By: Shashi Hegde
It seems to be becoming a repetition always- Think of something special in Hindi film music and you cant think of anyone before Shankar Jaikishan.
Have you anytime thought about the role of Chorus in film songs? It is such an important thing in film songs which in addition to suit the situation and picturisation in the film, adds to the beauty of the song. It is a part of decorating the song as Shankaralways said.
I would like to remember a few songs among innumerable S-J songs where the choral singing was redefined. It is amazing how S-J handled the chorus. Their choice of the number of singers in a chorus, the composition of male and female singers was impeccable and it is impossible to find fault with the chorus in an S-J song- even if you are a S-J critic!
1.Barsaat mein – Lata & Chorus-Shailendra (Barsat): The ‘Omkara’ in choral singing – the first ever song to make use of chorus in real grandeur. The use of male and female chorus separately and the ‘Tak dhina din’ mark the beginning of glorious S-J saga in choral singing. (I also mention Patli kamar hai from the same film)
2.(a)Tere bina aag / Ghar aaya mere pardesi – Lata , Manna Dey & Chours- Shailendra (Awara): Another pioneer in Hindi films, being the first dream song. How well S-J gave life to RK’s dream with their tune and superb choral singing.
(b)Naiyaa teri mazdar- Rafi & Chorus- Shailendra (Awara): Just note the co- ordination between the male and female choral singing and that of Rafi- brilliant!
3.Jhanan jhanan-Lata & Chorus-Hasrat (Aah): The romance of RK and choral singing continued. A brilliant dance number with superb female chorus.
4.Gul muskura utha-Lata & Chorus-Shailendra (Badshah) : Compare the all male Chorus of this song with the previous one and you will know why S-J were genius!
5.Rat gayi-MannaDey, Asha & Cho- Deepak (Boot Polish): The use of high pitched female and base male chorus is too good for not mentioning it.
6.Holi ayi pyari pyari-Rafi, Lata & Cho-Shailendra( Pooja): The spirit of Holi emerges in full colour thro the chorus joinin Lata and Rafi.
7.Tu pyar ka sagar hai-Manna Dey & Cho-Shailendra (Seema): What can I say? The use of female chorus for singing mukhda and Manna Dey joining them in interlude makes it the best bhajan where chorus is used. (Any way, it is the best bhajan ever created with or without chorus!)
8.Ramayya vastavayya-Lata, Rafi, Mukesh & Cho: By this time it was clear that the RK film should have a chorus number and what a magic S-J have weaved to make this greatest theme song immortal.
9.Rajhath: Out of the 11 songs in the film, 6 songs have chorus! I think it is a record as far has Hindi films are concerned. The male chorus in the war song Chale sipahi; the female chorus in Aaja aaja nadiya kinare, Nache ang ang, Pyare babul se bhichadke, Nadiya kinare phiroon are as good as S-J use of chorus get.
10.(a) Pawan ganga with Tarana-Lata & Cho-Shailendra (Patrani)
(b) Rang rangeela paghiya-Lata & Cho- Shailendra(Patrani)
I don’t think the choral singing can get any better than these two classics. The tunes of both the two songs are based on centuries old traditional music. Masterpieces in true sense of the word!
11. Bol mere malik-Lata & Cho-Hasrat (Halaku): Chorus in Mukhda and interludes is Outstanding.
12.(a) Panchi banoo-Lata & Cho-Hasrat (Chori Chori): Use of Manna
Dey’s voice along with the chorus makes it the first of its kind.
(b) Us par sajan-Lata & Cho-Hasrat- A very unique use of chorus in a
unique song.
13.Na bure na bhale-Lata & Cho-Shailendra (Kismat ka khel): A brilliantly written song composed in rock and roll style. The song begins with chorus and the chorus (both male and female in terrific co-ordination) gets as much importance as Lata.
14. Nakhrewali-Kishore & Cho-Shailendra (New Delhi): Take out the chorus and imagine the song- incomplete, Right? Brilliant use of chorus in a song the like of which can never be created again! (5 out of 10 songs in this film have chorus)
15.(a) Aaja rat beeti jaye-Usha Khanna, Kishore & Cho-Shailendra (Begunaah): A brilliant, brilliant song with unparalleled use of chorus. S-J leave us gasping for their sheer imagination in this composition.
(b) Nazar kahe aaja-Lata & Cho-Shailendra (Begunaah): The female chorus
makes this already sweet composition even sweeter.
16.Bol ri katputli-Lata & Cho-Shailendra (Katputli): Guess what? S-J came up with Chorus as Counter melody! The chorus is as brilliant as the composition itself.
17.Meri jaan meri jaan-Lata & Cho-Shailendra (Yahudi): Note the interactive use of Chorus with Lata.
18.(a) O berehem tere sitam-Manna Dey, Lata & Cho-Shailendra( BaaghiSipahi)
My personal favourite! The use of Opera style Chorus found a grand
entry in HFM courtesy, S-J. A breath taking composition!
(b) Choona lena mujhe-Manna Dey, Asha & Cho-Shailendra( Baaghi Sipahi)
The Mukhda is reserved for the chorus in this song which is 24 carat
pleasure.
19.Ab kahan jaye hum-Manna Dey & Cho-Shailendra( Ujala): S-J took off where
they had left in Baaghi sipahi. The opera style chorus with the normal male chorus defies words for description. Use of chorus as countermelody makes you wish this song never ends.
20.Hum hai to chand aur tare-Mukesh & Cho-Hasrat (MNMH): Note how the chorus was used to suit Mukesh.
21.Dil se dil takraye-Rafi, Geeta & Cho- Shailendra(Love Marriage): Like before, note the novelty in the chorus and the effect it has with the trumpet, accordion and the deadly combo of Rafi and Geeta Dutt.
22.Ninteen fifty six-Manna Dey, Lata & Cho- The song rocks even today and how well it is ornated by the Chorus that only S-J could put in.
23.(a) Hum bhi hai-Lata, Geeta, Manna, Mahendra, Mukesh & Cho-
Shailendra(JDMGBH) : the film had to have this as it was an RK film.
b) Aa ab laut chale-Mukesh & Cho-Shailendra( JDMGBH): If it was
MannaDey with the chorus in Chori chori, it was Lata’s turn now.
The subtle chorus singing in tandem with Lata’s part gives one an
idea of the depth in S-J compositions.
24.Nee baliye-Mukesh, Lata & Cho-Shailendra (Kanhaiya): Outstanding use of
Chorus makes you realize the composition is not as simple as it sounds.
25.Ajeeb dastan hai yeh-Lata & Cho-Shailendra( DAPP): The subtleness of the opera style chorus makes you wonder if the voice is real or virtual!
26.Yeh to kaho kaun hot tum-Mukesh & Cho-Shailendra (Aashiq): A trade mark S-J Chorus with words and phrases that stump you everytime you listen!
27.Ek sawal mein karoon-Lata, Rafi & Cho-Shailendra (Sasural) : The use of chorus is in line with the lyrics that only Shailendra could write!
28.Ab char dinon ki chutti hai-Rafi & Cho-Hasrat (Aas ka panchi): A fine qawwali style composition with apt chorus
29.Dil ek mandir hai-Suman, Rafi-Hasrat (Dil ek mandir): The chorus in the prelude and interludes is mindblowing.
30.Dil ka kanwal denge-Lata, Cho-Shailendra (Zindagi): The chorus is there and seems as if it is not there in this gem of a song! Only S-J could create this virtual choral effect.
31.NACHO GAO NACHO-Chorus- Shailendra( Amrapali) – Sometimes silence
speaks more than the words. For this composition, I remain silent coz I don’t have words to describe it!
Have you anytime thought about the role of Chorus in film songs? It is such an important thing in film songs which in addition to suit the situation and picturisation in the film, adds to the beauty of the song. It is a part of decorating the song as Shankaralways said.
I would like to remember a few songs among innumerable S-J songs where the choral singing was redefined. It is amazing how S-J handled the chorus. Their choice of the number of singers in a chorus, the composition of male and female singers was impeccable and it is impossible to find fault with the chorus in an S-J song- even if you are a S-J critic!
1.Barsaat mein – Lata & Chorus-Shailendra (Barsat): The ‘Omkara’ in choral singing – the first ever song to make use of chorus in real grandeur. The use of male and female chorus separately and the ‘Tak dhina din’ mark the beginning of glorious S-J saga in choral singing. (I also mention Patli kamar hai from the same film)
2.(a)Tere bina aag / Ghar aaya mere pardesi – Lata , Manna Dey & Chours- Shailendra (Awara): Another pioneer in Hindi films, being the first dream song. How well S-J gave life to RK’s dream with their tune and superb choral singing.
(b)Naiyaa teri mazdar- Rafi & Chorus- Shailendra (Awara): Just note the co- ordination between the male and female choral singing and that of Rafi- brilliant!
3.Jhanan jhanan-Lata & Chorus-Hasrat (Aah): The romance of RK and choral singing continued. A brilliant dance number with superb female chorus.
4.Gul muskura utha-Lata & Chorus-Shailendra (Badshah) : Compare the all male Chorus of this song with the previous one and you will know why S-J were genius!
5.Rat gayi-MannaDey, Asha & Cho- Deepak (Boot Polish): The use of high pitched female and base male chorus is too good for not mentioning it.
6.Holi ayi pyari pyari-Rafi, Lata & Cho-Shailendra( Pooja): The spirit of Holi emerges in full colour thro the chorus joinin Lata and Rafi.
7.Tu pyar ka sagar hai-Manna Dey & Cho-Shailendra (Seema): What can I say? The use of female chorus for singing mukhda and Manna Dey joining them in interlude makes it the best bhajan where chorus is used. (Any way, it is the best bhajan ever created with or without chorus!)
8.Ramayya vastavayya-Lata, Rafi, Mukesh & Cho: By this time it was clear that the RK film should have a chorus number and what a magic S-J have weaved to make this greatest theme song immortal.
9.Rajhath: Out of the 11 songs in the film, 6 songs have chorus! I think it is a record as far has Hindi films are concerned. The male chorus in the war song Chale sipahi; the female chorus in Aaja aaja nadiya kinare, Nache ang ang, Pyare babul se bhichadke, Nadiya kinare phiroon are as good as S-J use of chorus get.
10.(a) Pawan ganga with Tarana-Lata & Cho-Shailendra (Patrani)
(b) Rang rangeela paghiya-Lata & Cho- Shailendra(Patrani)
I don’t think the choral singing can get any better than these two classics. The tunes of both the two songs are based on centuries old traditional music. Masterpieces in true sense of the word!
11. Bol mere malik-Lata & Cho-Hasrat (Halaku): Chorus in Mukhda and interludes is Outstanding.
12.(a) Panchi banoo-Lata & Cho-Hasrat (Chori Chori): Use of Manna
Dey’s voice along with the chorus makes it the first of its kind.
(b) Us par sajan-Lata & Cho-Hasrat- A very unique use of chorus in a
unique song.
13.Na bure na bhale-Lata & Cho-Shailendra (Kismat ka khel): A brilliantly written song composed in rock and roll style. The song begins with chorus and the chorus (both male and female in terrific co-ordination) gets as much importance as Lata.
14. Nakhrewali-Kishore & Cho-Shailendra (New Delhi): Take out the chorus and imagine the song- incomplete, Right? Brilliant use of chorus in a song the like of which can never be created again! (5 out of 10 songs in this film have chorus)
15.(a) Aaja rat beeti jaye-Usha Khanna, Kishore & Cho-Shailendra (Begunaah): A brilliant, brilliant song with unparalleled use of chorus. S-J leave us gasping for their sheer imagination in this composition.
(b) Nazar kahe aaja-Lata & Cho-Shailendra (Begunaah): The female chorus
makes this already sweet composition even sweeter.
16.Bol ri katputli-Lata & Cho-Shailendra (Katputli): Guess what? S-J came up with Chorus as Counter melody! The chorus is as brilliant as the composition itself.
17.Meri jaan meri jaan-Lata & Cho-Shailendra (Yahudi): Note the interactive use of Chorus with Lata.
18.(a) O berehem tere sitam-Manna Dey, Lata & Cho-Shailendra( BaaghiSipahi)
My personal favourite! The use of Opera style Chorus found a grand
entry in HFM courtesy, S-J. A breath taking composition!
(b) Choona lena mujhe-Manna Dey, Asha & Cho-Shailendra( Baaghi Sipahi)
The Mukhda is reserved for the chorus in this song which is 24 carat
pleasure.
19.Ab kahan jaye hum-Manna Dey & Cho-Shailendra( Ujala): S-J took off where
they had left in Baaghi sipahi. The opera style chorus with the normal male chorus defies words for description. Use of chorus as countermelody makes you wish this song never ends.
20.Hum hai to chand aur tare-Mukesh & Cho-Hasrat (MNMH): Note how the chorus was used to suit Mukesh.
21.Dil se dil takraye-Rafi, Geeta & Cho- Shailendra(Love Marriage): Like before, note the novelty in the chorus and the effect it has with the trumpet, accordion and the deadly combo of Rafi and Geeta Dutt.
22.Ninteen fifty six-Manna Dey, Lata & Cho- The song rocks even today and how well it is ornated by the Chorus that only S-J could put in.
23.(a) Hum bhi hai-Lata, Geeta, Manna, Mahendra, Mukesh & Cho-
Shailendra(JDMGBH) : the film had to have this as it was an RK film.
b) Aa ab laut chale-Mukesh & Cho-Shailendra( JDMGBH): If it was
MannaDey with the chorus in Chori chori, it was Lata’s turn now.
The subtle chorus singing in tandem with Lata’s part gives one an
idea of the depth in S-J compositions.
24.Nee baliye-Mukesh, Lata & Cho-Shailendra (Kanhaiya): Outstanding use of
Chorus makes you realize the composition is not as simple as it sounds.
25.Ajeeb dastan hai yeh-Lata & Cho-Shailendra( DAPP): The subtleness of the opera style chorus makes you wonder if the voice is real or virtual!
26.Yeh to kaho kaun hot tum-Mukesh & Cho-Shailendra (Aashiq): A trade mark S-J Chorus with words and phrases that stump you everytime you listen!
27.Ek sawal mein karoon-Lata, Rafi & Cho-Shailendra (Sasural) : The use of chorus is in line with the lyrics that only Shailendra could write!
28.Ab char dinon ki chutti hai-Rafi & Cho-Hasrat (Aas ka panchi): A fine qawwali style composition with apt chorus
29.Dil ek mandir hai-Suman, Rafi-Hasrat (Dil ek mandir): The chorus in the prelude and interludes is mindblowing.
30.Dil ka kanwal denge-Lata, Cho-Shailendra (Zindagi): The chorus is there and seems as if it is not there in this gem of a song! Only S-J could create this virtual choral effect.
31.NACHO GAO NACHO-Chorus- Shailendra( Amrapali) – Sometimes silence
speaks more than the words. For this composition, I remain silent coz I don’t have words to describe it!
shashivh@yahoo.co.in
