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The Rare Anand Bakshi

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> The Rare Anand Bakshi, article
deep750
post Oct 1 2005, 02:30 PM
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The lyricist took his leave a year ago, on March 30. Lyrics have never been the same again since then, for Anand Bakshi was an institution that generated a whole new concept of film lyrics, where depth could be simplified to near-nursery rhyme, and oft-repeated situations got the privilege of turning parents to some of the greatest verse heard in Indian cinema. Laxmikant-Pyarelal, R.D.Burman, Kalyanji-Anandji and S.D. Burman — these were the four names with whom Bakshi did the vast majority of his films, and most of his best and successful work. But as a current rhymester asserted but failed to prove, a lyricist made a music director and not the other way round.

This is a point to ponder as today’s lyricists, except for a couple, wait for music directors to distribute songs like largesse to them. For Anand Bakshi’s The Train took R.D. Burman on the popularity expressway when even Teesri Manzil could not, Jab Jab Phool Khile and Himalay Ki God Mein settled Kalyanji-Anandji on an even keel, Milan consolidated the super-success of Laxmikant-Pyarelal, and Aradhana brought S.D. Burman meteorically back to reckoning.

As the world of musicdom reverberates to thousands of timeless Bakshi‘an’ beauties set to music by these six geniuses, let us go down Anand Bakshi boulevard to seek rare avenues, equally fruitful, where the master-lyricist synergised powerfully with other names, often setting new standards for them or himself, and proving that a lyricist could add that vital additional dimension that makes the crucial difference to a composer’s career.

Here then are 12 Bakshi films that are remembered outside the ambit of his fave music men:

Devar (1966/ Roshan):

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Roshan was one of the earliest composers to notice Bakshi’s potential. Ditto filmmaker Mohan Segal. So when the two came together for this classic romance, Bakshi was the unanimous choice. The unsung genius of Roshan and the fresh enthusiasm of the poet coalesced to yield lustrous songs like ‘Duniya mein aisa kahaan sab ka naseeb hai...’ and ‘Roothe saiyyaan hamare saiyyaan...’, and those twin Mukesh towers ‘Bahaaron ne mera chaman loot kar...’ and ‘Aaya hai mujhe phir yaad who zaalim...’

My Love (1970/ Daan Singh):

The low-profile Rajasthani composer did a handful of Hindi films but is remembered only for My Love. Bakshi’s ‘Sunaate hain sitaren raat bhar...’ lingers on, as do frothy ‘O my love...’, ‘Woh tere pyar ka gham...’ and ‘Zikr hota hai jab qayamat ka...’

Main Sundar Hoon (1971/ Shanker-Jaikishan):

This film gets into this list by virtue of the popularity of most of its songs at that time, though over the years only ‘Naach meri jaan...’ and ‘Mujhko thand lag rahi hai...’ are remembered. One also includes this film for Bakshi’s own statement, “Jai was a man with a fantastic sense of melody.” Yes, Jaikishan did this film solo, and his death the same year prevented the titans from perhaps working on better films.

Julie (1975/ Rajesh Roshan):

Rajesh Roshan may have made a wow beginning with Kunwara Baap, but he really made both the commercial and creative grade with this inter-religious love saga. Over the years, ‘Yeh raatein nayi purani...’, ‘Bhool gaya sab kuchh...’, ‘Dil kya kare...’ and ‘Saancha naam tera...’ have proved to be perennials as well as remix favourites, besides being the original blueprints for the future successful ‘styles’ of Nadeem-Shravan and Anu Malik. And of Anand Bakshi’s post-Julie output with Rajesh Roshan, Mr Natwarlal remains the best and most successful.

Sohni Mahiwal (1984/ Anu Malik):

Purely quantitatively, Anu Malik ranks among the top five Anand Bakshi music-men, apart from being the composer with whom he recorded his swan-song. Their qualitative output was mixed, with stray songs in Aasmaan, Awargee, Dil Ne Ikraar Kiya, Chamatkar, Ram Jaane, Aankhon Mein Tum Ho, Rahul and Yaadein making an impact. But their first tryst together, Sohni Mahiwal, is remembered for songs like ‘Sohni meri sohni...’, ‘Sohni Chenaab de kinare...’ and ‘Bol do mithe bol...’, and Malik was first taken seriously with this score.

Chandni (1989/ Shiv-Hari):

Shiv-Hari also claimed what L-P did with Anand Bakshi — of instinctive telepathy while creating together. After experimenting with multiple writers after the death of Sahir, Yash Chopra settled for Anand Bakshi as his permanent lyricist. And their first union, Chandni was studded both, with hits (‘Mere haathon mein nau nau chudiyaan...’ and the title-track), as well as scintillating melodies like ‘Lagi aaj saawan ki...’ and ‘Tere mere honthon pe...’ Lamhe, Darr and Parampara (with that Lata-stunner ‘Tu saawan main pyaas piya...’) followed.

Tridev (1989/ Viju Shah with Kalyanji-Anandji):

The score set the trend for ‘item’ numbers with ‘Tirchhi topiwale...’, and its all-hit score was one of the four to revive the music industry and big-screen entertainment after the video menace of the 80s. ‘Raat bhar jaam se...’, ‘Gali gali mein phirta hai...’, ‘Main teri mohabbat mein...’ and the climax song ‘Gajar ne kiya hai ishara...’ formed a heady package that brought freshness and pace into film songs. The team went on to triumph in Vishwatma, Mohra, Tere Mere Sapne, Gupt and Pyaar Ishq Aur Mohabbat. Today, Rajiv Rai, who made all but one of the above films, is lost as he looks for a ‘verse’ replacement.

Dilwale Dulhania Le Jayenge (1995/ Jatin-Lalit):

The career-defining score for Jatin-Lalit re-affirmed Bakshi’s supremacy almost four decades after his arrival. ‘Ghar aaja pardesi...’ was the icing on the cake that included ingredients like ‘Tujhe dekha to yeh jaana...’, ‘Mehandi lagaake rakhna...’, ‘Ho gaya hai tujhse...’, ‘Zara sa jhoom loon main...’, ‘Ruk jaa ae dil deewane...’ and ‘Mere khwabon mein jo aaye... J-L also collaborated fruitfully with Anand Bakshi on Jab Pyaar Kisise Hota Hai, Mohabbatein and in the unsung Return Of Jewel Thief and Kranti.

Pardes (1997/ Nadeem-Shravan):

Sau sonar ki, ek lohar ki — if this old adage is ever applied to Hindi film music, it would be in the way N-S collaborated with Sameer in over a 100 films, and yet gave their career-finest score with the bard for all seasons and composers, Anand Bakshi. As ‘I love my India...’ remains a catch-phrase five years later, ‘Do dil mil rahe hain...’, ‘Meri mehbooba...’, ‘Jahaan piya wahaan main...’ and the climactic qawwali, ‘Ho gaya hai mujhe pyar...’ remain almost like exotica, and Sonu Nigam goes on record to say that ‘Dil deewana...’ remains a path-breaking song in his career. All part of the Bakshi magic.

Dil To Pagal Hai (1997/ Uttam Singh):

He came back solo after the death of his partner, with a king-size break from Yash Chopra. Uttam Singh’s new innings took off to a splendiferous start with this hit musical romance, and Bakshi’s ‘Le gayee le gayee...’, ‘Bholi si soorat...’, ‘Dholna...’, the title-track and the lyrical gem ‘Ek duje ke vaaste...’ all added to the SRK-Madhuri-Karisma song-fest. After this, Uttam collaborated fruitfully again with the lyricist in Gadar-Ek Prem Katha, and The Hero is likely to complete the trilogy.

Taal (1999/ A.R. Rahman):

Taal remains one of A.R. Rahman’s biggest Hindi successes, garnering awards and hype like none of his scores, other than his first film Roja. But till that point of time, Rahman’s music was associated mainly with functional lyrics for his dubbed films, or lyrically-mediocre or ‘item’ songs for his original Hindi films like Rangeela and Kabhi Na Kabhi. It was Anand Bakshi who gave Rahman what was his first-ever score with lyrical substance (‘Neeche ishq hai, oopar rab hai/Inn dono ke beech mein sab hai...’) and situational veracity. It was principally after this score that Rahman began to count as a prime contender for in-depth, prestigious assignments.

Kachche Dhaage (1999/ Nusrat Fateh Ali Khan):

The musically-inclined Milan Luthria chose Nusrat Fateh Ali Khan and Anand Bakshi to make music for his road-thriller, and to date Kachche Dhaage, with its magnificent melodies (‘Khaali dil nahin...’, ‘Is shaan-e-karam...’, ‘Band lifafa dil mera...’, ‘Oopar Khuda...’, ‘Dil pardesi ho gaya...’, ‘Pyaar nahin karna...’ and ‘Ek jawaani meri...’) remains musically the finest production to come from a leading audio company, Tips.

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ChetanNaik
post May 19 2006, 05:06 PM
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Thanks Deep for this info
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Rahul Gupta
post Jun 15 2006, 03:44 PM
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deep ji...

kya kamaal ka gyaan diya hai aapne...

mein to shuru se anand bakshi ji ka ghulam tha...

mujhe aapke jitni knowledge to nahi hai

lekin mein ye jaata hu ki jab bhi mujhe koi gaana pasand aata hai aur mein uske lyricist ka naam dekhta hu to wo hamesha Ananj bakshi sahab ni nikalte hain...

Unke kuchh gaane to mujhe behad pasand hain:
Jis gali mein tera ghar na ho baalma...
khush rahe tu sada ye dua hai meri...
chingari koi bhadke...
kuchh to log kahenge logon ka kaam hai kehna...

lekin aap mujhe ye bataiye ke aapke paas itni information aayi kahan se...
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deep750
post Jun 17 2006, 06:10 PM
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AB was the greatest lyricist to me, and still is. One thing that was great about him was that his lyrics always stayed youthful even in his later days. Whenever he wrote, it seemed like it was written by someone who was expereincing ie. love for the first time. He wrote lyrics for hindi movie songs for more than 40 years, and the quality he delivered has always kept the highest standards. or as Ali Peter John said it:
QUOTE
Bakshi is the youngest poet today. He, at 70, can still feel like a 16 year old, and fall in love every time he writes a new song. He is a good example for men to write their success stories with their feelings.

If you are interested, you should take a look at an article on wikipedia if you scroll a bit down beneath the awards etc. someone has written an extensive text about Bakshi-sahib

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