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[Jay]

The days of closeness between C. Ramchandra and Lata had long passed. Lata was not even singing for any of C. Ramchandra's tunes. It was a musical night on Breborn stadium in Bombay. India's vocal empress Lata Mangeshkar was going to sing the famous patriotic number Ae mere watan ke logo by Kavi Pradeep. Dilipkumar - the movie mughal - was at the dias. In his great theatrical style he introduced the audiance to the song. Not that there was any need for its introduction. But he told them about the birth of the song, told that Pradeep had penned it, dramatically explained how Panditji had wept when he had listened to it for the first time when it was performed on Lal Kila. He told everything except that the music to this legendary song was composed by C. Ramchandra. He conveniently forgot that part. When he arrived at the back stage C. Ramchandra charged at him with clenched fists and furiously asked why he did not mention his name. Dilipkumar put on a mask of total innocence and said that he never knew that Anna had composed that song. C. Ramchandra said, "Don't lie Yusuf! You knew it very well. But you were told not to mention it by that woman!". "No one dictates terms to Dilipkumar.", said the thespian with some smugness. And bang came the reply from the magician of Thumari -- "Those days are gone, Yusuf. There was a time when no one dared to dictate terms to C. Ramchandra also. Now they dictate to both of them."

Ramchandra Narhar Chitalkar (from Puntambe, Maharashtra) was a true Mard Maratha in the sense that whatever he did in his life he did it openly and without any attempts of concealment -- be it his love for scotch or his relations with Lata. As a composer he was an unprecedented genius. Probably only Naushad has enjoyed a similar overwhelming popularity that C. Ramchandra commanded among both - classes and masses. C. Ramchandra was the so-called fastest music director who could compose brilliant tunes in moments.

C. Ramchandra was great in himself and his talents knew no bounds when he paired up with Lata to produce some pearls in the ocean of Indian Film Music. When he composed the awesome lori -- Dheere se aaja re ankhiyano mein (AAlbela) with her, even the demons were soothed to sleep. Not going into the much talked about controversy of his relationship with Lata, let us experience some divine moments in the songs that they did together. C. Ramchandra composed two brilliant Thumaris for Lata - Katate hai dukh mein ye din (Parchhaai) and Tum kya jaano, tumhari yaad mein (Shin Shinaki Bubala Boo). If you are missing even one of these in your collection then you cannot really claim for its completeness. The list of such gems is a long one. Aankhon mein sama jao, is dil mein raha karana (Yasmin) is one more of these. Anna has managed to create a fantastic effect in this song with minimum of instruments leaving most to Lata's magical voice. And Lata does it to perfection. Koi kisi ka deewaana na bane (Sargam), Yeh zindagi usi ki hai jo kisi ka ho gaya (Anarkali), Ae pyar teri dunaya se hum (Jhanjar), Wafaaon ka majboor daman bichha kar dua kar gume dil khuda se dua kar (Anarkali), and the one in which, according to Majrooh, C. Ramchandra has given a lesson to the composers how to compose a ghazal -- Muhobbat aisi dhadkan hai jo samjhayi nahi jati (Anarkali) - each of this compositions is a master piece.

And yet if I look at the list I find almost all of the finest ones missing from it. For example, what about Ab woh raate kahan ab woh baate kahan (Yasmin), Jo mujhe bhula ke chale gaye (Sangeeta), Mujh se mat poochh mere ishq mein kya rakha hai (Anarkali), Dekho ji bahar aayi (Azad), Jo dil ko jalaye sataye dukhaye aisi muhobbat se hum baaj aaye (Nirala) and Mujh pe iljaam-e-bewafaai hai (Yasmin). How can this list be complete without adding even one of these. And then there are the unforgettable ones from the duo - Ae chand pyar mera tujh se ye kah raha hai (Khazana), Muhobbat mein aise jamane bhi aaye (Sagaai), Aa ja ab to aa ja (Anarkali), Tere dar se khushi mangi magar gum de diya tu ne (Hungama), Tere phoolon se bhi pyar (Nastik), Kali kali ratiyan yaad sataye (Ghungaroo), Dil se bhula do tum humen (Patanga) and Dil ki duniya basa ke sawariyan (Sangeeta).

C. Ramchandra was a handsome fellow. Even more so when one looks at him from the eyes of a awestruck worshiper of his musical genius. He himself had some faculty of singing as well - which he exploited in many songs with Lata. Mere dil ki ghadi kare tik tik tik, Sham dhale khidaki tale tum siti bajana chhod do, Shola jo bhadake dil mera dhadake (All from Albela), Kitana hansi hai mausam kitna hansi safar hai (Azad) and Woh hum se chup hai hum un se chup hai (Sargam). But one wonders if he himself was not really his first choice when it came to male playback. The credit of that position undoubtedly goes to Talat. Though C. Ramchandra made some finest of his compositions for Hemant Kumar, he knew very well that only Talat could have done justice to so soulful a ghazal like Muhobbat hi na jo samajhe woh jaalim pyar kya jane. This master piece from Parchhaai which was written by Anjaan is, indeed, a song Talat fans would rate in his top few. C. Ramchandra has excelled himself in all respects in this song. Talat sang a few excellent duets with Lata for C. Ramchandra- Apani kaho kuchh meri suno kya dil ka lagana bhool gaye (Again Parchhaai), Tere raaste pe maine ek ghar bana liya hai (Kavi), Tum apani yaad bhi dil se bhula jaate to acchha tha (Yasmin), Gaya andhera hua ujaala (Subah ka Tara), and Kise maloom tha ek din muhobbat bejuban hogi (Saqi). His other solos like Bechain nazar betaab jigar ye dil hai kisi ka deewana (Yasmin) and Apani nakaami se mujh ko kaam hai (Subah ka Tara) are undoubtedly the ones that music lovers will find indispensible.

While Talat did justice to every song C. Ramchandra could give him after dedicating all his time to Lata, I do not think Hemant Kumar fell short in any respect. If Hemant Kumar was good singer, he was a far far better Music Director. But he did wonders when he sang under the masterful guidance of C. Ramchandra. He sang a very beautiful song Badali mein chhupe chand ne kuchh mujh se kaha hai in Shatranj. Gagan jhanjhana raha (Nastik) will be another number the critics would find notable by Hemant Kumar. C. Ramchandra stayed away from Rafi in most of the films for whatever reasons. But Rafi has a nice duet with Lata on his account owing to C. Ramchandra in Nausherwan-e-Adil. The song was Bhool jaye saare gum, doob jaye pyar mein.

C. Ramchandra was accused of setting the trend of occidental music into Hindi films. But then the trend has enjoyed its own popularity. Moreover, who else would have done that better than he did. The foot-tapping songs Gore gore, o baake chhore (Samadhi - Lata with Shamshaad) and Deewana parwaana, shama pe aaya (Albela -Lata with Chitalkar) are certainly enjoyable ones though one cannot regard them as immortal creations. Then there was the one which really set the popularity rolling for C. Ramchandra - Aana meri jaan meri jaan Sunday ke Sunday (Shahanai).

C. Ramchandra was admitted to KEM hospital in Mumbai on 22nd December 1981 owing to his long standing ulcer problems. He breathed last on 5th January 1982. The great music director who could suggest someone like S.D.Burman the superlative humming at the beginning of his fantastic Lata solo Thandi hawaein, lehara ke aaye (Naujavan) left a permanent vacuum in the world of melody. He will but outlive the death through his amazing melodies that had the tact of talking straight to ones heart

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[pradeepasrani]

C.Ramchandra was truly a genius. His position is at the very top of the panthean of all times greats of Hindi Film Music. It is difficult to recall another music director who could be as versatile and as prolific as C.Ramchandra.

The above episode about "Aye Mere Watan Ke Logo" brings to the fore one of the most unfortunate aspects of most people's appreciation of Hindi Film Music where there is too much emphasis on singers and the contribution of music directors as well as lyric writers to creation of thousands of beautiful melodies, that have been created over the past several decades, doesn't receive the same attention. If only we were to reflect upon the fact that where would have been Lata if the likes of Anil Biswas, Khemchand Prakash, Naushad, C.Ramchandra, Ghulam Haider, Shyam Sunder and others were not there to create those fine melodies which Lata was fortunate enough to render in her early career. The same applies to Rafi too, who was also fortunate to have his grooming by Naushad, Shyam Sunder, Husnlal Bhagatram, Firoze Nizami, Hansraj Behal and others in the formative years of his career. Mind you, all these great music directors were acknowledged maestroes well before Rafi and Lata came into prominence and not the other way round. The example of Rafi and Lata is given since the two are generally considered the benchmark for playback singing. The same istru for other singers too.

There was an interesting comment by O.P.Nayyar in his interview, which is available in the thread dedicated to him, that he believes that 50% of the credit of a good song goes to Lyric Writer. Next comes the singer and only 15% credit can be given to the Music Director. I beg to differ with him as far as the contribution of Music Directors is concerned. Rarely has there been a song which has attained popularity unless the tune of the song has been good. On the other hand, rarely a song has become popular in the absence of a fine tune. Beautiful lyrics do play their part in the popularity of the song but by themselves can not lift a song to a great height in the absence of a fine tune.They nevertheless contribute in the creation of an immortal melody by inspiring music directors to come up with great musical scores. Its after the song has been created by a lyric writer and music director that the singer comes into picture. This is not an attempt to belittle the contribution of singers to the creation of thousands of immortal melodies but an attempt to strike a balance between the contribution of music directors, lyric writers and singers.

Pradeep

[myawan]

nice article, thanks.