SHIV ARADHANA GULSHAN KUMAR SONGS PK FULL
But this is a grand film, grand album, grand 70 mm stage and full stereophonic sound and you did it with your full AAN, BAAN and SHAAN. You have simply satiated us by the grand prelude-mukhada treat of full 3 and half minutes, the duration in which many times a full three stanza song could get over. Now the violins want to do the honors to play the theme tune to give a different launching pad to Asha, relatively flat, to come up with the mukhada in her own intoxicating style. But this fooling is simply adorable which is proved by the zing that is brought by Asha with her Arabic (w)oo-ing in the way only she could do. It’s not the interlude but another prelude to welcome the younger diva! You fooled us just like the mirage does while walking in the desert. The slow but definite rise of chorals takes the progression to the crescendo topped by the dramatic brass. We know that we are now in the instrumental paradise again. The instrumentals take over again after Lata’s punctuating mukhada with a never heard before phrase on the wind instrument with a synth twist. And we know what intoxicating treat we will be getting.
Her sonorous sound is yet to die when the progression takes a dip along the flanged sounds of the guitar like an ice cube along the reflecting and refracting curves of the glass holding the golden Arabian Wine. The lute comes now for the last time in the prelude, the violins then take the procession to the crescendo thereby hinting this grand prelude to be over and provide launch pad for Lata with her announcing ‘Mitwa’. You had that expertise of making a lovely collage of sounds and still make each sound distinctly heard thereby protecting its unique identity. The lute phrase takes over again, now with the lovely support on the tumba beats, the accordion croons in with the counter of choral punches in the background. The chorals stop yelling and do their talk with their clapping hands. Then you call upon the Arabic rhythmic instrument with ‘aaja re meri tambourine’ to add that middle-east zest. That arrangement is simply to welcome the theme (spine) tune played on mandolin ( or a similar from lute family of instruments), the tune you repeated in that Kavita K solo in ‘hum hai lajawaab’ (visit ‘main dilrooba’ – Hum hai lajawaab).
In the next cycle, violin bows in to play tango with those chorals to give a rhythmic punch. After a bang sound on the gong, the chorus gushes in from both the wings (read speakers) of the stage with its exuberant yells and how beautifully you discriminated the gender sounds! Male from one and female from other. And what a grand welcome you gave to the each singing star in the best stereophonic sound arrangement! It’s simply bliss to enjoy them on the headphone/ earphone. It could obviously be for the two heroines, Bindiya and Parveen in a stage show, probably, with the group of male and female dancers and as some clues suggest another plot of the theft conceptualized by the notorious couples and the single Johnny Walker. Lata or Asha alone are sufficient to cast the magical spell on the listener but when they combine together in this sisters’ concert it’s like ‘sone pe suhaaga’. Unfortunately the other song with similar Gypsy Arabic influence couldn’t hold on the limelight of the silver screen.
SHIV ARADHANA GULSHAN KUMAR SONGS PK MOVIE
Like Sholay, the movie had a fantastic title song by Usha Uthup with innovative picturisation and a gypsy-arabic song at the villain’s den, ‘Yamma yamma’, just like ‘mehbooba mehbooba’ but as your male duet with Rafi. Kulbhushan Kharbanda couldn’t cast the spell of Gabbar on the audience. Unfortunately Shaan couldn’t fulfill the expectation of the audience although it had the James Bond kind technology at its disposal but somehow most of the length of the film was wasted on the parallel story of Amitabh and Shashi. The production team was nearly same including you and your lyricist buddy, Anand Bakshi. tere liye jeena – ( Shaan -1980)- Lata Mangeshkar-Asha Bhosale-ChorusĪfter Sholay, Ramesh Sippy dreamed of a film project that would be even bigger than Sholay. Kya karein, that ‘bade dilwala’ tune is so lingering and also keeps the continuity between two parts.Īnyways, on to the decade of 80s and what a start! With the bang!! Main bataoonga, aap aao aur gaao sang mere. Let’s continue with the remaining half from where we left you, Pancham and the readers, in part 1 and talk about Part 2 – Skies of 80s, cloudy in the middle and the final break-out to Shiny 90s