves forward.

One day Inder asks Rama to accompany him. Rama promises him and lies to her father about seeing off Laila (Farida Jalal). Upon learning the truth, Daya Shankar unexpectedly drops in with Prakash at Inder's house, finds Rama in his bedroom and scorns her for lying. Rama leaves the house forever and while heading towards Delhi, is robbed for which she has to get down the train. Distressed Rama gets the help of Station Master Nandalal (Asrani), who shelters her in his house. Coincidentally, the same train meets with an accident. Assuming an unrecognizable damaged body to be Rama, the police sends a letter to Daya Shankar about her death, shocking everyone. Inder, feeling guilty for the incident, believes that Rama is alive and searches for her. Meanwhile, Rama learns singing to forget her sorrows & becomes a renowned singer. One day Inder hears her singing on radio.

Same tune but totally different treatment making it soulful number.

A wailing alaap by Lata in the beginnning folowed by tabla and violins only.

""saawan ke jhule pade, tum chale aao"....the difference is in the way Lata has sung it this time, it's more of pain.

The interludes changes to sitar, santoor and tabla.Santoor comes only once when AB sparks up knowing about her existence, but searching ways of finding her.

The past still haunts hence the first antara is kept the same. Since she still is in love with him, past is not leaving her yet.

"aanchal na chhode mera, paagal huyi hai pavan - (2)
abb kya karu main jatan, dhadake jiya jaise panchhi ude
saawan ke jhule pade, tum chale aao, tum chale aao"

The second interlude has the beautiful sad solo violin, tabla and violins rounding it off.

She is ruing, repenting why such things happenned in her life in next antara.

"jab hum mile they piya, tum kitne nadaan they, - (2),
hum kitne anjaan they, baali umariya mein naina lade.."

Notice how guitar, accordion and maadal in romantic version is replaced by Sitar, Solo Violins, Santoor, violins and tabla making it a haunting soulful song.

Saawan Ke Jhoole Part 1 - Jurmana

2012-07-24T18:07:00.000+05:30

Saawan Ke Jhoole ( Romantic ) or Part 1...

The rude and rich brat Amitabh (Inder) having an attitude that money can buy anything meets his childhood friend Vinod (Prakash) on a business tour. A casual talk leads to a bet between him and Prakash that Inder would prove money is above love and that he would get Rama (Rakhee), who apparently isn't someone who could be lured with money, to fall in love with him. Hence begin AB's tricks and gestures to lure Rama. When nothing works, he takes her out saying they are going to the Sitar maestro Pt. Ravi Shankar's concert. Rama being a classical singer, agrees. On the way, AB decides to tell her the truth to which she objects. AB tells her they can go back but before that, in a last attempt he says he is going forever to foreign and hence he wants to spend some quality time with her, but will return back home, if she insists. This finally works and Rama says they can go back after some time and the situation breaks into this beautiful song.

A very mature subtle love story hence nothing in this song being said directly, no use of common words used in love like mohabbat, ishq, pyar, jaan etc. in the mukhda

A very short and sweet alaap by Lata, followed by lovely guitar strums and rhythm, maadal doing its lovely takum effect.

"saawan ke jhule pade, tum chale aao"

The lingering on "tum chale aao" is really goosebumps.

The first interlude just a brief short piece on accordion and Lata takes off from there.
How beautifully Anand Bakshi describes a woman's dilemma who is just falling in love,

"aanchal na chhode mera, paagal huyi hai pavan - (2)
abb kya karu main jatan, dhadake jiya jaise panchhi ude
saawan ke jhule pade, tum chale aao, tum chale aao"

Second interlude starts on Sitar and suddenly turns suspense kind as Vinod Mehra enters the scene, and finishes off again on accordian as focus switches to Rakhee. The movement of Rakhee as AB walks in the lines "aati hai jo dekh ke, ham uss dagar pe hai kabase khade " is so subtly shot.

"dil ne pukaara tumhe, yaado ke pardes se - (2)
aati hai jo dekh ke, ham uss dagar pe hai kabse khade
saawan ke jhule pade, tum chale aao, tum chale aao"