Song Exposition: 'Ae Dil-e-Nadaan..'

Ae Dil-e-Nadaan...

Lata Mangeshkar (Razia Sultan - 1983)
Jaan Nisar Akhtar, Khayyam

We start with the Santoor beats which create a resonating effect with the exceptional pauses in between them...these chasms are so instrumental in creating the effect in this song...just like the long, unending distances in the desert, these pauses define the emptiness of the heart...it aches and longs for love just like a peddler longs for water and food while traveling in the desert...The emotion on 'Dil-e-Naadaan' shows how empty the heart is of any positive feels or filled to the brim with sadness...this contrast yet equivalence of the two emotions is depicted so ably that you shudder!!!

The tabla and Violins join in the terrific Santoor...and so does the reverberating voice of Latadi...this sounds just like a Lata-Santoor duet when she hums alongwith it...The class interludes with the Santoor, Violins and the Dhol is a lead-way to the wonderful antras where Lata ably brings the pathos in her voice..mark her expression at 'Kaisi Uljhan Hai..'! The way she pronounces 'Ek Saaya Sa Rubaru Kya Hai..' literally makes us feel that there is a shadow down there deep in the sands of the desert..

The second interlude starts and enters the Sarangi magic...and the melancholy, desperation, helplessness, loneliness of the character comes to the furor..
'Kya Qayamat Hai, Kya Musibat Hai,
Keh Nahi Sakte Kiska Armaan Hai,
Zindagi Jaise Khoyi Khoyi Hai, Hairaan Hairaan Hai...'
The journey towards the end starts...everything is lost, nothing is visibly in sight just as the empty, barren desert...yet the end is not in sight just as the unendingness of the desert, the desperation surmounts all...and this is so beautifully depicted through the music pieces..Latadi hits the highest chord with utter pain in the heart with 'Kya Qayamat Hai..Kya Musibat Hai..', the background score keeps the tempo at a single pace ably showing that the monotony in life is terrible. And the journey proceeds (zindagi ki jagdojehat badhti rehti hain, aant nazar nahi aata...sab kuch gumsum hain...')
...and this is exactly what happens next...a loooooong killing pause,
'Ye Zami Chup Hai, Aasmaan Chup Hai..'
the helplessness increases manifold...not even the ever-so-alive nature is able to find an answer to her restlessness, incompleteness...but even then the heart beats (which is emphatically depicted by the Tabla beats)..and the unending struggle continues unwillingly...
This is the pinnacle point of the song, the pauses shake you up..they bring a lump to your throat...the lengthiness of this pauses surrounds you and make you take notice!!!

What a melody...its very rare that the human emotions are elaborated and expatiated so accurately through a string of instruments and this song gets placed inadvertently in the highest possible rung! Khayyamsaab comes up with a career-defining score, his brilliance is so evident when he uses just the Santoor, Tabla, Sarangi and Dhol to weave an entire long-lasting emotion..his minimalistic instruments give the required poignant feel to the song which is so so well put to life my this lady called Lata Mangeshkar...she simple stays there forever..her 'thehraav', her detailing, her full-throated desperation and the deep-down emptiness in the voice creates a complete picture of the song.
A certain mention of Jan Nisar Akhtar for his superlative lyrics which stand up and demand the command they get...finally, Hema Malini and Kamal Amrohi together make the song a thoughtful picturesque treat...this is a song of true emotions..of teamwork that makes songs last till eternity!!!

Song Exposition: 'Mera Dil Dil Dil Dil Na Lekar Kidhar Chala..'

Mera Dil Dil Dil Dil Na Lekar Kidhar Chala.

Asha Bhosle (Apradhi Kaun - 1957)
Majrooh Sultanpuri, Salil Chaudhary

Ohlalala...this is Salilda in a very different avatar... sizzling, scintillating, sensuous, seductive, superb....absolutely groovy and unstoppable!
...and who else than Ashatai to sprinkle her endless magic on it...showing all her prowess, her unbelievable versatility and strength of her singing...

Aparadhi Kaun (1957) was a special Salil Chaudhary album tailor-made for Asha Bhosle and she fired all cylinders blazing!! Three absolute humdingers from her...showing all the various shades in that mesmerizing voice she proudly owns... be it the sexy Rock n Roll with a tinge of Waltz in 'Baat Koi Matlab Ki Hai Zaroor..' or the cute, sweet, song-next-door and adorable 'Koi Dekhe To Kahe Tujhko..' or this song in contention today...!!

This song 'Mera Dil Dil Dil Na Lekar Kidhar Chala...' is a testimony to powerhouse singing and musical extravaganza. From a genre of songs where Asha is untouchable and she shows why from the very first note itself...after the initial seconds of the Accordion, enters the voice that just lingers around...that 'La La La..' is out-of-the-world. This is 1957 and Asha is still arguably considered as the second choice...but when you hear something on the lines of this adlib, you are floored by the veracity of this voice. Just mark the oomphy western touch she gives with that oh-so-lovely lilt to the 'Lawww' at the end...Class!
...and once thats done starts the Salil Magic...which will absolutely stun you...the Guitar strums (with a small background of the ghunghroo-ish beats) and the Castanets is amazing. The actual song starts and it keeps you glued with the background Bongos and the wonderful fresh tune to the song....and Ashatai as usual puts something from her kitty with that 'Naaaaaaa' at the end. WOW!

The interludes are short but remain in memory...they have the Flute (no one has used this instrument as magnificently as this man...terrific, esp. the Piccolo), the Bongos and the Violins...all in sink with each other...all in tandem!
As Asha starts the antra, the Accordion follows in steps...a wonderful chemistry between the singer and the instrument (dont miss the very small piece in the 'kharj', maybe a Cello, when Asha is about to finish the repeat line of the antra..its a highlight for me..miniscule but a pleasant surprise)...they both keep each others company throughout and what a ear-pleasing output we get! The way she ends the antra with the emphasis on 'Dil Dil Dil' and that 'Naahaaa' is penchant Asha!

The Accordions are the USP of this song...their play in M2 supported by the Violins give the song a very light, silky, wavy feel...the song proceeds in the same structure until the third interlude where the Mandolins get an entry adding another spice to the song. This wonderful listening experience ends with a small Bongo piece which again is a cherry on the pie!

This song just absolutely goes to show that nothing was impossible for this legendary master called Salil Chaudhary....and when he teamed up with Asha (though only for some 32 songs) the output was equally magical. And who else could have wrote this song than Majrooh sa'ab with such youth and frivolousness...not to forget Lilian's on-screen ease making it a pleasant watch as well... a song not worth missing certainly! :-)