The Great Bollywood Party

Rating: 1 out of 5.

Series DetailsMusically one naturally gets excited to hear that a Sanjay Leela Bhansali album has dropped, mostly because we get immediate timeless classics, be it Khamoshi or right up until his last album release of Sukoon, he has carved out gems of tracks from his music directors and when he adorned the role Heeramandi has been anticipated for a while back already, teasers were dropped last year and without a definite date, the anxiety was sky high for this TV debut. But how will Heeramandi’s music feature from the ‘already-heard‘ sounds that Sanjay Leela Bhansali has presented us with?

Let me start with the common notions making the rounds; firstly; many have said that Sanjay Leela has obviously already provided such great music and in context it would be difficult to live up to those soundtracks. Secondly, many have accused him of having Ismail Darbar ghost-compose his recent soundtracks, since they suffer a quaint nostalgic sound from Hum Dil De Chuke Sanam and Devdas. Lastly, it is because his subject matter is seeped in ‘Old-world-settings‘, his music never transcends to the current generation.

Well, i am here to tell you that there is much more to it then just say on the surface of it. Sanjay Leelal Bhansali has proved himself time and again a master at music. When he started off with Guzaarish, we got into his sense of music and felt his pulse for classical music in a contemporary setting. He further cemented this sentiment with the releases of Golyon Ki Raas Leela, Ram Leela, Bajairao Mastani, Padmaavat, Gangubai Kathiwadi and Sukoon. All these soundtracks have certain commonalities that described Sanjay Leela Bhansali. For one his infatuation with Raga Yaman; each album features at-least one track based in Raga Yaman – Can you identify each of them from his music? And his crazy obsession with Ill-fated love, he makes his protagonists to get to the cusp of their goal and then it all ends there right in front of them before they reach their goal. Devdas is a great example of this. Heeramandi is no different in what i have described above.

It is without saying, that the usual features do make a comeback, but the setting and flavour is what has changed. This time round, Heeramandi is featured in pre-independent India, based in the lore of the actual place called Heera Mandi or The Diamond Bazaar, known for its vile’s and wiles but also know for its exclusive art, music, poetry and esteemed manners and ways. This is what Sanjay Leela Bhansali has focused on for his musical interpretation and presentation. Kalank (2019) did feature a bit of this tehzeeb, and the soundtrack by Pritam remains timeless. Sanjay Leela Bhansali does take it a step forward here, in terms adornment to the tracks and keeping the Mujhra flavour pure – we will dive into this when we explain the tracks – but also pays homage to wonderful classics like Pakeezah and Umrao Jaan.

Aas Mohammed Turaz – A. M. Turaz – is Sanjay’s trusted lyricist that aids him in bringing the world of Heeramandi to life, with a sharp sword – his pen. He carves out lyrics that melt the heart and create a frenzy of thoughts. Turaz started his career by writing for television in 2005, after writing scripts for soaps as assistant writer, his first assignment in Mumbai was writing lyrics for film Kudiyon Ka Hai Zamana in 2006. This was followed by Jail, Guzarish, Chakravyuh and Jackpot. His songs like “Udi..” and “Kabhi Jo Badal Barse” got lot of attention. His association with Bhansali proved successful from Guzaarish with him garnering acclaim for his marvelous lyrics.

Heeramandi: An Auditory Odyssey Through the Lanes of Lament and Liberation

In the labyrinth of Lahore’s historical Heeramandi, where the echoes of the past intertwine with the whispers of the present, the series Heeramandi emerges as a narrative tapestry, rich with the hues of pre-independence India. It is within this tapestry that the music, composed by the maestro Sanjay Leela Bhansali, finds its abode, not merely as a backdrop but as a protagonist that narrates the saga of the courtesans with a symphonic eloquence. The soundtrack is an intricate confluence of the classical ragas that have flowed through the veins of the subcontinent for centuries, and the contemporary cadences that speak to the modern soul.

| No. | Song | Artists | Duration | | 1 | Tilasmi Bahein | Sharmistha Chatterjee | 2:19 | | 2 | Sakal Ban | Raja Hasan | 2:30 | | 3 | Azadi | Barnali Chattopadhyay, Archana Gore, Pragati Joshi, Aditi Prabhudesai, Arohi, Aditi Paul, Tarannum Malik Jain, Dipti Rege, Madhura Pranjape | 3:53 | | 4 | Chaudvin Shab | Shreya Ghoshal | 4:03 | | 5 | Masoom Dil Hai Mera | Shikha Joshi | 3:56 | | 6 | Phool Gendwa Na Maaro | Barnali Chattopadhyay | 3:13 | | 7 | Saiyaan Hatto Jaao | Barnali Chattopadhyay | 5:13 | | 8 | Ek Baar Dekh Lijiye | Kalpana Gandharva | 4:11 | | 9 | Nazariya Ki Maari | Madhubanti Bagchi | 3:17 | | Total Duration | 32:38:00 |

TracklistTilasmi Bahein serves more of a contemporary sound; the composition blends classical nuances with modern instrumentation infused with a middle eastern flavour and probably based on a maqam. The reason for saying this, is probably the heavy weight tracks that follow suit are more inclined to the Hindustani school of Classical Music. Tilasmi Bahein takes a while before it settles in the mind, its a fun track that provides entertainment in context with its picturisation.

Vocals by Sharmistha Chatterjee are great and she renders the track with verve to create the setting perfectly. Her rendition catapults the tune even further, creating a fusion sound in an otherwise classical soundtrack; the most catchy parts are the flows between the lines with ‘Ooooh’s‘ and ‘Aaaah’s‘ by Sharmishtha.

Sharmistha Chatterjee is a highly versatile singer. Having trained as a Hindustani Classical Vocalist, she works actively as a playback singer for the Indian Films, TV and Advertising Industry. Her range of singing and mastery over different musical styles has led to her participation on recordings and performances with some of the most sought-after artistes in the world of jazz and fusion. She is the lead vocalist of the famous South Asian Progressive Rock Band, “Mekaal Hasan Band “ originally from Lahore and the very first and only Indian woman to be the lead vocalist of a premier Pakistani Band. She is also the first Indian singer to be featured in Coke Studio Pakistan Season 8 with Mekaal Hasan Band performing two popular songs “Sayon” and “Kinaray” which won hearts across borders and throughout the world. Mekaal Hasan Band’s third album, “Andholan” features Sharmistha’s vocals on all the eight songs of the album. The song “Ghunghat”, a Baba Bulle Shah kalaam, topped charts in Pakistan and won the top song of 2015 according to Express Tribune polls.

The track is quite short and contains one Mukhda repeated and one antara. Trust Sanjay Leela Bhansali to create a whole scene out of this short track. A. M. Turaz pens quite rich lyrics into this track and makes is seductively sexy. Sonakshi onscreen does a formidable job and brings this track to life on-screen. SLB concocts the Middle Eastern flavour with a variety of stringed instruments like Oud, Guitar, mandolin etc. Darbukas, Daff other percussion instruments create a beautiful ambiance, while the Ney (Arab flute) adds to the exuberance. SLB, A M Turaz & Sharmistha Chatterjee create a rousing track that will get you shaking.

Tilasmi Bahein Thamein,As I embrace your enchanting arms,Katoon Main Dil Ki Shamein,I weave the nights of my heart,Oh Tilasmi Bahein Thame,As I embrace your enchanting arms,Katoon Main Dil Ki Shamein,I weave the nights of my heart.Bhar De Aa Chand Ki Chandi,Infuse me with the brilliance of the moon,Sone Jaise Tan Me Lake,Let it flow through me like liquid gold.Khayiya Khayiya Khayiya Han Kasmein,I swear, I swear, I swear.Khayiya Khayiya Khayiya Han Kasmein, Khayiya Khayiya Khayiya,I promise, I promise, I promise….

Chhalka Jaye Jism Se Makhmali Nasha, Karde Khali Pee Pee Ke Pyala Ye Bhara,Let the velvet indulgence course through my veins, consume this brimming cup with your sips.Chhalka Jaye Jism Se Makhmali Nasha, Karde Khali Pee Pee Ke Pyala Ye Bhara,Let the velvet indulgence course through my veins, consume this brimming cup with your sips.Katra Katra Mera Bekabu Ho Raha,My heart beats wildly,Teri Ijazat Bina Dil Mera, Tere Dil Main Jhake,It peers into yours without permission,Khayiya Khayiya Khayiya Han Kasmein, Khayiya Khayiya Khayiya,I promise, I promise, I promise….

Sakal Ban was the first track to drop from Heermandi, and what a bang it created when it finally made its appearance. There are many great explanations out there for Sakal Ban, and i will share the most important one that i have seen. But i will add some more context; the dhun (tune) is over 750 years old and is seeped in Sufi mysticism. In recent times, i can recall listening to the Qawaali by the Sabri brothers with the same Bandish (Lyric meter) penned by Amir Khusro. In fact when the track dropped i listened to the LP again. It is no doubt a wonderful dhun and bandish. It reappeared in 2015 under the guise of Coke Studio season 8 sung by Rizwan & Muazzam Ali Khan.

Why would this particular track appear in Heeramandi? Hindustani classical music has strict time based renditions of certain Ragas; and it also has such a thing as seasonal ragas. Sakal Ban was composed in Basant Panchhami (Spring time), and rightly so they have used Raga Bahar to depict the seasonality. When i had initially heard it, my thoughts immediately went to Raga Malhar, and it turns out that Raga Bahar & Raga Malhar have the exact same notation, it is the way they are used in Chalan, and Gambhir where they differ, and no doubt Sakal Ban is seeped in Raga Bahar. Interestingly Amir Khusro who composed teh Bandish is also known to be the creator of Raga Bahar. Whilst we still sing ode to his music, let us understand who he really was.

Abu’l Hasan Yaminuddin Khusro, commonly known as Amir Khusro (also Khusrau, Khusrow) Dehlavi. He was the Indian subcontinent’s poet laureate. He is renowned for being one of the most prolific and diverse poets of the 13th and 14th centuries. He created Hindustani (Urdu) lyrical poetry and qawwali, infusing Persian and Arabic influences into Hindustani classical music. He invented the sitar and musical genres like Khayal and Tarana.

Sufi saint Amir Khusrow was Nizamuddin Auliya’s spiritual student. His lifespan was 72 years, of which 60 lived in the courts of as many as ten distinct Delhi Sultans.
He was a talented musician and poet. Persian was his preferred language for poetry composition. He also wrote about 500,000 verses in other languages, including Turkish, Arabic, Braj Bhasha, Hindavi, and Khadi Boli.
His Khaliq-e-bari, the world’s first printed dictionary, features Persian and Hindi words. He is designated as the “father of qawwali.”
He is also recognised for adding Persian and Arabic aspects to Indian classical music. He is also known as the creator of the khayal and Tarana musical genres.
Later, under Mohammad Shah Rangile, Khayal attained its pinnacle.
It is now a crucial component of Hindustani classical music.
His connections to several sultans allowed him to visit and reside in different parts of India, exposing him to various regional customs.
This made it easier for him to incorporate many musical influences. He received favours from three Khilji Kings

Sanjay Leela Bhansali has not listed himself as the composer but rather to ‘Traditoional‘ as is the case with such compositions. we have seen this multiple times in films including Pakeezah’s Inhi Logon Ne and Mera Saaya’s Jhumka Gira Re. But it would wrong of me to say that Sanjay Leela Bhansali’s contribution isn’t present, he has put this track together with great force. Even the singer that he chose, Raja Hasan has a distinctive rustic voice that is replete with classical adornment, hear his Alaap rendition after the antara, the meend and gamak are splendid, sharp and fastidious. The middle tarana portions by the all female chorus are ably kempt and full of rhythm. Raja Hassan treats the Bandish with care and placidly sings the Aaroha and Avaroha with the brilliance of the spring fervor. Raja Hasan’s rendition of Amir Khusro’s poetry is a revelation. The fusion of folk rhythms and Raga Bahar resonates with authenticity. Bhansali’s orchestration adds layers of grandeur. SLB handles the ektaal with grace. An ensemble of Tabla and Dholak comprising Sanjeev Sen, Musharraf Khan, Surendra Vedant Lele, Kathak Padhant, Vijayshree Chaudhary and Agrima Grover create a dream for SLB, listen to how they carefully follow the antara and mukhda precisely beating the percussion with measured effect. This track has no doubt caught on and many have already made dancing videos on social media.

Raja Hasan comes from the desert city of Bikaner, Rajasthan. He considers his father, Rafik Sagar (singer and music composer) and his grandfather Allah Rakha Khan as his gurus in singing. Raja Hasan was a runner-up in the reality TV show Sa Re Ga Ma Pa Challenge 2007 and winner of Ek Se Badhkar Ek on Zee TV, Music Ka Maha Muqqabla on StarPlus, Ustaadon Ka Ustaad on Sony and, IPL Rockstar on the Colors channel. He also done guest appearances in many tv shows (fiction and non-fiction and reality shows). He and Arijit Singh Debuted Together in Aaja Nachle Song in High School Musical 2. His First Single Song was given by his Sa Re Ga Ma Pa Challenge 2007 Mentor Vishal–Shekhar in De Taali Song was Maari Teetri.

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Aye Sakal Ban A AOh, In every field…Sakal Ban Phul Rahi SarsonIn every field, the yellow mustard is in full bloom.Sakal Ban Phul Rahi SarsonYellow mustard blooms in every field.Sakal Ban In every field!Ambwa Phute Tesu Phule*Mango buds are popping open, as are other types of flowers.Ambwa Phute Tesu Phule*Mango buds and other sorts of blooms are opening up

Gori Karat SingarA young woman is applying her makeup.Malaniya Garhwa Le Ayi Ghar Sonh Sakal BanGardener-girls have arrived with bouquets in hand.Sakal Ban Phul Rahi SarsonYellow mustard blooms in every field.Sakal Ban In every field!
Tarah Tarah Ke Phool MangayeSeveral varieties of flowers were ordered.Le Garhwa Hathan Mein AyeThey arrived holding bouquets in their hands

Nizamuddin Ke Darwaje Par, Mere Nizamuddin Ke Darwaje ParOn Nizamuddin’s threshold,Wo Mohe Awan Keh Gaye Ashiq Rang Aur Beet Gaye BarsonThey promised to meet me, but years have passedSakal Ban Phool Rahi SarsonYellow mustard blooms in every field.Sakal BanIn every field!

Azadi was the third track to drop and initially its sound and feel didn’t impact me much, but after watching it on-screen, it grabbed me by the throat and not because of the freedom cry, but the actual layering and meaning of the track. A M Turaz pens a lyrics that can mean attaining Freedom in Life and Death and that is what is so poignant about it. Its the tune that takes its time to grow, but most definitely does and is mounted grandly onscreen. The initial portion is played out in the funeral and that’s when i understood the full potential of the lyrics.

SLB presents the track as a full on chorus track, and this is not the first time he has done that, he presented us with Albela Sajan from Bajirao Mastani in the same format previously, but there is definite power in the echoing of voices. In Unison, the voices are impactful and like thunder, shakes the very core; that is why SLB has used percussion like Pakhwaj to create a widened impact. SLB composed this track in Raag Kedar, and for its measure, the chorus of Barnali Chattopadhyay, Archana Gore, Pragati Joshi, Aditi Prabhudesai, Arohi, Aditi Paul, Tarannum Malik Jain, Dipti Rege and Madhura Pranjape provide a studious example of how classical music in unison creates a layered thought. The chorus echoes resilience. They glide through the swaras of the Raga Kedar with ease, especially the meend in the higher octaves. Ektaal is employed to ensure the dearth of the situation.

Barnali Chattopadhyay is an Indian classical musician of the Benares Gharana. Merging the renditions of life with music, uniting the soundtrack of every life.

Archana Gore has performed in the capacity of Lead Singer at various occasions in and outside the country in various theme-based shows. She has performed in Various Dance Dramas with well known Dance Guru Ashatai Joglekar and Rajashri Shirke. She has also performed with Sureshji Wadkar, Sudeshji Bhosle, Shridharji Phadke.

Aditi Prabhudesai has been working in the music industry since 2004, she has been working as a faculty member at the Suresh Wadkar Ajivasan Music Academy teaching music since 2007.

Aditi Paul is an Indian playback singer. She is the playback voice behind the song Ang Laga De Re From the Hindi movie Goliyon Ki Raasleela Ram-Leela, In the debut season of Indian Idol in 2004, Aditi Paul was among the top 10 leading participants.

Tarannum Malik Jain is a well-known playback singer with a golden voice and virtuoso life performer hit songs. Being a trained Hindustani classical singer, she has immense love for folk music and folk stylings of her country. She has bagged many hit songs in Bollywood like ‘Saiyaara‘ from ‘Ek Tha Tiger, ‘Jhoome Re Gori‘ from ‘Gangubai Kathiawadi’, ‘Raees‘ title song, and many more.

Deepti Rege is an accomplished her masters in Hindustani classical vocalist as well as a Qualitative Market Research consultant, successfully managing dual careers.

Madhura Pranjape works as a vocal trainer at Suresh Wadkar’s AJIVASAN Music Academy

Humein Dekhni Hai Azadi Har Hal Mein Humein Dekhni HaiWe need to see freedom, regardless of the price.Humein Dekhni Hai AzadiWe have to witness freedomMit Jayega Nam Is Zulmat Ka Lehrayega Parcham Mohabbat KaThe label of this oppression will be eliminated, and the banner of love will sway.Shehron Shehron Ka Hoga Hokar Humein Ishq Abadi Dekhni HaiWe will obtain city after city and have to see the city of loveHumein Subeh Aazadi Dekhni Hai Humein Dekhni Hai AazadiWe have to see the dawn of liberation, we have to see freedomHar Hal Mein Humein Dekhni Hai Humein Dekhni Hai AazadiWe must see freedom, no matter the costs.Sab Taj Pade Be-sudh Honge Hum Apne Hakim Khud HongeAll the crowns will be unconscious, and we will govern ourselvesBharat Ma Ki Azmat Ko Humein Bante Shehzadi Dekhni HaiThe glory of Mother India, we must see her become a princessHumein Dekhni Hai Azadi Har Hal Mein Humein Dekhni HaiWe need to see freedom, regardless of the price.Humein Dekhni Hai AzadiWe have to witness freedom

If you have seen any Sanjay Leela Bhansali film, you will know that the final track is always the most hard hitting. In many ways, we are treated to a complete Visual and Aural experience as we experience Chaudhavi Shab for the first time. It entices us from the get go, there is no wasting time, the tune, it’s orchestration and lyrics are a masterclass at composing. This is the best track on the complete soundtrack and SLB saves it for the reigning queen of playback singing – The Shreya Ghoshal. And my word, Shreya soars in this wonderfully composed Raga Yaman Kalyan track. Yes, Sanjay retains his discovery and favourite Raag for his neice’s (Sharmin Segal) debut.

But before we go any further, can we address the Ode to Pakeezah in this enigma? Listen carefully to the Taal, it is the first clue – SLB uses kaherwa taal to convey this similarity. The beats are an exact measure in both tracks. Close your eyes and concentrate on tabla (is that even possible with Shreya’s rich rendition?), you will hear Ghulam Mohammed’s tabla taal. The second clue lies in the lyrics – a Moonlit night is repeated just the way Sahibjaan describes the evening of her Mujhra’s in Chalte Chalte and Thade Rahiyo. It is exactly this that creates a subtext of beauty beyond understanding and the mystical nature behind our influences. I am glad that SLB does this as it presents Aalamzeb with Sahibjaan’s context.

What more can i say of Shreya Ghoshal that i haven’t mentioned in previous reviews? She is a total blessing to us all. From her beginning in Devdas right up to this track in Heeramandi, she has never swayed us the wrong way. She only has one track in Heeramandi and we know the context why, She was the voice for Aalamzeb and SLB wanted to retain that identity just for her, but wow, it is of supreme timbre. Shreya Ghoshal is truly the Lata Mangeshkar of this generation, and this track proves it.

SLB composed this Mujhra in Raga Yaman Kalyan in the ghazal genre, The lyric meter and subtext are straight giveaways. The Ghazal is a form of amatory poem which has its origination around Persia and Arabia. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. the Raga is delivered through smooth flowing lyrical verses, also with slight vocal intonation and dulcet modulation. I had described this in the Gaman music review that i had done and moreso it applies to Chaudhavi Shab.

Chaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not DimAaa.. Chaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiAaaa…On A Moonlit Night The Resilience Of The Moon Does Not DimHaaye Paani MeinOh, In The WaterHaaye Paani Mein, Kaun Jalta Hai?Who Burns In Water?Chaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not DimChaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not Dim

Dard Aisa Ki, Hasi Aati HaiMy Pain Is Such, That A Smile ArisesSaans Seene Mein, Fasi Jaati HaiMy Breath Gets Entangled In My ChestJismein Kaante Biche Ho Manzil TakA Pathway Spread With Thorns Until The DestinationJismein Kaante Biche Ho Manzil TakA Pathway Spread With Thorns Until The DestinationAise Raste Pe Kaun Chalta HaiWho Treads On A Path Like This?Haaye Paani MeinOh, In The WaterHaaye Paani MeinOh, In The WaterHaaye Paani Mein, Kaun Jalta HaiWho Burns In Water?Chaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not DimChaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not Dim

Jeeta Hua Ishq Haar Baithe HaiI’ve Lost This Game Of Love I Thought I’d WonIsi Tarah Dil Ko Maar Baithen HainAnd Broke My HeartJaise Humne Male Hai Haath ApneThe Way I’ve Wrung My Hands In DespairJaise Humne Male Hai Haath ApneThe Way I’ve Wrung My Hands In DespairJaise Humne Male Hai Haath ApneThe Way I’ve Wrung My Hands In DespairAise Haathon Ko Kaun Malta Hai?Have You Seen Anyone Doing The Same?Haaye Paani MeinOh, In The WaterHaan…Yes..Haaye Paani Mein Kaun Jalta Hai?Who Burns In Water?Chaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not DimChaudhavi Shab Ko Kahaan, Chand Koi Dhalta HaiOn A Moonlit Night The Resilience Of The Moon Does Not Dim

I would tout this track as the most complex from Heeramandi, both on and off screen. There is a caveat with regards to ill-fated love songs, and its goes something like this – Invoke pain and love in the strongest form but also make it syrupy sweet so that it will be difficult to pass up. Masoom Dil Hai Mera invokes this unhinged revenge against us listeners in the form of Raga Basant and Raga Yaman. SLB creates this geet with musical adornments of taal, tarana and bol that betray our senses, puts our heart on a pedestal and hangs it from there. Raga Yaman in its’s second outing, makes a forlorn gesture at clinging onto love – and it’s antara and mukhda structure finds great similarity in Thodi Badmaash Ho Tum from Saawariya .

Lajjo was a treat to watch and in a short but absolutely magnetic role, Richa Chaddha creates a hole in our hearts, ultimately with Masoom Dil Hai Mera. A Geet (song or lyrical poetry) in Hindi and in Urdu may refer to any poem set to music that can be sung alone or as a duet or in chorus. It has remained popular in all parts of the Indian sub-continent particularly in the Hindi and Urdu speaking areas. In Urdu poetry its roots are found in Dakhani Shairi whose most important feature is its Indian ethos with the strain being feminine, and the tone, delicate and elegant; Urdu Geets mainly speak about feminine anguish. Here Lajjo is expressing unrequited love.

Heaving adornment of Tarana and Bol begin the track in Raga Basant, Ghungroo and swarmandal introduce the beautiful voice of Shikha Joshi, in my first instance of listening to this track when i heard Shikha stretch the word Rishta Gham-O-Se Mera, my heart melted. and then she proceeds to sing Haaye Ram…. My eyes were besotted with tears. SLB uses Raga Basant in the intro, interludes and outro for the track, orchestrating these pieces with finesse, Sarangi, Sitar and harmonium are fused into them and creaties a feeling of anticipation, just the same way Lajjo portrays it onscreen. It makes me so happy too see that the artists singing the Tarana and Bol have been named and they are: Somee Sailesh, Nilanjana Chandra Tara, Alka Mandakini Jagdish, Shailaja Mishra, Neha Jagsish Goraiya, Vinod Pandit, Aditya Nayak, Ashmit Patel, Mangal Dubey, Mahesh Parihar and Ashish Kathak

The antaras and mukhdas are composed in Raga Yaman, and hear shikha handle the slide in the meend movements, she cries out to the audience, see where my innocent heart has got me. Lyrics by A M Turaz are deeply heartfelt and render an almost depressive state of mind, but yet again, in a way that is so glazed in honey, you cannot pass it up. Shikha delivers the swaras with gusto, in fact hear the way she sings the lyrics in different intonations, especially towards the end with lamenting grace, the alaaps mid-way serve to extend the emotion, and she conveys the innocence and charm that a song like this requires. From the mind of SLB – We have yet another track that will be remembered for it’s dexterity and classy composition. It is in this confluence that the song “Masoom Dil Hai Mera,” rendered with poignant perfection by Richa Chadha in the role of Lajjo, resonates as a clarion call of a heart untouched by the world’s weariness. The acclaim it has garnered is a testament to its ability to touch the deepest chords of the human spirit.

Shikha Joshi creates a tapestry of mesmerizing melodies and soul-stirring rhythms by drawing influence from the many folk traditions of India. Her proficiency with ancient Indian instruments, such the sitar and tabla, gives her compositions a unique flair and an authentic feel. Joshi’s passionate voice perfectly capture the essence of Indian folk music, further elevating her already impressive musical prowess.

Masoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartRishta Gham-O-Se Mera.. Haaye RamMy Grief….Oh, Lord
Rishta Gham-O-Se Mera Ab Jod Diya JaayeGo Ahead And Betroth Me To My GriefJod Diya JaayeBetroth Me To My GriefMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent Heart

Masoom Dil Hai MeraMy Innocent HeartMasoom Dil Hai HaayeOh My Innocent HeartHai Aap Bade NaamwaleYou Are Held High In ReputeBade NaamwaleHeld High In ReputeBade NaamwaleHeld High In ReputeBadnaam Hoo Bahut MeinWhile I Am Draped In DisreputeAaaaaaaaaaAaaaaaaaaaBadnaam Hoo Bahut MeinWhile I Am Draped In DisreputeMujhe Chhod Diya JaayeGo Ahead And Reject MeChhod Diya JaayeReject MeMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartRishta Gham-O-Se Mera.. Haaye RamMy Grief….Oh, LordRishta Gham-O-Se Mera Ab Jod Diya JaayeGo Ahead And Betroth Me To My GriefJod Diya JaayeBetroth Me To My GriefMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent HeartMasoom Dil Hai Mera Isse Tod Diya JaayeGo Ahead And Shatter My Innocent Heart

Thumri is a vocal genre or style of Indian music. The term “thumri” is derived from the Hindi verb thumuknaa, which means “to walk with a dancing gait in such a way that the ankle-bells tinkle.” The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations. Thumri is characterized by its sensuality, and by a greater flexibility with the raga. The first mention of Thumri goes back to the 19th century, with a link to the classical dance form Kathak. This was the bandish ki thumri or bol-baant and it evolved mostly in Lucknow in the court of nawab Wajid Ali Shah. At that time, it was a song sung by tawaifs or courtesans. According to historical records, a new version of thumri arose in the late 19th century, which was independent of dance, and much more slow-paced. This form was called bol-banav and it evolved in Varanasi.

SLB has brought two genre’s of classical music in Ghazal and Geet, as well as featured three spectacular ragas. He now takes strides as he uses Thumri and raga to bring Phool Gendwa Na Maro to life. The ‘Phool Gendwa Na Maro‘ song continues the poetic tradition of ‘gendaa-baazi’, a game that was played with calendula / marigold flowers (mostly by young women). It is mentioned in Urdu poetry, like these verses by Mus’hafi, which capture the liveliness & playfulness of the game. Once again here, we havea Bandish that was created hundreds of years ago and traditionally kept alive by the gharana’s. The fact that it has survived this far and has now appear in Heeramandi is astonishing, merely for the fact that we are singing a thought that might have came about hundreds of years ago. Watching Aditi Rao Hydari onscreen is a dream- she flows like a cloud, her hand movements are precise and watch her face as the classical embellishments come on; it is equally dreamy.

Barnali Chattopadhyay playfully brings this swansong for Bibbojaan onscreen, with a grand appeal. Presented in Raga Bhairavi, there is no shortage of adornment vocally or instrument-wise. Sitar, Sarod, Sarangi and Santoor are mesmerizingly brilliant in this kaherwa taal presentation. SLB creates an effective version of this song which has appeared twice already onscreen. Its first instance was in the film Funtoosh (1956), sung by Asha Bhosle with music by S. D. Burman, and in the second instance it appeared in the film Dooj Ka Chand (1964), sung by Manna Dey with music by Roshan, There are thousands of recorded version in the classical world, however the first recorded version appeared on 78rpm shellac by Rasoolanbai in the early 1930’s. Lyrics are as it appeared in its bandish, with an antara added on by A M Turaz.

Hooo Phool Gendwa Na MaroDon’t Throw These Flowers At MeHaaa Phool Gendwa Na MaroDon’t Throw These Flowers At MeNa Maro Na MaroDon’t Throw, Don’t ThrowPhool Gendwa Na MaroDon’t Throw These Flowers At MeNa Maro Na MaroDon’t Throw, Don’t ThrowPhool Gendwa Na MaroDon’t Throw These Flowers At MeLagat Karejwa Pe ChhotIt Hurts My Heart DeeplyLagat Karejwa Pe ChhotIt Hurts My Heart DeeplyNa Maro Na MaroDon’t Throw, Don’t ThrowPhool Gendwa Na MaroDon’t Throw These Flowers At MeNa Maro Na MaroDon’t Throw, Don’t Throw

Dus Tha Hua Phool Nighoda Man Mora TadpaayeThe Sting Of These Bloody Flowers Bruises My SoulDus Tha Hua Phool Nighoda Man Mora TadpaayeThe Sting Of These Bloody Flowers Bruises My SoulRag Rag Mein Mori Tees Uthe AurEvery Pore Of Mine Feels StabbedUthe Kahe Na Maro Na MaroAs It Bleeds, I Am Pleading… Don’t ThrowPhool Gendwa Na MaroDon’t Throw These Flowers At MeNa Maro Na MaroDon’t Throw, Don’t ThrowPhool Gendwa Na MaroDon’t Throw These Flowers At MeNa Maro Na MaroDon’t Throw, Don’t Throw

Rasoolanbai rendition from 1930Manna DeyAsha BhosleThe introduction song to Bibbojaan and the first track to appear onscreen in Heermandi. The track is a thumri based on Raga Jog, and has a very seductive feel to it. The lyrics by A M Turaz are suggestive but never obscene. In this scene we get to see the beautiful doe-eyed Hydari prove her dancing chops in a very dusky aesthetic. Aditi Rao Hydari dances beautifully showcasing all the adaa of Kathak for this particular style of classcial music.

Barnali Chattopadhyay sings this thumri like a dream, and this is a brand new original composition by Sanjay Leela Bhansali, and A. M. Turaz. This is the longest track on the album and is built from the foundation with beautiful use of Tarana and soft flows of stretched notes to give effect to the feel. Barnali has one again performed wonderfully; the vocal strength required to sing these swaras in a measured style is something that requires ample practice. Her alaap renditions are truly heavenly, ; the chorus provides great support to the flow of the track with the Chhed-Chhaad, its evocative and sublime. The chorus here is comprised of Somee Sailesh, Nilanjana Chandra Tara, Alka Mandakini Jagdish, Shailaja Mishra, Neha Jagsish Goraiya, Vinod Pandit, Aditya Nayak and Ashmit.

Oh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You DesireOh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You DesireRaat Beeti Jaayen In Chadh AaheinNight Is Fading Into DawnIb Ghar Jaane To DoNow, Please Let Me Go HomeOhhh Saiyyan Ib Ghar Jaane DoMy Love, Please Let Me Go HomeOh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You DesireOh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You Desire

Ahhhhhh
Saans Na Nad Aur Sakhiyo Veri PoochhungiEveryone Will Want To KnowRaat Kahan Thi ThehriWhere I Have Spent The NightAaaaaa Saans Na Nad Aur Sakhiyo Veri PoochhungiEveryone Will Want To KnowRaat Kahan Thi ThehriWhere I Have Spent The NightLaaj Sharm Se MarjaungiI Will Die Of EmbarrassmentOhhhhh Laaj Sharm Se Marjaungi Main OhhhhOoohhh I Will Die Of Embarrassment OhhhhhhOh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You DesireOh Saiyaan Hatto JaaoStay Away, My LoveTum Bade Wo HoI Know What You Desire

Bhed Jiya Ke Sab KholegaThey Will Open My HeartSubha Papiha Jab Bole GaThe Early Morning Cry Of The ‘Papiha’ Will Reveal All (Bird With A Melodious Call)AAAA Bhed Jiya Ke Sab KholegaThey Will Open My HeartSubha Papiha Jab Bole GaThe Early Morning Cry Of The ‘Papiha’ Will Reveal All (Bird With A Melodious Call)Laaj Sharm Se Marjaungi Main OhhhhI Will Die Of Embarrassment OhhhhhhOhhhhh Laaj Sharm Se Marjaungi Main OhhhhOoohhh I Will Die Of Embarrassment OhhhhhhOh Saiyaan Hatto JaaoOh Stay Away, My LoveTum Bade Wo HoI Know What You DesireOh Saiyaan Hatto JaaoOh Stay Away, My LoveTum Bade Wo HoI Know What You DesireRaat Beeti Jaayen In Chadh AaheinNight Is Fading Into DawnIb Ghar Jaane To DoNow, Please Let Me Go HomeOhhh Saiyyan Ib Ghar Jaane DoMy Love, Please Let Me Go HomeSaiyyanMy LoveSaiyyanMy LoveSaiyyan AhhhhhhhMy Love

The Ghazal ‘Ek Baar Dekh Lijiye‘ comes as a thought in the series, but here SLB metes out a full four minute track for us to revel in with the wonderment of A M Turaz’s shayari. It is a passionate expression of longing and desire that enchants; it is pictured on Aalamzeb, and as you might have guessed it, It is also based on Raga Yaman. It’s third and final outing in Heeramandi. Kalpana Gandharv croons this track with consummate ease and her vocal timbre is one that is immediately attractive. SLB has fun composing the taal, when Kalpana sings, it is in Ektaal and helps to conveys the thoughts of the heart. The interludes immediately shift to a faster tempo, like that of an increased heartbeat. The sitar, violin stand out bringing the right amount of dreaminess to its composition.

The lyrics compare the feelings to those of a madman and a moth, symbolising the all-consuming nature of love. To experience the enrapture of their beloved, the protagonist is willing to give up everything. The imagery of being lost in their eyes paints a vivid picture of the protagonist’s surrender to love’s enchantment. The song conveys a sense of urgency and desperation as the protagonist pleads for their beloved’s attention.

Kalpana Gandharv, a fourth generation in a family of well known musicians. Her inimitable style and powerful stage presence make her performances unforgettable. Her voice training started early at home in classical music under the tutelage of her grandfather Shri. Mohan Singh ji, who is a renowned Harmonium player in the Indian film industry. Her father Ashok Gandharva well known violinist trained her and pushed Kalpana to learn various instruments like guitar, keys which lead to her growth as a composer.

Ek Bar Dekh Lijiye,Oh, Just Take One Look At Me,Ek Bar Dekh Lijiye,Just One Glance, That’s All I Ask.Deewana Bana Dijiye,Make Me A Madman With Love,Ek Bar Dekh Lijiye,Just One Look, That’s All It Takes

Jalne Ko Hai Taiyar Hum,I’m Ready To Burn In Your Flame,Parwana Bana Dijiye,Make Me A Moth, Drawn To Your Light.Ek Bar Dekh Lijiye,Just One Look, That’s All I Need.Itni Pee Ke Ja Na Sake, Uth Kar Kahin Bhi Hum,I’m So Intoxicated By You, I Can’t Stand Up, I Can’t Move.Itni Pee Ke Ja Na Sake, Uth Kar Kahin Bhi Hum,I’m So Lost In Your Eyes, I Can’t See Anything Else. Aankhon Ko Apni Aap Ek,With Just One Look From Your Eyes,Mehkhana Bana Dijiye,Make Me A Slave To Your BeautyEk Bar Dekh Lijiye,Just One Look, That’s All I Need

Kuch Bhi Dikhayi Na De Hamein,And I Can’t See Anything Else,Siwa Aapke Kahin Pe,Anywhere But You.Kuch Bhi Dikhayi Na De Hamein,I Can’t See Anything ElseSiwa Aapke Kahin Pe,But You….Sare Jahan Se Aap Hamko, Begana Bana Dijiye,From The Whole World, Make Me A Stranger.Ek Bar Dekh Lijiye,Just One Glance.Deewana Bana Dijiye, Ek Bar Dekh Lijiye,Make Me A Madman. Just One Glance,Jalne Ko Hai Taiyar Hum,And I’m Ready To Burn.Parwana Bana Dijiye, Ek Bar Dekh Lijiye,Make Me A Moth, Just One Glance…

Nazariya Ki Maari is a Thumri based on Raga Khamaj, if the name sounds familair to you, then you most probably know its original composition by Naushad in Pakeezah. SLB pays tribute to Pakeezah , yet again and showcases the delicate Thumri and a powerful rendition by Madhubanti Bagchi, an Indian singer, composer and musician. A disciple of the Agra Gharana, her repertoire includes the genres of Indian classical, pop and playback singing. Madhubanti was introduced to music by her father and received her initial training under his tutelage. When she was in the third standard she started her formal training with the Agra gharana exponent Shrimati Subhra Guha. Later, she had also taken lessons from the renowned thumri singer Vidushi Purnima Chowdhury.

SLB has introduced us to a bevy of singers that are capable of performing masterfully in Heeramandi. Raga Khamaj is not easy to navigate, but Madhubanti does so well with great effort. It takes many years of practice to be able to render such tracks so gracefully. The swarmandal opens to a throaty alaap in Raga Khamaj, in a mystical landscape. The shehnai sounds the thought of wedding bliss, and the ektaal hypnotizes the superb rendition by Madhubanti. The harmonium is prevalent through out as well as Sitar, violin and sarangi. At around 2:40 sec hear Madhubanti scales the Aaroha and Avaroha of Khamaj like a superstar! I would sure love to hear more in the future by Madhubanti!! It really gives me great hope to see that younger singers have this kind of vocation and skill.

Nazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayNazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayNazariya Ki Maari Haaaye RaaamThe Way You Look At Me…. Oh LordNazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayNazariya Ki Maari MaariThe Way You Look At MeNazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayNazariya Ki MaariThe Way You Look At Me

Koi Jaake Ved BhulawoSomeone Please Go And Call The DoctorKoi JaakeSomeoneKoi Jaake Ved BhulawoSomeone Please Go And Call The DoctorAake Dhare Mori Naari Haaye RamTo Come And Treat My Illness Oh, GodAake Dhare Mori NaariTo Come And Treat My IllnessNazariya Ki Maari MaariThe Way You Look At MeNazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath AwayNazariya Ki MaariThe Way You Look At MeMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath AwayMari Mori GuiyanTakes My Breath Away

The soundtrack is an intricate confluence of the classical ragas that have flowed through the veins of the subcontinent for centuries, and the contemporary cadences that speak to the modern soul. Bhansali’s music is not just an auditory experience; it is a visual one, painting scenes with its melodies, dressing characters with its rhythms, and moving the narrative forward with its thematic leitmotifs. Each note is imbued with the signature grandeur of Bhansali’s cinematic vision, creating an opulent auditory spectacle that mirrors the visual magnificence of the series.

The music of Heeramandi is a poetic odyssey that traverses the spectrum of love, loss, and rebellion. Each track is a vignette, capturing the essence of the series’ overarching narrative and the indomitable spirit of its women. Bhansali, as both a filmmaker and a composer, demonstrates a virtuosity that transcends genres, crafting a soundscape that is as much a genre in its own right as it is a part of the series.

In conclusion, the music of Heeramandi is an unparalleled celebration of feminine energy, a symphony of resilience, and a homage to the timeless art of storytelling through music. It stands as a monumental achievement in Bhansali’s illustrious career and a must-experience for connoisseurs of music and narrative alike. The series, with its auditory grandeur, invites listeners to embark on a journey through the annals of Heeramandi, to live, to feel, and to be liberated.

Rating
★★★★★★★★

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Heeramandi (2024), Netflix, 8 Episodes

Rating: 1 out of 5.

Series Details

Netflix Techincal AspectsSeries Review:

“Heeramandi,” a series that marks the foray of the illustrious Sanjay Leela Bhansali into the digital streaming space, is a narrative tapestry woven with the threads of historical opulence and the poignant tales of courtesans in pre-Independence Lahore’s pleasure district. Bhansali’s directorial acumen is evident in every frame, with his signature grandiose sets and intricate costume designs, which serve as a visual homage to the era’s rich cultural tapestry.

The series delves into the intricate lives of the courtesans, who navigate a labyrinth of love, betrayal, and politics. It is set against the tumultuous backdrop of the 1940s, a time rife with socio-political upheaval, which is masterfully captured through the lens of these women’s lives. The narrative is a confluence of art and history, intertwining the elegance of Urdu poetry and the profoundness of Sufi philosophy, thus offering a glimpse into the intellectual milieu that shaped the subcontinent’s ethos.

The ensemble cast, led by the venerable Manisha Koirala, Aditi Rao Hydari, Sonakshi Sinha, Richa Chadha, Sanjeeda Sheikh, and Sharmin Segal, brings to life the multifaceted personas of the denizens of Heera Mandi. Koirala, in her portrayal of Mallikajaan, the matriarch of Shahi Mahal, embodies a character whose layers are peeled back to reveal a core of steely resolve and vulnerability. Hydari’s Bibbo is a melange of grace and rebellion, her dulcet tones belaying the fervor of a revolutionary spirit.

While “Heeramandi” has garnered acclaim for its visual splendor and the depth of its performances, it has not been immune to critique. Some have pointed out a tendency towards melodramatic excess, which occasionally detracts from the narrative’s historical gravitas. However, these moments do not significantly mar the series’ overall impact.

A huge negative would be the actual narrative and pacing of each episode, which hampers the overall flow; as well as missed opportunities that fall flat within its opulence. A mystical lost world seeped in Tehzeeb and Tameez has been resurrected by Bhansali, and I am appreciative of this. One misses these socials that were numerous in earlier time. It brings back the nostalgia of older films like Mere Mehboob, Mere Huzoor and Mehboob Ki Mehndi. If at all, it shows the newer generation of watchers the sights and sounds of an era that has been long gone.

“Heeramandi” is a testament to Bhansali’s unerring ability to craft cinematic experiences that are as immersive as they are aesthetically pleasing. It is a series that transcends mere entertainment, inviting audiences to partake in a journey that is as much an exploration of a bygone era as it is a reflection on the timeless themes of love, power, and survival. The series stands as a beacon of Bhansali’s storytelling prowess, a narrative that is both grand and intimate, a spectacle that is as much about the spectacle as it is about the human condition. It is, ultimately, a series that not only captivates but also compels introspection on the epoch it portrays.

Picture Quality:

Heeramandi boasts a beautifully encoded 2160p 4K presentation that’s as crisp and technically striking as they come. Rich colours fill the screen at every turn. Vivid reds pop against deep, inky black shadows. Delineation reveals as much — or as little — as it’s meant to. Contrast is tuned perfectly, as well as frame flow.

Heeramandi offers some extreme close-ups, which help to support fine detail levels, and as is usual with a Sanjay Leela Bhansali production, the symmetry, cohesion and splendour are all there in fine detail. Tasteful use of HDR enhancement through Dolby Vision highlights the work of Bhansali and his team. Stunning use of colour contrast especially for its characters gives it a truly unique appearance and the 4K presentation captures it perfectly.

Audio Quality:

Equally impressive is the default Dolby Atmos sound mix, if you have the Atmos capability on your systems. The music and background score in a Bhansali production is always of high quality and having a great soundstage to listen this always extends the overall experience.

The music especially in the on-screen performance rattles the speakers, and the rear Atmos activity is brilliant when listening to the audience Wah Wah’s. A special mention should be made about the LFE usage in the track Azadi where the Pakhawaj shines, it gives the Subwoofer a great workout. Heeramandi’s wide sound-stage boasts crystal-clear dialogue, thunderous LFE, and sweeping music cues that all work together to create a tangible, tantalizing world.

Rating

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The trio of A. R. Rahman, Irshad Kamil and Imtiaz Ali immediately conjures up whirlwind of colours, and modern day classics that have already proved their mettle in music. Chamkila is their fourth collaboration after Tamasha, Highway and Rockstar. Three soundtracks which have been greatly successful and popular, and to this day remain stellar albums. We can immediately highlight tracks from each of these wonders, but for that check the review of Tamasha on this site. How does Chamkila fair?

In All honesty, i cant say i knew much about the singer Amar Singh Chamkila, and i wont claim that i would have been enamored by his music; for one, the high and deep Punjabi would be at a total loss to me. No context to the lyrics and even the folk tunes that he imbibed in his music to win over the hearts of many fans across the world were not of the ‘normal’ music that featured in our homes. And even more beleaguering would be that i grew up in the era of his popularity. The saddest part is that even his death was not made a ‘big deal’ around our part of the world. When we heard about the death of Siddu Moosewala, i was actually quite shocked at why someone would want to assassinate a musician, and this movie does prove to gives some context about what actually goes down.

But here is just the magic of Imtiaz Ali that truly captivated me, for all the issues i highlighted in the above paragraphs, he provides a solution to this brilliant biographical of the late singer. The movie provides enough context to keep you engaged and such detailed timelines that appear on in non-linear format, but each with something important to share. In fact he has told the story so well that we feel the pain of losing him now again in 2024, and to add on to the wonderment is A. R. Rahman and Irshad Kamil. I have enough superlatives that i will use to describe A. R. Rahman’s music, but the true star is Irshad Kamil. His lyrics have honestly encapsulated the late artist’s style and flavour. The movie was a roller coaster ride and each track was like riding the roller coaster over and over again. From the spunk of Baaja to the endearment of ‘Vida Karo’ there are tons of emotions in between until the tears flow for ‘Vida Karo’ Also please keep in mind, that the songs created by Rahman for this biopic are odes to his life and happenings, Imtiaz Ali retains the original songs of Chamkila and Amarjyot in the movie itself, and that too sung by Diljit Dosanjh and Parineeta Chopra themselves.

In the realm of contemporary Bollywood soundscapes, the auditory experience furnished by the 2024 film “Amar Singh Chamkila” emerges as a distinguished and laudable exception. The soundtrack, a confluence of A.R. Rahman’s musical ingenuity and Irshad Kamil’s lyrical prowess, is an exquisite homage to the life and legacy of the eponymous Punjabi folk legend, Amar Singh Chamkila.

| No. | Song | Artists | Duration | | 1 | Ishq Mitaye | Mohit Chauhan | 4:33 | | 2 | Naram Kaalja | Alka Yagnik, Richa Sharma, Pooja Tiwari, Yashika Sikka | 5:07 | | 3 | Tu Kya Jaane | Yashika Sikka | 4:18 | | 4 | Baaja | Mohit Chauhan, Romy, Suryansh, Inderpreet Singh | 5:23 | | 5 | Bol Mohabbat | A. R. Rahman, Kailash Kher | 4:17 | | 6 | Vida Karo | Arijit Singh, Jonita Gandhi | 4:30 | | Total Duration | 28:13:00 |

TracklistIshq Mitaye was the first song to be unleashed to us unsuspecting audience, and it proves to be the anthem of ‘Chamkila’, It is studiously created for one purpose, and that is to hook the audience with a superb lyrical composition by Irshad Kamil. Despite it being touted as a ‘Love Song’, there is really much more to it, its mere energy is there to showcase the resilience of spirit and mind. Mohit Chauhan has been a constant in Imtiaz Ali’s films, and even here he shines, His voice and diction of the Punjabi style is spot on and carves wavelengths of harmonious revelry. Whether It was Matargashti in Tamasha, Kun Faya Kun in Rockstar and even this track, all three three different genres across different social messages, Mohit Chauhan proves his mettle.

A Chorus comprising the vocals of Harshil Pathak, Sarthak Kalyani, Inderpreet Singh, Romy, Aasa Singh, Arvinder Singh begin the track describing the atmosphere, already rousing the minds about the surroundings. The Tumbi and a bass rhythm adds on with a light guitar strum introducing the energetic Mohit Chauhan. The track is interspersed with singing and near-rap-like lines but blended so well to create an enigmatic feel. Hear how Rahman weaves the chorus through the track, emphasizing Mohit’s lines and-with just sheer brilliance in different octaves, the chorus sings in the higher octaves when Mohit describes his love, and on the lower scales when he proclaims ‘Main Hoon Punjab’. That particular lyrics gives you goosebumps and it comes at the perfect moment on the film. Rahman creates the track in an absolutely stylized manner that is melodiously conjoined in earth essence. Many people will say that the singers should have been rooted within the Punjabi hinterland, but this is again the genius of Imtiaz Ali; the style and wider appeal has been given as something more contemporary and it works!

Chhat Pachiyan Ranga Di, Aaho! Dhup Barsati, Aaho!There are 25 hues on the roof, oh! The sun showers its light, oh!Sone Rangi Dharti Ka, Gote Ranga Hai LehriyaThe earth gleams golden, while the waves blush red.Donon Ko Hi Chahton Ne Chahton Se MaraBoth bear the scars of love,Ishqara Ishqara Ishqara IshqaraLove, love, love, love,Hey Ishqara Ishqara Ishqara Ishqara HanHey, love, love, love, love,

Ishq Mitaye Haye HayeLove erases, oh, oh,Ni Maye Mera Ishq Mitaye Haye HayeMother, my love erases, oh, oh,Ishq Mitaye Haye HayeLove erases, oh, oh,Ni Maye Mera
Ishq Banaye Haye HayeMother, my love create.Ni Maye Mera Ishq Banaye Haye HayeMother, my love creates, oh, oh,Ishq Mitaye Haye HayeLove erases, oh, oh, Ni Maye Mera Ishq Banaye Haye Haye
Mother, my love nurtures, oh, oh,Mod Gaya Payee PayeeEvery penny has been returned to me.Ni Mahi Mera Mod Gaya Payee PayeeMy beloved has repaid every penny, Mother.Jeeve Agg Meri Sara Jal Mera JeeveMay the fire and water within me endure.Jeeve Agg Meri Sara Jal Mera JeeveMay my inner fire and water thrive

Aag Se Khel Ke Nikhra Lish Lish Chamka Main, Jeeve Dhunak Dhun MeriConfronting challenges, I emerge radiant. May my rhythm endure.Dhunak Meri! Dhunak Meri! Dhunak Meri!My rhythm! My rhythm! My rhythm!Maye Nee Main Hoon Ishqayi, Maye Nee Main Hoon IshqayiMother, I’ve found love. Mother, I am in love.Maye Nee Main Tadpan Payi, Maye Nee Main Tadpan PayiMother, I’m in pain. Mother, I’m in anguish.Ishq Mitaye Haye HayeLove erases, oh, ohNi Maye Mera Ishq Banaye Haye HayeMother, my love creates, oh, oh,Ishq Mitaye Haye HayeLove erases, oh, oh

Ni Maye Mera Ishq Banaye Haye HayeMother, my love nurtures, oh, ohThirakta Reh Matakta Reh,
Jo Ho Na Ho, Jo Ho Na HoKeep dancing and winking, Whether it comes to fruition or not.Main Hoon PanjabI am Punjab.(Tu Na Sadda! Tan Ki Sadda!)“Who else, besides me, can claim you as their own?”Rabba Sathon Muh Na ModeenDear God, please do not turn your face away.

Jeeve Agg Meri Sara Jal Mera JeeveMay the fire and water within me endure.Jeeve Agg Meri Sara Jal Mera JeeveMay my inner fire and water within me endure.Ishq Mitaye Haye HayeLove erases, oh, oh,Ni Mahi Mera Ishq Mitaye Haye HayeMy beloved erases….Mod Gaya Payee PayeeEvery penny has been returned to me.Ni Mahi Mera Mod Gaya Payee PayeeMy beloved has repaid every penny, Mother.

Dalungi Main Roz BoliyanI will sing folk songs every day.Ni Maye Meri, Dalungi Main Roz BoliyanO’ mother, I will sing folk songs every day.Guddiyan Main Sab KholiyanI have lost all my dolls.Ni Maye Maine, Guddiyan Hai Sab KholiyanO’ mother, I have lost all my dolls.Mere Agge Duniya Ka Rang Sara FikkaThe entire world seems dull in comparison to me.Apne Lahu Se Hi Lagaya Maine TikkaI’ve marked my forehead with my own blood.Dass Kyon Daran Pakkiyan JadaanWhy do you fear? The roots are resilient.Apne Paron Pe Mujhe Pakka Hai Bharosa Main UdaI have complete confidence in myself as I soar.

Chal Hawa Bana Ud Jawan, Sama Bana Gumm JawanCome, let’s transform into the wind and soar. Let’s meld into the sky and vanish….Jane Kiski Mehar Chadhi Rehti LeharWho knows whose blessing, as the wave continuously boosts my energy.Kaise Jaun Main Thehar Batlana How can I halt? Tell me.Ishq Mitaye Haye Haye Love erases, oh, ohNi Maye Mera Ishq Mitaye Haye HayeMother, my love erases, oh, ohMain Hoon PanjabI am Punjab.(Tu Na Sadda! Tan Ki Sadda!)“Who else, besides me, can claim you as their own?”Rabba Sathon Muh Na ModeenDear God, please do not turn your face away….

There is a scene in the film that aptly depicts the way society reacted to an article written about the music of of Amar Singh Chamkila, and much like today, it seems that everyone jumps onto the bandwagon. Without understanding or even delving into understand why Chamkila composed the songs he did, they labelled him as a pervert that was ready to manipulate, infiltrate and contaminate the minds of the youth. After just one article, everyone wanted to stand against the artist, the movie depicts this so well, and Imtiaz Ali again creates a cinematic showpiece that calmly shows an elderly woman pondering about the ruckus and gently saying, But, What Is the big deal? We’ve been singing these songs all our lives, at functions Out Aloud! and then the penny drops, does society react only when it suits them? Or is it that they cannot bear to see someone attain some fame and glory through their art. In reality it was just a case of frugality; all the common artists were singing songs, but the protectors of society came down heavily on Chamkila for his music. There was a point in the film where a character asks ‘But Who has the right to tell anyone what you should listen to or not?’ Naram Kaalja exacts this sentiment. Why make a big deal about something that has already been commonplace, and even more so, we know what we are all about!

This is a song that celebrates women’s qualities and their ability to go against what society norms. The song also encourages women to challenge traditional gender roles and stereotypes. It presents a strong woman who is not afraid to follow her dreams and take charge of her own life. Naram Kaalja is based on older folk song called ‘Mera Naram Kaalja Tadke’ and while it borrows some elements of tune and style, the lyrics are completely Irshad Kamils’ and he styles it in line with the movie itself.

The tumbi and flute open the track with a naughty flavour of an all female chorus led my the lead singer: Alka Yagnik, Richa Sharma, Pooja Tiwari, Yashika Sikka and aided with additional vocals of Pinky Maidasani, Shifa Ruby and Meenu Kale. Rahman stays true to the Punjabi folk element and the we get the great percussion and spot on tune. Richa Sharma & Alka Yagnik stand out and give the track a wonderful breezy feel. Rahman has added some electronic elements which enhance the’folksiness’ of the track. The Dhol is prominent throughout the track and in pure Rahman style give it an extra zing that makes you want to just dance. The lyrics adds a zesty flavour to the track.

Naram Kalja Naram Kalja,A heart that is tender and kindGaram Tabiyat Naram Kalja,A gentle heart, full of warmthNaram Kalja Naram Kalja,A heart that is tender and kindGaram Hai Neeyat Naram Kalja,Warm intentions and a compassionate heartMera Auratpan Sara Tere Nam Vaseeyat Hai,I offer my femininity as an homage to you.Mera Auratpan Sara, Tere Nam Vaseeyat Hai,I dedicate my womanhood as an homage to you,Main Ghar Ki Kheti Hoon,I am nurtured at home.Main Ghar Ki Kheti Hoon Meri Ye Tarbiyat Hai,I was raised being nurtured at home. Main Hoon Alhad Jhallad Fakkad, Karde Daram Daram Dum Daingad,I am fearless, unbridled, and carefree; everyone fears me.Tu Loot’ta Ye Sochke Main Naram Tu Mardaan Hai,You think you can take advantage of me I am soft, and you are a man.Par Darasal Mere Liye Tu Aish Ka Samaan Hai,But in reality, to me, you are an object of pleasure.Dum Dum Daingad Daingad, Dum Dum Daingad Daingad,
Dum Dum Daingad Daingad Daingad,
Ulta Daram Daram Dum Daingad,
Dum Dum Daingad Daingad Daingad,
Dum Dum Daram Daram Dum Daingad,Throughout a song, the line “Dum Dum Daingad Daingad” is used frequently to set a vibrant and passionate tone that serves to emphasise the deep feelings that are represented throughout the song.

Beti Ki Mummy, Daddy Ki Gudiya,I am the beloved child of a mother and father.Devar Ki Bhabhi Ji Hoon Jag Samjhaye Haye,It is widely known that I am related to my brother-in-law,Devar Ki Bhabhi Bi Main Hoon,I am the sister-in-law of my brother-in-law.Rishte Qaboolun Par Main Na Bhoolun,I acknowledge this connection; however, I will not forgetKaise Bujhani Hai Jo Agg Lag Jaye, Jalta Badan Jo Mera Ho,How to extinguish a fire that begins, if flames consume my body.Gupchup Gupchup Ye Na Samjhi Tera Hi Hai Jee Karda,I couldn’t understand your secret desires.Gupchup Gupchup Tumse Zyada Mera Bhi Hai Jee Karda,Secretly, I also desire the same.Chamkeela Mere Andar Bhi Bole Sadaa,I can’t get Chamkeela’s songs out of my head, and occasionally I even catch myself belting them out.

Haye Main Mar Jan Gurr Kha Ke,
Dum Dum Daingad Daingad, Dum Dum Daingad Daingad,
Dum Dum Daingad Daingad Daingad,
Dum Dum Daram Daram Dum Daingad,
Dum Dum Daingad Daingad Daingad,
Dum Dum Daram Daram Dum Daingad,The phrase “Dum Dum Daingad Daingad” in a song creates a lively and passionate mood, highlighting intense emotions expressed metaphorically.Chhoti Si Aari Le Ke Tu Kya Katega Jungle,What can you cut in the jungle with a small saw?Tu Do Paise Ka Dangal Main Do Dhari,You are a cheap fighter.Main To Na Bechari Aane De Meri Bari,I am a double-edged sword.Tu Loot’ta Ye Sochke Main Naram Tu Mardaan Hai,You think you can take advantage of me I am soft, and you are a man.Par Darasal Mere Liye Tu Aish Ka Samaan Hai,But in reality, to me, you are an object of pleasure.Mera Naram Kalja Achha,A heart that is tender and kindMeri Garam Tabiyat Achha,A gentle heart, full of warmthBesharam Tabiyat,Shameless nature,Dum Dum Daingad Daingad Daingad,
Dum Dum Daram Daram Dum Daingad,
Dum Dum Daingad Daingad Daingad,
Dum Dum Daram Daram Dum Daingad,The expression “Dum Dum Daingad Daingad” encapsulates a vibrant and exuberant emotion that symbolises a woman’s deepest longings.
The sounds imply confidence in oneself and a desire to go against social norms.

Naram Kalja Naram Kalja,A heart that is tender and kindGaram Hai Neeyat Naram Kalja,Warm intentions and a compassionate heartMera Auratpan Sara Tere Nam Vaseeyat Hai,I offer my femininity as an homage to you.Main Ghar Ki Kheti Hoon Meri Ye Tarbiyat Hai,I was raised being nurtured at home.Dum Dum Daingad Daingad, Dum Dum Daingad Daingad,
Dum Dum Daingad Daingad Daingad,
Ulta Daram Daram Dum Daingad,
Dum Dum Daingad Daingad Daingad,

Sometimes the most heartfelt songs are the most simple ones, where the vocals, lyrics and instruments merge to create a flurry of emotions. ‘Tu Kya Jaane’ has all those elements; they unify the emotions of the listener. This song was initially intended to be sung by Shreya Ghoshal, but fate would have no other way. It was time for Yashika’s moment to shine. As A. R. Rahman recalls that for the foundation of getting to the ‘Punjab-ism’ of the music, they had invited a few singers from the region to Jam and create beats with. Yashika’s voice stood out, especially after the recording of Naram Kaalja and Rahman suggested to get Yashika to sing this track. Her debut album by A. R. Rahman, what more could anyone ask for? Watch Rahman relate the experience:

  View this post on Instagram      A post shared by Yashika Sikka (@jeemainyashika)

The tumbi begins the track, which is an ode to Chamkila himself, the Tumbi was like his drone tanpura that is usually associated with folk and classical music. Rhythm and Dhol drop, and it adds another level of melody over the Tumbi, The tune itself meanders around a melody of raga’s, none too distinguishable but simple enough to enjoy the tempering of the melody itself. Yashika Sikka provides a beautiful rendition and her dusky vocals set to Irshad Kamil’s lyrics lend a great beauty to the listener. You can almost hear her smiling and yearning when she renders the lyrics, especially on the higher octaves. The lyrics describe their intense affection, longing for their beloved, and fear of rejection. The imagery used in the song is rich and evocative, with references to the heart, soul, and breath being offered as tokens of love and devotion. The song also explores the theme of secrecy in love, with the protagonist pledging to keep their love hidden from the world while cherishing every moment shared with their beloved in private. Rahman adorns the interludes with alluring string instruments including the Sarod, Mandolin and Banjo.; its Rahman’s virtuosity that he crafts these instruments into its folksy avatar. Bass guitar and flute also feature to enhance the melodic components.

Tu Kya Jaane Mere Yaar, Haye, Tu Kya Jaane Mere YaarMy affection for you is so profound that you wouldn’t comprehend it, my darling.Chhup-Chhup Takti Hoon Keh Na Sakati Hoon,I can’t speak, silently gazing as my eyes confess what my lips cannot

Naina Chor Se Ik Din Zor Se, Karna Hai Tujhako Pyaar Haye,Naina Chor Se Ik Din Zor Se, Karna Hai Tujhako Pyaar*One day, I’ll gather the courage to declare my love for you and reveal my heart’s desires.Tu Kya Jaane Mere Yaar, Haye, Tu Kya Jaane Mere Yaar You,my dear, would not understand.Tan Ka Taaj Bhi Mann Ka Raaz Bhi,My soul longs to bestow its secrets upon only you, my love.Apna Aaj Bhi Tujhape Hai Dena VaarMy body, heart, and even my breath are yours to have.Tu Kya Jaane Mere Yaar, Haye, Tu Kya Jaane Mere Yaar You,*You, my love, would not comprehend

Sachiyan Mohabbataan Buland Karake, Rakhna Pitaari Mein Tu Band KarkeMy love for you is genuine and strong, and please, keep it hidden from plain sight.Rusna Vi Hasna Vi Naal Tere, Sabase Chhupa Rakhana Ang-Sang Mainne Haye, Aaye, Aaye, Aaye, AayeI will keep our pleasures and sorrows secret, my beloved.Jeet Loon Zamaane Se Main Jang KarakeFor you, my love, I’ll fight with all my might and face the world’s challenges with courage.Tujhpe Dupatte Vaala Rang Karake, Suit Se Apane Loongi Mila, Rakhana Tujhe Seene Pe Ab Maine Haye, Aaye, Aaye, Aaye, AayeI’ll match my scarf to your attire and hold you close as you are my heart.Chhup-Chhup Takti Hoon Keh Na Sakati Hoon I can’t talk, but my eyes reveal what my lips cannot Tu Kya Jaane Mere Yaar, Tu Kya Jaane Mere YaarMy love for you is so deep that you cannot fathom it, my sweetheart

Ho Sang Na Chhodde Ishq Nichode Bajane De Tan Ke Taar, Haye Sang Na Chhodde Ishq Nichode Bajane De Tan Ke TaarSilently gazing, my eyes will confess what my lips cannot.Tu Kya Jaane Mere Yaar, Hayi, Tu Kya Jaane Meri JaanLet our love song play forever, and let the strings of my heart sway only for you, my love

The album’s pièce de résistance, “Baaja,” vocalized with fervor by Mohit Chauhan, is a robust composition that encapsulates the socio-political turbulence of Punjab in the 1980s—a period marred by militancy and simultaneously illuminated by Chamkila’s audacious and provocative musical narratives. The track is a sonic embodiment of the era, reverberating with the spirit of resistance and the undying zest for life that characterized Chamkila’s oeuvre. Intiaz Ali and Rahman stated in an interview that the idea behind the track was styled like a Broadway musical, with a narrative built in, and the lyrics would be like that of someone posting comments on YouTube or a social media site. So basically gossip mixed with fact just to show what kind of talk Chamkila’s music and life inspired. It is an ultimate tribute to the legendary Punjabi singer, who was known for his bold and controversial lyrics that challenged societal norms.

Sung by Mohit Chauhan, Romy, Suryansh, and Inderpreet Singh, the song perfectly captures the essence of Chamkila, leaving no room for doubt or interpretation. Suryansh sings the opening verse in a very dreamy, ghazalesque sort of way (which could be a song in itself) which then shifts to a beat rhythm-filled extravaganza breathing into it, a full-bodied energy, the story begins with Mohit Chauhan singing the next lyric verse; even more interesting is the character we see onscreen, is Mohit Chauhan himself! The song has been arranged and produced in a very unique way that showcases wide orchestral arrangement that is quite peppy and vibe’y’; I like how Rahman says it, ‘They allowed me to go wild’. The tempo changes are sudden but listen closely to the changes with the lyrics, it makes your heart race. The last two minutes of the track is THE mic drop moment, the tempo change is magnetic is so precisely Punjabi and crystal clear. No doubt Rahman has a clear winner here! Irshad Kamil’s prowess is fantastic in this track, he invokes the allure of the life and death of Chamkila using a playful tone in wordplay. There are even direct references to the real songs that Chamkila sang (this is the only track in which this appears).

Ain Ishq Da Pehla Akkhar Samajh Na Sab Nu AaweNot everyone grasps the significance of the first letter of love.Koi Jhalla Sajde Karde, Koi Toombi Te GaweSome people demonstrate their respect by bowing down, while others express admiration

Jaye Koi Sajde Kar Da, Ya Toombi Te GaweCertain individuals offer prayers, while others sing songs in adoration.Vakhra-Vakhra Sab Da Rasta, Ik Manzil Te Jawe Ik Manzil Te JaweEveryone is on distinct journeys, but they all lead to one ultimate destination.Baj Baja Baja, Baj Baja BajaThe trumpet is playing!Khela Shuru Hai, Aa Dekhein AajaThe game has started. Come, let’s watch togetherSakht Waqt Tha Wo Bhay Bhanak ThaIn the past, times were tough and terrifying, marked by an era of violence and terror.Dahshaton Ka Daur Chali Tha Thoo, Tha Thoo Nit Goli, Nit Rakt Ki Holi Aatank Mein Boli,Bullets flew, and blood was spilled.De Jan, Mal, Ghar-Dwar Bas Var Khatre Mein, Khuni Khatre MeinAmidst the danger, bullets spoke and demanded the surrender of wealth and home

Chamkeela, Chamka Aise Mein, Cham Cham Chamkeela Chamkila,the one who shone brightly!Haye Baj Baja Baja, Baj Baja BajaThe trumpet is playing!Khela Shuru Hai, Aa Dekhein AajaThe game has started. Come, let’s watch together.Lachar-Lachar Ganon Mein, Tharak-Tharak Tanon MeinIn a world filled with ordinary songs and catchy tunes, there was one who stood out

Sexy Geet Jata Tha, Tand Khol Jata WohHe was Chamkila, and he was known for singing bold and explicit songs.Jis Wajah Se Chamka Woh, Us Wajah Se ChamkaThe reason he excelled and became renowned became the cause of his death.Chamkeela Sexy La Tharkila Woh Ganda-GandaHis lyrics were provocative, and he was seen as audacious and scandalousAa Sharmi-Besharmi, Gadre Mein GarmiChamkila sang fearlessly, without any shame.Chamkeela Baghi Bole AdharmiHe didn’t shy away from sensuality in his songs, and he remained unscathed by the illusions of the world

Hum Bhi Gane Gate, Sharam Na Pee JateWe sometimes sing songs but feel embarrassed about the lyrics.Jism Ki Mohmaya Mein Na Doob Jate HainWe don’t get lost in the physical attraction between people.Chhedta Chabeela, Bistaron Ke Leela Chamkeela,the vocalist, discusses intimate stories in his music.Kuch Zyada Hi Kapdon Se Bahar Tha ChamkeelaHe was a bit too bold with his song lyricsBas Baja Baja, Baj Baja BajaThe trumpet is playing!Oh Ji Han, Sare Sunte Uske Gane Sare Sunte Uske Gane, Koi Mane Ya Na ManeHis songs are listened to by everyone, whether they acknowledge it or not.Ji Han, Kuch Lagte Hain Sharmane, Kuch Lagte Hain JhallaneWhen questioned, some people feel ashamed while others ignore him,Koi Mane Ya Na Mane, Sab Jane, Koi Mane Ya Na Manebut everyone is aware, Chamkila, whether they admit it or not

Ve Chamkeela Bole, Teri Hik Te Malai Aayi Aayi
Banhon Mein Bhabhi, Jeth Sharabi, Kudi Pataka
Steering Nu Hath Paundi
Main Sikhar Dopahar Nahandi Nu Oh Tak-Tak
Gunda Kunda Fadke, Ladke Kar Da Baha Mera
Thak-Thak Thak-Thak Thak-ThakThis stanza covers the lyrics of popular yet controversial Chamkila songs that have double meanings

Oh Bapu Sada Gum Ho Gaya, Teri Ma Di Talashi Leni
Jija Lakke Min, Lakke Min, Lakke Min, Bhij Gayi Bahar Khadi
Pi Lal Pari Main Chak-Chak, Oye Chak-Chak
Kaset-Vest Tawe-Save Uske Biken Sabse Zyada Abtak, Oh AbtakThe vocalist proceeds to discuss Chamkila’s song lyrics.
His cassettes sold more than anyone else’s

Ae Ae Ganda Sa Banda Hai Social Darinda Hai
Ae Ganda Sa Banda Hai Social Darinda HaiHe didn’t adhere to social conventions
and was often seen as a troublemaker

Wo To Mirza Malang Tha, Gareebon Ke Wo Sang
Majnuon Ka Masihah, Unche Logon Se Woh TangHe lived like Mirza, providing support
and companionship to the poor,
and was considered a savior to the downtrodden

Jhuthon Se Uski Kattiyan,
Jhuthe Jag Se Thi Uski KattiyanHe didn’t like being around insincere people
or living in a phoney world.

Khabon Mitti Ki Upaj, Neeche Logon Ki Ramaz,
Puri Jata Tha Samajh, Seedha Sadha Woh SehkHe was a determined and straightforward individual
who empathized with his audience.

Jhuthon Se Uski Kattiyan,
Jhuthe Jag Se Thi Uski KattiyanHe didn’t like being around insincere people
or living in a phoney world.

Luk-Shupke Sunenge Sun-Sunkar Haseinge,
Has-Haskar Marenge, AahaThe melodies he created will persist,
causing people to experience emotions and wonder.

Din Dhalta Rahega, Tan Jalta Rahega,
Dil Karta Rahega, Aaha
The sun will set, the body will burn,
But the heart will keep beating

Sune Sare Chamkeela Desiyo Ki Rangleela,
Poochne Pe Mane Koi Na
Everyone secretly loves Chamkila’s music
but won’t admit it.

Haye Baj Baja Baja, Baj Baja BajaThe trumpet is playing!

Khela Shuru Hai, Aa Dekhein AajaThe game has started. Come, let’s watch together.

Another track that merits particular attention is “Bol Mohobbat,” which is imbued with Sufi mysticism and adorned with ethereal flute arrangements. It stands as a testament to Rahman’s versatility as a composer, seamlessly integrating diverse musical traditions to create a soundscape that is both haunting and transcendent.It is a powerful ballad with a heave set percussion and rhythm arrangement; Rahman shares the vocal stage with Kailash Kher and the duo relishes the high’s and low’s with perfect ease. The sufi styled tune matches to what Irshad Kamil has written, along with using Baba Bulleh Sha’s words as pillar of strength for this greatly inspired track.

“Bol Mohabbat” is a song that expresses the intensity and depth of love. The lyrics speak about the light of love filling the heart, and the desire to live fully in the moment of love’s embrace. It’s a call to acknowledge the power of love and let it resonate within. The song also touches on themes of destiny and fate, suggesting that love is a force that can transcend even the most challenging circumstances.

The flute opens the track with a suffused melancholy, before the ‘protest’ as the percussion begins, hear how the vocalists traverse the aaroha and avaroha of this Raga Ahir Bhairav inspired track; it is spectacularly mounted, even the design with the alaaps fused into the background, this is the Rahman we missed the most! Ingenious is the way it is portrayed on-screen, it gives the right josh required for the scenes.

Noor Mohabbat Seene La Rabba Rabba Seene LaEmbrace The Light Of LoveBol Mohabbat Seene La Akhar Akhar Seene LaEmbrace It Completely

Hai Sookhe Honth Muqaddar KeParched Are The Lips Of FateAur Mujhme Qaid Qalandar KeAnd Of The Imprisoned Monk In MeTu Khol De Gire Andar KeOpen The Locks Inside MeAb Naam Khumari Peene LaLet Me Embrace The Drunkeness

Noor Mohabbat Seene La Rabba Rabba Seene LaEmbrace The Light Of LoveBol Mohabbat Seene La Akhar Akhar Seene LaEmbrace It Completely

Bulla Shah Diyan JaaneO! Bulleh Shah, What They Do Is Up To ThemMainu Apni Tod Nibhavan DeLet Me Perform My Duty FullyMainu Russda Mod Liyavan DeLet Me Bring Back The Upset OnesMainu Dukhda Mod Mukavan DeLet Us Lament And Get Done

Noor Mohabbat Seene LaEmbrace The Light Of LoveRabba Rabba Seene LaEmbrace It CompletelyBulla Shah Diyan JaaneO! Bulleh Shah, What They Do Is Up To ThemMainu Apni Tod Nibhavan DeLet Me Bring Back The Upset OnesMainu Russda Mod Liyavan DeLet Us Lament And Get Done

Hari Har Hari Har Hari Har
Hari Har Hari Har Guru Nagri
Hari Har Hari Har Hari Har
Hari Har Hari Har Guru NagriThe Greenery Of This Land

Bhari Bhari Jaaye Re
Bhari Bhari Jaaye Re
Bhari Bhari Jaaye Re Mann GagriMay This Land ProsperTu Hi Na Jo Mera TohIf You Are Not MineHasaye Mujhe KonThen Who Can Make Me Smile

Ho Main Kis Kis Ko SamjhaungaOh, Who Will I Make UnderstandMera Ulta Taana Baana HaiMy Insides Are Turned Upside DownMera Aag Alag Aakaash AlagMy Fire Is Different, My Heaven Is Different

Meri Ajab Si Mitti Paani HaiA Strange Sweet WaterMeri Hawa Kabhi To Badli HaiSometimes The Winds Of ChangeNa Tanga Hua Da Fanaah HonaDoesn’t Fight Or Finish MeNa Mitti Hi Marjaani HaiNor Provides The Sweetness Of Death

Noor Mohabbat Seene La Rabba Rabba Seene LaEmbrace The Light Of LoveBol Mohabbat Seene La Akhar Akhar Seene LaEmbrace It Completely

It is apt that this track is the final song from the soundtrack; ‘Vida Karo’ comes as a lament tyo give permission to leave. It seems to be a satirical take to the same society that plunged Chamkila in this state, in life they taunted him to exploit him, and in death as well, they exploited him. He wants to leave peacefully and end all the madness, The poignant, heart-felt lyrics by Irshad Kamil are enough to leave you sobbing. The song written by Irshad Kamil has been inspired from a poem by Shiv Kumar Batalvi. His poem is titled Mainu Vida Karo. Add to it the personality that Chamkila had which Imtiaz so beautifully captured onscreen, He was a simple man, could never say no anyone, respected everyone, and even humble to the extent of his detriment. In the End he died for his simplicity, It remains a travesty that his death remains unsolved. The songs pleads to just bid him farewell and let him go.

Arijit Singh and Jonita Gandhi brings nostalgia back withe their rendition of this retro-tuned track. Rahman in his element once again, using his Raagmala skills and meanders the tune in a sweet-syrupy but pensive mood. As the track plays out on-screen, soaked eyes accompany the sweetness of the vocals by Arijit. It is fantastic to hear him croon in the lower octaves and get to nurture his lower-middle range. Jonita Gandhi is haunting in her rendition as well; a brilliant harmonious combination that was long-awaited and much needed. The use of Piano , flute and softer instruments are perfectly matched and tune is already a modern-day-classic.

Mainu Vida Karo, Mainu Vida Karo JiPlease wish me goodbye, my friend.Ab Vida Karo Mere YaaraMy dear buddy, I implore you to say goodbye now.Mainu Vida Karo, Mainu Vida Karo JiPlease let me go, my friend.Maine Jaana Hai Us PaarI must move on to the other side.Tum Sabhi Saaf Sahi, Hoon Matt Maila MainWhile you are all sincere and pure, I am tarnished and unclean.Tum Sabhi Paak Magar, Paap Ka Dariya MainYou are all holy, but I’m a torrent of sin.Mainu Vida Karo, Mainu Vida Karo JiLet me go, let me go, my love, my friend.Ab Vida Karo Mere YaaraNow, let me go, my buddy.

Jhooth Bhala Kyun Bologe Tum, Sab Sach Kehte HoYou always speak the truth, while I may not.Meri Nahin Hai Duniya Jisme Tum Sab Rehte HoThe world I live in is not the same as yours.Saath Tumhaare Aur Rahoon Main, Mera Toh Mann ThaI wanted to stay with you all for longer.Sach Hai Yahaan Pe Jo Bhi Bura Tha, Mere Kaaran ThaTrue, everyone here was spoiled because of me, and all wrongs existed because of me.Mainu Vida Karo, Mainu Vida Karo JiPlease let me go, my friend.Ab Vida Karo Mere PaarI must move on to the other side.Mere Sar Pe Saari Tohmat Dhar DenaYou could blame everything on me.Main Toh Main Hoon, Rooh Bhi Meri Paagal Kar DenaNot only could you blame my body, but also my spirit.Tum Khush Rahna Sab Kuch Sahna, Mujhko Aata HaiYou’ll all be pleased. I know how to endure it all.Toote Taare Ka Dharti Se Kaisa Naata HaiWhat type of connection does a shattered star have with the Earth?Mainu Vida Karo, Mainu Vida Karo JiPlease let me go, my friend.Ab Vida Karo Mere YaaraPlease let me go now, my dear friend.Mainu Vida Karo, Mainu Vida Karo JiPlease let me go, my friend.
Maine Jaana Hai Us PaarI must move on to the other side.Tum Sabhi Saaf Sahi, Hoon Matt Maila MainWhile you are all sincere and pure, I am tarnished and unclean.Tum Sabhi Paak Magar, Paap Ka Dariya MainYou are all holy, but I’m a torrent of sin.Mainu Vida Karo, Mainu Vida Karo JiLet me go, let me go, my love, my friend.Ab Vida Karo Mere YaaraNow, let me go, my buddy.

Critics have unanimously extolled the soundtrack for its innovative approach in an otherwise monotonous Bollywood milieu and for Kamil’s vivid lyrical imagery that paints aural pictures with remarkable clarity and depth. The soundtrack is not merely a collection of songs but a rich tapestry of auditory artistry that is poised to be cherished by aficionados of music and cinema alike.

In essence, the “Amar Singh Chamkila” soundtrack is a synergistic masterpiece that not only pays tribute to the ‘Elvis of Punjab’ but also redefines the boundaries of film music in Bollywood. It is a compendium of musical brilliance that will undoubtedly leave an indelible mark on the annals of Indian cinema’s musical heritage.

Rating
★★★★★★★★★★

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Rating: 1 out of 5.

Gulzar, the name itself conjures up class, interestingly, it is not even his real name but the pseudonym he chose to be recognized as. Born as Sampuran Singh Kalra on the 18th of August 1934 in Jhelum, Punjab; he evolved to be a multitalented artist that has carved his name into the echelons of the greats. be it the lyrics that he has written or even the movies that he has made. No one can deny that through his movies, he has always remained very true to real-life with the themes and emotional content of his lyrics and movies, they hit hard, and the as the cliche goes ‘Hits the nail on the head’. Moreso, it is because he truly feels the pulse of his audience and always realizes that no matter what, content has to be meaningful and engaging. this proves to be true with all his written and camera work. During this review, I will keep in mind the content of Ijaazat (the film), but more importantly Ijaazat’s lyrics.

Rahul Dev Burman, also known as Panchamda, was an Indian music director and actor. He is considered to be one the greatest and most successful music director of the Hindi Film Music Industry. From the 1960s to the 1990s, Burman composed musical scores for 331 films, bringing a new level of music ensemble with his compositions. He did his major work with legendary singers Mohammed Rafi, Lata Mangeshkar, Asha Bhosle, and Kishore Kumar. He also worked extensively with lyricist Gulzar, with whom he has some of the most memorable numbers in his career. R. D. Burman was uniquely successful in generating much interest from the rest of the world, with great filmic scores that empowered his singers and musicians. He was a magician that created melodies and tunes that garnered quite the rage – most of which still exists today! The musical arrangements and innovations were limitless, and even now when we hear his creative and melodious tunes, we can sit in wonder at how this man created music.

Ijaazat is probably one of the most prolific movies from Gulzar and R. D. Burman, but why prolific? The soundtrack garnered two National Awards as well as the movie being lauded for it’s not-so-common themes. It was a sensitive score, that encased only one singer – Asha Bhosle; but provided an array of themes with delicate lyrics. This film only had 4 tracks, and it showed that quality over quantity mattered.

There is no doubt that the combo of Gulzar & R. D. Burman was quite spectacular, especially if you analyze the music they had produced. Both are extremely talented artists and have created magic, in their long, prolific careers together. Below are just a few films that they have worked in together and they complemented each other majestically. Here are some of the movies that Gulzar directed with music by R D Burman:

Parichay (1972): Starring Jeetendra and Jaya Bhaduri, this movie features some of the most iconic songs of the 70s, including “Musafir Hoon Yaaron” and “Beeti Na Bitai Raina”.
Aandhi (1975): This movie, starring Sanjeev Kumar and Suchitra Sen, was initially banned by the Indian government due to its perceived resemblance to the life of former Prime Minister Indira Gandhi. The movie’s soundtrack, composed by R D Burman, is still considered one of the best in Hindi cinema.
Kinara (1977): This movie, starring Hema Malini and Dharmendra, features some of the most melodious songs of the 70s, including “Naam Gum Jaayega” and “Ek Hi Khwab”.
Ijaazat (1987): This movie, starring Naseeruddin Shah and Rekha, features some of the most hauntingly beautiful songs of the 80s, including “Mera Kuchh Saaman” and “Katra Katra”.
Libaas (1988): Their final collaboration together, the mystery still continues as this movie has never made it to the cinema halls. Its soundtrack has however been released multiple times through different music labels (its latest being a yellow LP pressing by TIPS music) and it’s another superlative score with gems such as “Khamosh Sa Afsana“, “Seeli Hawa Choo Gayi” & “Phir Kisi Shakh Se“

Tracklist

| No. | Song | Artists | Duration | | 1 | Chhotisi Kahani Se | Asha Bhosle | 7:16 | | 2 | Mera Kuchh Samaan | Asha Bhosle | 6:42 | | 3 | Katra Katra | Asha Bhosle | 6:06 | | 4 | Khali Haath Shaam Aayi | Asha Bhosle | 4:58 | | Total Duration | 25:02:00 |

This 7-minute 16 sec track almost never made it to the film, before we delve into the details of the track, let me narrate how this track was conceived by R. D. and Gulzar; Meghana Gulzar relates the experience as she accompanied her dad to Pancham’s home:

One afternoon, Papi was over at Pancham uncle’s place, who was cooking and listening to an LP that he had. The song had a particular phrase, which was somewhat repetitive, in a circular sort of way. Pancham uncle was very fascinated by that phrase and kept playing that bit over and over. He asked Papi to put some words to the tune. He extended the phrase by adding a few notes himself and composed another phrase for its culmination. Papi kept filling in the tune with his words. Pancham Uncle asked him to use it in Ijaazat but there was no place for another song in the film. This newly ‘cooked’ song was then used in the title sequence of Ijaazat – ‘Chotisi Kahani Se, Baarishon Ke Paani Se, Saari Vaadi Bhar Gayi…’ were the words on the circular phrase to which R. D. Burman added a musical phrase in his inimitable style, to which the words were – ‘Na Jane Kyun Dil Bhar Gaya… Na Jane Kyun Aankh Bhar Gayi…’

Gulzar, Meghana: Because He Is – https://rupapublications.co.in/books/because-he-is/

The track is replete with visuals based on its instrumentation and the lyrical content. Two situations appear in the mind and the magic of the duo Gulzar and R. D. come forefront here; hear the track in its entirety and think to yourself, what imagery does it conjure up? The lyrics inspire a beautiful rainy day, whilst the composition of the music conjures up the beginning of a journey on a train. We will use both these metaphors when describing the track below. Add to that, that the track has fragments of Raga Bageshree nicely woven into its rhythm and flow and we have a track that is as fresh as it was the first time i can recall hearing it. It was a beautiful summers day in Durban (Coastal area on the east of South Africa) in the late 80’s; we were on holiday and had gone shopping with family to the CBD, this song played through the load speaker at the front of the store, I remember stopping and just listening to the music, and it captivated me, especially Asha Bhosle’s heavenly vocals.

La La La La
Chhoti Si Kahani Se*
This Small Tale
Baarishon Ke Paani Se
In the Rain
Saare Vaadi Bhar Gayi…. La La LaOverflows The Valleys… La La La
Chhoti Si Kahani SeThis Small Tale
Baarishon Ke Paani SeIn the Rain
Saare Vaadi Bhar Gayi…. La La LaOverflows The Valleys… La La La
Na Jaane Kyun… Dil Bhar GayaaI Wonder Why, But My Heart Overflowed (With Emotion)
Na Jaane Kyun… Aankh Bhar Gayi*I Wonder Why, But My Eyes Welled Up

Shakho Pe Patte The, Pato Pe Boond Thi*The Leaves On The Branches Were Drenched In Rain-Drops
Boondoon Pe Pani Tha, Paani Mein Ansoo TheWater-Soaked Rain-Drops Just As Someone’s Tears
Aaah Aaah Aaah
Shakho Pe Patte The, Pato Pe Boond Thi
The Leaves On The Branches Were Drenched In Rain-Drops
Boondoon Pe Pani Tha, Paani Mein Ansoo TheWater-Soaked Rain-Drops Just As Someone’s Tears
Aaah Aaah Aaah***

Chhoti Si Kahani Se*This Small Tale
Baarishon Ke Paani SeIn the Rain
Saare Vaadi Bhar Gayi…. La La LaOverflows The Valleys… La La La
Na Jaane Kyun… Dil Bhar GayaaI Wonder Why, But My Heart Overflowed (With Emotion)
Na Jaane Kyun… Aankh Bhar Gayi*I Wonder Why, But My Eyes Welled Up

Dil Mein Giley Bhi The, Pahle Mile Bhi Thi*The Bitterness In Our Hearts Remained From The Time We Met Earlier
Milke Paraye The, Do Hum Saaye TheEven Though We Were Like Each Other’s Reflection, We Still Felt Estranged
Aaah Aaah Aaah
Dil Mein Giley Bhi The, Pahle Mile Bhi ThiThe Bitterness In Our Hearts Remained From The Time We Met Earlier
Milke Paraye The, Do Hum Saaye TheEven Though We Were Like Each Other’s Reflection, We Still Felt Estranged
Aaah Aaah Aaah
La La La***

Rukti Hai Thamti Hain, Kabhi Barasti Hain*It Pauses, And Then Continues, Yet It Pours Down
Badal Pe Paanv Rakh Ke, Baarish Machalti HainWith Its Steps On The Cloud, The Rain Dances Whimsically
Aaah Aaah Aaah
Rukti Hai Thamti Hain, Kabhi Barasti Hain
It Pauses, And Then Continues, Yet It Pours Down
Badal Pe Paanv Rakh Ke, Baarish Machalti HainWith Its Steps On The Cloud, The Rain Dances Whimsically
Aaah Aaah Aaah***

As described above, let me us the imagery I conjured to explain this safar; A train journey amidst the rains passing through soaked valleys and a drenched atmosphere. The guitar strums in the mood, with the clarinet following suit interspersed with wind chimes, but listen carefully, does it not sound like a train that is about to embark on its safar, blowing its horn just before leaving the station? The wind chimes sound like the dew drops falling off the branches, creating a river. Percussion come through with the Maadal and the bass guitar gives flow to the river and the moving train. The prelude progresses into a full-blown river cascading down the valleys with the introduction of the violins and bansuri. R. D. improvises with the star of the song: The accordion which accompanies us throughout the safar.

La La La La La La…. Oh my… Asha Bhosle… we truly have been gifted with her voice, she dazzles in this song, and it truly evokes everything I described above and much more. Her introduction alaap sends out the whistle signals of train and eventually explains the excitement at the wondrous surrounding and mood. Gulzar’s mukhda lyric tells you snippets of the full story, leaving you engaged and asking for more, but more compelling is the composition structure of this introduction. It is layered and compounded by Ashaji’s second layer of humming in between the words, clever and formidable, it gives the song the perfect mood and feel, reverberating in the magical surrounding as the safar continues on. The temperament and mood slightly change when Ashaji sings the line ‘Aankh Bhar Gayi‘ which indicates a tinge of bittersweet emotions in direct contrast to the rest of the song, however in the next few antaras we are given a more to justify the line.

Panchamda cleverly uses the accordion to change between the mukhda and antaras and this cycle continues throughout the song. A short accordion piece takes us to the first antara, listen carefully to what Gulzar is telling us, firstly how it progresses from something magical, ending with a bittersweet tone, and secondly how Ashaji’s vocals encapsulate the emotion; usings her heavenly alaap after the last lyric of the antara. Then again, the accordion takes us to the mukhda.

The following interlude last slightly longer and starts off again with the cyclic pattern of the accordion, then moves to the mellifluous strums of the mandolin with bansuri side by side; the bass guitar and maadal aiding the mandolin / baansuri duo. Violins enter just before the antara begins, and the lyrical content is somewhat darker than the previous antara, but it still conveyed with devastatingly beautiful vocals and alaaps by Ashaji. The lyric probably hints at what ensues after this track (pun intended) is complete.

The final phase of the safar now appears; so far we have scaled happiness and bittersweet emotions, and now it’s the time of excitement, new discoveries to happen as we reach the final destination. Flute / Vilions / Cello / Guitar / Maadal / Mandolin all indicates the approach, especially with the excitement channeled through Gulzar’s final antara lyric. Hear the thoughtful accordion piece, it is now mixed in the percussion and the heavenly alaaps by Asha Bhosle, and then it slowly lowers its tempo at its final destination until the violins indicate a complete halt. The safar is now over. Looking at the title credits of Ijaazat, these visuals are brought to life by cinematographer Ashok Mehta. This track stands at 7 minutes 16 seconds and in the film, it is condensed to just over 2 minutes. It encapsulates Gulzar’s lyrics with visual strength, and especially towards the end where we finally see the two train tracks meeting to the final destination. If you watched the film, you know what this means as Naseeruddin Shah exits the train and enters the waiting room. That was Gulzar’s wisdom, especially the minutest of details that all makes sense when you think about it. R. D. Burman has created many train songs that were especially unique such as ‘Hoga Tumse Pyaara Kaun‘ and ‘Hum Dono, Do Premee‘ from Zamaane Ko Dikhana Hai and Ajanabee respectively and each time creates it within the mood-scape of that particular film and lyrical content. He once again creates that magic with this song.

If there is one word that could emotionally polarise and ‘paralyse’ anyone, it would have to be the word ‘Love‘. In all it’s measures, ‘Pyar‘, ‘Ishq‘, ‘Mohabbat‘ makes a person feel bliss immeasurably, and on the other side of the coin, it can also generate an infinite amount of pain, heartbreak and disdain. ‘Mera Kuchh Saamaan‘ explores the pathos of this disdain with Gulzar’s confounding lyric. For one, it has no rhythmic meter, and most definitely would be a challenge to a music composer, but that was the magic of R. D.; he was able, willing and extremely talented. The famous story about R. D. seeing the lyric and telling Gulzar, that next he’d present him with an article from the ‘Times of India’ and ask him to compose it, where Gulzar also mentioned that he sat in the corner of the recording room anxious to engage with R. D.

It however all paid off! The song won both lyricist and singer National awards but missed the opportunity of awarding the melody maker himself. It would have surely been a feat not achieved before had they also awarded R. D. for this marvelous composition based on Raga Yaman Kalyan. That year the National award for Best Music was awarded to Vanraj Bhatia for Tamas. Asha Bhosle won her second National award for Ijaazat, after winning in 1981 for Khayyam’s wondrous score in Umrao Jaan. Gulzar also won twice for lyrics, for this track and ‘Yaara Seeli Seeli‘ in 1991’s Lekin. The ghazalesque ‘Mera Kuchh Samaan‘ as a milestone for R. D. and the rest of his team, it will always remain a myriad of pathos for those that have understood life. The thought just occured to me that looking at the lyrics, it seems that film ‘The Eternal Sunshine of The Eternal Mind‘ got its premise from this lyric notwithstanding the same film featured three Bollywood tracks on its soundtrack; ‘Mera Mann Tera Pyaasa’, ‘Wada Na Tod’ & ‘Tere Sang Pyar Mein Nahin‘ from Gambler (1971). Dil Tujhko Diya (1987) & Nagin (1976) respectively.

Mera kuchh saamaan tumhare paas pada hai – 2
You still have some of my things (memories)
O sawan ke kuch‘‘hbheege bheege din rakhe hain
some rain-drenched days and
Hoo… *Aur mere ik khat main lipti raat padi hai
and a burning night folded into a note
Woh raat bujha do, mera woh saman lauta do –* 2
Please put out the light of that night and return my things

Mera kuchh saamaan tumhare paas pada hai – 2
You still have some of my things (memories)
Sawan ke kuch bheege bheege din rakhe hain
some rain-drenched days and
Hoo.. Aur mere ik khat main lipti raat padi hai
Hoo.. and a burning night folded into a note
Woh raat bujha do, mera woh saman lauta do – 2
Please put out the light of that night and return my things

Patjhad hai kuchh… hai na ? Hmm..
The autumn is special… Isn’t it?
Hoo. Patjhad main kuchh patton ke girne ki aahat
The rustling of the autumn leaves
Kanon main ek baar pahan ke laut aai thi
I wore like an earing, then I returned it back to the branch
Patajhad ki woh shaakh abhi tak kaanp rahi hai
It is trembling in the autumn wind
Woh shaakh gira do mera vo saamaan lauta do – 2
Break that lamenting branch and return my things (memories)

Ek akeli chhatri main jab aadhe aadhe bheeg rahe the – 2
You once remembered, we were alone under one umbrella, partially soaked
Aadhe sookhe aadhe geele sukha to main le aaye thi
Partially dry, partially damp… I’ve taken the dryness with me
Geela man shayad bistar ke paas pada ho
But perhaps I left my dampened memories behind
Woh brijwa do mera woh saamaan lauta doReturn it to me, and return my memories

Ek sau sola chaand ki raatein ek tumhare kaandhe ka til – 2
One hundred moonlit evenings and the mole on your shoulder
Geeli mehndi ki khushboo jhoot mooth ke shikwe kuchh
The scent of wet henna and the fake complaints
Jhooth mooth ke wade bhi sab yaad kara do
The promises we didn’t mean reminds me of all that
Sab brijwa do mera woh saman lauta do – 2
Return all of that, and my things (memories)

Ek ijaazat de do bas jab isko dafanaungi
Main bhi wahin so jaungi – 2
Grant me one last permission, to bury all these memories, and to sleep beside the memories, forever.

Synth, Santoor and a forlorn Flute plays hypnotically as the introduction to the breezy, melancholic ‘Mera Kuch Saamaan‘; the percussion relents as if it is an anxious heart; light tabla strokes enhances the melody. Sorrowful and in deep thought, Ashaji croons the alaap – this instantly explains Maya’s state of mind. Anuradha Patel portrays Maya’s character with verve onscreen, and here too we can feel her heart. Asha Bhosle sings the alaap based on the chalan of Raga Yaman Kalyan. The free verse begins, and Ashaji tugs at our heartstrings. Gulzar in his genius describes memories as things, for if one has truly loved you and then discarded you, were your memories not just things?? The thought itself is cavernous, especially its impact in repetition; i’ll explain as we go along. Firstly, lets discard the Mukhda and Antara structure (as is usually ‘married‘ in a song). Read that again and understand what R. D. Burman was adding to this song. Between each stanza, the only common thread is the word ‘Saamaan‘ and the crescendo of the of the melody. Let’s in fact treat every stanza as a ‘separate’ antara. The first stanza is repeated twice, but hear the intonation change on the second repetition. Ashaji stresses on specific words that create a profound influence. In this stanza it is on the words ‘Saamaan‘ and ‘Tumhare‘; with the crescendo coming in at ‘Aur mere ik khat main lipti raat padi hai‘. First and last lines in these stanzas have been repeated twice for impact and relaying the message to Mohinder (Naseeruddin Shah’s character)

The message intensifies as the lyric progresses, a quick Santoor interlude and Maya reminds Mohinder of the Autumn, bur hear how Ashaji renders the question, it’s like a secret between two lovers whose mind would immediately be drawn to that memory, there’s almost a hint of nostalgia as she hums the line. The Sarod expands the interlude giving way to Pt. Ulhas Bapat to amplify his Santoor in the Raga Yaman Kalyan chalan with a sweetly tuned meend. The percussion continues quivering anxiously in a constant mode. Maya tells Mohinder a bit more about the ‘Autumn’ in her song, and explains her memories, hitting the crescendo in ‘Patajhad ki woh shaakh abhi tak kaanp rahi hai‘; stressing on the final line with repetition once again; this time she asks Mohinder to ‘break’ that memory and return it (Saamaan) to her. Gulzar creates a flaming burn with that line alone, as if asking: ‘Why create that memory in the first place?’ Ashaji’s rendition is brilliant, we feel every tear that Maya cries through her voice. Can it get more intense that this?

Yes, it most definitely can! The interlude hypnotically traverses back to the twilight mood of the Santoor and a dusky clarinet; Sarod and flute accompany further on. The first line of this stanza is repeated twice, in contrast to the rest of the song, but what does it mean? The meaning is reiterated through the repetition, Maya wants Mohinder to understand what it meant to stand under the same umbrella, partially soaked., how it made her feel! Ashaji is heavenly here, though dejected by thought and lyric, it is superbly maintained with a pitch perfect tone. No wonder Ashaji won the National Award for this song; listen to it with your eyes closed and beating heart. There is no repetition of the last line of this stanza, only because you hear how hurt she sounds saying it again. I ask once again; can it get more intense?

Flute, Santoor and Sarod continue to spellbind us; flowing through Maya’s heart and leading us to her final and most intense ‘Saamaan‘(memory), we can, only but listen and smile as Maya relates their most personal memories. She describes it as One hundred Moonlit nights and the mole on his shoulder; she repeats that line twice, and the second time it’s almost as if she is crying. Gulzar again in his genius uses the line ’Geele Mehndi Ki Khushbhoo‘ to hint at what Maya thought would be the outcome of their union, and in the very next line explains it implicitly. the crescendo in this stanza comes in at ‘Jhooth mooth ke wade bhi sab yaad kara do‘. The final line is repeated twice again, but only as feeling of rising up after realizing ‘she’ has lost affirming once again: ‘Sab brijwa do mera woh saman lauta do**‘ – but the irony remains because how do we erase our memories? The final lyric accepts this defeat, and it is seeped in mournfulness; If we cannot erase those memories, we have to ‘bury’ them. Its not hard to wonder this song has so many haunting qualities; not only the fun facts around the making of the song, but also the way it was composed, rendered and received.

Granted that context is given, almost everything makes sense, so let us give context to Katra Katra; Sudha, played vivaciously by Rekha, is married to Mohinder, who married her out of compulsion. He is however in love with Maya (as described in the previous track); Sudha knew all of this before getting married, but she still loves Mohinder and goes ahead with the marriage. This is a pyrrhic triumph for Sudha, and we get to see her triumph in the form of Katra Katra. Gulzar handled the story by Subodh Ghosh with utmost maturity, and the film doesn’t digress to loud screaming battles and long-drawn-out courtroom divorces etc. The characters are mature enough to accept their fate and understand what needs to happen to move on – It’s a life lesson to all actually – the fact that we cannot control people and that emotions are innate is more than enough to understand Ijaazat. In Katra Katra Gulzar focuses on Sudha and give her love a description that aptly matches the character development.

Interestingly enough, while recording this song based on Raga Bhairavi, R.D. Burman had asked Asha Bhosle to leave certain lines at points that seemed incomplete. When a puzzled Gulzar had asked him about it, the composer had brushed him aside. In the final form of the song, he “filled up” the song by mixing two vocal tracks by Asha Bhosle to create a unique harmony. He then offered this song as a challenge for Gulzar to film. Gulzar had given Burman difficult lyrics to compose to in “Mera Kuchh Saamaan” and he got back at the lyricist, who was also directing the film, by giving him a song that was not easy to shoot!

Katra-Katra Milti Hai, Katra-Katra Jeene Do*Drop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)*If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Kal Bhi To Kuchh Aisa Yeh Hua Tha, Neend Mein Thi, Tumne Jab Chhua Tha*Do You Remember What Happened Yesterday? I Was Deep In Sleep When You Touched Me.
Girte-Girte Baahon Mein Bachhi Main, Sapne Pe Paaon Pad Gaya ThaIt Made Me Start, And I Almost Fell In Your Arms On Stumbling Upon A Dream
Sapnon Mein, Bahne DoJust Let Me Live In This Dream
Pyaasi Hoon Main, Pyaasi Rahne DoAnd If It Leaves Me Asking More More, Let That Be So!
Katra-Katra Milti Hai, Katra-Katra Jeene DoDrop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)*If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Tumne To Aakaash Bichhaaya, Mere Nange Pairon Mein Zameen Hai*You Have Given Me The Sky To Walk On, But My Bare Feet Are Still On The Ground.
Paakhe Bhi Tumhari Arzoo Ho Shaayad Aise Zindagi Haseen HaiLife Is A Lot More Beautiful, When I Still Long For You When You’re With Me
Arzoo Mein, Bahne DoLet Me Live In This Desire
Pyaasi Hoon Main, Pyaasi Rahne DoAnd If It Leaves Me Thirsty, So Be It
Katra-Katra Milti Hai, Katra-Katra Jeene DoDrop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)*If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Halke-Halke Kohre Ke Dhuen Mein, Shaayad Aasmaan Tak Aa Gayi Hoon*(Walking) In This Soft Mist Of Fog, Looks Like I’ve Touched The Sky
Teri Do Nigahon Ke Sahaare, Dekho To Kahaan Tak Aa Gayi HoonGuided By Your Eyes, Look Where I’ve Reached
Kohre Mein, Bahne DoNow Just Let Me Float In This Mist
Pyaasi Hoon Main, Pyaasi Rahne DoAnd If It Leaves Me Thirsty, So Be It
Katra-Katra Milti Hai, Katra-Katra Jeene DoDrop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)*If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Flute notes and Guitar strums cycles twice introducing Katra Katra to the percussion as a kick start – the bass guitar leads on and a flute melody (with violin) that scales a mountain (aaroha) and then a Cliff (avaraoha), it is already picturesque. Sudha is happy and we can feel it. The music flows like a thought from her heart to her mouth – the mukhda in form of Katra Katra Milti…., sweet and surreal; immortally vocalized by Asha Bhosle. Ever heard the phrase ‘Carpe Diem‘? – this is Gulzar’s style of describing it. Sudha is content with these moments to keep her heart beating, fully aware that Mohinder has set his heart elsewhere. But the moments will still keep happening despite anything and that’s what motivates her. We hear these ebbs and flows through Ashaji’s superb rendition especially in the last two lines of the Mukhda. R. D. created a sort of thought and answer theme with the play on the double vocals. the second set of vocals in each line (described in brackets above) are the answers to the thought just before it.

Synth enhances the first interlude, with an exhilarated violin strum almost as if on the peak of a roller coaster nearing the descent, this leads to a wondrous santoor piece, and cue Asha Bhosle to continue this whirlwind of thought, asking her lover if he remembers what happened yesterday as if in a dream as the antara begins. The flows of the vocals are like a rapturous river, clear in its flow and with no inhibitions; it flows back into the mukhda beautifully.

The next interlude begins with the Maadal creating a unique percussion pattern but hear Asha’s vocals linger on in this interlude from the previous antara; hauntingly. A flute is added, violin strums again take us to the peak of Sudha’s emotions. She explains the heights the moments have lifted her to, even with her feet on the ground. Gulzar ties in this maturity quite nicely, with this lyric, and reminds Sudha that she has to contend with reality, and to grab every last moment fully. The flow back into the Mukhda, hear how R.D. uses the last vocal portion of ‘Pyaasi Hoon Main, Pyaasi Rahne Do’; it lingers hauntingly into the mukhda.

From dreaming, to floating in the sky, and now Sudha has to navigate her life through the clouds, it’s almost surreal but it is actually real. Violins immediately creates a heightened feeling, along with flute and santoor. A montage of backing chorus gives an angelic hum and adds to the fantasy. Asha Bhosle’s rendition has been fantastic throughout; she gives a much-deserved excitement and life to Sudha’s character. The mist might block her view, but she is still grateful for her moments with Mohinder, and together they will endure the mist (Maya).

This track is the pièce-de-résistance of Ijaazat in my opinion, it shows R. D.’s command over classical music and he does it with panache. ‘Khali Haath Shaam Aayi Hai‘ is based on Raga Pilu, the opening mukhda is inspired by S. D. Burman’s ‘Ami Chinnu Eka Baashor Jaagaye‘ and the rest is R. D.’s genius innovation with the swaras of Raga Pilu. Each instrument is given a chance to exemplify the message that Gulzar so poignantly wrote, coming to life in Asha Bhosle’s vocals. The genius trio have committed to giving a spectacular end to a superlative album.

Sudha has just walked out of her marriage, unable to come to terms with Mohinder’s love for Maya, despite many attempts at understanding and sacrificing her emotions. Everywhere she turns, there are hints of Maya in her marital home. Sudha makes a conscious, mature decision to just leave and start over again. But it is never that easy; her emotions are still there and who can get rid of unrequited love so easily? Not even the bravest of warriors can do this. Sudha composes her ill-fate in the form of Khali Haath Sham Aayi so solemnly beautifully, in her solitude. At this point in the film, Mohinder has gone to Maya (after her attempted suicide) and tries to nurse her back to health leaving is his marital home ‘Khali (Empty)’

Khali Haath Shaam Aayi Hai*The Evening Has Arrived Empty-Handed
Hooo… Khali Haath Shaam Aayi HaiThe Evening Has Arrived Empty-Handed
Khali Haath JaayegiAnd Will Depart Empty-Handed
Khali Haath Shaam Aayi HaiThe Evening Has Arrived Empty-Handed
Aaj Bhi Na Aayaa Koi – 2Noone Has Come To Console Me Tonight – 2
Khali Laut JaayegiAnd Will Leave Desolate (Lost)
Khali Haath Shaam Aayi Hai …*The Evening Has Arrived Empty-Handed

Aaj Bhi Na Aaye Aansuu , Aaj Bhi Na Bheege Naina – 2*Today Also, My Tears Do Not Well Up, My Eyes Are Moist No More – 2
Aaj Bhi Ye Kori Raina – 2Once Again The Long, Blank Night
Kori Laut JaayegiThe Long, Blank Night, Will Turn Away Untouched
Khali Haath Shaam Aayi Hai …The Evening Has Arrived Empty-Handed
Khali Haath JaayegiAnd Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai*The Evening Has Arrived Empty-Handed

Raat Ki Siyaahi Koi, Aaye To Mitaaye Naa – 2*The Night Dark As An Ink Stain, Will Not Be Erased With His Arrival -2
Aaj Naa Mitaayaa To Ye – 2If Not Erased Tonight – 2
Kal Bhi Laut AayegiThe Darkness Shall Surely Return Tomorrow
Khali Haath Shaam Aayi Hai …The Evening Has Arrived Empty-Handed
Khali Haath JaayegiAnd Will Depart Empty-Handed
Khali Haath Shaam Aayi HaiThe Evening Has Arrived Empty-Handed
Aaj Bhi Na Aayaa Koi – 2Noone Has Come To Console Me Tonight – 2
Khali Laut JaayegiAnd Will Levae Desolate (Lost)
Khali Haath Shaam Aayi Hai …The Evening Has Arrived Empty-Handed
Khali Haath JaayegiAnd Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai*The Evening Has Arrived Empty-Handed

The drone of the Tanpura sets the mood with the Synth and Swarmandal creating a spectral feeling and atmosphere, the most beautiful guitar piece exonerates that feeling bringing in the Mukhda, sung so regretfully sweet by Asha Bhosle. R. D. introduces the percussion in Kaherwa Taal, with light adornments of Santoor behind Ashaji’s vocals; the flute emerges and extends on Sudha’s woeful lament.

The flute continues into a full set piece of the aroha and avaroha of Raga Pilu, in the first interlude; hear how it plays an extension of Sudha’s deep thoughts after each lyric of the first antara with light guitar strums. Gulzar creates a lamenting thought through his lyrics, Sudha is feeling downright trodden, and she is human after all; but there is no one to console her. The irony of sacrificing your life for someone, without expecting anything in return. Rekha is amazing onscreen, and even though Gulzar filmed it in a stark, dark expression, the emotions Rekha captures onscreen are embedded in our mind.

As the next antara begins, Santoor infused Guitar strums akin to thoughts play out that leads to decision in the form a Sitar solo, and yet again the lamenting flute. Sudha finally accepts her situation, knowing fully well that even if someone arrives, they will never be able to console her for the emotional trauma she has suffered, because the evening shall surely return tomorrow, it is inevitable. Asha Bhosle masterfully conveys this message with R. D.’s play on the line lyric repetition, together they made a formidable duo and Ijaazat cemented that. The track ends with the flute, santoor and guitar trying to ignite a spark to the low burning flame of love but ends up extinguishing it.

Ijaazat might have not been a hit in its initial release, but as years grew on, the audience realized why this movie was so ahead of its time. Rewind to the 80’s, there was a lot of deadwood coming out Bollywood, loud and action-oriented films were the order of the day. Art cinema did have a few gems, but these were far and few in-between; Thanks to Gulzar and R. D. Burman, Ijaazat somewhat bridged the gap. Gulzar handled the film with utmost sensitivity and maturity; The three main characters were etched out beautifully with clear arc progression. Rekha’s sublime performance as Sudha has to be lauded for her effortless histrionics. Anuradha Patel as Maya fits the description and brought the necessary spice without bloating the narrative. Naseeruddin Shah’s Mohinder should teach us all something about making a decision and staying true to it; he, in fact, was the loser at the end for not honoring his word(s). A humungous part of this film’s success in owed to the fourth Main character. R. D. Burman’s music: he had given Asha Bhosle soul-stirring melodies that remain eternal. The fact that she sang for both Sudha and Maya and capturing both of their souls so fluently is testament to her and R. D.’s art. Interestingly Ijaazat has both Shammi and Shashi Kapoor working for the first time in a Gulzar film in guest appearances. Utsav, released in 1984, had both Rekha and Anuradha Patel, but here their roles were swopped, as Rekha was the other woman; Ijaazat also highlighted that as a change for Rekha as she had played ‘The other woman’ in many earlier films. We know that Gulzar also had other actors in mind for Mohinder and Maya – he initially wanted to cast Sanjeev Kumar as Mohinder and Smita Patil as Maya, but by the time the film has released, both these stalwarts were no more.

The music of Ijaazat has lived immortally and only grew on the audience as time went by. It has now been 36 years since the release of the film, and we are still writing reviews on the soundtrack. It is therefore not a wonder that the Original LP release of Ijaazat sells for crazy cash. It has become an item to cherish, and HMV knew that they released a quality LP with superior sound that captures all the nuances that Panchamda has intended for us listeners. Ijaazat score a complete 10 out 10 stars for its sheer genius and everlasting appeal.

The singer that features in Ijaazat:

Rating
★★★★★★★★★★

View Details

Rating: 1 out of 5.

Devdas celebrates 20 years in 2022!! I still remember attending its South African Premier, at the Ster Kinekor Cinema’s at Rosebank, Johannesburg; it was a great experience; all the necessary paraphernalia printed, the songs of Devdas echoing through the beautifully decorated theater, everyone dressed in their finery, a lovely winters chill filling the hallways. The excitement to watch Devdas finally concluded that evening after a monumental one year wait. I still remember crazily collecting any form of pictures, information and newspaper articles that made my once younger mind dreamy. As a huge fan of Madhuri Dixit-Nene, my excitement soared to previously unattainable heights. Promos of the film showcased the beautiful songs with great verve, Madhuri’s dances in Maar Daala and Kaahe Chhed Mohe, Aishwarya’s beautiful diya song and the Ultimate dance in Dola Re Dola. These are cherished memories that have been kept alive with the most sweetest nostalgia.

This is the second Sanjay Leela Bhansali film’s music review that i am featuring on this site, more so, it was one of his first few films that he didn’t helm the Music Director’s chair for. That baton was handed to the multi talented and award-winning Ismail Darbar, and what a solid job he did with the Devdas Soundtrack; more about him a bit later on. Devdas was Sanjay Leela Bhansali’s third film after Khamoshi and Hum Dil De Chuke Sanam. He went on to make Guzaarish, Goliyon Ki Raasleela Ram-Leela, Bajirao Mastani, Padmaavat and Gangubai Kathiawadiwhich all featured him as the Director and Music Director.

Link to the Bajirao Mastani review that was done by The Great Bollywood Party.

Below is a filmography of Sanjay Leela Bhansali (as director) and the music directors he chose. There is no doubt in my mind that his movie aesthetic is quite unique and presents us with movies and music that are unbelievably beautiful. There might be some disparity over whether his films are meant for everyone, but this cannot be said about the music in each of his films. They are modern day classics that helm melody queen. In each of his ventures the music has been extremely memorable and long term quality. No doubt as the years progressed, Sanjay Leela Bhansali preferred a classical base for his music, but that is what will eventually provide longevity. His musical sensibilities are commendable in relaying his films themes and messages.

Devdas is one such of his soundtracks that carried a classical base and it empowered its characters; so much so that you cannot imagine Devdas without its music or its commanding lyrics by Nusrat Badr. Sadly, this was also the final collaboration between Ismail Darbar and Sanjay Leela Bhansali, and whilst Darbar went on to compose music outside of Bhansali’s films, these soundtracks remain the strong points in his career. One would have wished that this collaboration would have extended further, and that their fall-out would have mended. Alas, we have these phenomenal soundtracks to revel in.

Ismail Darbar comes from a family of four generation musicians; an exponent of the violin, he worked for nine years as a session violist for leading music directors. Lady luck’s shine increased on Ismail Darbar when he met director Sanjay Leela Bhansali, for whose film Hum Dil De Chuke Sanam, he composed the music. With the director’s keen ear for music, the result, was sheer magic! Film-goers were astonished by the exemplary quality, melody and originality of the musical score. Sanjay Leela Bhansali and Ismail Darbar have bedecked Devdas with nine songs that speak not only the story of the film but also the story of melody and passion at their entwined best.

Ismail DarbarNusrat Badr indeed knows how to cajole his pen into giving its best. Having created a mark as a poet, he makes a soulful debut as a film lyricist in Devdas. The story of Devdas has passion, pain and pathos as its synonymous companions. The lyrics had to lovingly capture this and open the route from the ears to the heart so that the musical words of Devdas may stay there forever. Nusrat Badr’s simple lyrics complimented the complex feelings that had to be conveyed with much accuracy. The Film Fraternity unfortunately lost Nusrat Badr on the 25th January 2020 due to a prolonging ailment. He had, since Devdas, written lyrics for 817 songs in 108 films; a great legacy left behind for his listeners to ponder upon. He was the son of famous poet Bashir Badr.

The Late Nusrat BadrA dream as big as Devdas, entailed more than a fair share of heartache for its makers, as they embarked on this epic journey, it wasn’t all easy and smooth:

The set of Chandramukhi’s Kotha was made around a lake. Perhaps it was the beauty of the set, which tempted even the heat. So much so, that the water in the lake kept drying. Gallons and gallons of water had to be filled in with amazing regularity. Moreover, the bridge across the lake had a knack of sinking at all the wrong times. To us was as alarming as the London bridge falling down.
Uninvited guests such as wild animals ventured nonchalantly around the set which brought out the animal in each of us.
The lights and diyas which lit up the ambience, at times scared the daylights out of us. The kotha set caught minor fires on 3 occasions. Either due to the generators or the diyas. The generous lighting also gave a few people, a shock….literally and figuratively.
Paro’s delicate stained glass house was erected for seven months from November to June. Safe, non-monsoon months. Yet what does one know! There were unprecedented heavy rain showers at least four times during those months. So we had colours of the stained glass fading and this brought out the painters in our enthused team who had to keep re-touching. Moreover our use of the trolley’s over the delicate floors of the sets led to a lot of chipping. Each chip cut across our hearts.
By the time it came to creating Bhuvan’s Haveli, we had no budget. But what we had was a motivated team and lots of perseverance and co-operation. And the haveli became a reality.
All the sets were kept mounted for 7 – 9 months. It was a huge production problem and a Herculean task maintaining them.

The Soundtrack of Devdas released in March of 2002, with fanfare. It was highly anticipated by many who were curious to know what the eventual soundtrack would sound like. Cassettes and CD’s made their way to the stores and reeled in its every listener. It was a great time where physical releases were much appreciated, and eventually made their way into Music stores. I remember pestering the local Music shop every other day for the release; and when it finally arrived, they had kept one CD for me. When i looked at the CD i was excited to find out that the CD was released by Universal South Africa. I guess it was one of the first Bollywood Soundtracks to be released locally post the LP era (We mostly got Indian releases). Only later on to find out that the Devdas soundtrack had been released in almost every country in their regions. A particularly interesting release was the European release which included some dialogues and the Title music, which is not found on any of the other releases. Cut to 2018 and the soundtrack was eventually released on a 2 LP (Vinyl) set (by Vinyl Studio 34, find them on Instagram @vinylstudio34), to my excitement; which i bought on its immediate release. This release also included some of the dialogues but no Title music.

The South African CD Release

The Two LP Edition Released in 2018

Thanks to Sanjay Leela Bhansali and Ismail Darbar, the wonderfully gifted Shreya Ghoshal got her first break. A spectacular beginning to an illustrious career that has been shining ever since Devdas, Shreya, only 16 at the time recorded for Devdas. It was to the benefit of filmdom that we were graced with her talent and virtuosity at this young age. Shreya caught the attention of Sanjay Leela Bhansali’s mother, who noticed her as a participant in Sa Re Ga Ma while she was singing a bhajan of Lata Mangeshkar. She was then offered her the opportunity to do playback. She sang five songs on the album, which won her critical acclaim and accolades, including the prestigious National Film Award for Best Female Playback Singer for “Bairi Piya“.

This was a dream debut for Shreya Ghoshal, she became an instant sensation , due to her talent, admirable skill and humble personality, which until today has wowed us with her beautiful renditions. Shreya went on to win many accolades in 2002, including the sensuous rendition of ‘Jaadu Hai Nasha Hai‘ from Jism which portrayed her versatility even further. Devdas got her the prestigious National Award on her very first soundtrack. Along with seasoned artists like Kavita Krishnamurty, Udit Narayan & Jaspiner Narula, Devdas was a resounding album that showcased Ismail Darbar’s brilliance.

| No. | Song | Artists | Duration | | 1 | Title Music | Chorus | 1:51 | | 2 | Silsila Ye Chaahat Ka | Shreya Ghosal | 5:23 | | 3 | Maar Daala | Kavita Subramaniam / KK | 4:37 | | 4 | Bairi Piya | Udit Narayan / Shreya Ghosal | 5:20 | | 5 | Kaahe Chhed Mohe | Pandit Birju Maharaj / Kavita Subramaniam / Madhuri Dixit | 5:19 | | 6 | Chalak Chalak | Udit Narayan / Vinod Rathod / Shreya Ghosal | 5:10 | | 7 | Hamesha Tumko Chaha | Udit Narayan / Kavita Subramaniam | 5:59 | | 8 | Woh Chand Jaisi Ladki | Udit Narayan | 4:29 | | 9 | Morey Piya | Jaspinder Narula / Shreya Ghosal | 5:37 | | 10 | Devdas – The Theme | Rashmi Sharma / Supriya / Raghav Chatterjee | 4:00 | | 11 | Dola Re Dola | Kavita Subramaniam / Shreya Ghosal / KK | 6:36 | | Total Duration | 54:21:00 |

Devdas Tracklist2002 was a cutthroat year for Bollywood film music, there had been a plethora of films that released with great soundtracks, which included the likes of Raaz, Saathiya, Jism, Zindagi Khuboorat Hai etc. Going by today’s standards this was a magical year for music, with very varied genres and tunes serenading the audiences. Devdas no doubt stood out from these soundtracks, Its very essence and timbre made 2002 even more special and cemented itself into the core of music lovers hearts. All classically based songs, that had a wider appeal to anyone who gave it thought.

Interesting to note that Sanjay Leela Bhansali carries his film aesthetics to his music too. While Khamoshi showcased a family in Goa, the music suited it’s surroundings. Hum Dil De Chuke Sanam displayed the Gujarati family system and its music contained really exquisite Gujarati elements. We see this in all of his films; Devdas is based on a book by Bengali Author Sarat Chandra Chattopadhyay, and no doubt ,we see and hear Bengal in Devdas.

The title music and background score were composed by Monty Sharma – His debut in the Bollywood world, and what we got to see was just class. Monty Sharma started learning music from the age of 5 and had the opportunity of learning from his grandfather Pt. Ramprasad Sharma. Monty’s first tryst with the film world was playing the keyboards for Mr. India, which Laxmikant Pyarelal did the soundtrack for. Monty is the nephew of Pyarelal.

If the background score was anything to go by, then Monty displayed a myriad of talent as it bonded the very core of Devdas; it added the depth of emotion, key themes for each character clearly distinguishable and more importantly, it lent to the overall viewing experience.

The title music begins our Journey with the sound of Devdas, Monty is inspired by the Bengali interpretation and gives us an invigorating piece that remains close to the heart. His interpretation of the film comes alive in this 3.22 minute piece. The beginning sounds entrance as we hear the sound of the Durga Pooja, ululating belles (This is called Ooli) and the shank. A wave of chorus and pretty neat, intricately composed keyboard interludes play, with a mellow tarana suffused into its core. When the star names start to appear, the theme takes its ascent to the crescendo. Shah Rukh Khan’s names ushers in a deep melancholic acoustic sound, Madhuri Dixit’s name appears with a light ghungroo beat, Aishwarya; the melodious chorus piece and Jackie Shroff ,the bansuri; It is quite effective in its presentation. The crescendo hits exactly where the title of the film comes on, and creates a beautiful flow into the next segment. A more vocal piece which blends nicely in the Raga Yaman instrumental we’ve listened to so far.

Raghav Chatterjee helms the singing in this title music with able support by the chorus. At the part post the film title displays, we are treated to an emotionally vigorous piece that strives to characterise the rest of the film’s ‘crew / credits’ musically; It is mutually enjoyable. The Alaaps / Tarana that Raghav render are nothing short of zestful, and even though it is just the title music, it has much depth and is quite successful at being a standalone track. Listen closely, can you hear which Bandish Raghav is crooning? – the beautiful ‘Ae Ri Aali Piya Bina Sakhi‘. The amount of highs and lows we are taken through, pieces where the pakhawaj joins in are ingenious; Monty’s title music reflects snippets of his effective background score here, the choral elements are fantastic. Add to it the rustic classical flavour of Bengal, and we have an intense piece that tugs at heart. Once again, the use of this particular Bandish is absolutely perfect, as it portrays the themes of Devdas with distinct clarity.

And Intro… Shreya Ghoshal! Encore! What a dynamic entry into the world of film music, how much more spectacular could it have gotten? We have Shreya’s debut, singing for Aishwariya Rai to a semi-classical tune by Ismail Darbar, and picturised by Sanjay Leela Bhansali. Such was the dream debut that Shreya received. And also how fitting, Shreya’s voice did indeed require such a huge stage, her bright angelic voice brought such great harmony and gave me goosebumps the moment i heard her croon the opening lines of ‘Silsila Yeh Chaahat Ka‘. There is no doubt that this naturally gifted, talented young lady swept me off my feet, and took my heart to another level.

Ismail Darbar ingeniously creates a thunderstorm as a background for the song; In a way it cleverly makes us anticipate two things; Shreya’s vocals and Aishwariya’s entry into the film. This was also the ‘Diya‘ song that the media made us so excited about. The Diya that stayed alight the entire duration of the song, even during the storm. The Diya metaphorically displaying Paro’s love. Shreya’s first assignment was a tough song that required copious amount of rehearsals, but listen to it, the flow is so natural that you’d be forgiven for thinking this was an already well established, seasoned singer.

The thunder roars, the chorus provide the sound of the forthcoming rain with their Tarana ‘Dhoom Ta Dhoom Tana Dere Na‘ – making us anticipate the rain. Measured to precise bounty; the sitar is gloriously interspersed in the opening lines; its likening is to that of the light in the lightning. The chorus expands, and we hear the maidens achingly describe and tease Paro’s loneliness and anticipation for Devdas, they entrancingly sing about extinguishing her Diya that she kept alive since the day Devdas left for London. The tone of the chorus singers increasing the pitch with each line until Shreya appears. It is like when those first drops of water leave the clouds and touch the earth, that is her effect on the listener.

The way Bhansali and Darbar set out to create this songs is like a storm about to enter Paro’s life, and what a storm Devdas’s arrival creates in her life. The song, its instrumentation and vocals create that powerful thought about the loneliness and wait to behold the sight of your beloved, but also with it the unknown, the resilience of the love and its endgame. Listen to Shreya sing ‘Rom Rom Rom’ in the first antara; she places Paro’s heart in your hands. Its is fragile and so too are these haunting vocals rendered by Shreya. This was also Nusrat Badr’s first introduction to us listeners, and what soft, heartfelt and poignant lyrics he wrote; simple in structure and verse, but wholly impactful.

The unique tabla beat that Ismail Darbar creates is absolutely magnetic, listen properly; when the chorus sings, the beat is different, slightly teasing, then when Shreya sings, it is creatively haunting engaging with the bass drum that creates a storm in our minds. Ismail Darbar is a magician and the talent to create such beats mesmerizes me. It’s his gift of creation to us. Even the violin that is scattered in the song has its highs and lows at just the right moments. How mesmerising is the line that Shreya sings ‘Aur Yahan Jal Rahe The Hum’ – it uses the mandolin and violin in such a unique way, that is amazingly pleasing to the ear, yet so strewn with acute longing. When the song plays out, Darbar creates a bigger fantasy by increasing the intensity, we are treated to Shreya singing ‘Oh Piya‘ in three octaves with superb precision. She makes the longing in our hearts endure. But just hear the chorus, instruments and Darbar’s magic that carries our hearts to that final playout; it will give you goosebumps. What a beautiful way of making everything come together in such a display of colour and vivid imagery.

The industry also lost the most influential choreographer in the history of Bollywood; Legend ‘Saroj Khan‘. there can be no second, the way she made actresses dance onscreen are what legends are made of. ‘Silsila yeh Chaahat Ka‘ adds to her discography, and her magic can be felt throughout the song as we watch Aishwariya dance and emote to Sarojji’s instructions.

Dhoom Ta, Dhoom Ta, Dhoom Ta Ta Na Na Na, Ta Na Na Na*
(Tarana)
Dhoom Ta, Dhoom Ta, Dhoom Ta, Ta Na Na Na, Ta Na Na Na
(Tarana)
Mausam Ne Li Angdai Aayi Aayi
The Weather Has Pandiculated
Lehra Ke Barkha Phir Chayi Chayi Chayi
The Rain Has Come All Over Again
Jhoka Hawa Ka Aayega
A Gust Of Wind Will Come
Aur Yeh Diya Bujh Jayega*
And This Lamp Will Extinguish

Silsila Yeh Chaahat Ka*
The Connection Of Our Love
Na Maine Bujhne Diya … Ho O O
I Haven’t Let It Extinguish … Oh O O
Silsila Yeh Chahat Ka
The Connection Of Our Love
Na Maine Bujhne Diya
I Haven’t Let It Extinguish
Oh Piya, Yeh Diya
Oh My Beloved, This Lamp
Na Bujha Hai, Na Bujhega
Hasn’t Extinguished And Nor Will It
Meri Chaahat Ka Diya
The Lamp Of My Love
Mere Piya, Ab Aaja Re Mere Piya
My Beloved, Come To Me Now
Ho Mere Piya, Ab Aaja Re Mere Piya
My Beloved, Come To Me Now
Is Diye Sang Jal Raha
Along With This Lamp Is Burning
Mera Rom Rom Rom, Aur Jiya
My Whole Body And My Heart
Ab Aaja Re Mere Piya
Now Come To Me My Beloved
Ho Mere Piya, Ab Aaja Re Mere Piya*
My Beloved Come To Me Now

Dhoom Ta, Dhoom Ta, Dhoom Ta Ta Na Na Na, Ta Na Na Na(Tarana)
Dhoom Ta, Dhoom Ta, Dhoom Ta, Ta Na Na Na, Ta Na Na Na
(Tarana)
Faasla Tha Doori Thi
There Was A Distance And Separation
Faasla Tha Doori Thi
There Was A Distance And Separation
Tha Judaai Ka Aalam
There Was An Ambience Of Detachment
Intezar Mein Nazrein Thi Aur
My Eyes Were Waiting And
Tum Wahan The, Tum Wahan The, Tum Wahan The
You Were There, You Were There, You Were There
Jhilmilatey Jagmagatey
Shining, Sparkling
Khushiyon Mein Jhoom Kar*
And Roaming With Total Joy
Aur Yahan Jal Rahe The Hum
And Here I Was Burning
Aur Yahan Jal Rahe The Hum
And Here I Was Burning
Phir Se Baadal Garja Hai
The Clouds Thundered Again
Garaj Garaj Ke Barsa Hai
It Was Thundering And Raining
Jhoom Ke Toofan Aaya Hai
There Was A Storm Going On
Par Tujh Ko Bujha Nahin Paaya Hai
But Still It Couldn’t Extinguish You
Oh Piya Yeh Diya
Oh My Beloved, This Lamp
Chahe Jitna Sataye Tujhe Yeh Saawan
No Matter How Much This Rain
Yeh Hawa Aur Yeh Bijliyan
This Wind And This Lightning Bothers You
Mere Piya Ab Aaja Re Mere Piya
My Beloved Come To Me Now
Ho Mere Piya Ab Aaja Re Mere Piya
My Beloved Come To Me Now
Dehko Yeh Pagli Deewani
Look At This Crazy Girl
Duniya Se Hai Yeh Anjaani
She Is Unaware Of The World
Jhoka Hawa Ka Aayega
A Gust Of Wind Will Come
Aur Iska Piya Sang Layega
And Will Bring Her Beloved Along
Oh Piya, Ab Aaja Re Mere Piya
My Beloved, Come To Me Now
Silsila Yeh Chaahat Ka
The Connection Of Our Love
Na Dil Se Bujhne Diya
I Didn’t Let It Extinguish From My Heart
Oh Piya, Yeh Diya
Oh My Beloved, This Lamp
Aye Piya Piya Piya*
Hey Beloved, Beloved, Beloved

I knew that Madhuri Dixit would be dancing to a mujhra in the movie when we first saw the trailers of the film. I still remember carefully analyzing the video and seeing Madhuri dance in the green / gold ensemble and the Maroon / Gold ensemble. If you remember the trailer, then you would know the songs were not played in the trailer, rather it was the theme music that was overlay-ed. It was still however tantalizing to the mind that i was going to see Madhuri Dixit in this avtaar. When i first heard the word ‘Maar Daala‘ i realized the potential power of this word; only until i heard the song from beginning to end did i understand how robustly the word was used. If you take it in context of the film, it makes you understand even more how powerful Nusrat Badr and Prakash Kapadias’ lyrics are. Ismari Darbar, Sanjay Leela Bhansali, Kavita Krishnamurty, Saroj Khan and Madhuri Dixit have worked tirelessly to create an Audio – Visual spectacle that has become legend. ‘Maar Daala‘ has a cult following on which people have doted on this extravaganza.

‘Maar Daala‘ was Chandramukhi’s second mujhra in the film, and there is a lot going on; prior to the song beginning we learn that Devdas has been roaming sadly across the town, saved by Chunni Babu who informs Chandramukhi. On their meeting, Devdas exchanges some unsavory words with Chandramukhi which results in a ‘debt’ that has to be paid off. Chandramukhi gives Devdas three days. On the third day we get to see Chandramukhi waiting for the payment of the ‘debt’; at the Kotha, candles light the boudoir, shimmering red / gold light up the kotha for the spectacular visual. One of Chandramukhi’s admirers also awaits her revelry, and challenges her when he cannot wait for the revelry anymore. But in her heart, Chandramukhi knows Devdas will repay his ‘debt’.

As Chandramukhi sees Devdas approaching the kotha, she taps the ghungroos and thats when the beautiful dream begins. Piano keys are hit, a harmoniously angelic chorus infused with ghungroo ‘chham chhams‘ cascading down to a passionate plea from Kavita Krishanmurty:

Yeh Kiski Hai Aahat
Whose Footsteps Is This
Yeh Kiska Hai Saaya
Whose Shadow Is This
Huyi Dil Mein Dastak
There Was A Knock In My Heart
Yahan Kaun Aaya
Who Has Come Here

Piano key notes flourish the ascent scales after the introduction and Kavitaji goes full on throttle and asks:

Hum Pe Yeh Kisne*
Who Has Thrown On Me
Hara Rang Dala*
This Green Colour

Pure magic emanates for the minds of Ismail Darbar and Nusrat Badr / Prakash Kapadia, the voice of Kavita Krishnamurty and the art that Madhuri Dixit brings onscreen courtesy of the late Saroj Khan. What a time to have witnessed such magical creation, rich in harmony and tehzeeb. We are transported to the time when a mujhra satisfied the narrative and the audience. Nusrat Badr begs the question ‘Who is this that has painted me emerald?, for my Happiness is what has killed me’. Ismail Darbar creates this semi classical mujhra from strains of Raga Yaman. We are but teased into the world of Chandramukhi and her laudable efforts to secure her hearts desire.

Hum Pe Yeh Kisne*Who Has Thrown On Me
Hara Rang DalaThis Green Colour
Oh Ho O O … Hum Pe Yeh KisneOh Ho O O … Who Has Thrown On Me
Hara Rang DalaThis Green Colour
Khushi Ne Hamari Hamein Maar DalaMy Happiness Has Killed Me
Maar DalaKilled Me
Maar DalaKilled Me
Maar DalaKilled Me
Hum Pe Yeh KisneWho Has Thrown On Me
Hara Rang DalaThis Green Colour
Khushi Ne Hamari Hamein Maar DalaMy Happiness Has Killed Me
Hamein Maar DalaHas Killed Me
Hamein Maar DalaHas Killed Me
Hamein Maar DalaHas Killed Me
Allah Maar DalaOh God, It Has Killed Me
Allah Maar DalaOh God, It Has Killed Me
Allah Maar Dala*Oh God, It Has Killed Me

Look at the way Ismail Darbar composed this geet, not one ‘Maar Dala‘ is rendered the same, each repetition expresses further anguish; Sarojji composed the mujhra in the same way, Madhuri expresses each ‘Maar Dala‘ with imbued emotional torment; even towards the end of this piece Madhuri, with only her expression, banishes Kali Babu from her kotha. Kavita Krishnamurty sings effortlessly, hear her sing every ‘Allah‘ with an impassioned plea; it is what classics are made of.

Dhoom Dhoom Tana Na Tana Na Dere Dhoom Dhoom Tana Na Tana Na Dere Tana Na Ta Dhare
Ya Li Ya Li Ya La Li Ya Laam
Ta Dhare Ta Ni Ta Dhi Ya Na Ta Dere Na
Dhoom Tana Na
Dhoom Tana Na
Dheem Tana Na Ta Di Ta Ni
Dhoom Tana Dere Na Ta Na Ta Dere Ta Na Na Ta Di Ya Na Ta Dere Na

In this beautiful track, the period between 1:42 and 2:05, Ismail Darbar creates a spectacular Tarana to further mirror the onscreen presentation. It is a mere 23 sec piece but it is seeped in great mastery. For those who have not read my previous reviews, i will explain what a Tarana is. A Tarana strings sargams together in a specific melody either to enhance the fragrance of the song, or to entirely showcase the vocal portions of a raga melody without a bandish. Here Ismail Darbar chooses to enhance the beauty of the song. We are treated to a Male and Female chorus that take turns singing; rendering the Tarana with beautiful gusto. In addition the Taal is changed with each line rendition. The Male chorus begins in Ektaal, the female chorus proceeds on the next line in Madhyalaya Taal, until they effortlessly join in Teentaal unison. The instrumentation also changes, Darbar introduces the flute and a sonorous pakhawaj that replaces the Keherva Taal Tabla beat for the interlude; and what a visual spectacle it is; seeing Madhuri dance to Sarojji’s creation in pure Kathak, don’t mistake it for being an easy dance routine either. These 23 seconds further enhance Madhuri and Sarojji’s collaborations. They extenuate the epitome of talent. A game changer in 2002! Even more genius is the fact the just after Kavitaji croons ‘Allah‘, we see the Tarana representation of ‘Allah’ in ‘Ya Li Ya Li Ya La Li Ya Laam‘.

Na Chaand Hatheli Par Sajaya*I Didn’t Decorate The Moon On My Hands
Na Taaron Se Koi Bhi Rishta BanayaI Didn’t Make Any Relation With The Stars
Na Rab Se Bhi Koi Shikayat KiNor Did I Complain To God For Anything
Na Rab Se Bhi Koi Shikayat KiNor Did I Complain To God For Anything
Har Gham Ko Humne ChupayaI Hid Every Sorrow
Har Sitam Ko Haske UthayaI Faced All The Problems Smilingly
Kaanto Ko Bhi Gale Se LagayaI Even Hugged The Thorns
Aur Phoolon Se Zakhm KhayaAnd Was Hurt By The Flowers
Haan Magar Dua MeinYes, But When I Prayed
Jab Yeh Haath UthayaWith My Hands Together
Oh Ho O O … Haan Magar Dua MeinOh Ho O O … Yes, But When I Prayed
Jab Yeh Haath UthayaWith My Hands Together
Khuda Se Dua Mein Tumhe Maang DalaThen I Asked For You As My Blessings
Maang DalaAsked For You
Allah Maang DalaAsked For You From God
Allah Maang Dala*Asked For You From God

There is but one antara in this song, and Nusrat Badr / Prakash Kapadia so effectively expounds Chandramukhi’s delicate heart. Sombre notes of happiness accompany the true emotion felt in love, of fear, of rejection and blatant expression of reflection.

One might say a million things about how the song was crafted, but one element that would never be the same without is Kavita Krishnamurty. Her voice is absolute legend, adding her own dynamics and modulation to Chandramkuhi’s heartfelt plea. There a certain vocal range that Kavita can reach that others can dream to find, her vocal tonality and superiority is meted out splendidly in this track. From the beginning phrases to the mukhda, Kavitaji takes us entrancingly through Chandramukhi’s heart.

Maar Dala is a mujhra that came after a very long time, that’s why it became such a rage when it released. What the audience saw and now reminisce about, will be for the entirety of history foretold and all involved has become legend. and i will add again – There will never again be another Madhuri Dixit – Kavita Krishnamurty – Saroj Khan trio.

Bairi Piya gave Shreya Ghosal a National Award in her first outing. What a brilliant start to her career. In their last outing Darbar and Bhansali brought out ‘Ankhon Ki Gustakhiya‘ from the musically brilliant ‘Hum Dil De Chuke Sanam‘. They bring a song of similar vein to Devdas; ingraining the romance between the Devdas and Paro. This one also had that tease tag attached to it and during the entire song onscreen we see the love-torn couple ‘at play’ with antics and sentimental staring and smiles.

Also based on semi classical music with flourishes of Raga Maand and Raga Bhupeshwari, we hear Udit Narayan and Shreya Ghoshal crooning beautifully restrained under the baton of Darbar. The “honey-dipped” inflection is graciously poured into this melody; Darbar creates this melody out of the rousing dusk and playfulness of the night. The lyrics are again simple, yet creatively through its story telling, displays its colors and impending disaster. The feel of the song that Darbar creates is melancholic sweetness.

Both Udit Narayan and Shreya Ghoshal lift Darbar’s tune to exemplary levels; they follow the tune and extend on the swaras with melodious sweetness at the end of every mukhda and antara. The ‘Piya’s‘, ‘Saudaai‘, ‘Duhaai‘, ‘Jiya‘ and many more leave the listener in a blissful world. I cant begin to explain how i felt knowing that this was Shreya’s second song. At her young age, her enviable vocal range will leave people delirious. I remember reading an interview where Shreya stated:

Shreya was auditioned and selected. She remembers her first sitting: March 9, 2000. And the first song she recorded was Bairi piya, “I remember I was asked to rehearse the song once before finally recording it. I simply closed my eyes and sang without a break. When I opened my eyes, I noticed a lot of excitement and chaos outside the recording room. Then Sanjayji told me I had sung the song so well that they had recorded it at one go.

https://www.rediff.com/entertai/2002/jul/10shreya.htm

Udit really surprised me too, in this song and some of the other songs on this album, he has shown some great classical vocal range in Devdas. One can only thank Darbar for bringing this out in the singer. The same can be said for Kumar Sanu in ‘Ankhon Ki Gustakhiyan‘; he reached such great peaks in that particular song.

Ish!*Oh My!
Ish!Oh My!
Bairi Piya Bada BedardiMy Vengeful Lover You’re Heartless
Ish!Oh My!
Ho … Bairi Piya Bada BedardiOh … My Vengeful Lover You’re Heartless
Dil Ka Dard Na JaaneYou Don’t Know My Heart’s Pain
Saudai, Harjai, Zulmi, Ram DuhaiYou’re Crazy, Unfaithful, Cruel, Oh God
Kaise KahoonHow Should I Say This
Kaase KahoonWhom Should I Say This To
Haai RamOh God
Dil Ka Dard Na JaaneYou Don’t Know My Heart’s Pain
Na Jaane, Na JaaneYou Don’t Know, You Don’t Know
Na Jaane Jaane Jaane HaaiYou Simply Don’t Know It
Bairi Piya Bada Re BedardiMy Vengeful Lover You’re Heartless
Ho … Bairi Piya Bada BeOh … My Vengeful Lover You’re Heartless
Ish!*Oh My!

Tu Door Joh Tha Toh Paas Hi Tha*When You Were Far You Were Close
Ab Paas Hai Toh Door Hai KyunNow You Are Close So Why Are You Far
Na Jaane Jaane Jaane Jaane JaaneI Don’t Know, I Don’t Know
Tu Door Joh Tha Toh Paas Hi ThaWhen You Were Far You Were Close
Ab Paas Hai Toh Door Hai KyunNow You Are Close So Why Are You Far
Aa Paas Toh Aa Pehna Bhi De Yeh KanganaNow Come Close And Make Me Wear This Bangle
Na Sata Ab Maan Bhi Le Yeh Kehna*Now Listen To Me And Don’t Trouble Me

Kaise Kahoon*How Should I Say This
Kaase KahoonWhom Should I Say This To
Ram
Oh God
Kangana Kehna Na MaaneThe Bangle Doesn’t Listen To Me
Na Maane, Na Maane, Na MaaneIt Doesn’t Listen, It Doesn’t Listen
Yeh Kangana Bada BedardiThis Bangle Is Heartless
Ho … Yeh Kangana Bada BedardiOh … This Bangle Is Heartless
Kangana Kehna Na MaaneThe Bangle Doesn’t Listen To Me
Deewana, Awaara, Sangdil, Ram Duhai*Crazy, Rogue, Cruel, Oh God

Ab Maan Bhi Jao Na*Now Listen To Me
Na Na Na NaNo, No, No, No
Tum Paas Toh Aao NaCome Close To Me
Haan Haan Re Haan HaanYes, Yes
Baheki Baheki Baaton Mein TeriIn Your Intoxicating Conversations
Dheere Dheere Aane LagiI’m Slowly Falling
Jugnu Ne Mujhse KahaThe Firefly Told Me That
Aaisa Hai Yeh Tera PiyaYou’re Beloved Is Such That
Le Hi Jayega Tera JiyaHe Will Win Over Your Heart
Haan Pyari Pyari Baaton Pe TeriYes In Your Sweet Talks
Chandni Bhi Hasne LagiEven The Moonlight Is Laughing
Taare Muskurane LageThe Stars Are Smiling
Hawa Gungunane LagiThe Wind Is Humming
Aasmaan Bhi Jhoom Utha*And Even The Sky Is Full Of Joy

Kaise Kahoon*How Should I Say This
Kaase KahoonWhom Should I Say This To
Haai RamOh God
Pagla Itna Na JaaneThis Crazy Guy Doesn’t Even Know This
Na Jaane, Na JaaneDoesn’t Know This, Doesn’t Know This
Na Jaane Jaane Jaane HaaiDoesn’t Know This At All
Ish!Oh My!
Ish!*Oh My!

Mandolin strumms with a heavy bass drum introduce the angelic voice of Shreya Ghoshal; ‘Issssssshhhhhhhhh‘ sings Shreya for a coy Paro onscreen. The sitar, santoor, flute and Jaltarang further proclaim this bright halo with help from an all women chorus. Its all layered to perfection. Listen with a discerning ear to see how Ismail Darbar takes a little from every instrument to produce the melody we hear. Then Shreya belts out the mukhda of the song, and with such grace and harmony. Its a wonder to think that this was the first song ever recorded for Shreya. She sounds seasoned, vibrant and her talent can be heard without doubt. The opening verse is carried well a great dadra taal and the intermittent bass drum which adds to that Bengali flavour.

The musical interludes are beautifully crafted to carry the song’s melody further, to further romance the heart. The first antara is probably the reason Shreya received the national award for this song. Just listen to her vocal intonations and difficult twist and turns to jolt this song’s emotional appeal. Each carried with such care and tender amplification, with sublime vocal tenacity and sheer talent. It’s like a continues wave that continues to give, all at the tender age of 18. Her First Song!!! The national award was well deserved! Take a bow Shreya! Udit joins Shreya towards the end of this antara; answering her taunts. beautifully matched in lyric verse by Nusrat Badr, the simple yet graceful chhed-chhad moves towards a ‘kangna‘ – but we all know what this ‘kangna‘ signifies. Simple and mindful additions like these makes the song even more appealing.

A violin and accordion decorate the next antara with slight European influences Udit dazzles in the this antara with stretched out phrases soaring vocals to lofty pinnacles; his voice elevates the mood and detail of the song. Shreya matches with every reply, beautifully crafted teasing all through. One can actually feel the rhythm and verse culminate in the heart. Udit ends the song where Shreya started it – ‘Issssssshhhhhhhhh‘. Darbar then plays out his outro for the track until Shreya whispers ‘Issssssshhhhhhhhh‘ again.

2022 has been a really devastating year on Bollywood, we lost the ‘Legend’ of legends: Our Lata Mangeshkar. Her demise has left a personal hollowness that will be felt forever. A few weeks before this traumatic new, the classical scene had lost its ‘Legend’ of legends: Pt. Birju Maharaj for whom dance was the ultimate worship. A rare combination of virtuosity and expression, grace and control, Pt Birju Maharaj’s oeuvre was also about his intrepid belief that dance could convey just about everything. We are fortunate we could witness a few of his dance creations in film, one of them being Devdas.

Pt. Birju Maharaj was the nephew of the legendary Shambhu Maharaj and Lachchu Maharaj; for those who have not yet read the Mughal-E-Azam Review, Lachchu Maharaj composed the dance for the illustrious ‘Pyar Kiya To Darna Kya‘ for Madhubala. Now we have Madhuri Dixit choreographed by Pt. Birju Maharaj in a spectacular display of Kathak that will go down in history as one of the most iconic dance pieces ever. From the setting to the music, to the scenery and then to Madhuri Dixit herself. What we have here is nothing short of legend, just look at how many people have done reaction videos to this visual spectacle, how many have danced to ‘Kaahe Chhed Mohe‘ with great splendor. This is the only track not composed by Ismail Darbar; but by Pt. Birju Maharaj himself, who had also composed the lyrics!

When he makes the world dance on his fingers , nothing seems better. His legendary name has become synonymous with the traditional dance form of Kathak. Born in the illustrious family of Kathak Dancers of the Lucknow gharana, Pandit Birju Maharaj was initially trained by his father, Guru Achhan Maharaj and later by his uncle, Guru Shambhu Maharaj. His dances showcase an admirable blend of the best of the two greats. An institution by himself, he has not only bedazzled audiences the world over, but has also groomed a galaxy of young kathak dancers. As an ode to his unparalleled talent, are many prestigious awards including the Padma Vibhusan, Kalidas Samman and Soviet land Nehru award. Besides being a renowned dancer, he is also a vocalist, percussionist, music composer, poet and painter. For “Devdas” he has composed & choreographed “Kahe Ched Mohe…”, a ‘Mujra’ based on Indian Classical dance which is one of the highlights of the film. Thus, dance history awaits yet another addition in its glittering pages.

Taken from the Devdas website when the film released: http://www.devdasthefilm.com

It is said that Pt. Birju Maharaj was not keen on working in the film industry, but when he heard that he would be choreographing Madhuri Dixit, he agreed. A decision that has created history, especially for fans who knew and understood what their collaboration would’ve meant. Personally I’m not a fan of too many composers for one soundtrack, but i’ll forgive Sanjay Leela Bhansali for this addition. The depth of classical music that Pt Birju Maharaj has brought in with ‘Kaahe Chhed Mohe‘ is of immense satisfaction. Firstly, we get to hear what Kavita Krishnamurty is actually capable of; her art presented to us in Raga Basant and provides the classical ear with mountains of pleasure. Secondly, for a movie of this stature (people were curious since shooting began), it was a sure shot hit; but this song would also be instrumental (no pun intended) at re-introducing classical music to audiences, and in some way shows the audience exactly what is missing from our cinema today. Thirdly, all Bollywood (Worldwide and India) compilation Cd’s and media included this track more then any other track from Devdas.

Raga Basant is an ancient Raga dating back to the 8th century, Performed in slow tempo, this gentle melody is seeped in quiet joy. The arohana is usually found at the beginning of a composition with the avarahona following later. It is usually sung in the Spring time and not restricted to any day / night schedule. What is particularly interesting about Basant, and they way its depicted in Devdas, is that we can feel that old world charm appear in the magic vocals of Kavita Krishnamurty. This song will be heralded as one of her best in Indian Cinema and also showcased the many facets to her stunning voice. This Raag encourages the mind to brush away its selfishness, just like spring- creating a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. It all makes sense, when we realise why this Raga was chosen in context to Chandramukhi’s character arc.

Kaahe Chhed Mohe was an introduction the character Chandramukhi, it showcased a time long lost, the set; so exquisitely decorated – sculptured pillars with dancers surrounding the Kotha, Velvet drapes with gold borders, artefacts, a hypnotically mounted grand chandelier, a gloriously designed floor, hookahs, velvet cushions, musical instruments decorated with exotic materials – everywhere the eye could see had been bedecked with Sanjay Leela Bhansali’s aesthetic. Everything was so gallantly put together, that opulently brought back memories of ‘Pyar Kiya To Darna Kya‘ from Mughal-E-Azam .

As mentioned earlier, this song was an introduction to the character Chandramukhi after a brief interaction with Devdas where she was smitten with him, so it it makes sense that the song she presents is full of excitement and the full spectrum of her song and dance. In the first 9 seconds alone we hear three stringed instruments; the rudra veena is plucked in the Aarohana, interspersed with the mandolin, which is all silenced by the sarangi which displays the full set of swaras of Raga Basant. A thunderous chorus belts out ‘bols‘ mesmerically in unison teentaal with the violin creating an elative mood, matched onscreen in a beautiful display of Kathak by Madhuri and team. The Tabla and Pakhawaj hypnotically create the teentaal with exemplary skill. The bass drum is added in just before we hear Pt. Birju Maharaj (picturised on Chunni Babu played by Jackie Shroff) croon the opening lines.

Maalati Gundhaay Kesh Pyare Ghungware (X2)*
Fragrance Of Roses Emanate From Your Tresses
Mukh Damini Si Damakata Chaal Matwaari
Your Face Shines Like Light, Your Walk Is Intoxicating
Chaal Matwaari, Chaal Matwaari*Your Walk Is Intoxicating

Madhuri Dixit lends her voice to a Kavita (poem, but still no pun intended), and renders it so fervently gracious. Bass drum and ghatam provide able support instrumentally whilst the kavita is being rendered.

Dhaai Shaam Rok Lai, Rok Lai, Rok Lai*Krishna Stopped Me, Stopped Me
Dhaai Shaam Rok Lai, Aur Chakmaka Mukh Choom LaiKrishna Stopped Me, And He Suddenly Kissed Me On My Face
Mukh Choom Lai, Mukh Choom LaiKissed My Face, Kissed My Face
Sar Se Mori Chunari Gayi, Gayi, GayiMy Scarf Slipped From My Head
Sar Se Mori Chunari Gayi Sarak Sarak SarakMy Scarf Slipped From My Head
Sarak Sarak Sarak, Sarak Sarak Sarak*Slipped, Slipped

Pure magic emanates from the vocals of Kavita Krishnmaurty as she renders the opening line of this fantastic track. Listen to the way she delivers Raga Basant, stressing on certain words to create hummingly sonorous taans that are so technically vibrant and yet so pleasing to the ear. This is why need to remember that we have been so fortunate to have Kavitaji sing in films; she pours her heart into her singing and we get to treasure these amazing tracks. On screen the Pt. Birju Maharaj – Maduri Dixit duo ensure that we get our hearts further fulfilled. The kathak mudras are fully envisioned with choreography that articulates the lyrics.

Kaahe Chhed, Chhed Mohe Garwa Lagaayi (X2)*Why Does He Tease Me So
Kaahe Chhed, Chhed MoheWhy Does He Tease Me So
Nanda Ko Laal Aiso Dheet (X2)He Is So Mean And Stuborn
Barbas Mori Laaj Leeni, Laaj Leeni, Laaj LeeniHe Stole Away My Honour From Me
Barbas Mori Laaj LeeniHe Stole Away My Honour From Me
Brindashaam Maanat Naahi, Brindashaam Maanat NaahiHe Doesn’t Listen To Me, He Doesn’t Listen To Me
Kaase Kahoon Main Apne Jiya Ki Soonat Naahi MaayiHow Should I Tell My Son, He Doesn’t Listen To Me
Kaahe Chhed, Chhed Mohe*Why Does He Tease Me So

Dadh Ki Bhari Matki, Dadh Ki Bhari Matki*A Pot Full Of Butter
Dadh Ki Bhari Matki Lai Jaata Rahi Dagar BeechA Pot Full Of Butter, I Was Taking With Me Down The Road
Aahat Sun, Aahat SunOn Listening To Some Noise
Aahat Sun Jiyara Gayo Dhadak Dhadak DhadakOn Listening To Some Noise, My Heart Started Beating Very Fast
Dhadak Dhadak Dhadak, Dhadak Dhadak Dhadak*Heartbeats Went Fast

Kaahe Chhede, Chhede Chhede Mohe*Why Does He Tease Me So
Kar Pakadata Choodiyaan Sab Karki Karki Karki KarkiHe Caught Hold Of My Bangles And So They All Broke
Kar Pakadata Choodiyaan Sab Karki Karki KarkiHe Caught Hold Of My Bangles And So They All Broke
O MaayiOh Mother
Brindashaam Maanat Naahi, Brindashaam Maanat NaahiHe Doesn’t Listen To Me, He Doesn’t Listen To Me
Kaase Kahoon Main Apne Jiya Ki Soonat Naahi MaayiHow Should I Tell My Son, He Doesn’t Listen To Me
Kaahe Chhed, Chhed Mohe*Why Does He Tease Me So

The scene before Madhuri recites the second Kavita is spectacular, the musical interlude exquisitely showcases the choreography which ends with Madhuri spinning in the middle of the Kotha creating a whirlwind of imagination and full use of the sets. That shot in particular remains entrancing. Candidly mentioning that the dress Madhuri had worn for this song weighed 35kgs! That’s the Madhuri dedication and love that we had all grown up on. Taking everything to the next level and making sure that she serves her audience.

The next antara give Kavitaji a plethora of highs and lows which she handles with superfluous ease. The highlight being the word ‘Karki‘ which is strung between the arohana and avarohana of Raga Basant, but listen to the line ‘O Maayi‘ which is overlayed by Kavita singing in all three saptaks, all at once! It is done with such finesse; Kavitaji is just brilliant.

The songs ends with an energized Raga Basant instrumental piece; the sitar and tabla mete out notes likening to that of a coming thunderstorm. Slowly, the thunderstorm belts out it’s notes in the form of bols from the chorus. The violins creating a dramatic outro. Ghungroo and bols enamor the end piece with an impassioned Kathak rendition onscreen. Two things remained constant in Sanjay Leela Bhansali’s films after Devdas – 1. In all his future films – there would be a song similar to ‘Kaahe Chhed Mohe’. The second thing, i will mention a little further down the review. It goes without saying that effort and creativity pays off heavily. ‘Kaahe Chhed Mohe‘ is testament to that.

The above video is the introduction scene of Chandramukhi in the film; another really special reason to relay this, is the background music piece that is played as the curtains open adds to the zest of ‘Kaahe Chhed Mohe‘. Monty Sharma, who composed the theme and background score is responsible for this amazing and capturing background score. This piece is sung by Raghav Chatterjee and is based on Raga Puriya Dhanashree.

Much has been already attributed this song in other online reviews, that it is a fun song and full of life, sphering splendour through the joyous act of letting go, but none of the reviews measures its double meaning and the context to the character Devdas. For sure its a fun song, but yet again a pyrrhic retort for Devdas who indulges in happiness (alcohol) that would foreshadow the gloom of his end. The metaphors drawn through the pen of Nusrat Badr contrast the on-screen happenings and almost showcases Devdas’s life story though this song, what he wants… he never gets. Instead only alternatives.

Drawing from Bengal’s folk music, Ismail Darbar fashions this song out of Baul music. Baul generally pours out their hearts into their music lyrically and use of certain instruments which draw on sympathy but still celebrate life vicariously through experiences.

‘Chalak Chalak‘ begins with the Morsing (in place of the ektara, which is usually used in Baul music), a heavy drum beat and piano flourishes follow, with a full throated Udit Narayan singing joyously; Vinod Rathod joins in on the fun and really metes it out standing shoulder to shoulder with Udit. They sing in unison and create a daunting atmosphere of celebration. The chorus also adds a great vibe and Ismail Darbar carefully measures out the use of his chorus; they enhance the track giving depth to the situation. Ismail Darbar creates a lively mood with his percussion, the heavy drum and tabla usage brings about a feeling to join in the celebration. Shah Rukh Khan and Jackie Shroff onscreen shadow Udit Narayan and Vinod Rathod respectively and dance with glee.

Sheeshe Se Sheesha Takraye*
Let The Glasses Clink Away…
Hey … Hey … HeyHey … Hey … Hey
Sheeshe Se Sheesha Takraye…. Joh Bhi Ho AnjaamLet The Glasses Clink Away… Come What May
O Dekho KaiseO Look
Arre Sheeshe Se Sheesha Takraye…. Joh Bhi Ho AnjaamLet The Glasses Clink Away… Come What May
O Dekho KaiseO Look How
Chalak Chalak Chal Chalak Chalak Chal Chalak Chalak Chal Chalkaye ReThe Splashing… Swirling
Chalak Chalak Chal Chalak Chalak Chal Chalak Chalak Chal Chalkaye ReThe Splashing… Swirling
Jhaangh Pakhawaj Taashe Baaje… Chalke Jab Yeh JaamBeat The Drum And Slap Your Thigh… When The Glass Overflows
O Dehko Kaise … Ah Ha, Ah Ha, Ah HaO Look… Ah Ha, Ah Ha, Ah Ha
O Dehko KaiseO Look
Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamkaye ReAnd Hear The Thumping And Pounding Of Your Heart
Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamkaye ReAnd Hear The Thumping And Pounding Of Your Heart
Sheeshe Se Sheesha Takraye*Let The Glasses Clink Away…

Hey … Hey … Hey*Hey … Hey … Hey
Yeh Madira, Yeh MadiraThis Wine, This Wine
Haan Yeh Madira, Yeh MadiraYes This Wine, This Wine
Yeh Madira Toh Le Aati Hai Yaadon Ki BarsaatThis Wine Brings With It A Shower Of Memories
Chalak Chalak Ke Chalti Jaaye Dil Ko Yeh MadiraWith Every Drop This Wine Spills Into My Heart
Haan Yeh Madira Hothon Se UtreAs This Wine Passes My Lips….
Toh Bole Dil Ki Baat…It Tells A Tale Of Hearts
Garaj Garaj Ke Dil Mein Garje Gham Ke Yeh BadraThis Roaring Shower Rains In My Heart
Dil Tak Jaise Yeh PahunchiAs It Reaches My Heart…
Aayi Aayi Aayi Uski Yaad…Her Memories Flow
Uski Ek JhalakOne Glimpse Of Her
Uski Ek JhalakOne Glimpse Of Her
Mil Jaaye Itni Hai FariyadThat’s All I Wish For
Itni Hai FariyadThat’s All I Wish For
Itni Hai FariyadThat’s All I Wish For
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Naache Meera Jogan Banke O Mere GhanshyamMeera The Devotee Dances For Her Lord Krishna
Dekho Dekho DekhoLook, Look, Look
Naache Meera Lehrake Balkhake O Mere GhanshyamMeera Dances Wildly For Her Lord Krishna
Jhanan Jhan … Ah Ha, Ah Ha, Ah HaJingling Around … Ah Ha, Ah Ha, Ah Ha
O Dekho KaiseO Look How
Jhanak Jhanak Jhan Jhanana Jhanana Jhan Payal Baaje ReThe Anklets Jingle And Tinkle
Jhanak Jhanak Jhan Jhanana Jhanana Jhan Payal Baaje ReThe Anklets Jingle And Tinkle
Pyar Mein Tere Dil Yeh Chahe Ho Jaye BadnaamA Heart Still Longs For Love, Even If One Gets A Reputation
O Dekho KaiseO Look How
O Dekho, O DekhoO Look, O Look
Dekho Dekho Dekho Dekho KaiseLook, Look, Look, Look How
Dhirak Dhirak Dil Dhirak Dhirak Dil Dhirak Dhirak Dil Dhirakta Jaye ReThe Heart Beats Fast And Fast
Dhirak Dhirak Dil Dhirak Dhirak Dil Dhirak Dhirak Dil Dhirakta Jaye ReThe Heart Beats Fast And Fast
Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamkaye ReAnd Hear The Thumping And Pounding Of Your Heart
Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamak Dhamak Dham Dhamkaye ReAnd Hear The Thumping And Pounding Of Your Heart
Chanana Chanana Chan Chanana Chanana Chan Chanana Chanana Chan Na Na NaIt Chimes And Rings
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Dhin Ta Chik Dhin … Ta Ta Chik Dhin(Indian Drum Beats)
Chanana Chanana Chan Chanana Chanana Chan Chanana Chanana Chan Na Na NaIt Chimes And Rings
Jhanak Jhanak Jhan Jhanana Jhanana Jhan Payal Baaje ReThe Anklets Jingle And Tinkle
Jhanak Jhanak Jhan Jhanana Jhanana Jhan Payal Baaje ReThe Anklets Jingle And Tinkle
Chalak Chalak Chal Dhamak Dhamak Dham Khanak Khanak Khan Dhadak Dhadak Dil Dhirak Dhirakta Jaye ReThumping And Pounding Chiming And Ringing, The Heart Beats And Beats
Chalak Chalak Chal Chalak Chalak Chal Chalak Chalak Chal Chalkaye ReThe Splashing… Swirling
Chalak Chalak Chal Chalak Chalak Chal Chalak Chalak Chal Chalkaye ReThe Splashing… Swirling
Sheeshe Se Sheesha Takraye (x2)*Let The Glasses Clink Away…

The first musical interlude is interspersed with the Ektara and Ghatam, slight hums by the chorus. Vinod Rathod begins the first antara with an amazing vocal display with Udit Narayan following. Together they shine, finishing each others’ thoughts; until the end of the first antara where the mood becomes sombre. Devdas reminisces about Paro and is begging for just one glance at her, this is where Udit Shines. The line ‘Itni Hai Fariyaad‘ is repeated three times and each time Udit ups his vocal scales and it really hits the heart. Udit sings with such ease and grace here, and really proves that this song is definitely one that adds to his caliber. Not to fall short, Vinod Rathod answers Udit in the antara with amazing clarity and his rendition of those lines are based on Raga Megh, Nothing short of stark talent. One wonders why his rustic voice was never purposefully used like in this track. Previously Darbar also used Vinod Rathod in ‘Doli Taro Dhol‘ from Hum Dil De Chuke Sanam really well.

There is a constant flow in the song (again no pun intended) and there seems to be no break to introduce the second antara. It is contained with chorus. In the end of the previous antara Devdas begs for a glance of his beloved, only to be found by Chandramukhi. Even though she loves him abundantly, he never really acknowledges it, until nearer to the end. When this song released, many people assumed that because Shreya Ghoshal had rendered one line, that it would be picturized on Aishwariya Rai, but alas we had the amazing Madhuri Dixit and her presence just brings up the ante. Her dancing really gives the song that extra depth. The end of this track is just pure class, whilst the chorus is happily singing, the music turns dangerous and serious, but it is done with great creativity. When this happens, Devdas realises that he is terminally ill.

The second thing you will always and most definitely find in a Sanjay Leela Bhansali film is a song based on Raga Yaman. Sanjay Leela Bhansali’s obsession with Raga Yaman is a beautiful one, for one, it will showcase in how many forms it can be created in. Even if we just looked at the themes of his films, and the fact that he could effectively use Raga Yaman to depict all those nuances is simply fantastic.

‘Hamesha Tumko Chaaha‘ is that song for Devdas. molded out of Raga Yaman with utmost care, melancholic beauty and lyrical genius. Ismail Darbar and Nusrat Badr should get special mention in this song; the way the song is created, simple yet so intricate, delicate, yet so hard hitting. Its as if the fragrance of love is slowly disappearing as the inevitable happens. In all the songs the chorus has so effectively added life to the songs, and here too the chorus enables the main singers to truly express their emotions.

Kavita Krishnamurty and Udit Narayan gloriously decorate ‘Hamesha Tumko Chaaha‘ with their silky vocals. Kavitaji, once again embellishes the song with amazing grace, her intonations and vocal dynamics are simply entrancing. Udit Narayan, as well matches Kavitaji and does well, listen to each of his line, and see how he extends the last word of line, surely showcasing his vocal range and dynamics. Udit Narayan and Kavita Krishnamurty are perfect for this song, and complement each other well. 20 years after this soundtrack and film released and this song has really managed the test of time. It sounds as beautiful as it did the day it released, in fact, the song may have actually hit harder on the emotions.

Raga Yaman (also known as Alyaan, Iman, Aiman,’Eman’, ‘Kalyani‘ in Carnatic classical music) is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat; Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Raga Yaman is traditionally performed only during the early evening. It conveys a mood that is serene, calm, and peaceful and at the same time joyful and lively. The nature of Raga Yaman is Romantic and depicts the Shaant Rasa as well.

The actual nature of this song contrasts starkly to the above paragraph, but that again represents the genius of Sanjay Leela Bhansali, onscreen happenings show a wedding (happiness), yet the bride is sad. The crux of the story is captured within ‘Hameshaa Tumko Chaaha‘

Aayi, Khushi Ki Hai Yeh Raat AayiToday The Night Of Happiness Has Come
Sajdhajke Baaraat Hai AayiThe Decorated Wedding Procession Has Come
Dheere Dheere Gham Ka SaagarSlowly Slowly, This Sea Of Sadness
Tham Gaya Aankhon Mein AakarHas Stopped In My Eyes
Goonj Uthi Hai Jo ShehnaaiThe Sound Of The Shehnaai (A Reed Instrument Which Is
Famous For It Is Played Mostly In Indian Weddings) Has Risen
To Aankhon Ne Yeh Baat BataayiThen My Eyes Started Saying This

The violin chord strikes, a heavy drum note, sarod flourises and a melancholic chorus begin to darkly hum the Arohana / Avarohana of ., then the sarod in all its power plays out. The chorus begin their journey setting the tone of this track. Ismail Darbar creates a beautiful percusssion drone for this song, a huge base drum and then an echoed tabla, with subtle ghatam note added in. This beat continues throughout and only in the musical interludes do hear some variation, but what creativity! When the chorus have rendered their lines, the sarod plays into a silent second.

Hamesha Tumko Chaaha Aur ChaahaI Loved You And Only You
Aur Chaaha Chaaha ChaahaAnd I Loved
Hamesha Tumko Chaaha Aur Chaaha Kuch Bhi NahinI Loved You And Only You And I Loved No One Else
Tumhe Dil Ne Hai Pooja, Pooja, PoojaMy Heart Worshipped Only You
Aur Pooja Kuch Bhi NahinAnd Worshipped No One Else
Na Na Nahin, Na Na Nahin Nahin Nahin Nahin NahinNo Nothing
Kuch Bhi Nahin, Ho Kuch Bhi NahinNothing At All
Oh, Kuch Bhi NahinOh, Nothing At All

Kavita Krishnamurty croons the opening lines with heartfelt yearning. her voice echoing into the depth of our hearts. with no accompaniment. Ismail Darbar only brings back the percussion on the second rendition of the opening lines. It creates a humbling effect. Kavita Krishnamurty is once again the star of this song. Her voice brings out the perfect emotions, and add to that the dexterity which she performs in. She brings out Paro’s inner struggle to her lips from her heart; her angst and her sadness.

Khushiyon Mein Bhi Chhaayi UdaasiEven In This Happiness, There Is An Aura Of Sadness
Dard Ki Chhaaya Mein Voh LiptiShe Is Surrounded By The Shadows Of Hurt
Kehne Piya Se Bas Yeh Aayi (X2)She Just Came To Say This To Her Beloved

Jo Daag Tumne Mujhko DiyaThe Scar That You Gave Me
Us Daag Se Mera Chehra KhilaThis Scar Has Made My Face Blossom
Rakhoongi Isko Nishaani BanaakarI Will Keep This As A Memento
Maathe Pe Isko Hamesha SajaakarOn My Head, Always Decorated
O Preetam, O Preetam Bin Tere Mere Is Jeevan MeinO Soulmate, O Soulmate Without You There Is Nothing In My Life
Kuch Bhi Nahin, Nahin, Nahin, Nahin, NahinNothing At All
Kuch Bhi NahinNothing At All

At the beginning of the first interlude, the tone is serious as the sitar plays on, and a steady percussion. We hear the chorus Ooli, the backdrop of a wedding taking place (Bengal Style); all painted in such elaborate strokes. The shank and chorus add in the drama.

We hear the swarmandal strings plucked just before Kavitaji renders the first antara, and listen carefully as she maneuvers the lyrics around Raga Yaman, each line doesn’t represent the upper and lower scales but rather each complete sentence taking the Aaroha and Avarohana to higher / lower saptaks. Take the line ‘Rakhoongi Isko Nishaani Banaakar’ where in Kavita sings in Madhya saptak for the Aarohana and then sings the next line ‘Maathe Pe Isko Hamesha Sajaakar‘ in Taar saptak extending on the Aarohana. The next line ‘O Preetam, O Preetam Bin Tere Mere Is Jeevan Mein‘ is sung again in Madhya saptak but in the avarohana scale. Pure Genius!

Beete Lamhon Ki Yaadein LekarWith The Memories Of The Distant Past
Bojhal Kadmon Se Voh ChalkarWith Heavy Steps She Walked
Dil Bhi Roya Aur Aankh Bhar AayiThe Heart Cried And Also The Eyes Got Drenched
Mann Se Aawaaz Hai AayiFrom The Heart A Sound Came

Voh Bachpan Ki YaadeinThose Memories Of Childhood
Voh Rishte Voh Naate Voh Saawan Ke JhooleThose Relations, Those Affections, Those Swings Of The Monsoon
Voh Hasna, Voh Hasaana, Voh Roothke Phir ManaanaThat Laughter, That Making Him Laugh, That Fighting And Then Making Up
Voh Har Ek Pal Mein Dil Mein Samaaye Diye Mein JalaayeThat Each And Every Moment Is There Inside My Heart, I Have Burnt A Lamp For It
Le Jaa Rahi Hoon Main Le Jaa Rahi Hoon Main Le Jaa Rahi HoonI Am Taking It All Away

O Preetam, O Preetam Bin Tere Mere Is Jeevan MeinO Soulmate, O Soulmate Without You There Is Nothing In My Life
Kuch Bhi Nahin, Nahin, Nahin, Nahin, NahinNothing At All
Kuch Bhi NahinNothing At All

Hamesha Tumko Chaaha, Aur Chaaha Chaaha ChaahaI Loved You And Only You
Aur Chaaha Chaaha Chaaha (X2)And I Loved
Haan Chaaha Chaaha ChaahaYes I Loved
Bas Chaaha Chaaha ChaahaJust I Loved
Haan Chaaha Chaaha ChaahaYes I Loved
Aur Chaaha Chaaha Chaaha (X2)And I Loved

Hums of the chorus turn this melancholic piece into pure sorrow and the following lyrics of the chorus are apt in portraying the lovers peril with a heavy percussion beat to support. We are introduced to Udit Narayan in the next antara, He renders the next three lines in the arohana with amazing precision and tugs heavily at our hearts with notions of childhood memories that remain aloof within his heart, reminding his lover that all they have shared are with him. Hear how Ismail Darbar has created this antara, every line Udit utters has a response by Kavita overlayed in the Alaap form of Raga Yaman with painful remembrance of his utterance, until she replies wherein she does so in the avarahona of the Raga. Then its her turn to remind her lover that she will keep all those memories alive in the lamp that she has lit for him ‘Main Le Jaa Rahi Hoon’. Udit complies and responds with the ‘O Preetam’ refrain also in the avarahona notes. Again pure genius!

The ending of this track delves even deeper into the heart, even though its just the mukhda, listen to the way the Udit & Kavita interact, answering each other with the deepest sadness. The shehnai makes an appearance as to further torment the lovers knowing that all borders have been firmly set, there’s no crossing it anymore. The male chorus add on to the flow of tears, with the sarangi confirming the defeat.

In this soundtrack dominated by female vocals, we finally get to a male solo by Udit Narayan. I have mentioned in the above songs that Udit’s singing prowess has been highlighted graciously by Ismail Darbar, and here too the quality remains that of a high caliber. Udit gets to render a ghazal based on strains of Raga Bihag, full of metaphors from the heart. In what has been a tragic story for the lovers, this sweetly coated ghazal reminds Devdas why he loves Paro, but the ultimate struggle remains. The fact that even though he loves her, he cannot fulfill his duty due to the constant conflict around them. The lyrics by Nusrat Badr especially in the second antara really delves into the struggle. He uses the moon as a metaphor to show that even in the darkness of the night, the brightness of the moon reaches even the darkest of places, yet the irony is, it is till far away from the earth and the two will never unite.

The Ghazal is a form of amatory poem which has its origination around Persia and Arabia. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The lyrics are an integral part of the Ghazal, and just to reflect on this, consider the simplest meaning of ‘Woh Chand Jaisi Ladki‘; if you understand the language you will understand its detailed meaning, but translate it into English, you will lose its intensity by way of translation. The literal meaning is devoid of the emotional intention from the original language.

Woh Chaand Jaisi Ladki Is Dil Pe Chhaa Rahi Hai (X2)*That Moonlike Girl Is Gaining Over This Heart Of Mine
Aankhon Ke Raaste Se Is Dil Mein Aa Rahi HaiFrom The Path Of The Eyes She Is Entering My Heart
Woh Chaand, Woh ChaandThat Moon, That Moon
Woh Chaand Jaisi Ladki Is Dil Pe Chhaa Rahi Hai*That Moonlike Girl Is Gaining Over This Heart Of Mine

Alhad Si Bholi Bhaali Maasoom Yeh Sharaarat*This Spirited, Innocent, Carefree, Mischievous
Badli Nahin Hai Ab Tak Bachpan Ki Uski AadatShe Hasn’t Changed Her Childhood Behaviour Till Now
Tadpa Rahi Hai Yaadein, Ho Jaaoon Na Na Ho JaaoonMemories Are Torturing Me, May I Not Become
Ho Jaaoon Na Main Paagal*May I Not Become Crazy

Aa Jaaye Saamne Woh, Yeh Jaan Jaa Rahi HaiLet Her Come In Front Of Me, My Life Is Leaving Me
Woh, WohThat, That
Woh Chaand Jaisi Ladki Is Dil Pe Chhaa Rahi HaiThat Moonlike Girl Is Gaining Over This Heart Of Mine

Mera Chaand Baadalon Mein Kyoon Jaake Kho Gaya Hai*Why Has My Moon Gone Into The Clouds And Gotten Lost
Ab Door Is Kadar Woh Kyoon Mujhse Ho Gaya HaiNow Why Has She Gone Far Away From Me Like This
Kyoon Jee Raha Hoon Tanha Yeh Yaad Bhi Nahin HaiWhy Am I Living Alone, I Don’t Even Remember Why
Bas Itna Yaad Hai Ke Woh Yaad Aa Rahi Hai*I Only Remember This Much, That I Am Remembering Her

Woh Chaand, Woh Chaand*That Moon, That Moon
Woh Chaand Jaisi Ladki Is Dil Pe Chhaa Rahi HaiThat Moonlike Girl Is Gaining Over This Heart Of Mine
Aankhon Ke Raaste Se Is Dil Mein Aa Rahi HaiFrom The Path Of The Eyes She Is Entering My Heart
Woh Chaand, Woh Chaand Jaisi*That Moon, That Moon Like

Udit Narayan mellifluously glides through ‘Woh Chand Jaisi Ladki‘ with consummate ease, his intonations in the antaras are nothing short of great. When you hear this song, you are reminded of why he survived so long in the Industry. Ismail Darbar does complete justice to Udit Narayan, and since at some point in his career, his voice represented Shah Rukh Khan perfectly onscreen, this was a great choice by Ismail Darbar and Sanjay Leela Bhansali.

The intro to this track begins with a thud from the bass drum, sweeping violins cascade into the night, santoor and flute mesmerize the stars, a chorus hums Udit into his opening lines. Hear the chorus overlayed into his first rendition, almost like impending doom. The opening mukhda is littered with light piano notes and guitar strums. Udit almost whispers the opening lines, and then we hear his voice slightly increase in scale, it immediately displays the intensity in his heart.

The first musical interlude creeps up to a crescendo introducing the percussion, a beautiful tabla in ektaal, whilst the violin serenades stars. The flute and santoor make a brief appearance like the moon in a sky full of clouds. Udit begins the antara smoothly, calmly ably supported by the violin. But hear when he hits the high notes in the line ‘Tadpa Rahi Hai Yaadein, Ho Jaaoon Na Na Ho Jaaoon‘, its like his emotions have come up to his throat, full of remorse, he then continues on and the way he sings ‘Woh, Woh‘ lulls the audience back to calm, sheer brilliance.

The violin remains pertinent and takes the next musical interlude to a brilliant height with the flute continuing on. Udit immediately goes into the high notes in this antara and leisurely lowers his vocals until he reaches the painfully emotional lyrics ‘Kyoon Jee Raha Hoon Tanha Yeh Yaad Bhi Nahin Hai‘ which unduly portrays his defeat. The songs continues back into the Mukhda with Udit whispering the opening lines, closing the track off accepting his defeat. The track has been beautifully orchestrated by Ismail Darbar, ensuring that the listener understands the tone of the lyrics. Listen properly to even when Udit hits the high notes, the music remains calm.

This is the only track on this soundtrack that didn’t have a proper visual. Only a few lines appear in the movie in a scene where Devdas visits Paro at night; In fact the song only made an appearance in the Indian version of the film (another interesting fact is that the voice in this scene is that of Raghav Chatterjee and not Udit Narayan). The Udit Narayan version released on the physical music media. On the international circuit, the same scene just had the background score. Here are the scenes:

The Indian ReleaseThe International releaseQuick fact: When the original soundtrack released, this particular song recieved very little attention, in fact many of the music reviewers dismissed this song, some even calling it situational and bringing very little to the soundtrack. My thoughts directly contrasted the popular consent. When i first heard this track, my mind was in a frenzy for a few standout reasons. It’s intricate composition, the complex percussion beat, the masterful singing and more importantly, many seem to have not read the credits of the Lyric writer Sameer Anjaan; this is one of his more poetic compositions and this might have gone unnoticed. We’ll delve into this track by detailing each of the components i have mentioned.

Ismail Darbar’s genius comes to fore with this track, if you detail the thought that went into this track in context of the film, you will agree that he had really delivered on this track. Sumitra is invited to a ‘baby shower’ but is also under the notion that the ‘token’ of gifting her daughter as a bride to Devdas’s family will happen on the same night. But Kaushalya has other intentions. Sumitra is close to Devdas and Paro and understands their connection, so her part in this track had to show how she felt about the love-torn pair. The song showcases the intense feelings of happiness of Sumitra of presenting her ‘token’.

Using a singer like Jaspinder Narula, who until the time of the release of Devdas had been singing Punjabi flavoured songs, was simply pure genius. It’s unlike any of the songs we’ve heard the talented Jaspinder Narula sing, here she gets the opportunity to showcase her range. Jaspinder takes the composition a great high, her into and outro of this track is sure to let you know that she is a powerhouse singer. Beautiful Alaaps cascading into this intricate, semi-classical composition by Darbar, with amazing grace. The rustic feel she brings, is sure to remain with you.

Heavily contrasted with Jaspinder’s vocals is the sweetly tuned Shreya Ghoshal; but don’t let this young voice give you once ounce of doubt, she is simply fantastic. This track was not easy to sing, not by any measure, both singers bring their A-game to the table and revel in the beauty of the composition. We’ve heard songs where composers have used rustic / sweet vocals contrast each other before, but none sound like ‘Morey Piya’.

Aasmaan Ki Baahon Mein Chaand Akela Thehra Tha*In The Arms Of The Sky, The Moon Is Waiting Alone
Hey, Hey, Hey, Hey
Raat Ki Jawaani Pe Chaandni Ka Pehra ThaOn The Night’s Youthfulness, The Moonlight’s Gaze Was Fixed
Hey, Hey, Hey, Hey
Hey, Runjhun Runjhun Hawa Ka Jhonka Ujli Ujli Raat
Hey, A Blowing Gust Of Wind In This Shining Night
Taaron Ki Doli Mein Aayi Jhilmilaate Jugnu Ki BaaraatIn Palanquin Of The Stars, A Sparkling Procession Of Fireflies Has Come
Sab Ke Honton Pe Thehri Thi Aake Koi BaatUpon Everyone’s Lips, Some Talk Had Come And Stopped
Dhol Manjire Bajne Lage, Padi Dafli Par Thaap AurThe Drums And Cymbals Started To Play, So Did The Tambourine, And
Dhumak Dhumak Kar Naach Rahi Thi Meri Radha Pyaari, HaanThumping, My Lovely Radha Was Dancing, Yes
Dhumak Dhumak Kar Naach Rahi Thi Meri Radha PyaariThumping, My Lovely Radha Was Dancing
Jaane Kahan Se Raas Rachaane Aaya Chhaila Girdhaari*Who Knows From Where This Krishna Has Come To Play Raas (Indian Folk Dance)

More Piya, Darta Hai Dekho Mora Jiya*My Lover, My Heart Is Feeling Afraid
Ho More Piya, Darrta Hai Dekho Mora JiyaOh My Lover, My Heart Is Feeling Afraid
Haan
Yes
More Piya*My Lover

Hey, Hey, Hey, Hey
Hey, Hey, Hey, Hey
Hey Eh

Na Baiyyaan Dharo, Aati Hai Mujhe Sharam*Don’t Grab My Wrists, I Am Feeling Bashful
Haan, Chhod Do Tumko Hai Meri KasamYes, Let Go Of It, You Have My Promise
Na, Zid Na Karo Jaane Do Mujhe BalamNo, Don’t Be Stubborn, Let Me Go My Sweetheart
Dekho, Doongi Main Gaaliyaan BhaanwreLook, I Will Start Throwing Curses At You
Chalo Hato Sataao Na More PiyaCome On, Move Away, Don’t Trouble Me My Lover
More Piya, Darrta Hai Dekho Mora JiyaMy Lover, My Heart Is Feeling Afraid
Ho More Piya, Darrta Hai Dekho Mora JiyaMy Lover, My Heart Is Feeling Afraid
More Piya*My Lover

Jamuna Ke Teer Baaje Mridang*On Banks Of River Yamuna, The Drums Are Beating
Kare Krishn Raas Radha Ke Sang*Krishna Does The Raas With Radha

Kare Krishn Raas Radha Ke Sang (X2)Krishna Does The Raas With Radha

Athron Pe Geet Mann Mein Umang*There Are Songs On The Lips, The Heart Is Filled With Enthusiasm
Kare Krishn Raas Radha Ke Sang*Krishna Does The Raas With Radha

Kare Krishn Raas Radha Ke Sang (X2)Krishna Does The Raas With Radha

Saanson Mein Pyaas Tan Mein Tarang*There Is A Thirst In The Breath, There Is Restlessness In The Body
Kare Krishn Raas Radha Ke Sang*Krishna Does The Raas With Radha

Kare Krishn Raas Radha Ke Sang (X2)Krishna Does The Raas With Radha

Isse Dekh Dekh Duniya Hai Dang*Looking At Both Of Them, The World Is Astounded
Kare Krishn Raas Radha Ke Sang*Krishna Does The Raas With Radha

Kare Krishn Raas Radha Ke Sang (X8)Krishna Does The Raas With Radha

The base drum drops, Jaspinder begins on her journey, singing ‘Morey Piya‘ into the darkness of night, echoing the intensity of her feelings. Sitar flourishes the track with the twinkling of the flute interspersed. A light percussion is littered through the intro, piano strums are also heard, together they create magic until the sitar takes the fore. The flute emerges and creates a wonderful transcendental atmosphere that absolutely pulls you away from reality. The chorus is introduced and they hum until they reach the crescendo, a violin introduces a disturbing feeling and then Ismail Darbar goes into power mode. The percussion takes foreground and what a fantastic piece Darbar has composed for this track. It is of that caliber that we heard Laxmikant Pyarelal composed in. It is a complex myriad of drums layered together to produce the drama of the song. Bass Drums, Tabla, Dhol, Pakhwaj descend into metered chaos with a range and spectrum that is not attainable by most composers of the 2000’s or even now.

Then again we hear Jaspinder Narula singing the opening lines, listen properly as she sings her lines, intensifying as she progresses, her voice here graces the power and technical ability that she so easily showcases. Even more interesting, observe the percussion, the percussion ensemble introduces her vocals, and when sings, it is so rhythmically blended into her voice, where it takes over the as the main instrument, and in between Darbar re-introduces his ensemble, powerplay by the talents of this track. Even the echoing Alaaps in between these lines are simply fantastic.

An small interlude introduces the voice of the young Shreya Ghoshal, sweetly reminding us of the situation she is in, and her voice takes us on her journey, she is excitedly nervous, with reflecting lyrics; This is just teaser for her prowess in the next antara. but yet again listen to the percussion that Darbar creates for this piece. She hums us to re-introduce the the chorus, then we hear rumbling clouds and then Jaspinder sings a restrained Alaap that fervently elevates the heart.

The interlude that follows is just so well put together, and further adds to the rustic detailing we’ve heard in this track so far. The pakhawaj takes the stage for a minute with precision and drama. The violin adds to the atmosphere, and the santoor and sitar settles it down. In Sheer brilliance, Shreya again sings the antara with such purity, she realizes that timid, nervous nature of the song until the line ‘Jaane Do Mujhe Balam‘, and then hits the line ‘Dekho, Doongi Main Gaaliyaan Bhaanwre, Chalo Hato Sataao Na More Piya‘ in Taar Saptak. It gives us measure around her talent, if this was the level at which she began her career, then we could have almost already predicted her success in the future. Darbar again should lauded for his effort, listen to the percussion when Shreya sings that lyric in taar saptak; it effectively portraying her emotions.

This immediately takes us to the outro of the song, and if what we have already heard has stunned you, listen to what Jaspinder and the chorus adds to this piece, it almost foretells us of the situation that will happen. It is intense and filled with a wonderful orchestration by Darbar, everything is in measured detail. The interplay between the chorus and Jaspinder is mounted majestically, and Jaspinder’s concluding alaap delves us deeper into the mind of Sumitra. Sheer class by all involved in bringing the track alive. Even the visuals were a beautiful segment that showcased Aishwariya and Shah Rukh Khan in spectacular form. Aishwariya performed this piece without any lip synching, but her depiction remains cemented in our minds.

Morey Piya written by Sameer is a unique song of his career. It captures emotions in a very convincing way, the stresses and strains of the betrayed Sumitra; as a doting mother and her proud daughter contain their sense of outrage from the rebuke they receive by Devdas’s family, the duet plays this struggle they feel between shrinking from the scene in a dignified manner and yet expressing their diametrically opposing emotions, those of an unfulfilled love of a daughter and a indignity by Sumitra goes through for the sake of this love.

Theme tracks barely seem to make it onto majority of soundtracks in the Indian Film world, but if you look at the soundtracks from the stalwarts of the sub-continent, you will always find a theme piece that encapsulates the feel of the film. Film makers like Satyajit Ray, Guru Dutt and a few others always included a theme piece to give the audience a feel of the film. The background scores enhanced the film and brought much in terms of characterization, be it the scene, characters or even creating the emotional context. A beautiful theme piece from Guru Dutt’s ‘Sahib Bibi Aur Ghulam‘ comes to mind wherein just listening to the piece that the great Hemant Kumar created called ‘Title Music‘ allows the listener to experience the film without even watching it.

This Devdas theme piece does exactly the same, it allows you a myriad of emotions through this four minute composition by Monty Sharma. How it begins and where it ends, how the vocals advance your thought process, the actual music liberating the mind and understanding the situation that this piece might have been in. For those that have watched this movie, you will know that the complete background score is nothing short of spectacular, especially when you have a perfectionist director like Sanjay Leela Bhansali who knows exactly what he wants and extracts the best from his team. Here too Monty Sharma ensures that he makes the most of his opportunity. The background pieces really gave much to the film, be it when characters themes are played or certain situations.

In the beginning of this track, birds are heard happily going about their day, calm and spirited, water can be heard in light splashes, and then you hear the call from a young girl ‘Arre O Deva’. The little girl laughs a little but is contrasted with a great sense of fear by the music that plays on. The chorus and percussion creates a tumultuous feeling, intensifying and then a cloudburst. A split second of silence and a deep sadness ensues with the male chorus. The violin adds a forlorn sound and the track immerses out hearts into its sadness, the flute comes in like a whirlwind with a regretful alaap by the little girl. The male chorus have been sounding tarana to create a heartbeat of pain; the track then transitions into a sort of a meditative sound with the sound of bells and the religious chants. Raghav Chatterjee makes a resounding call and it stirs within you. The shank is blown and the track immediately goes darker as if in the height of all the trouble, what must happen will happen. The chorus have already taken on quite a journey, but here even as the track delves into its melancholy we are greeted with sorrowful hums and tarana. We again hear the little girl crying ‘Devaaaaa‘, and can somewhat hear the sounds of gates opening, the charioteers whips is cracked and we are being pulled into this dangerous predicament, we feel what it happening. The cries of the little girl intensify, with the chorus heightening the danger until they reach the crescendo; which ultimately dies down and reaches an almost peaceful state. The sound of an empty bottle spinning can be heard in the end of the track, where it stops. If you have watched the film, you know what this signifies. There are two accompanying female vocalists on this track and they are Rashmi Sharma and Supriya.

Before i say anything about Dola Re Dola, i have to pay tribute to the singer that is mainly focused in the background of this track and and ‘Maar Dala‘. Krishnakumar Kunnath who went by the stage name KK, featured in many outstanding tracks after Devdas and rose to stardom in particular with another track from a Sanjay Leela Bhansali film; Hum Dil De Chuke Sanam. He sang the beautiful Tadap Tadap track that became a rage, I still remember listening to this very song and feeling every last lyric that he croons. It is still my go to song when I feel I need to let out some steam. This wasn’t his first song by the way, he initially sang for Vishal Bharadwaj’s ‘Maachis‘. He sings the introduction bit in the track ‘Chapa Chapa Chad Ka Chale‘. The industry had lost once again, when he passed on in May this year, due to a heart attack after his concert. In the years of late, he had been doing much of his own concerts and we heard him much less in films. By no blame on his part as well, as the music industry is in complete tatters, remaking older songs and very little creativity around to bring singers like him alive. I still however feel that after the great success of ‘Tadap Tadap‘, he should have at least sang a full track in Devdas. Relegated much to the background, he does make an impact in ‘Dola Re Dola‘ and ‘Maar Dala‘. We grew up in his famous years and he has given tracks that will shine on.

The situation in which ‘Dola Re Dola‘ appears was a highly contested one around the film’s release because it strays the novel’s story line where in the two female characters never meet. Sanjay Leela Bhansali had taken cinematic liberty to bring the two characters together and have them celebrate their love for same person, but unrequited love for both. In the older version of the film as well, the characters of Paro and Chandramukhi never meet, in line with the novel by Sarat Chandra. With Sanjay Leela Bhansali taking this liberty, did it have the ultimate payback? Was it epic? Will it stay with you? and more importantly, did it divert from the novel to such an extent that felt added in? The answers to all those questions is a resounding Yes, Yes, Yes and No. The scene was carefully planned out and presented itself in a charming way. We get the scene where Paro visits the Kotha, which lead to an invite. The invitation is accepted and we get Dola Re Dola, and the explosive scene after the song. It also showcased the double standards of society way back then.

‘Dola Re Dola‘ also received much flack when the soundtrack released. people didn’t gel with the track immediately. The orchestration and rhythm mainly highlighted as the weak points, but little did the people know what an impact this would create when they witnessed it onscreen. That seemed to have changed people’s minds and they realized how powerful it was. Watching Madhuri Dixit and Aishwariya Rai dance their hearts out, gave everyone a huge jolt of energy. Saroj Khan also should be lauded for her effort here, giving both Aishwariya and Madhuri dance moves that encapsulated the greatness of the dance and bonding that the two shared. Everything flowed so beautifully, but I bet that nothing was easy. From the song composition, to the singing, to the dancing and then the transition to the scene afterwards must have been a really difficult task. Hats off to Sanjay Leela Bhansali for dreaming up this sequence and leaving another gem in filmdom for us to revel in.

High on energy, high on the beats and high on the melody, ‘Dola Re Dola‘ was no simple task to compose or to sing. Ismail Darbar once has proved that his meticulous detail gives us the best of the assignment at hand. The intricate percussion and chorus once again enhance and highlight the completeness of this composition. An interesting through comes to mind, is that this song was sung during the ‘Durga Pooja’ segment and the bonding by the two female leads are existentially highlighted. Sanjay Leela Bhansali has always given preference to all his female leads in his films and here too, he shines as the two female leads give the audience something spectacular to witness.

KK begins this track with his inimitable vocals singing the title of this track with gusto, especially in the second line where he repeats the lines, here his intonations, just pure class. Ooli is heard and then the hums by Shreya Ghoshal and Kavita Krishnamurty. Another thought appears in my mind, can you imagine that Shreya Ghoshal had been pitted against Kavita Krishnamurty for this track? It is mind blowing that as a newcomer she had to contend with singing with a stalwart like Kavita, and to everyone’s surprise she kept up with Kavita and the two had a blast singing the song. Like many who always misidentified the dance routine as a muqabla (competition), it really wasn’t. This song captured the bonding the two leads had been experiencing onscreen celebrating their love for Devdas,

The percussion immediately kicks in and we have a highly energetic chorus resounding the joy of Shreya and Kavita. The music is highly infectious and creates a celebration of beauty, poignance and breath taking orchestration. Just listen to the pieces that Ismail Darbar creates to fruitfully portray the joy. Kavita Krishnamurty croons ‘Oh Maahi‘ in taar saptak, and then yet again another brilliant percussion beat overlayed with intricate chorus work. Shreya and Kavita take turns crooning the mukhda.

Hey Dola Re Dola Re Dola Re DolaHey, I Swayed, I Moved, I Circled

Hey Dola Re*Hey, I Swayed
(Haan, Haan, Hm Aah
Haan, Haan, Haan Haan
Haan, Haan, Haan Haan
Haan, Haan, Haan Haan)***

Oh MaahiOh Lover

Hey Dola Re Dola Re Dola Re Dola*Hey, I Swayed, I Moved, I Circled
Haai Dola Dil Dola Mann Dola Re Dola*Oh, My Heart Swayed, My Mind Circled

Lag Jaane Do Najariya, Gir Jaane Do Bijuriya*Let Gazes Get Struck On Me, Let The Lighting Fall
Bijuriya, Bijuriya, Gir Jaane Do Aaj BijuriyaLighting, Lighting, Let The Lightning Fall Today
Lag Jaane Do Najariya, Gir Jaane Do BijuriyaLet Gazes Get Struck On Me, Let The Lighting Fall
Baandhke Main GhunghrooStrapping On My Jingling Anklets
Pahenke Main Paayal*Wearing My Anklets

Oh, Baandhke Main Ghunghroo*Strapping On My Jingling Anklets
Pahenke Main PaayalWearing My Anklets
Ho Jhoomke Naachoongi Ghoomke Naachoongi*Oh, Shaking I Will Dance, Spinning I Will Dance

Dola Re Dola Re Dola Re Dola*I Swayed, I Moved, I Circled
Haai Dola Dil Dola Mann Dola Re Dola*Oh, My Heart Swayed, My Mind Circled

Dekho Ji Dekho Dekho Kaise Yeh Jhankaar Hai*Look Now, Look What Sort Of Jingling Is This
Inki Aankhon Mein Dekho Piyaji Ka Pyaar HaiLook In Her Eyes, There Is The Lover For Her Beloved
Inki Aawaaz Mein Haai Kaisi Thanadaar Hai
Look How Her Soft Voice Is Also Filled With Command
Piya Ki Yaadon Mein Yeh Jiya Beqaraar Hai*In The Memories Of Her Beloved, This Heart Is Restless

Haai, Haai, Haai Aai Aai Aai Aai

Maathe Ki Bindiya Mein Voh Hai*In The Bindi (A Decorative Dot Put On The Centre Of Forehead)
Of My Forehead, He Is There
Mm, Palkon Ki Nindiya Mein Voh HaiIn My Sleepy Eyelashes, He Is There
Tere To Tan Mann Mein Voh HaiIn Your Heart And Soul, He Is There
Teri Bhi Dhadkan Mein Voh Hai*Even In Your Heartbeat, He Is There

Choodi Ki Chhan Chhan Mein Voh Hai*In The Jingle Of My Bangles, He Is There
Kangan Ki Khan Khan Mein Voh HaiIn The Chime Of My Bracelets, He Is There
Choodi Ki Chhan Chhan Mein Voh HaiIn The Jingle Of My Bangles, He Is There
Kangan Ki Khan Khan Mein Voh HaiIn The Chime Of My Bracelets, He Is There
Baandhke Main GhunghrooStrapping On My Jingling Anklets
Pahenke Main Paayal*Wearing My Anklets

Oh, Baandhke Main Ghunghroo*Strapping On My Jingling Anklets
Pahenke Main PaayalWearing My Anklets
Ho Jhoomke Naachoongi Ghoomke Naachoongi*Oh, Shaking I Will Dance, Spinning I Will Dance

Dola Re Dola Re Dola Re Dola*I Swayed, I Moved, I Circled
Haai Dola Dil Dola Mann Dola Re Dola*Oh, My Heart Swayed, My Mind Circled

The interlude begins with yet another drum rhythm that Darbar so beautifully creates whilst Shreya, Kavita and the chorus have a blast singing the first antara ably supporting one another. The bonding is further strengthened but listen to Shreya and Kavita sing, they leave you with your mouth agape, their intonations fortified by their talents. Here Shreya initiates the antara to which Kavita replies her in every lyric line.

Hey Eh Eh Hey Eh, Hey Eh Eh Eh Eh Eh, Hey Hey Eh Eh Eh Eh, Hey Hey Eh Hey

Tumne Mujhko Duniya De Di*You Have Given Me The World
Mujhko Apni Haan Khushiyaan De DiYou Have Given Me All Your Happiness
Tumse Kabhi Na Hona DoorI Will Never Be Away From You
Haan Maang Mein Bhar Le Na SindoorYes, Fill The Parting Of My Hair With Sindoor (A Red Colored Powder Which
Married Women In India Apply In The Parting Of Their Hair.*It Symbolizes That She Is Married)

Unki Baahon Ka Tum Ho Phool*You Are The Flower Of His Arms
Main Hoon Kadmon Ki Bas DhoolI Am Just The Dust Of His Feet
Baandhke Main GhunghrooStrapping On My Jingling Anklets
Pahenke Main Paayal*Wearing My Anklets

Oh, Baandhke Main Ghunghroo*Strapping On My Jingling Anklets
Pahenke Main PaayalWearing My Anklets
Ho Jhoomke Naachoongi Ghoomke Naachoongi*Oh, Shaking I Will Dance, Spinning I Will Dance

Dola Re Dola Re Dola Re Dola*I Swayed, I Moved, I Circled
Haai Dola Dil Dola Mann Dola Re DolaOh, My Heart Swayed, My Mind Circled
Haai Dola Dil Dola Mann Dola Re Dola*Oh, My Heart Swayed, My Mind Circled

Ae Dola Re Dola Re Dola Re Dola Re Dola Re Dola*Hey, I Swayed, I Moved, I Circled
Haai Dola Dil Dola Mann Dola Re Dola*Oh, My Heart Swayed, My Mind Circled

Ae Dola ReHey, I Swayed

The beginning of the next interlude starts with KK singing a hearty alaap that melts at the heart, you will also notice that the song also moves towards the emotional side with slightly more serious music by Darbar. This all leads well into the intention of the next antara to which Kavita initiates. Consider the context within the film to exemplify what is being sung. The sounds of violins, trumpets and ghungroos allow for this change, and once again this antara is sung much differently to the first one. Here the ladies sing with a much more serious tone and their vocal intonations match the emotions of the lyrics perfectly. We are treated Madhuri and Aishwariya showing the world why they were chosen and any two lesser dancers would not have handled this task with the appropriate measure. In almost all films we talk about character arcs, but when it comes to the soundtracks we perhaps don’t feature this. But ‘Dola Re Dola‘ is a great example of showing why it matters, especially where we have seen the songs transcend from ‘Silsila Yeh Chaahat Ka‘ and ‘Bairi Piya‘ for Shreya Ghoshal and ‘Kaahe Ched Mohe‘ and ‘ Maar Dala‘ for Kavita Krishnamurty. This track brings the two of them together celebrating their heartaches and pleas from the previous two songs with zest and energy.

Taking in the context of what is happening onscreen, the track gets even more serious in the outro with substantial orchestration digging to the sensibilities of the risk the ladies have undertaken. Trumpets, percussion and chorus effectively take us through this whirl wind of swaying and dancing. Violins and KK approach the end with great drama.

One might wonder how Darbar and Sanjay Leela Bhansali had imagined the track and could not have been happier with its outcome. I was completely ecstatic when I heard ‘Dola Re Dola‘, imagining how it would be portrayed onscreen. But when I witnessed it, I had been shocked at the detailing of the dance, the sets and even the sheer amount of background dancers. At such an epic scale we were treated to the most amazing visuals and audio that we could have wished for.

Ismail Darbar is a name to be reckoned with, I mention this in the present tense as his caliber of work remains strong even after Devdas. If at any point in time, one goes back and looks at these compositions, you will realize the detailing involved in each of his songs. In Devdas particular he enriches the story to such an extent that one cannot simply ignore the songs, or even forget the meaningful layering behind them. He also captured the sound of the era so graciously, not losing the era to modern instruments or even by giving the tracks a more synthetic sound. If you just take the percussion of each of the tracks that he composed for Devdas, you will find his genius smiling back at you. These style of compositions were relegated to the golden oldies of filmdom, but he brings it forth here with oomph. The rhythm and the powerful orchestration is the essence of the album essaying love, passion, bonding , jealousy , trials and tribulations of the characters.

In 2004, the album was considered to be one of “best music in film” by Sight & Sound. In 2005, it was judged the top Hindi soundtrack of all time by voters on the BBC, and in 2014, they included the song “Maar Daala” in their listing of the “100 Greatest Bollywood Song of All Time”. In 2011, Planet Bollywood featured Devdas amongst the “100 Greatest Bollywood Soundtracks Ever” of Hindi cinema. “Dola Re Dola” has been listed three times as “the best Bollywood dance number of all time”: by Scroll.in in 2016, the Eastern Eye in 2018 and Time Out in 2019. HuffPost’s Tatsam Mukherjee added the album in his 2020 listing of the “Top 20 Bollywood Albums since 2000”.

With all these accolades in hand, who would in their right mind deny the cult status that Devdas shares?

The singers that feature in Devdas:

Kavita KrishnamurtyKKMadhuri DixitShreya GhoshalUdit NarayanVinod RathodRaghav ChatterjeePandit Birju MaharajJaspinder NarulaDevdas Scores 9 Stars

Rating
★★★★★★★★★

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