People who love music, are usually happier. Listening to music gives peace and joy to the mind, listening to music inspires a person to do something better in life. Ragas do heal when rendered properly, at the right pitch (saptak), with the true vaadis and samvaadis brought forth, and at the correct prahar (time).The samavadi or samvadi is the second-most prominent note of a raga in Indian classical music. The primary note of the raga is the vadi; the vadi and samavadi are in most cases a fourth or fifth apart. Hindustani and Carnatic classical musical considers a Raga as depicting a specific mood. An appropriate mood must be evoked in the listener’s mind before initiating musical treatment. 

Kirwani is a musical scale in Hindustani classical music. It is an Indian raga especially suited for instrumental music. The scale is the same as the harmonic minor in western music. There are shades of Pilu in Kirwani. This raga is said to have been borrowed from the Carnatic music raga Keeravani. Pilu or Peelu or Piloo is a raga of Hindustani classical music. Raga Pilu is a light raga commonly used to express joy, devotion, happiness and love. It is mostly used in light-classical forms, like the Khayal, of north Indian classical style.

Kirwani is known for its haunting and melancholic mood, characterized using specific notes and melodic phrases. It typically employs the notes Sa, Ri, Ga, Ma, Dha, and Ni, with some variations depending on the musical context and artist interpretation.

Raag Kirvai promotes meditation at mental and physical level. The reason it’s so popular is the melodious nature of the scale; it is identical to the harmonic minor scale of western music. In overseas settings, playing Kirwani is a safe bet, as the melody resonates with the audience. where a lot of sparsh/kampan (touching and shivering)etc can be used to evoke the emotion of pathos.

Raag Kirwani is a popular Raag that has been used as the basis for many Bollywood songs. The equivalent scale in Western music is commonly known as the Harmonic Minor scale. The intervals in this scale after the Tonic note are Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Minor 6th and Major 7th. It’s a night raga –  2nd Prahar of the Night (9PM to 12AM).

Music directors from the South like Illayaraja and AR Rahman have used Kirwani in their music. Similarly, composers of Hindi songs such as O.P.Nayyar, shankar-Jaikishan, R.D.Burman, Laxmikant-Pyarelala also have used Raag Kirwani for some of their beautiful compositions. I love some Hindi movies songs in Raag Kirwani, I list them here below:

Anewala Pal, Janewala Hai, Movie Golmal (1978), Singer Kishore Kumar, Lyricist: Gulzar, Composer: R.D. Burman

Mein Kahi kavi nah o jaun , Movie: Pyar hi pyar (1969), Singer; Mohammed Rafi, Lyricist: Hasrat Jaipuri, Composer: Shankar Jaikishan 

Pukarta Chala hoon mein, Movie: Mere Sanam (1965), Singer: Mohammed Rafi,  Lyricist: Majrooh Sultanpuri, Composer: O.P.Nayyar 

Main Pyar Ka Rahi Hun, Movie Film – Ek Musafir Ek Hasina (1962),  Lyricist: Raja Mehdi Ali Khan,  Composer: O.P.Nayyar

Beqaraar Dil, Tu Gaye Jaa, Movie Door ka rahi (1971), Singer: Kishore Kumar, Lyricist:  Irshad, Composer: Kishore Kumar & Sulakshana Pandit

Making a movie requires several different ingredients. First is an exciting and engaging plot.  The plot requires suitable and inspiring locations to set the story in. The movie requires talented cast and crew, accurate costumes, and expert direction. All these ingredients need credible, well-crafted, strong characters that pulls audience to the cinema halls. The characters in the plot make a hit or a flop movie. 

To develop a character, the director must identify and typecast it by creating a profile; identify backstory (created for a fictional character), struggles, motivation, and goals; and use their personal traits and moral compass to determine the character’s apparent path in a movie/drama/ series etc.

For the super hit Dollars Trilogy directed by Italian director Serigo Leone who casted Clint Eastwood in all the three movies “A fistful of dollars” 1964, “For a few dollars more” 1965 and “The Good, the bad and the ugly” 1966. In all three movies Eastwood played the man with no name because his character was not given any name. In the movie “A fistful of dollars” he had only two facial expressions: with hat without hat. Leone said more than a man he needed a mask. From economic perspective, he had to shell out merely 15,000 dollars to Eastwood. The character of Eastwood had to carry a cigar in his mouth for major part of the movie. Eastwood hated cigar as he hated tobacco which gave his face the signature frown. Added to this was the scorching heat of the sunny Italian summer which made Eastwood perpetually squint, but this is how a legend was born.  In Serigo’s dollars trilogy Clint Eastwood is considered one of the most charming and memorable characters. The important point to note is that Eastwood wasn’t a hero in these movies.

While writing the plot of a movie, the writer needs to create well-rounded, relatable, and interesting characters. They grow and evolve throughout the story, being shaped by their experiences as they go along.

Nobody can forget the character of Gabbar Singh portrayed by Amjad Khan in the blockbuster movie Sholay (1975). Writers Salim-Javed modelled Gabbar Singh on a real-life dacoit Gabbar Singh Gujjar who used to frighten the villages around Gwalior in the 1950s. Any policeman captured by Gujjar had his ears, and nose cut off, and was released as a warning to other policemen. 

It seems Amjad Khan read ‘Abhishapth Chambal’, a book on Chambal dacoits written by Taroon Kumar Bhaduri, actress Jaya Bhaduri’s father.  Every single department of cinema – casting, characterization, screenplay, dialogue, cinematography, music, songs, sound design, art direction, editing, location, speech patterns and language, and even costumes were worked out in masterly detail. The film is so mesmerizing, made especially attractive because of Gabbar Singh, the most outstanding and memorable villain in the history of Indian cinema, that not many paid attentions to the costume design.

A lot of research had gone into costume design of Gabbar Singh. Costume design is not just about the clothes. In film, it has both a narrative and a visual requirement. Designers serve the script and the director by creating authentic characters and by using colour, texture, and outline to provide balance within the composition of the frame. The costume designer must first know the character for preparation of the costume.

So, Gabbar’s costume comprised of this olive-green safari suit, a metallic taveez(talisman) strung on a black thread across his neck, a cartridge-lined belt he sways this way and that to threaten his men, and a small cloth bag of khaini he chews from time to time and spits out randomly. His boots are smart too but covered with a layer of dust. His curly hair is unkempt, and he shaves rarely. There is a constant ugly glare in his roving eyes matched with an evil grin. The script very intelligently does not give him a back story as to why he is so destructive and ruthless. And this is what makes him mesmerise to the audience. He represented pure, undiluted evil in human form. He also wields a gun for easy gunning down of his “coward” men. The ruthless Gabbar was given dialogues which are famous even today. The best example can be “Pachaas Pachaas koso dur jab koi baccha rota hai, to uski maa usse kehti hai ki beta so ja nahi to Gabbar aa jaayega!” The legacy of Gabbar is so colossal, that people even today refer to his dialogues subconsciously. Be it a tough test, and the first thing which comes to our mind is “Tera kya hoga, Kaalia?” “Jo dar gaya, who mar gaya”.

Characters (the actors) need to work on three main areas: preparation, physicality, and Imagination. Its mind, body, and spirit. Preparation includes reading the script and doing research like watching the living characters around with shades of the character the actor is going to play. Physicality means quality and characteristics of a person. If the character is from a different time, or a different culture than the actor needs to study history, the culture, the mannerisms, and the language of that time.  The actor must get into the skin of a character to make it look” REAL.” The character’s backstory matters. The backstory is everything that has happened to a character before the novel begins. 

Directors possess a unique ability to translate a script into a captivating visual and auditory experience that resonates with audiences. They develop a distinct creative vision, encompassing the film’s mood, tone, visual style, and storytelling approach.

The world of cinema has given many unforgettable characters till date.

This song plays at the very start of the movie showing the titles of the movie and a bewildered Dev Anand who played the role of Raju Guide – the protagonist of the movie who is released on parole from jail for his crime of forging the signature of his lover. Raju guide rescues Rosie (Wahida Rehaman) a dancer from a toxic marriage and he motivates her to follow her passion for dancing. She rises because of the constant motivation and backing of the protagonist.

The story of Guide is set in a small village with archaeological unexplored ruins which brings together three very different characters who are passionate about their vocations; an eccentric archaeologist Marco who cannot look beyond his work, and his beautiful wife who is an accomplished dancer but is frustrated and trapped in a loveless marriage and is forced to suppress her passion to dance and an adventurous and lively tourist guide Raju, who takes on the task helping Marco in exploring the pre-historic ruins (caves). Raju ends up as Rosie’s friend, confidante and guide.

In 1965 Guide became a path breaker movie in more ways than one. It is a film adapted from the English novel The Guide written by R K Narayan. Hindi films in the fifties and sixties were usually based on film scripts or stories adapted from Hindi, Bengali or Marathi literature. Rosie’s relationship with Raju starts on a note of sympathy and support and develops into love. A live-in relationship was unthinkable in the sixties and, Raju’s inner transformation in jail.

The song ‘wahan kaun hai tera’ in fact tells the story of the movie. The song is philosophical which conveys that this world is an illusion. According to cognitive scientists such as Donald Hoffman we are being tricked into believing our own reality. We all are seeing around us a   façade that guides our way around a far more complex and hidden background. We are all travellers in this beautiful yet wild world; each one experiences a different journey.  The song tells that traveller must rest under the shade for a few moments. Here the lyricist Shailendra perhaps wanted to emphasize taking a pause for rejuvenating and restarting the remaining travel. Pausing increases productivity, and pausing works miraculously. In your travel you will meet a lover, a companion, a guide, friends, partner, dependents, and enemies so on and forth. But nobody will cry for you in your sorrow.

I love one stanza in the song ‘kehete hai gyani, duniya hai paani, paani par likhi likhai’ earth is a watery planet because 70% of the earth’s surface is covered by water. Whatever is written on water does not hold significance because the writing will never last as water keeps flowing. Nothing is permanent in life; name, fame, and fortune do not stay permanently. We come into the world empty-handed and leave empty-handed.  It’s 2022 and I still can’t get over S.D. Burman’s voice and Shailendra’s lyrics, it is one of the finest songs.

The Indian Hindi cinema world cannot be imagined without songs and dance sequences. Film songs serve a variety of purposes. They are put at thoughtful intervals all through the story; they make a more telling statement than only dialogues. They are both entertaining and enlightening. Many a hit songs, penned by legendary poets and lyricists, have contributed to a film’s box office revenue. This post is about some of the most famous poets in the world of Hindi cinema. You can hear a romantic, sad, bhaktirasa (devotional), patriotic, bravery, lonely, laughter, compassion, fighting all sorts of songs. The songs come in form of cabarets, qawali, bhajan, kirtan, ghazal, disco, dance and romantic songs. Urdu played a crucial role in the growth and development of the Bollywood, especially adding rhyme and lyricism to the Hindi numbers. The most famous poets of Bollywood have penned their poetries in Urdu/Hindi mix language. I hereby give an account of my favorite poets:

Shakeel Badayuni 

He was an accomplished lyricist of the 1950s and 60s, Shakeel started participating in inter-college and inter-universities Mushairas when has studying in Aligarh Muslim University, and won frequently. He moved to Mumbai in 1944 with the ambition to write songs for films. He met producer A. R. Kardar and music composer Naushad, who signed him up for Kardar’s Dard (1947). The songs of Dard proved to be very successful especially Uma Devi’s (Tuntun) ‘Afsana Likh Rahi Hoon Dile Beqrar Ka’. Shakeel wrote for more than 90 films and most of his films had music composed by Naushad. Together he and Naushad became one of the most sought after composer/lyricst duos in the industry. Although Badayuni worked most extensively with Naushad, he also collaborated with Ravi and Hemant Kumar to give many great hits.

Kaifi Azmi

The renowned Urdu poet, Kaifi Azmi, like most of the Urdu poets, began as a ghazal singer. His stint in films includes working as lyricist and writer. His greatest feast as a writer-cum-poet was Chetan Anand’s Heer Ranjha (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and the first and the only one of its kind in Hindi cinema. Though Azmi belonged to a landed family, he was drawn, from an early age, to communism. His family wanted him to become a cleric, and he was enrolled in a seminary. However, he gave up formal education in the wake of the Quit India movement and joined the Communist Party of India. He moved to Bombay in 1943 to work as a trade unionist and write for the party’s Urdu papers, including Qaumi Jung (“People’s War”). He also published his first volume of poetry, Jhankar, that year. During this period he became closely associated with the Progressive Writers Association and the Indian Peoples’ Theatre Association, and he even acted in plays with other leftists such as the actor Balraj Sahni (1913–73).

Tum Itna jo muskara rahe ho……….Movie: Arth (1983), Singer: Jagjt Singh, Music Director: Jagjit Singh

Sahir Ludhianvi

The famous Urdu poet, Sahir Ludhianvi, debuted in films with his lyrics for Naujawan (1951). His first major success came the same year with Guru Dutt’s directorial debut Baazi, again pairing him with composer S. D. Burman. Together they created some of the most popular songs ever: ‘Yeh Raat Yeh Chandni Phir Kahan (Jaal), ‘Jayen to jayen Kahan’ (Taxi Driver). Sahir Ludhianvi’s poetries were accepted in its purest form; he never had to make changes in his poetries to suit the situation as demanded in the films. Instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. Sahir was a sensitive man because of his troubled childhood and his troubled love relationships. He didn’t marry in his life. He rose as people’s poet through the golden era of Hindi film music, the 1950s and 1960s. One of my favorite songs penned by Sahirsab is “Mein zindagi ka sath nibhat chal gaya….” It has become my mantra of life! In clear, modest words and a playful music, the song conveys the secret to life and happiness; it so well picturized on evergreen Dev Anand.

Shailendra

One of the most popular lyricists of the golden era of Hindi cinema, Shailendra used almost all his literary genius for writing great songs which were poems in themselves. Shailendra spent his childhood in Mathura (U. P.). His father hailed from Bihar. This U.P.-Bihar cultural influence was to show later in his folk-style film songs – ‘Chadh Gayo Papi Bichhua’, Sajanwa Bairi Ho Gaye Hamar’ and ‘Abke Baras Bhaij Bhaiya Ko Bab’. Poetry was his first love and his poetic zeal and passion appealed to Raj Kapoor who was in the audience of a stage program where Shailendra recited his poems. Raj Kapoor immediately contacted Shailendra for his next film Barsaat. From then onwards he became the permanent member of the famous R. K. musical quartet – Shankar-Jaikishan, Hasrat Jaipuri and Shailendra. This group of talented artistes remained together for years and made some of the greatest songs. Raj Kapoor and Shailendra shared a fantastic camaraderie and a highly productive working relationship. But above all, they were friends. Raj Kapoor fondly referred to Shailendra as “Pushkin” (name of one of the famous Russian poet) or “Kabiraj”. In fact, the legendary actor-director was often at the latter’s house.  Raj Kapoor and Shailendra worked together on several movies, around 21 films in total.

Dil ka haal sune dilwala, seedhi si baat na mirch masala, Movie Shree 420(1955) Singer: Manna De, Music Director: Shankar- Jaikishan

Majrooh

Majrooh was an established Hakim, but, he used to write and recite ghazals at a mushaira in Sultanpur. One of his ghazals became famous with the audience and Majrooh saw his calling. In 1945 he visited Bombay where the renowned poet Jigar Muradabadi introduced him to producer A. R. Kardar and composer Naushad, who put the young writer to test. Naushad gave Majrooh a tune and asked him to write something in the same meter, and Majrooh wrote ‘Jab Usne Gesu Bikhraye, Badal Aya Jhoom Ke’. Naushad liked what Majrooh wrote and gave him a break as lyricist in Kardar’s film Shahjehan (1946). The songs of the film became immensely popular. Majrooh went on to write lyrics for hit movies in the 1950s and 60s. It was Majrooh’s versatility that producers swore by, for Majrooh could captivate listeners with his every work. Majrooh won Filmfare award for Dosti. He wrote over 4000 songs and his success rate in terms of popularity of his songs was 95 percent.

Anand Bakshi

He was an avid movie buff right from childhood, Anand Bakshi’s dream to become a big shot in Bollywood was realized with a chance meeting with producer Bhagwan who offered him to write lyrics for his film Bada Admi. A few years later Jab Jab Phool Khilen released and the song ‘Pardesion Se Na Ankhian Milana’ proved to be a big hit. His career took a big leap forward when the songs of Haryali Aur Raasta became chartbusters. The film had many hit songs including the timeless number ‘Bol Meri Taqdeer Mein Kya Hei’. It was Milan (1967) that finally took Bakshi to the top. Songs like ‘Sawan Ka Mhina’, ‘Bol Gori Bol’, and Ram Kare Aisa Ho Jaye’ and ‘Hum Tum Geet Yug Yug Geet Milan Ke Gayen’ were hummed in every nook and corner of the country. He never looked back after Milan.  Anand Baxi’s association with Lakshmikant-Pyarelal and R. D. Burman gave some of the most beautiful renditions in movies like Farz, Do Raaste, Bobby, Amar Akbar Anthony, Ek Duje Ke Liye, Kati Patang, Amar Prem, Hare Rama Hare Krishna, to  name a few. His work in particularly Amar Prem stands out among his best – ‘Chingari Koi Bhadke’, ‘Kuch to Log Kahenge’ and ‘Raina Beet Jaye’. Anand Bakshi won Filmfare awards for some of his songs.

Nida Fazli

He was a prominent Indian Hindi and Urdu poet, lyricist and dialogue writer. He was awarded the Padma Shri in 2013 by the government of India for his contribution to literature. While still young, Fazli was passing by a Hindu temple where a singer was singing bhajan by Surdas about Radha sharing her sorrow with her maids at being separated from her beloved Krishna. Nida got so inspired by Surdas’s poetry that he began studying Hindu mythology poetries. He got inspired by Meera’s bhjanas, Kabir’s dohas, Mir, Ghalib. He also widened his knowledge of poetry by studying T.S. Eliot, Gogol, Anton Chekhov etc. He became known among readers and ghazal singers for his elegant presentation and exclusive use of colloquial language for ghazals, dohaas and nazms. I am a big fan of Nida Fazli’s poetries.

I give hereby a beautiful, haunting song composed to perfection by the great composer Khayyam; this remains an example of the poet’s life philosophy. The song talks about endless human desire yet the reality that nobody’s desires are fulfilled in this lifetime. Singer Bhupinder Singh recollects that when he sat down to read the song for the first time, he had tears in his eyes, he was filled with emotion. Nida Fazlisab seemed to have poured far too much heart and reality into it, says the singer. Bhupinder said that it wasn’t just another ghazal for him.

Gulzar

His real name is Sampoorna Singh Kalra, he Is one of the most versatile poet, lyricist, producer, director. Gulzar is one of those sensitive people whose work is laced up with lyrical but psychologically adept examination of human sensibilities. He used to work as a touch-up guy for paints for cars in garage. His first break as lyricist came when he wrote ‘Mora Gora Ang Lai Lae’ for Bimal Roy’s Bandini (1963). The song was a big hit and gave Gulzar the opportunity of his lifetime  writing hit songs for films that include Anand, Namak Haram, Khamoshi, Safar, Andhi, Mausam, Lekin, Machis, Masoom, Rudali, Thodi Si Bewafai, Sadma, Ghulam, Dil Se, Satya and many more musical hits. Gulzar has won Filmfare awards for Best Lyricist seven times: Do Diwane Shahar Mein (Gharonda-1977), Aanewala Pal Jaanewala Hai (Golmaal-1970) and few other numbers.

Gopaldas Neeraj

He was popularly known as Neeraj was known for his intense poetries. He wrote under the pen name “Neeraj”. He was Padma Shri and Padma Bhushan. Besides writing, he earned his living by working as a Professor of Hindi literature in Dharma Samaj College, Aligarh; he even became Chancellor of Mangalyatan University for a while. He wrote equally well in Hindi and Urdu.

He wrote songs for several Hindi films and was proficient in both Hindi and Urdu. In a television interview, Neeraj called himself an unlucky poet who had to concentrate on the poetry form instead of writing songs for films. His career as a film lyricist ended when he became miserable by the deaths of some of the film music directors with whom he had worked. He noted in particular the deaths of Jaikishan of the music duo Shankar-Jaikishan and S.D.Burman for both of whom he had written highly popular film songs.

Poets are usually sensitive people. I mean that they are more aware of emotions. They can sense wide variety of emotions than just being sad and happy. Little thing around can them act as stimulant to give rise to intense emotions in them.  All of the poets I have mentioned in this post made 1950s and 1960s a golden era.

Music is universal without any boundary; it influences people emotionally and physically in various ways. It helps the cognitive development of infants and children, it helps provide self-expression. Musical education has been shown to help improve intellectual development and ability. Numerous studies have been conducted to show that individual personality can have an effect on musical preference. These studies are concluded mostly using meta-analytics (the statistical procedure for combining data from multiple studies) they have shown that personality in itself explains little discrepancy in music preferences. These studies are not limited to Western or American culture, as they have been conducted with significant results in countries all over the world, including Japan, Germany, and Spain. We play a song, listen it, start over, listen and repeat: there are some songs you can listen to over and over again. Why? There are no perfect answers, but we all know that some musical pieces make us feel explicit, there are gushing feelings coming up which take us to a higher plane, it elicits certain memories that transport us back in time, it gushes back some nostalgia. And sometimes, a song is just plain catchy. Some songs remain immortal because of their catchy tunes or catchy lyrics. Some songs have remained immortal despite their age. The fact is that certain songs are part of our identity. I never feel satisfied listening to few songs; one of them is this song ‘Mera man tera pyasa….’ I can’t listen to it just once; I play this song again and again. This is a magical number to me; the lyrics are amazingly penned by Neeraj, melody is awesome and Mohammed Rafi touches the heart. I listen to it whenever I feel low.

Certain songs resonate with us; Kenneth Aigen, an associate professor in music therapy at New York University says that “Music is the way that we create our personal identity, its part of our identity construction. Some people say you are what you eat. In a lot of ways, you are what you play or you are what you listen to.” Aigen explained that a song’s lyrics, its orchestra, beats and other characteristics can personify different feelings and attitudes that develop our sense of identity. He further said that each time we re-experience our favorite music, we’re sort of reinforcing our sense of who we are, where we belong, what we value. This is a profound truth.

Certain songs can connect us to a time in our past because they carry a certain sentiment; for example, let’s say you liked a song at your age of twelve for it gave you adrenalin boost to study and score highest marks, and you achieved it, whenever you listen to a song, that feeling of that period in your life comes back intact. The sound is abstract enough to go directly to the part of your brain that governs the feeling.

My favorite genre in music is romantic classical music, because the singers express their feelings. The songs consist of rich lyrics. I hold Mohammed Rafisab in high esteem, for me, he is not less than ‘God’ when it comes to Hindi film songs. I love Mohammed Rafi’s few songs, because they are so classy, and I feel very nostalgic listening to them. In my opinion, in certain movies for songs when he lent his voice, even ordinary lyricists came across as poets because of his divine voice. He gave an identity to their work. He boosted the image of average actors. Rafi’s singing added to the success of many films.  I give here below some very classy songs of Rafisab:

Baar baar dekho, Movie Chaina Town (1962)
Singer: Mohammed Rafi, Lyricist: Majrooh Sultanpuri, Music Director: Ravi

Pukarata chala hoon mein, Movie: Mere Sanam (1965)
Singer: Mohammed Rafi, Lyricist: Mahrooh Sultanpuri, Music Director: O.P.Nayyar

Ek haseen sham ko dil mera
Movie: Dulhan ek raat ki (1966) Singer: Mohammed Rafi
Lyricist: Raja Mehadi Ali Khan, Music Director: Madan Mohan

Chale the saath milkar
Movie: Haseena maan jayegi (1968) Singer: Mohammed Rafi
Lyricist:  Akhtar Romani, Music Director: Kalyanji-Ananadji

Mera man tera pyasa, Movie: Gambler (1971)
Singer: Mohammed Rafi, Lyricist: Neeraj, Music Director: S.D.Burman

Country, spelled even as country is a Western musical genre which was originated in the southern United States in the early 1920s. It takes its roots from different genres such as folk music, country gospel, blues, Americana, cowboy etc. Country songs are composed with string-accompanied musical instruments such as electric guitar, banjo, violin and fiddle. They are composed of ballads (a narrative or story) vocalized generally in simple form and harmony. These are some romantic and tragic stories.

ABBA – a Swedish group formed in Stockholm in 1972 has used some good old ballads in their composition.  Even Boney M another famous band has used beautiful ballads in their compositions. In late 2000 Boney M released Their Most Beautiful Ballads – a compilation album of their recordings.

Country has a niche class of listeners. It’s a fallacy that country fans are countryside lads with no work or area lazy class. The modern country music has evolved with a specific style yet with an American way of acknowledging of class and place. In my opinion, country singers are classier. World over the musicians are yet to come to agreement whether country music constitutes “real” country, and whether artists who call themselves country music artists are really “country” artists because some mainstream pop singers also call themselves country singers.

Country music stands out because of its rustic lyrics in short story in rhyme which is simple and naive.  The songs are at times happier with fun, at times angry, sometimes tragic, sarcastic, while some are even patriotic. They are easily memorised and tacit.

They are opposite of rock; in rock the lyrics are the least important part of the song. In a rock you just don’t understand the words because they are slurred or snowed under by the music. The rock songs are dominated by the loud orchestra used in the song which makes the lyrics indistinct; whereas, country music is down-to-earth and the modest form. What I like best about country music is that it has an array of human emotions and it concerns what occurs in a human life. I love country because it gives me a sense of where I belong, it keeps me grounded.

I list here some of my favourites:

• • Walkin’ after midnight, Artist: Patsy Cline, Album: Patsy Cline Showcase 1961

• Mama Tried, Artist: Merle Haggard, Album: Mama Tried, 1968

• Marguerita, Artist: Elvis Presley, Movie: Fun in Acapulco – 1963.

  This song tune was copied in movie Zuk Gaya Asman in 1968 in the song “kaun hai jo sapano me aya” by music directors Shankar-Jaikishan.
  
  

• Take me home country roads, Artist John Denver -1973

• Some broken hearts never mend, Artist: Don Williams, Album Vision – 1977

• Tie a yellow ribbon around the old oak tree, Artist: Tony Orlando, Album: Country Hits Vol 2 – 2009

• The Gambler, Artist: Kenny Rogers Singles Album -1979

• Yellow is the colour of my true love’s hair in the morning, Artist: Donovan, Album: Colours

• I want to hold your hand, Artist: The Beatles, Album: Meet the Beatles – 1964.

  The tune of this song was copied by music directors Shankar-Jaikishan in their 1965 movie Janvar and the song is “dekho ab to kisko nahin hai khabar”

• Raindrops keep fallin’ on my head, Artist: Billy Joe famously known as BJ Thomas, Movie: Butch Cassidy and the Sundance Kid – 1969 film.

This post is dedicated to some music directors who have skilfully used ‘tonga beats’ in their compositions and brought in a melodious style. While riding horse, rhythm is the rider’s ability to feel the movement of the horse, and that comes from the horse’s feet. Each gait of the animal has its own rhythm. This is excellently captured by some music directors like O.P.Nayyar, Naushad, Shankar Jaikishan; these music directors used the ‘tonga beats’ and created some great gems which are still loved by listeners decades of their creation. They pep up the listener’s mood.

These and many great composers like S.D.Burman, R.D.Burman, LP, Chitragupta, Salilda drew their inspiration from everyday life; they found music in flowing water, lightening, air, flying of birds, running, walking in many chores of our daily lives. They had a vision. Even we see things, but we don’t imagine music out of it. Composers like O.P.Nayyar or R.D.Burman could feel profoundness in each beat.

We are all aware that music and atmosphere are interwoven – they go together. When we listen to relaxing music for a quiet dinner, we digest food easily. And, when we listen to something livelier while doing some physical work or exercise or when out socialising in larger groups, our moods pep up. It’s been observed that when music is played on farm lands, the production or yield increases. Yes, these are few evidences of what music can do to us.

In 40s, 50s and 60s Victoria which was also called a Tonga or Baggi which was pulled by or trotted by one or two horses – it was common scene. You would see tongas, cycles and few cars on the roads. The Tongawala (baggi driver) would hold the reigns and 3 to 4 travellers would be accommodated in the baggi. As a child, I remember enjoying tonga rides in Kalyan, Thane District where my maternal grandfather lived in a wada (big chawl-like mansion) and we kids would visit him in vacations. Those childhood memories and the musical notes of a horse’s galloping have remained etched in my memories even today.

Horse beats or Tonga beats are synonymous with speed, happiness and joy. You will rarely find a sad song composed in horse beat background. These songs simply lift your mood. The horse’s hooves make a musical note as they plod along the cobbled/paved roads. “Tic toc,tic toc,tic toc or tabdik, tabdik,tabdik.”

I am listing herewith some very nostalgic golden numbers which I am sure even you will enjoy:

• Piya, piya, piya mera jiya pukare Film Baap Re Baap (1955) Music Director O.P.Nayyar

• Maang ke saath tumhara Film Naya Daur (1957) Music Director – O.P.Nayyar

• Yeh kya kar dala tune – Film: Howrah Bridge (1958) Music Director – O.P. Nayyar

• Mein Rangeela pyar ka rahi – Film: Choti Bahen (1959) Music Director: Shankar Jaikishen

• Banda parwar thamalo jigar Film: Phir wohi dil laya hoon (1963) Music Director O.P.Nayyar

• Chand ko kya maloom, chahta hai use koi chakor Film: Lal Bangla (1966) Music Director – Usha Khanna

Phaili hui hai sapano ki baha aaja chalde kahi door…… my dreams have no boundaries, with open arms they can reach the sky, the mountains, the soaring high tree tops. This celestial song is from the 1955 film “House No. 44.” The song takes you for a quick look of the world over the rainbow. The lyrics are one of the finest of Sahir Ludhiyanvi. His style of emoting love in the surroundings of nature was simply awesome. The song shows Kalpana Kartik – the heroine of the film swinging and dancing around tall and picturesque trees surrounded with mist …..The scene is breathtaking. Every single line of the song is inspirational and stirring.

The music composed by SD Burman and song sung by Lata Mangeshkar; Burmanda has composed some of the gems for Lata Mangeshkar which were so unique. Their combination   established him as one of the greatest composers of the Golden Era regardless of whether he matched the commercial success of his peers or not. The song’s tone is identical to Bhoop Kalyan raga. Some refer Bhoop Kalyan as Shuddha Kalyan. The fact is that Shuddha Kalyan is used by very intelligent musicians as this raga is aesthetically challenging with melodic subtleties.

The team of S.D – Sahir – Lata has together given unforgettable songs. I think only S.D.Burman could give classic touch to Sahir Ludhiyanvi’s lyrics. Zoola zalkata, dhire dhire hum zhoole, amabar toh kya hai taronke bhi lab choole! How blissful the song is! Sahir Ludhiyanvi could create magical songs and Burmanda could suitably compose those songs. The song is sublime one feels like swinging in mountains and trees….just like Kalpana Kartik does. Close your eyes and this song takes you on a beautiful trip. Lata has sung the song very evocatively.

It seems Burmanda was sort of restless man; he would hardly sit down with harmonium to compose his songs. He had said in some of his interviews that his best tunes came to him in a flash of brilliance, invariably when he would visit seashores on a long walk or drive. He had soul of a poet. He had a very definite idea of what a song would eventually look like on screen and he’d set it to music accordingly. Often, he would get upset at the way certain songs of his were picturized.  Even though SD Burman was 23 years senior to Lata Mangeshkar, their debut in Hindi films was almost simultaneous. It is said that Dada Burman was so pleased with Lata’s amazing rendition of this song that he rewarded her with one of his precious paans, a gesture that was considered to be SD Burman’s ultimate sign of appreciation.

Listen to this timeless song.

Rabindranath Tagore, the greatest poet and Noble Prize winner for literature has written a beautiful poetry which describes impish yet a very tender and affectionate relationship between the mother and child titled ‘The Champa Flower.’ In this poetry the child asks his mother – ‘how would have it been if he was a Champa flower, just for fun, and grew on a branch high up on the  tree, and shook in the wind with laughter and danced upon the newly budded leaves’. The poetry narrates the child’s vivid imagination, mother’s anxiousness about her child’s wellbeing. And, whenever I read this beautiful poetry I feel Rabindranath Tagore chose Champa flower as theme of his poetry because of its attractiveness and exuberance!

We find some half a dozen varieties of Champa. Kath Champa flowers are strictly not summer flowers, as they will remain in full bloom from spring to right beyond the rainy season. Whereas the brightest red among them is called ‘Gulancha’ – a rather poetic name which Rabindranath Tagore named. Please do visit Shantiniketan, you will find a verity of Chapma trees red, white, faint yellow, green. Tagore was fond of nature, and flowers find coveted place in his writings too.

The fragrance of Champa is placid. It is popular for its delicate scent and has been a part of the Indian culture right from ancient days. It is used in religious ceremonies especially for Goddess Laxmi. Champa flowers are used to make some of the world’s most expensive perfumes as well. It’s called Chaaphaa in Marathi, Chenbakam in Tamil, Chenbagam in Malyalam, Shornochampa in Bengali, Cempaka or Sampangi in Telgu and Sampige in Kannada.

The flowers are used in Southeast Asia for several purposes. Especially in India, they are primarily used for worship. It is a very famous patterned tree. But very few know that the tree can be a very good Agro forestry tree as well. Golden Champa (Michelia) is an evergreen tree and mainly cultivated for its strongly fragrant yellow or white flowers. The beautiful yellow colour of the flower is used for extracting yellow dye, which is a base for other colours. An aromatic scent of the flower is used for commercial purpose; there is a famous ‘Joy’ perfume sold in the market which it seems is the most expensive perfume in the world; hence sometimes Champa tree is also called as Joy Perfume tree. The Golden Champa is a well-known, tall, handsome tree with a straight trunk and spreading branches, and belongs to the plant family ‘Magnoliaceae’.

Golden Champa is a useful agro forestry tree; it secures the atmospheric nitrogen in soil. Its leaves provide very useful mulch. It improves the soil under tree cover by increasing the soil’s pH value and organic carbon and obtainable phosphorus. Hence it is used for reforesting badly eroded areas. Its leaves are used as larval fodder by silkworms & butterflies. It has a potential commercial purpose as well. The petals and leaves are used for medicinal oil. Champa trees are good for wayside purpose and are often planted in the temple premises. The tree is hardly ever cut on account of it being considered as sacred. It can be propagated by seeds but seeds should be sown as soon as possible after collection.

The trees possess highly medicinal properties. Leafs extract and seeds extracts have fungicidal and antibacterial properties respectively. After childbirth the ladies are given decoction of the bark and leaves; the bark is used as a febrifuge. In Ayurveda, the tree is mentioned to pacify vitiated tridosha. It detoxifies poison, worm infestation, increase digestive power, diuretic and cures fever. Flowers reduce burning sensation, cures skin disease such as leprosy and ulcers.

Champa trees grow in backyard; they are sturdy and don’t really need too much of caretaking. The aroma of the flower emits a unique warm fragrance which pacifies stressful mind allowing one to relax and breathe easily. The perfume of Champa has a soothing effect.  Truly the tree and flower are divine; perhaps that’s why lyricists could not resist using its reference in poetries and songs.