Visit our other dedicated websites
Asha Bhonsle Geeta Dutt Hamara Forums Hamara Photos Kishore Kumar Mohd Rafi Nice Songs Shreya Ghoshal
Hamara Forums

Welcome Guest ( Log In | Register )

Interview

 
 
Reply to this topicStart new topic
> Interview
nm007
post Feb 14 2006, 01:48 AM
Post #1


Regular Member
Group Icon

Group: Members
Posts: 712
Joined: 1-July 05
Member No.: 2636



copied from RMIM, thanks to mausam

screenindia link

The Sun That Never Sets...

Rajiv Vijayakar
Posted online: Friday, February 10, 2006 at 0000 hours IST

Padma Shri Ravi (or Ravi Shankar Sharma to give his full name) is a music
composer who is also on occasions a lyricist and singer. He has scored
more than 150 films in Hindi and almost twenty-five in regional cinema.
Despite all the honours and accolades he has received from various
sources, the maestro lives a normal, secluded life in his bungalow Vachan
(named after his debut film), quietly working on his first Bengali as well
as the latest of 18 Malayalam films, 5 of which have won him the Kerala
State and other prestigious Best Music awards. Also on his c-v are 2
Gujarati films (one of which, Ver Ni Vasulat, also won him a Gujarat State
award!), a handful of Punjabi films and a Telugu (dubbed from one of his
Malayalam films, but with some different songs) and a Kannada movie each.
He is gently and wryly critical about the fact that India’s oldest music
label (which has his near-complete repertoire) has chosen not to keep him
in the limelight through compilations of his work. “I am just happy that
my songs continued to be loved by those who love film music and melody,
and the fact that so many of my albums continue to sell,” he smiles.

Fed on a pre-designed staple diet of certain names, today’s generation of
old film music lovers would be first pleasurably shocked and then
enthralled by a casual mention of just a few ’samplers’ of Ravi’s genius
and popular success - scores like Chaudhvin Ka Chand (1962), Gumrah
(1963), Kaajal (1965), Phool Aur Patthar (1966), Humraaz (1967) and Nikaah
(1982) heading a list that includes Bharosa, Nazrana, Chirag Kahan Roshni
Kahan, Gehra Daag, Pyar Ka Sagar, Ghunghat, Shehnai, Grihasti, Do Badan,
Aankhen, Khandaan, Phool Aur Patthar, Do Kaliyan, Dus Lakh, Ek Phool Do
Mali, Aadmi Aur Insaan, Yeh Raaste Hain Pyar Ke, Doli, Neel Kamal and Aaj
Aur Kal.

It is Ravi who has also composed cult songs like ‘Aaj mere yaar ki shaadi
hai...’ (Aadmi Sadak Ka) which is a must at every wedding today, ‘C-A-T
cat, cat maane billi...’(Dilli Ka Thug), ‘Baar baar dekho...’ (China
Town), ‘O meri zohra jabeen...’ and ‘Aage bhi jaane na tu...’ (Waqt),
‘Daadi amma daadi amma maan jaa...’(Gharana), ‘Yeh raaten yeh mausam...’
(Dilli Ka Babu), ‘Dil mein kisi ke pyar ka...’ (Ek Mahal Ho Sapno Ka),
‘Sau baar janam lenge...’ (Ustadon Ke Ustad), ‘Main to chalaa jidhar chale
rastaa...’ (Dhadkan), ‘Sansar ki har shay ka...’(Dhund) and many, many
more timeless melodic experiences.

Born in Gurgaon and raised in neighbouring Delhi, Ravi was an All India
Radio artiste who early on detected his own flair for composition. An
ardent admirer of C.Ramchandra, Ravi came to Mumbai to become a singer,
little knowing that he would become one of the biggest names in film music
from the late ’50s to the early ’70s. A ‘60s Sunbeam Rapier stands proud
in his compound as its fond owner recollects,”I had five cars at my peak.”
But true to his name which means the sun, his melodies continue to shine
through the fogs of discordant times and cacophonous seasons. Excerpts.

How did you gravitate from singing to composing songs?
As a singer, I could not go beyond chorus numbers! I have never been
trained in music, but could play some instruments, so I would often work
as a musician too. One day, I made some suggestions about phrasing to
Hemant (Kumar)-da, who was not very familiar with Hindi as a language. He
invited me to be his assistant and I worked with him on several films,
including Nagin and Miss Mary.

When I was Hemantda’s chief assistant, he would openly praise my
contribution in his success as a music director. I composed the been theme
in a very different way for Nagin - if you hear it carefully, you will
find the notes completely different from that of a standard been, for the
simple reason that it was composed on a harmonium!

When Hemantda won an award for his music in the film, I was standing in
the wings along with his team. He came and generously gave me the trophy
and said, “This is your award!” Such selfless men are rare. He later
presented me with my first car!

You must be the only composer who was never, ever replaced by his mentor.
Does that give you special satisfaction?
It does. Devendra Goelsaab gave me my independent break in Vachan (1955)
and worked with me all the way till the last film for his banner, Aadmi
Sadak Ka in 1977. He would always tell anyone who pressurized him to
change his music director, “Meri film chale na chale, Ravi ka music hit
hai!” We did about a dozen films together, including Narsi Bhagat, Pyar Ka
Sagar, Dus Lakh, Door Ki Awaz, Ek Phool Do Mali, Dhadkan and Ek Mahal Ho
Sapno Ka. Some of these films were not produced by him.

The record was broken by his swan song Do Musafir.
Yes, but Goelsaab explained to me that the producers had some commitment
to Kalyanji-Anandji and his insistence on me had to be overruled. I told
him it was perfectly fine and even attended the muhurat of the film. But
the interesting part was that the film was released only after his death.
Thus in his lifetime, Goelsaab never saw any name other than mine in any
of his films’ credit tittles after our long association began!

You seemed to prefer Asha Bhosle to Lata Mangeshkar Why?
That is not true. Both sisters were unique in their strengths and could
sing every kind of song. As you know I had a string of loyalists in the
South, from S.S.Vasan and Vasu Menon to Sivaji Ganesan and later
A.V.Meiyyappan and A.Bhimsingh, and my music for them was dominated by
Latabai. Over here, Latabai would be extremely busy with others and my
Mumbai producers like B.R. Choprasaab, S.D.Narang and Narendra Suri would
tell me to go ahead with Asha.

Your B.R.Chopra work was dominated by Mahendra Kapoor and Rafi was there
only for the title-song of Waqt.
Rafisaab had some differences with Choprasaab. But I convinced him to sing
this song, and he similarly sang specific songs later for other music
directors in their films. But all my songs with Mahendra Kapoor - for BR
Films as well as others - were hits.

You are quite a prolific tunesmith.
Yes, it’s all God’s blessings. I always give the choice of at least 3-4
tunes to a filmmaker, with my suggestions and preferences mentioned. And
this is because I have never made a tune until the lyrics were written!

Why is that?
I believe that the lyricist should be given a free hand in writing for the
situation. Making tunes is easy. I made 16 tunes for ‘Dil ke armaan
aansuon mein beh gaye...’ (Nikaah) because Salma Agha had limitations.
Choprasaab was keen on using the best tune and getting Asha to sing it,
but Salma threatened to walk out of the film as she was the heroine. So I
made a 17th simpler tune, and it not only became a chartbuster but also
won Salma awards!

Without a musical base, when you make so many tunes, isn’t there a risk of
coming up with something that you have heard somewhere and is in your
subconscious?
There is, but I am very careful about it. If I find out something like
this has happened, I junk the tune and make another. So far no one has
accused me of copying a song. On the contrary, my `Baar baar dekho hazaar
baar dekho...’ from China Town has been officially copied by a West Indies
band after taking the rights!

But there are metres you have repeated, like in ‘Woh dil kahaan se laaoon
teri yaad jo bhulaaye...’ from Bharosa which was recycled in ‘Dil mein
kisike pyar ka jalta hua deeya...’ in Ek Mahal Ho Sapno Ka.
No, a metre is not the same as a tune. Metres can coincide even in
completely different songs. The song that finally came in Ek Mahal.. was a
tune that I had suggested for different lyrics, but everyone had rejected
it at successive times. One such time was the Bharosa case, so I composed
a different tune there. Since the words were the same, the metering had to
be the same too. If you hum out my ‘Milti hai zindagi mein mohabbat kabhi
kabhi...’ from Aankhen, you will find that the same metre is there too,
but in a completely different composition.

So you do make use of the tunes that are not accepted by a filmmaker.
Yes, when a completed song is found to fit the metre of the tune, and the
mood is correct too.

You once said that you were not too happy about the song ‘C-A-T cat, cat
maane billi...’ from Dilli Ka Thug.
Well, (S.D.) Narangsaab wanted me to copy some rock’n’roll songs that he
loved. He made me hear different songs. But what I did was mix elements
from three of them. There is nothing wrong with being inspired by
something.

Where is the dividing line between inspiration and copy?
Let me give you two examples of what I mean. A Western song that I had
heard was in my mind somewhere. When Sahir Ludhianvi wrote ‘Dil karta, o
yaara dildara...’ for Aadmi Aur Insaan, I changed just a single note in
the hook of that song. It transformed the composition completely and I was
applauded for an excellent Punjabi folk composition!

Then there is the popular folk song ‘Allah megh de paani de...’. This tune
has been used by many others without any changes, and even as it is with
the same mukhda. When I was assisting Hemantda, he too wanted to use it. I
told him that we would make a few changes. The result was ‘Saiyyan chhod
de patang...’, which no one will ever dream of believing it was sourced
from there!

You mainly worked with Sahir Ludhianvi, Shakeel Badayuni and Rajendra
Krishan.
Yes, hamari teams ban gayi thi. Sahirsaab would openly call me his
favourite composer and suggest my name to whichever producer signed him
before a music director was fixed. I was very fortunate to work with such
brilliant writers. I also worked with Prem Dhawan, Gulshan Bawra,
Indeewar, Varma Malik, Majrooh Sultanpuri, Asad Bhopali, Hasrat Jaipuri,
Bharat Vyas and Shailendra and later Hassan Kamal.

You had two very notable exceptions for those days - Kavi Pradeep and
Anand Bakshi.
I have been honoured this year with the Kavi Pradeep Shikhar Sammaan by
the Malwa Rangmanch Samiti of Ujjain, Pradeepji’s birthplace, for lifetime
contribution to music. I interacted with Pradeepji a lot while assisting
Hemantda on films like Jagriti. I did work with Bakshisaab in a Punjabi
album that was released only in the U.K. He wrote a devotional song. In
films, he had formed teams with others.

You occasionally wrote lyrics. Why was that?
Lyrics must be perfect for a mood and a situation. Every music director
contributes to so many of his songs. Sometimes, I sensed that I could
write words for a situation better than a songwriter, as in `Auladwalon,
phoolon phalo...’ in Ek Phool Do Mali. For some of my last few Hindi
films, I wrote all the lyrics.

You were the first choice for so many South banners and filmmakers making
Hindi films. Where did you record the songs?
I would record the songs in Mumbai, but in those days I would be in Madras
for at least a week every month, doing the background scores and having
discussions on stories and music. The filmmakers would have blind faith in
me, especially S.S.Vasansaab of Gemini. I would send him tapes of my
compositions, with a list of my suggestions, and he would tell me to
record the tune of my choice. I would offer suggestions about scripts and
incorporate pieces of music that gave scope for some visual
embellishments. I remember contradicting Vasansaab and Ramanand Sagarsaab
about a scene they wanted to cut in Ghunghat. I told them that the film
would become a big hit only because of that scene, and they listened to my
advice. After the feedback at the premiere, Vasansaab told me that I was
right.

you are back in the South, as Bombay Ravi in Malayalam films. How did that
chapter begin?
I was approached some time in the late ‘80s by a producer who told me that
he was my fan . My first two Malaylam films Panchaagni and
Nakhakshathangal were made simultaneously and were directed by the famous
Hariharan.

How did you approach music there?
I was frankly scared when I began work, because my principle of composing
after the lyrics was unshakeable. The situations were given to the writer
and explained to me to get the mood. It was amusing that for the first
song the writer asked me to hum out the tune, and was shocked when I said
that I wanted the lyrics first! The lyrics that were approved went ‘Manyal
prasadanam nitteel charti...’. I asked the writer the complete meaning
sentence by sentence to ensure that I did not break any word into two, or
take the wrong pauses. To give an example, ‘Roko mat, jaane do’ and ‘Roko,
mat jaane do’ are completely opposite in meaning. To my surprise, they
okayed the very first tune I made as fantastic. The song won Chitra a
National award and I won a State award for the film! After that almost
every film I did was a musical hit. I kept getting awards, and films like
Vaishali, where I was told not to use a single Western instrument because
it was a period film, Parinayam and many others were bumper hits. Vaishali
also got me the National Award.

Do you use Mumbai’s singers there?
No, I use the Southern greats like Yesudas and Chitra to lend authenticity
to the accents.

Rahman brings in a Southern influence to his Hindi songs. Do you bring a
Northern shade down there?
I use Southern instruments like chuda, adakka and others to retain the
nativity. But I think that my music has worked because they find my
Northern flavour exciting when merged with their language, their singers
and their instruments.

You are doing a Bengali film for the first time. Why not do Hindi films
too?
Musically, Hindi films have gone completely off-track. I did a film called
Ek Alag Mausam last year. I was not at all convinced of the story, and the
film came and went without anyone being aware of it.

How come you never did a Marathi film in five decades?
Simply because I was never offered one!

- 007
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
shrikant21120
post Feb 23 2006, 03:26 AM
Post #2


Member
Group Icon

Group: Members
Posts: 167
Joined: 8-February 04
Member No.: 237



Thanks for this article and its link nm007!

Ravi is undoubtedly the most underrated music director of his time. People talk about Naushad, SJ, SD and OPN. But few talk about Ravi. His music speaks for himself. Every song is melodious and worth listening. Be it sung by Rafi, Lata, asha, Manna or even Kishore. Arguably he is one music director whose ratio of hit songs to "not so hit" is the hightest!

Would you have any of the audio interviews by Ravi in your collection? If yes would you pl upload them. I know that one of the interviews was uploaded previously but I seemed to have missed that.

thanks

shrikant
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
bawlachintu
post Feb 23 2006, 06:04 AM
Post #3


Dedicated Member
Group Icon

Group: Members
Posts: 7418
Joined: 26-August 04
Member No.: 743



QUOTE(shrikant21120 @ Feb 23 2006, 03:26 AM) *

Thanks for this article and its link nm007!

Ravi is undoubtedly the most underrated music director of his time. People talk about Naushad, SJ, SD and OPN. But few talk about Ravi. His music speaks for himself. Every song is melodious and worth listening. Be it sung by Rafi, Lata, asha, Manna or even Kishore. Arguably he is one music director whose ratio of hit songs to "not so hit" is the hightest!

Would you have any of the audio interviews by Ravi in your collection? If yes would you pl upload them. I know that one of the interviews was uploaded previously but I seemed to have missed that.

thanks

shrikant


Well said Shrikant ji. Sabka apna apna mukaam hai music world mein.
Jab tak Hindustan mein shaadiyan hoti rahengi, Ravi ke compose kiye
Marriage songs gaye jaate rahenge.

A talented pupil of Hemant Kumar is known to have given some
wonderful melodies for Punjabi Films too.

Few of his great compositions are:

1. Chaudavin ka chand ho ya aaftaab ho
2. Wo dil kahan se laaon teri yaad jo bhula de.
3. Baul ki duayen leti ja, ja tujhko sukhi sansar mile



Here is the best singer of universe

"The power of accurate observation is commonly called cynicism by those who have not got it." -George Bernard Shaw ."

User is offlineProfile CardPM
Go to the top of the page
+Quote Post
desai2rn
post Feb 23 2006, 06:40 AM
Post #4


Dedicated Member
Group Icon

Group: Members
Posts: 1605
Joined: 16-January 04
Member No.: 189



QUOTE(bawlachintu @ Feb 23 2006, 06:04 AM) *

QUOTE(shrikant21120 @ Feb 23 2006, 03:26 AM) *

Thanks for this article and its link nm007!

Ravi is undoubtedly the most underrated music director of his time. People talk about Naushad, SJ, SD and OPN. But few talk about Ravi. His music speaks for himself. Every song is melodious and worth listening. Be it sung by Rafi, Lata, asha, Manna or even Kishore. Arguably he is one music director whose ratio of hit songs to "not so hit" is the hightest!

Would you have any of the audio interviews by Ravi in your collection? If yes would you pl upload them. I know that one of the interviews was uploaded previously but I seemed to have missed that.

thanks

shrikant


Well said Shrikant ji. Sabka apna apna mukaam hai music world mein.
Jab tak Hindustan mein shaadiyan hoti rahengi, Ravi ke compose kiye
Marriage songs gaye jaate rahenge.

A talented pupil of Hemant Kumar is known to have given some
wonderful melodies for Punjabi Films too.

Few of his great compositions are:

1. Chaudavin ka chand ho ya aaftaab ho
2. Wo dil kahan se laaon teri yaad jo bhula de.
3. Baul ki duayen leti ja, ja tujhko sukhi sansar mile



Very true. Since release of Khandan, there is hardly a Shri Krishna Janamastmi when you don't
hear ' badi daare hui naandlala teri raah taake brijbala'. His music in Nazarana, pyar ka sagar, waqt,
Gumraah etc will always be rememberd.

Ramesh.

R a m e s h
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
sri
post Feb 23 2006, 06:54 AM
Post #5


Dedicated Member
Group Icon

Group: Members
Posts: 2738
Joined: 12-July 05
From: Bangalore, India
Member No.: 2760



nm :

thx for posting the interview article !

sri


"Jis din is duniya se nafrat aur khudgarzi mit jaayegi, us roz yeh insaan naachega, us roz yeh dharti gaayegi" - Rajinder Krishan (Maa baap 1959)
User is offlineProfile CardPM
Go to the top of the page
+Quote Post

Reply to this topicStart new topic
1 User(s) are reading this topic (1 Guests and 0 Anonymous Users)
0 Members:


 



- Lo-Fi Version | Disclaimer | HF Guidelines | Be An Angel Time is now: 29th March 2024 - 12:04 PM