QUOTE(parag_sankla @ Aug 17 2006, 07:26 PM)
QUOTE(SuDeo @ Aug 6 2006, 04:40 PM)
QUOTE(pallavi65 @ May 1 2004, 10:53 PM)
Lata Mangeshkar has sung with almost all the prominent music directors of yesterdays and today’s. But the .....
Dear Pallavi ji,
Most delightful write up. I have already saved it for my future reference.
And with due respect to the pair of LP, even if all the 660 songs of Lata are put together they cannot match the joy we get by listening to even a single composition of C. Ramchandra for Lata from films like Anarkali, Sargam, Yasmin, Patanga, Sagai, Amardeep, Nastik, Albela, and so on and so on.
Subhash G. Deo
Subhashji, very well said. LP can not match the genius of C Ramchandra, Anil Biswas, Khemchand Prakash, Salil Choudhary, Madanmohan, Roshan.
Parag
Shuklaji, many thanks for the rare gems uploaded by you over the last 3 weeks and apologies for delayed response as I was away on a holiday.
I read with interest the views expressed by two friends, Subhash and Parag. At personal level, I do prefer the music of 1940s and 1950s compared to the later period. In fact my personal preference is for the music of New Theatres above all and I am simply fascinated by the compositions of R.C.Boral and Pankaj Mullick and get into a trance when I listen to songs of Saigal and Pankaj Mullick. My discomfort with Hindi Film Music begins with Yahoo and Aiyaya Suku Suku and this discomfort becomes accute with Dam Maaro Dam and beyond. Fortunately, over the period I have collected sufficient amount of high quality music of the first 3 decades, starting with 1930s, to last me for the rest of my life and hence I can happily keep away from that of the subsequent period.
Nevertheless, I do believe that we should refrain from comparing the merits and demerits of the music of Laxmikant Pyarelal, or for that matter another musical duo Kalyanji Anandji who too came to the fore in 1960s, with that of the giants of the earlier era. I think in their own way these two enriched the Hindi film music in 1960s and possibly in 1970s. I believe comparisons do not serve much purpose except that they arise strong emotions, sometime leading to unpleasant situations, as we have witnessed at this forum itself from time to time. Despite my best efforts, my two children, born in 1980s, have never been enamoured of the music of earlier period. Nevertheless we have pursued our own musical interests without any conflict, as we simply do not compare the merits and demerits of each others' preferences.
Recently there was an interesting exchange between myself and a very prominent contributor to this forum. The gentleman while commenting on a beautiful lori from Do Bigha Zamin, Aa Ja Ri Aa Nindiya Tu Aa, commented that this was the second best lori in Hindi movies after "Nanhi Kali Sone Chali" from Sujata, another outstanding lori, which he felt was the best. I felt compelled to ask how he would rank loris such as So Ja Rajkumari (Zindagi), Dheere Dheere Aa Re Baadal (Kismet), Dheere Se Aa Ja Ri Akhiyan Mein (Albela) and Main Gaoon Tu Chup Ho Ja (Do Aankhen Barah Haath). The response was that kids would find the voice of Saigal not very soothing and that Rafi's Main Gaaoon Tum So Jaao from Brahmachari was in fact better. The matter rested there. But its quite likely that for a kid born in the Saigal era (to which I do not belong) would have found So Ja Rajkumari far more soothing than Main Gaoon Tum So Jaao (I was a teenager when this song was released). And for a child born in 1980s and 1990s, a lori created during his / her childhood would probably sound far more soothing than all the above mentioned loris. This is when the futility of such comparisons becomes obvious.
Pradeep