Mahendra Kapoor was the favourite singer of BR Chopra Films, and Ravi was their favourite composer. BR Films-Ravi-Mahendra Kapoor combination gave a large number of well known songs. After Ravi, the only music director who used Mahendra Kapoor in a significant manner was OP Nayyar, apparently on rebound when he had some rift with Mohammad Rafi. Following behind would be Kalyanji Anandji, who used Mahendra Kapoor to some degree following the great success of Mere desh ki dharti on Manoj Kumar in Upkar (1967). His songs with other music directors are few and far between.
Mahendra Kapoor’s most well known and popular songs would also largely follow the above order. While Mahendra Kapoor-Ravi songs were mounted lavishly on the big banner of BR Chopra, OP Nayyar was already on decline when he came over to Mahendra Kapoor.
OP Nayyar in his heydays starting mid-50s with Aar Paar, CID, Mr and Mrs 55, Naya Daur etc. was among the biggest along with Naushad and Shankar and Jaikishan. He was known as much for his imperious temperament as for his great music. Such a person does not care for impressing people and winning friends. It was in a way inevitable that he would come in conflict with the Empress of playback singing, Lata Mangeshkar. It is to the man’s credit that not only he could survive the film world in spite of shunning Lata Mangeshkar completely, but dominate it for a number of years with enormous commercial and critical success. In the initial years his favourite female playback singers were Geeta Dutt and Shamshad Begum. Later on he had to prove something with the junior Mangeshkar sister, Asha Bhosle, who became more than a muse for him. Asha Bhosle’s great success in 1970s and 80s with RD Burman had its roots in OP Nayyar who made sure she was also counted not far behind Lata.
OP Nayyar’s songs for Rafi in the abovementioned films and later films like Kashmir Ki Kali, Ek Musafir Ek Haseena, Phir Wohi Dil Laya Hun etc have acquired iconic status. His estrangement with Rafi in late 1960s, and more sadly, Asha Bhosle walking out of his life, spelt his decline. He used Mahendra Kapoor in films like Ye Raat Phir Na Ayegi, CID 909, Humsaya, Kismat, Kahin Din Kahin Raat etc. But these films were none too great. Nevertheless, as the saying goes, even a dead elephant weighs nine tons, some of the songs of these films were long-lasting. One particular song Kajra mohabbatwala from Kismat (1968) by Shamshad Begum has seen a great resurgence with remix versions.
From this lot there are two Mahendra Kapoor songs which I find especially appealing, and which I would easily put amongst his best – Mera pyar wo hai ke markar bhi tumko juda apni baahon se hone na dega from the film Ye Raat Phir Na Ayegi (1966) and Tumhara chahnewala khuda ki duniya mein from the film Kahin Din Kahin Raat (1968). Both the songs are picturised on Biswajit, whose copying of Shammi Kapoor’s style and mannerisms was quite unabashed. The lyrics by Aziz Kashmiri and SH Bihari respectively have a great deal of similarity in that both the songs profess all-possessive and monopolising love, which does not brook any third party intrusion – the lover would not tolerate even the moonlight caressing the body of his beloved, and would break the mirror which dares to praise her beauty. Another similarity is that every line in both the songs is much longer than an average song, which means composing them to metre and singing them with proper voice modulation and variation in pitch would have been quite a difficult task. The orchestration and musical interludes by OP Nayyar in both the songs are outstanding. While in many respects the songs give you a feeling of déjà vu, Mahendra Kapoor brings in his individuality leaving a clear stamp that he is not merely a Rafi replacement. Now enjoy the two songs.
1. Mera pyar wo hai ke markar bhi tumko juda apni baahon se hone na dega from the film Ye Raat Na Phir Ayegi (1966), lyrics by Aziz Kashmiri.
Mera pyar wo hai ke mar kar bhi tumko
Juda apni baahon se hone na dega
Mili mujhko jannat to jannat ke badle
Khuda se meri jaan tumhe maang lega
Mera pyar wo hai
Zamaana to karwat badalta rahega
Naye zindagi ke taraane banenge
Mitegi na lekin muhabbat hamaari
Mitaane ke sau sau bahaane banenge
Haqeeqat hamesha haqeeqat rahegi
Kabhi bhi na iska fasaana banega
Mera pyar wo hai
Tumhe cheen le meri baanhon se koyi
Mera pyar yoon besahaara nahin hai
Tumhara badan chaandni aake choo le
Mere dil ko ye bhi gawaara nahin hai
Khuda bhi agar tumse aake mile to
Tumhaari qasam hai mera dil jalegaa
Mera pyar wo hai ……
मेरा प्यार वो है के मर कर भी तुमको जुदा अपनी बाहों से होने ना देगा
मिली मुझको जन्नत तो जन्नत के बदले ख़ुदा से मेरी जाँ तुझे मांग लेगा
मेरा प्यार वो है
ज़माना तो करवट बदलता रहेगा नये ज़िंदगी के तराने बनेंगे
मिटेगी न लेकिन मुहब्बत हमारी मिटाने के सौ सौ बहाने बनेंगे
हक़ीक़त हमेशा हक़ीक़त रहेगी कभी भी ना इसका फ़साना बनेगा
मेरा प्यार वो है
तुम्हें छीन ले मेरी बाहों से कोई मेरा प्यार यूं बेसहारा नहीं है
तुम्हारा बदन चांदनी आ के छू ले मेरे दिल को ये भी गवारा नहीं है
ख़ुदा भी अगर तुमसे आ के मिले तो तुम्हारी क़सम है मेरा दिल जलेगा
मेरा प्यार वो है……..
Listen to Mera pyar wo hai ke markar bhi tumko
2. Tumhara chahnewala khuda ki duniya mein from the film Kahin Din Kahin Raat (1968), lyrics by SH Bihari. This song is notionally a duet. But Asha Bhosle comes in only in the third stanza, and mostly you would have heard the first two stanzas on the radio. The song ligers in my memory always as a Mahendra Kapoor solo.
Tumhara chahne wala Khuda ki duniya mein
Mere siwa bhi koyi aur ho Khuda na kare
Ye baat kaise gawaara karega dil mera
Tumhara zikr kisi aur ki zaban pe ho
Tumhare husn ki tareef aainaa bhi kare
To main tumhari qasam hai ke tod doon usko
Tumhare pyar tumhari ada ka deewana
Mere siwa bhi koyi aur ho Khuda na kare
Tumhara chahne waala Khuda ki duniya mein
Wo din na aye ke mujhse kabhi juda hokar
Kisi ka pyar dobara kahin talash karo
Jhuka ke sar ko kisi ajnabi ke shaanon par
Tum apne gham ka sahara kahin talash karo
Kareeb dil ke tumhare kisi bhi haalat mein
Mere siwa bhi koyi aur ho Khuda na kare
Tumhara chahne wala Khuda ki duniya mein
Tumhare dil ko kabhi mujhse koi thes lage
Mujhe yakeen hai aisa kabhi nahin hoga
Mujhe wafaaon pe apni bada bharosa hai
Tumhara pyar hi de jaye na kahin dhokha
Dua ye hai ke tumhara Khuda ki duniya mein
Mere siwa bhi koyi aur ho Khuda na kare
Tumhara chahne wala Khuda ki duniyaa mein
Mere siwa bhi koyi aur ho Khuda na kare
तुम्हारा चाहनेवाला ख़ुदा की दुनिया मैं मेरे सिवा भी कोई और हो ख़ुदा न करे
ये बात कैसे गवारा करेगा दिल मेरा तुम्हारा ज़िक्र किसी और की ज़बान पे हो
तुम्हारे हुस्न की तारीफ आईना भी करे तो मैं तुम्हारी क़सम है कि तोड़ दूं उसको
तुम्हारे प्यार तुम्हारी अदा का दीवाना मेरे सिवा भी कोई और हो ख़ुदा न करे
तुम्हारा चाहनेवाला ख़ुदा की दुनिया मैं
वो दिन ना आये कि मुझसे कभी जुदा होकर किसी का प्यार दोबारा कहीं तलाश करो
झुका के सर को किसी अजनबी की शानों पर
तुम अपने ग़म का सहारा कहीं तलाश करो
करीब दिल के तुम्हारे किसी भी हालत में मेरे सिवा भी कोई और हो ख़ुदा न करे
तुम्हारा चाहनेवाला ख़ुदा की दुनिया मैं …..
Listen to Tumhara chahnewala khuda ki duniya mein
{ 37 comments… read them below or add one }
very nice
Hello AK,
What a wonderful article! Hats off to you for your observations. OP was truly beyond compare. He is a music director with mesmerizing quality to his music. try and hum an OP song…and I bet, it haunts you for the entire day and makes you forget others.
That’s OP. No prizes for guessing correctly which one out of Asha-OP & Asha-RD combos shall win hands down.
BUT! And this BUT is far too bigger, complex and complicated to talk about. Let OP’s melodious soul rest in peace.
Regards – KRV
Bhavnagar.
11.05.’12
Dear KRV,
I fully and totally endorse to what you say. I was in search of many old songs by OP. They were not available anywhere, even in Mumbai. Fortunately, now, almost all of them are available on different sites and links. I have been crazy of OP eversince I was 10 and I am still equally crazy when I am nearing 70!
Nice to meet you throgh this link.
Regards,
= Sahdeo
When we talk of Mahendra Kapur singing for O.P. Nayyar, I think one more number penned by Aziz Kasmiri has to be included. It was well written, well composed and well sung, though in an insignificant movie, Naseehat. ‘Zara dekhiye meri sadagi main wafa ke naam pe lut gaya…”
Please listen:
http://www.youtube.com/watch?v=b95RF5fm2I8
It is indeed a beautiful song. Heard it or the first time. Thanks a lot.
Hello !!
Quite by a chance I came across your article “Rafi v/s Kishore”. Firstly accept my heartiest compliments for your prowess for writing. Your observations in the article were studious and totally unbiased and you have backed up your views with adequate number of examples and songs.
You would wonder why I am posting this comment under an article which is supposedly to be based on the work of OP Nayyar. Let me explain. I was so much impressed by the Rafi v/s Kishore” article that out of curiosity I clicked on the link of “Ravi”. Though the article is exuding with your writing skill, it was a sort of a big let-down for me. I expected to get to read your views, observations and comments on the entire work of composer Ravi. However, the article was focused more on one particular song “Chalo Ek Baar Phir Se”. And then I clicked on “OP Nayyar”, and was not surprised to see the article covering just two OP Nayyar songs in the voice of Mahendra Kapur.
You are a true music lover and I am sure you know that careers of Ravi and OP Nayyar did not begin and end with the songs that you have chosen. You could have, instead, named the articles with the title of each song and presented it as “Rasa-Grahan” (Appreciation) of a good song. Then the readers would have appreciated and enjoyed the other tid-bit information about the composers, lyricist, singer and the production banner more.
I hope you will take my comments in the right spirit and would not find them offending.
Regards,
Mukund.
Thanks a lot for your generous praise. I am sure you would find a lot of stuff on this blog interesting. Regarding your observations on title/category etc, some clarification is called for. The title at the top of a post would be very specific and try to describe very precisely what is contained in it. What is perhaps causing some confusion in your mind is the categories listed at the right side of the blog. That is for the purpose of placing a particular article under a convenient heading for navigation. The categories have to be named in a generic way, and individual posts under that category might be treating a very narrow and specific theme. For example, if you click at Shamshad Begum, you would get a post discussing just one song; but for the purposes of placing it under a category, it belonged predominantly to Shamshad Begum. Now all posts having Shamshad Begum as the predominant theme would be placed under that category. Same post may go under more than one category – e.g Rafi versus Kishore Kumar might go under both.
I hope this clarifies your doubt.
Hello AK Ji !!
Yes, it does clarify my doubt. Actually I also realised this after I continued reading your other blogs. I guess I was a bit too hasty in giving the first comment.
Mukund
@ AK
You have, as usual, laid your idea in very decorative words.
O.P Nayyar was not very proud of his work with Mahendra Kapoor still some of the best songs of Mahendra Kapoor belong to OPN that shows the quality of this legendary MD.
This MK song is not OPN or Ravi’s music but for me it is one of his best
http://www.youtube.com/watch?v=hyOCrf6-kL0
@ AK
I was very fortunate to have had close association with OP Nayyar from 1999 till just a few days before he expired. There had been many conversations between us and thus I got an insight into his personality and real self. In one such session I had tentatively said to him that I had a particular theme in my mind and that I wanted to develope the theme into a music show. He had said that many artistes and organisers have presented shows on his work with so many varities of themes that he doubted if there was any unique theme left. Then I told him that my theme was “Nayyar Unlike Nayyar” and it would include such songs composed by him which give a feeling they might have been composed not by him. He said it was a really unique and fresh theme and then we both talked on the theme at length. It was, then, left on me to work on it and give it a proper shape.
Somehow I did not find enough quality time to develope the theme further. It got a sudden and long break after his death. Then once a person working with one FM radio channel showed interest in the theme and asked me to work on it and complete it so that he would air it on one of his broadcasts. Unfortunately this person also died before I could complete the task. Now I have converted the theme into an article and it is complete.
The purpose behind writing all this to you is to see if it is possible to publish the article on “Songs of Yore”. I can provide you with a soft copy of the article. I also have all the songs mentioned in the article in mp3 format. However I am a novice when it comes to handling and using web tools and hence don’t know how to upload mp3 songs on a web page.
Need your advise.
Thanks,
MUKUND
Sounds very interesting. I have sent you a mail.
I would just reminiscise one beautiful duet,
Kahan se layi ho janeman ye kitaabi chehra, gulabi aankhen from ‘Dil aur Mohabbat’.
Melodious OP song by MK and Asha’s undertoned humming endear this song to listeners like me.
Sharmaji,
Kahan se layi ho jaaneman ye is a very nice song. There must me many more excellent compositions of OPN-MK combination. I took the two in this post because they are very different from a normal song in the sense of each line being very long, making the tune quite complex and pleasing.
Mukund,
I read with interest your post of 01.08.2013 and was very happy.
There are some songs which were very beautifully composed but were finally omitted from the final version of the film, such as “Jata Kahan hey Diwane” (C.I.D), ” Ji chahata hey Khinchlu tasweer aap ki” ( Basant) etc. There are some songs now available of the films which were never completed and/ or never released, such as ‘Muqudar ki Baat’, ‘Aisa bhi hota hey’. Can you not take such a theme, also?
I have high regards for you for your closeness with the great OP and your love for him. I met him only once years before at the time of recording of Ham Sab Chor Hey, at Filmistan Studio. You will be happy to know that S.D.Burman and Hemantkumar were also present there.
With warm regards,
= Sahdeo
Hello Sahdeobhai !!
Thanks to you for reading my post and a double thank for considering it worthy of a positive comment. Internet is a really wonderful medium and dedicated music lovers like Mr.AK are doing a great work of keeping memories of old time maestros alive. If “Songs of Yore” was not to be there I might not have had the good fortune to communicate with other “learned” music lovers like you.
Your recalling the incidence of meeting Mr.Nayyar for a recording at Filmistan Studio and mention of presence of SD Burman and Hemant Kumar rekindled many memories of my talks with Mr.Nayyar.
According to him there used to be rivalry between leading contemporary music directors in that era. However, it was not a “cut throat” rivalry. In fact many leading music directors like Madan Mohan, Roshan, Mr.Nayyar were good friends in real life too. Also, rival or not they had tremendous respect for the work, talent and achievements of other music directors.
You suggested a theme to me and it is indeed a great theme and music lovers, especially OP lovers would welcome it. I will definitely work on it. However, I feel you possess good knowledge of old time films and music and also you have excellent command over english. If you are equally adept with computers and internet tools you would be able to do better justice to the theme developing it yourself. Should you need any help, assistance or inputs Mr.AK is the ideal person to turn to. I will do my bit to make your article more comprehensive.
Warm regards,
Mukund.
Sahdeo Thakur, Mukund
SoY is also thriving because it has a large body of very knowledgeable and engaged participants. Thanks for your support.
As for your piece on OPN, Mukund, I should tell you it is not out of my radar screen. You would recall the correspondence we had. I would be very happy to take it forward.
Bhavnagar. (Gujarat)
09.05.2014
Dear Mukundji,
I was more than delighted to have your reply.
It is doubtless that our Mr. A.K. is dedicated to the cause and doing great
work indeed. We salute to him. I have equal respect for you (if not more!)
and that has redoubled after going through your letter.
I have been crazy for O.P. since my childhood and could never know the
reason. I consider my self fortunate for having come in to contact with you.
May I request you to send your cell number and your address? My number is
91-9714 00 26 99 and am on WhatsApp.
My uncle was working with Bombay Talkies in good old days. He was also an
associated editor of ‘FILMINDIA’ published and edited by Mr. Baburao Patel.
My brother (uncle’s son) Mr. D.R. THAKKAR was previously working with
Filmistan as Assistant Director. He made “Nastik” etc. He then, joined Johar
Films Pvt Limited and made Johar Mehmood in Goa, Johar in Kashmir, Bevquoof,
etc. Finally he worked with Ramesh Sippy and was associated Director for
Andaz, Seeta-Gita, Sholey, Shaan, Sagar& Shakti and a TV serial BUNIYAAD.
I am sorry if I have bothered you giving some information which were
uncalled for.
I shall be more than happy to remain in contact with you and our Mr. A.K.
More later,
Meantime, with warm regards,
= Sahdeo Thakkar
KS Bhatia Ji,
I am finding you having a similar liking as I myself have for Mahendra Kapoor.
Kindly listen to a great but forgotten song of MK from ‘Tasveer’, music C.Ramchandra, referred to in comment no. ‘9’ by mumbaikar8.
It is truly a fabulous song by the great composer at the fag end of his career.
Mumbaikar8 :
Ma’am,
My respect for you doesn’t show by my addressing you as your initials forbid adding ‘Ji’ to it.
But it is in no way reflective of my opinion of your great insight in HFM and I feel really honored when some of the rare songs you mention, are my favorites as well.
AK Ji,
Thanks once again for creating SoY, where so many music lovers have such a knowledgeable musical congregation without the botheration of a time or place constraints.
Life now can be divided in two parts.
Before SoY and
After SoY.
Sharma ji,
You should have known by now that I do not like to mince my words, I do not believe adding ji could be more respectful or vice versa so feel free to address me as just mumaikar8.
Thanks for such flattering words of appreciation.
I cannot be a big fan of all the singers that spot is reserved for few, but I do appreciate all good work irrespective of singers, MDs or lyricists.
Thanks once again.
Arvinder sharma’ji, Thanks for that C ramchandra ‘s lovely song . Mohander kapoor has rendered many beautiful songs under C ramchander . I am a childhood fan of CR since Shola jo bhadke days. As far as OP is concerned , after hitting high with “pukarta chala hoon mein ” and Rafi singing for Biswajeet and rift thereafter with Rafi , the baggage shifted to MK who playbacked Biswajeet movies. ” Lakhon hain yahan dil wale” from Kismat and ” Qamar patli najar bijli ” from Ek din ek raat are music club songs which were essentials for the running comedies made during 60s and 70s . Tangewala song was another essential item where he excelled. During lean days both OP and MK managed with low budget films . Arvinder’ji you must listen to MKs this lovely song from low budget movie …..Magic ring …..”Kahan najar takrai dil yeh kis par aaiya ” .
KS Bhatia Ji,
Credit for the upload of the beautiful song ‘Duniya banane wale ne’ goes to mumbaikar8.
Here is the Mahendra Kapoor solo from ‘Magic Ring’, music Suresh Kumar.
RARE SONG OF MAHANDAR KAPOOR,KAHAN NAZAR TAKRAI: http://youtu.be/0HWeDUkd4-M
Now please listen to an equally fascinating and lively song by Subir Sen and Lata from ‘Choti Behan, music Shankar Jaikishan.
main rangeela pyaar ka raahi…subir sen-lata man…: http://youtu.be/Nnp95ic13GA
It is interesting to see that it is this song from ‘Choti Behan’, where the Tonga ride is filmed.
I really liked the Mahendra Kapoor song and the cheerfulness and ease with which he sang the song, shows.
It is quite interesting to observe both the subordinate singers, (to Rafi and Hemant) trying to give out their best in these cheerful songs, which to me, sound rather similarly structured.
Arvinder’ji , To me Tonga beats of OP were different from SJs . Like Mukesh SJ’s song from AAH “Choti si hai zindigani ” is quite different from OPs beat.[ Incidently the interlude of this aah song was heard as background music in RK’s Barsaat .] Some of the beautiful beats were very effectively used for songs picturised on “bail -gadis ” ,like Talat’s “raat ne kya kya khaab deekhaye ” , Mukesh’s ” Sajan re jhoot maat bolo ” and Rafi – Shamshad ‘s ” Gaadi wale gaadi dheere hank re “. Naushad’s Tonga tap were excellent in Kohinoor song “koi pyar ki dekhe jadoogari ” and in song from Aan “Dil main chhoopa ke pyar ka toofan le chale ” . As for Subir Sen I think SJ gave him many chances to prove his mantle . He was very good in some songs like ” Manjil wohi hai pyar ki ” from Kathputli . He was equally good in Aas ka punchhi . He did not get any support from other MD’s and slowly fade out . Given some good grooming he could have been future Hemant’da . Right now i am going to listen to OP’s Kishore – Aasha duet “Piya piya piya mora jiya pukare ” . I think Kishore sang the least of Tonga songs.
Ksbhatia ji, Sharma ji,
We are discussing Ravi and OPN in context of Mahendra Kapoor.
Listen to this Hum Hindustani song in which Usha Khanna has amalgamated OPN Ravi and SDB and come up with a beautiful composition and Sahir and Rafi completing the rest.
https://www.youtube.com/watch?v=FQeIp2Hvbg4&feature=player_embedded
Mumbaikar8 , Sharmaji, A beautiful song indeed ; reminds me of my youth days . Usha khanna had already made mark with her debut film Dil Deke Dekho when she was hardly 16 or 18 years old . She was very well assisted by Sonic Omi who gave the background music . That film carried the flavour of OP in almost all the songs. Jaikishan is also supposed to have given some helping hand or suggestions . Hum hindustani was made by the same camp followed by Aao pyar karein which again carried the music of Usha khanna . All these films had some good songs but later on Usha got shifted to B class may be due to the presence of the big ones at that point of time . Here is a hit song of Usha Khanna from B grade movie……Shabnam…. by Rafi…. ” yeh teri saadgi yeh tera bankpan ” . To me the tag of best of Usha remains with Dil Deke Dekho . Intrestingly there is a scene in the film “junglee ” where Shammi kapoor is humming the opening lines of the song…….. hum jab chale to ……just after his return from kashmir before Lalita Pawar enter and speak to him. One can understand the impact of a nice melody.
AK, Ksbhatia ji, Sharmaji
Last few days I had been battling with my memory, the topic was Mahendra Kapoor OPN song,
Luckily I came across it in Madhu’s blog.
The best MK OPN song for me is: Jo diya tumne ek din from Sambandh.
https://www.youtube.com/watch?v=BojAVUajGoI&feature=player_detailpage
Mumbaikar8,
Thanks for the lovely duet of Mahendra Kapoor and Hemant Kumar which was and is a very favorite song of mine. This movie had another sad solo by Mahendra Kapoor,
Ye khushi le ke main kya karun, meri hai ab talak raat kaali.
OP Naiyyar gave a very un OP like music in this movie at the fag end of his career, which showed his versatility as a composer.
Mumbaikar8, forgot to mention the lovely Rafi song from ‘Him Hindustani’.
Usha Khanna and Iqbal Qureshi were the two underdog composers, who always excelled in typically melodic compositions, but never truly appreciated in the larger context.
KS Bhatia Ji, mumbaikar8,
Our conversation is akin to some students of a classroom having taken over the class on a rainy day, in the absence of the class teacher.
I am sure that the class teacher has not forgotten us and will give us an ear soon.
Sharmaji, Bhatiaji and Mumbaikar8,
Don’t worry. I have been enjoying your countermelody a great deal. Starting from Pankaj Mullick to Anil Biswas to Salil Chaudhary, many great composers have been credited with using countermelody effectively, which came primarily from Western music.
SOY family, listen to other side of OP melody sung by CH Atma ” Diya to jala sab raat re ” from ….Dhake ki malmal . The song reminds you of SJs ” Rouan main saagar ke kinare “. How different is OP from his usual recognised tunes . I dont know on whom this song was picturised — the film had madhubala and kishore kumar as its lead players.
……..In continuation…. The song ” Diya to jala sab raat re ” was first sung by Manmohan Krishan in the movie…… Lahore . C H Atma’s song came much later . Listen to both of them and enjoy.
The Rotary Club of Bangalore felicitated OP Nayyar in mid December 2006, I had an opportunity to attended the function and in the interval I had a chat with him. I was leaving to my home town on 26th Jan and I spoke to him for almost half an hour and promised him that I will see him with in a couple of days and unfortunately the next day he was no more. I had been a huge fan of OPNayyar. In due course of time I will try to writ about OP Nayyar.
With Regards
Prakash MB,
You are a lucky person. We look forward to your write-up on OP Nayyar.
Mr. Nayyar , many times said that Latas voice was thin and so did not suit his composition thus he did not used her voice do not carry any weight in his argument. I think his open affair with Asha might have hurt Lata and op also did not dare to ask lent her voice.
Prakash MB,
I know everybody is entitled to have his own views and opinions about any incidence or any thing, however I beg to differ with your views about OP Nayyar-Asha-Lata. I have shared a very warm and close association with Mr.Nayyar for nearly 10 years and I was fortunate to have had insight into his personality. His inclination towards Asha Bhosale that the world looks at as an affair which he never denied and he was gentle and sober enough not to advertise it blatantly should be strictly considered as an act of mutual consent between two adults.
Mr.Nayyar had nothing against Lata Mangeshkar. He started his career in Mumbai film industry in 1949 with the movie “Kaneez” for which he gave background music. His first film as independent music composer was “Aasmaan” which was released in 1952. It is a known thing that first song of this film was offered to Lata Mangeshkar. The recording never took place. There are two versions of opinion here. One says that Lata did not have time for the recording and Mr.Nayyar did not want to postpone the recording. Other version says that Lata refused to sing for a new music director and that hurt Mr.Nayyar. What actually happened was that when the producer knew Lata was not recording the song he asked Mr.Nayyar as to which other singer he wants. Mr.Nayyar being a new comer told the producer that he would use any singer the producer suggested. Eventually the song was recorded in the voice of Geeta Dutt. Mr.Nayyar’s next two films were produced and directed by Guru Dutt. The thought of using any other female singer than Geeta Dutt never came to Mr.Nayyar’s mind.
Both these films flopped miserably on box office and Mr.Nayyar was about to pack up and go back to Punjab for ever. Circumstances offered him a thread of hope in the form of contract for next film. Mr.Nayyar landed with this film because Guru Dutt owed him money from the previous film but was unable to pay because of the heavy losses incurred in the previous two films. He pacified Mr.Nayyar by making part payment for the next film in advance and Mr.Nayyar decided to try his luck for the last time. The film was “Aarpaar”. What the film and its music did at box office is nothing short of miracle.
The success of Aarpaar made Mr.Nayyar realise a few things. He realised what kind of music and songs is needed to be successful. He also realised the nature of his own style for his future career. Mr.Nayyar had never had any formal training in music and he banked on his instincts and gut feelings and the keen ear and senses for music. He, thus, also realised that Lata’s voice which was thin and full of pathos would not suit for his kind of music. That was the true reason why Mr.Nayyar did not use Lata’s voice in his entire career.
Besides Mr.Nayyar there are many other composers who did not use voice of Lata Mangeshkar. However, most of these music directors had a very short span of career which comprised of just one to 5-6 films at the most. The only notable exception would be SD Burman who did not use Lata Mangeshkar’s voice for nearly four to five years. He did nearly 12 films at a stretch without Lata. Reasons for this rift or how easily they reunited is not the issue concerning this essay.
I don’t mean to offend you and hope you will take this in the right spirit.
Mukund.
Mukund Gadgil,
But there has to be more than musical incompatibility between OP Nayyar and Lata Mangeshkar. He refused the MP government award with substantial amount (at that time), because it carried the name of Lata Mangeshkar, at a time when he was in dire financial distress. There has to be some deep antipathy, besides his famed arrogance. I am reminded of the oft-mentioned story how after the tremendous success of Aar Paar, a producer replaced his music director Roshan with OPN midway (in the film Mehbooba), and Lata Mangeshkar took a ‘principled’ stand against this. By then Roshan had recorded two songs with Lata Mangeshkar, and OPN recorded rest of the songs, without her, of course, and they never came together. Since you were an insider, you are in a better position to throw light on this.
If Latas voice is thin and do not suit his compositions as a gesture he could have composed some songs for Lata.While addressing a press conference in Bangalore he reiterated that Lata is a great Singer and he also spoke his open affair with Asha . I am having the video of this press Conference. Please listen “Mere do naina matware Lata Mangeshkar Film Namaste Jee Music GS Kohli.
Bhavnagar. 17.12.’14
The chain of letters from Nov. 26 to Dec 17 are all very well written and provide sufficient information and individual views. Very interesting reading.
If we listen to OP’s album by Pinaz Masani and Runa Laila and Ashok Khosla, we feel that the lyrics were specially written by Noor Devasi for Asha. OP, though never expressed the trauma he had received after breaking away with Asha, was actually broken down. He had tremendous faith in astrology and that made his survival possible. He had one more interest in life and that was Homeopathy which he also practiced for some years.
One of my friends, Mr. Sanat Dave (Rajkot) has written a book on OP in Gujarati titled ‘Rythem King- O.P. NAYYAR” He had visited his place several times and has published many photographs of his visits to him in his books.
Any way, I congratulate and thank MUKUND, AK and KS BHATIA for their wonderful contribution in this chain.
= Sahdeo