I had written my first post on Kalyanji-Anandji about ten years ago on their best songs for Mukesh and had titled it “Made for each other”. I used that phrase studiedly because that was my instinctive feeling. Nudging by a reader made me explore their more songs – for Rafi, Other male singers, and Lata Mangeshkar and other female singers in the current year. I now discover that he composed more than twice the songs for Rafi as he did for Mukesh. But I still hold on to “Made for each other” tag for KA-Mukesh. All this discussion was limited to the 50s and 60s.
I had kept the SOY’s mandate to the Hindi film songs from the 30s through the 60s. I didn’t want to dilute that character. (In my theme-based posts however, wherever I considered necessary I have used songs from the 70s and later. I don’t take it as a contradiction.) However, Kalyanji-Anandji’s transformation to 2.0 was unique and very distinct from that of the other stalwarts from the Golden Era. The superstars like Naushad, OP Nayar, Shankar-Jaikishan and C Ramchandra faded away though they might have plodded on for some years beyond the 60s. They couldn’t navigate the choppy waters. Only SD Burman and Khayyam prove to be an exception. KA 2.0 reincarnated themselves with a different style of music and catapulted themselves among the Big Three – the other two being RD Burman and Laxmikant-Pyarelal who had debuted in 1961 and 1963 respectively. Their trajectory was different. RDB was more a post-70s phenomenon. LP were immediately among the tops since their debut and continued with their similar melody and orchestration, and gradual tweaking to remain at the top.
KA 2.0 were a different ball game. Their transformation paralleled Kishore Kumar 2.0 reincarnation post-Aradhana. I have written it in different words earlier. “Kalyanji-Anandji 2.0 and Kishore Kumar: Made for each other” sums up this double transformation and their great tango. I am also including Kishore Kumar’s duet with female singers in this post.
1. Hey re Kanhaiya kisko kahega tu maiya by Kishore Kumar from Chhoti Bahu (1971), lyrics Indivar, music Kalyanji-Anandji
This is a beautiful song on Krishna mythology. One mother gave birth to him and another reared him up. Who would he call Maiya (affectionate way of calling the mother). We all know the answer, the lyricist, composer and the singer have created a great song. Indivar’s lyrics are wonderful. Look at the lines – Janam diya ho chaahe pala ho kisi ne bhed ye mamta na jaane/ Koi bhi ho jisne diya ho pyar ma ka man to usi ko ma maane.
https://www.youtube.com/watch?v=KjGV1pcnD4o
2. Priye praneshwari hridayeshwari yadi aap humein aadesh karein to prem ka hum shri ganesh karein by Kishore Kumar from Hum Tum Aur Wo (1971), lyrics Varma Malik, music Kalyanji-Anandji
Kishore Kumar was always excellent in giving comic touches to a song.
https://www.youtube.com/watch?v=9RMYw6UXu7U
3. Jo tum hansoge to duniya hansegi rooge to na royegi duniya by Kishore Kumar from Kathputli (1971), lyrics Varma Malik, music Kalyanji-Anandji
This song paraphrases Rahim’s couplet Rahiman nij man ki vyatha man hi raakho goye, encapsulating a fundamental philosophy of life. You may share your happiness with others, but don’t share your sorrows. No one would share it, rather they may make fun of it.
4. Chupke se dil de de nahin te shor much jayega by Kishore Kumar and Lata Mangeshkar from Maryada (1971), lyrics Anand Bakhshi, music Kalyanji-Anandji
I remember I slept through this film, but it had some great songs. Among several popular songs of the film were a Kishore Kumar solo Gussa itna haseen hai to pyar kaisa hoga, a Rafi-Lata Mangeshkar duet Tu bhi aa ja ki ke aa gayi jawani, and a Mukesh solo, Juban pe dard bhari dastan chali aayi.
5. Hamaare siwa tumhare aur kitne deewane hain by Kishore Kumar from Lata Mangeshkar from Apradh (1972), lyrics Indivar, music Kalyanji-Anandji
Now KA 2.0 and KK 2.0 were finding a natural fit with each other.
6. Nainon mein (?) nindiya hai, maathe pe (?) bindiya hai by Kishore Kumar and Lata Mangeshkar from Joru Ka Ghulam (1972), lyrics Anand Bakhshi, music Kalyanji-Anandji
This question-answer in staccato phrases have been tried with success earlier by different composers. Since nain, matha (and baal, and aankh) are already occupied by different objects, the man is perplexed and asks the woman herself where he would reside.
7. Tu na mili to hum jogi ban jayenge by Kishore Kumar from Victoria Number 203 (1972), lyrics Indivar, music Kalyanji-Anandji
We have seen in Jogi, Bhogi or Dhongi that often jogis are pure charlatans. Or more likely, heroes in disguise expressing their love in a comic manner.
8. Pal pal dil ke paas tum rahti ho by Kishore Kumar from Blackmail (1973), lyrics Rajendra Krishna, music Kalyanji-Anandji
Another superhit Kishore Kumar solo in the film was Sharbati teri aankhon ki jheel si gehrai mein. Pal pal dil ke paas tum rahti ho appeals to many serious music lovers.
9. Agar dil hamara sheesha ke badle patthar ka hota by Kishore Kumar from Ek Kunwari Ek Kunwara (1973), lyrics Prakash Mehta, music Kalyanji-Anandji
Rakesh Roshan is bitter with the woman for her betrayal, and starts with a sarcastic recital – Dil todnewalon ki mehfil mein aa gaya hun/ Kaise duaayein dun, main badi mushqil mein aa gaya hun. Then he starts singing: Had this heart been made of stone, it would not have broken.
10. Rafta rafta dekho aankh meri ladi hai by Kishore Kumar and Usha Timothy from Kahani Kismat Ki (1973), lyrics Rajendra Krishna, music Kalyanji-Anandji
A superhit song of its time with appropriate light-hearted lyrics and dance. We don’t get to hear Usha Timothy often. KA had used her earlier in Himalay Ki Gode Mein (1965) in the song Haye soniye, heeriye..Tu raat khadi thi chhat pe.
11. Peenewalon ko peene ka bahana chahiye by Kishore Kumar and Hema Malini from Haath Ki Safai (1974), lyrics Gulshan Bawra, music Kalyanji-Anndji
Kishore Kumar does a perfect job to sing for a drunk person. Hema Malini is a perfect foil.
12. Hum bolega to bologe ki bolta hai by Kishore Kumar from Kasauti (1974), lyrics Verma Malik, music Kalyanji-Anandji
Pran acts a comic Gorkha. Kalyanji-Anandji create a perfect song for the situation rendered equally nicely by Kishore Kumar.
13. Mera jeevan kora kagaz kora hi rah gaya by Kishore Kumar from Kora Kagaz (1974), lyrics MG Hashmat, music Klayanji-Anandji
Composing such poignant songs in the voice of now Kishore Kumar was a routine thing for Kalyanji-Anandji.
14. Khai ke paan Banaraswala by Kishore Kumar from Don (1978), lyrics Anjaan, music Kalyanji-Anandji
Don was a landmark film in the career of the Big B. Once you get a project like this you have to have the talent for composing great songs, each befitting the situation. Amitabh Bachchan was now a supermarket for everything – comic, romantic, angry young man and his voice was generally Kishore Kumar. The film also had Kishore Kumar’s Ei hai Bambai nagariya tu dekh babua and the title song Arey deewanon, mujhe pahchaano, (and not to forget Asha Bhosle’s Ye mera dil pyar ka deewana). Nothing illustrates Kalyanji-Anandji’s complete transformation better than Don.
15. Salaam-e-ishq meri jaan qabool kar lo by Lata Mangeshkar and Kishore Kumar from Muqaddar Ka Sikandar (1978), lyrics Prakash Mehra, music Kalyanji-Anandji
In duets I have started the practice of mentioning the singer who comes first. This song impacts us more as a Lata Mangeshkar solo. A musical blockbuster. Another song from the movie Rote huye aate hain sab is posted next. There are at least two more superhit songs: A Kishore Kumar/ Asha Bhosle twin version song O saathi re tere bina bhi kya jeena, Lata Mangeshkar’s Dil to hai dil, dil ka aitbaar kya keeje, and a Mahendra Kapoor-Lata Mangeshkar-Asha Bhosle triplet song Pyar zindagi hai.
16. Rote huye aate hain sab hansta hua jayega by Kishore Kumar from Muqaddar Ka Sikandar (1978), lyrics Anjaan, music Kalyanji-Anandji
I conclude this post with another superhit song from the movie. This is the happy version of the song. The sad version is in Rafi’s voice.
Acknowledgement and Disclaimer
The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog has no commercial interest. It claims no copyright over these songs which vests with the original rights owners.
{ 25 comments… read them below or add one }
Wow! This is great!
KA transformation and KK 2.0 were indeed made for each other and they truly deserved a full post, irrespective of the blog timeline.
Wondering of this is the first post with all songs from the 70s.
For someone like me who grew up in the 70s, this is an enjoyable trip down the memory lane on Sunday morning!!
For song #5, the picturization and the song do not match. The song is from Apradh and picturization is from Dharmatma. The person uploading has titled it Jugaad Gane.
I couldn’t locate the correct and full video of this song
Interestingly, the video of the other duet Tum mile pyar se is available but not of Humare siva tumahre
Posting the song Tum Mile Pyar se
https://www.youtube.com/watch?v=F3Xqx8ZisAM
Another Feroz Khan – KA – KK – Indivar song – Dharmatma 1975
Tere chehre mein wo jaadu hai
https://www.youtube.com/watch?v=zuHsssMfKIQ
And the last one by the same team in Janbaaz 1986
Tera saath hai kitna pyara (with Sapna Mukherji)
https://www.youtube.com/watch?v=6wCVgomQhyQ
Some other favorites:
Main pyasa tum sawan – Faraar 1975 ( has duet and solo versions)
https://www.youtube.com/watch?v=G-pQ9NasGw0
Samjhauta ghamon se karlo – Samjhauta 1973 (female version by Lata)
https://www.youtube.com/watch?v=91mA7GA6mIk
Apne jeevan ki uljhan ko – Uljhan 1975 (A Lata version too)
https://www.youtube.com/watch?v=cMvGNkuVpXg
The combo had few popular songs in early 80s..
This is one of my favorites, though the song deserved another hero.
Neele neele ambar par – Kalakaar 1983
https://www.youtube.com/watch?v=Ujl0rhUICGg
Apni to jaise taise thodi aise ya – Laawaris 1981
https://www.youtube.com/watch?v=-b2dfPU_tCY
Ye vaada karo na rooage tum – Haadsaa 1983 (with Asha)
https://www.youtube.com/watch?v=uLQ-SXvzaYI
Ga ga ga gaaye ja – Professor Pyarelal 1981 (with Manhar)
https://www.youtube.com/watch?v=rcgY_pHG7sE
And Saat Sahelyan Khadi khadi – Vidhata 1982
https://www.youtube.com/watch?v=IbvmoBZlt9U
There are many beautiful KA 2.0 and KK 2.0 songs post 60s. The song “Arre Oh Re Dharti Ki Tarah” from Suhag Raat, although from 1968 fits in this category. There are many songs from Sachcha Jutha, Kora Kagaz, Johny Mera Nam that were super hits during their time.
AK ji, from the 70 s onwards, I feel it is very difficult to distinguish between LP and KA.
Here is a song from Ghar Ghar Ki Kahaani
Sama Hai Suhana –
This is the link of a stage how with KA also on stage.
https://www.youtube.com/watch?v=tmTv5oUscvQ
Dr Deshpande @1,
I know your expertise in songs from post-1970s. My barrier still remains. But this post happened organically. Otherwise we miss a lot of Kishore Kumar and consequently Kalyanji-Anandji’s stratospheric songs for Kishore Kumar.
Interesting caption Jugaad gaane. But thanks to your perceptive eyes we have another great KA-KK 2.0 song, Tum mile pyar se.
@2,
Tere chere min wo jadu hai is an excellent ‘new’ song for us and ‘old’ song for youngsters. I believe you are an in-between generation.
@3,
The first three songs were superhits in their time.
@4,
All the songs except the third song consolidate KA-KK 2.0 connection.
Sameer @5,
You are absolutely right. I have divided Kalyanji-Anandji 1.0 and 2.0 by the period. In KA 1.0 Kishore Kumar was among their ‘other’ male singers. You may like go through this post about their first part.
Anita @6,
LP-KA-RDB were all creating great music post-70s. LP were noticeable because of their loyalty to Rafi. They could not ignore Kishore Kumar because he was the flavour of the season. For Kalyanji-Anandji post-70s was also an era of transformation in musical style. Hence the title of this post.
Thanks for posting the video of stage performance of Sama, hai suhana suhana. It is my great favourite. Kishore Kumar was a natural stage performer. Kalyanji-Anandji were not so. But together they create magic.
Muni jano bhakt jano…
AANSOO AUR MUSKAN.
Jitna jaroori man ka milan
Utna hi jaroori tan ka milan…
KASHMAKASH.
Jab se sarkar ne nashabandi tod di
…
5 RIFLES.
Khoon pasine ki jo milegi toh khayenge
.
KHOON PASINA.
Apne toh jaise taise..
LAWARIS.
Not necessarily favourite, but popular in their time, some like the last one even now.
AK Ji
Nice one on K-A 2.0 ; no doubt they maintained the melody in the 70’s & 80’s despite the change in style. However for me 1.0 is always better!
It just struck me that for most of the stalwarts, around 20 years seem to be the creative period-a rough estimate..of course exceptions could be there. So if we consider Naushad , CR , OPN , S-J starting off from early /mid /late 40’s till around end 60’s / early 70’s, they were good. The same logic seems to apply to K-A starting off in early 60 till 80’s. The creative spark has to taper off after few years. In case of S-J the number of hits in 50’s & 60’s in terms of both quality and quantity was unmatched by anyone , with most film in 60’s having multiple super hits…
Dr Deshpande mentioned in #4 about Nile Nile Amber Par–nice song and yes definitely deserved a better picturization. I do not know how many know that it was a remake of a Tamil film Payanangal Mudivathilai ( Journey doesn’t end)..the song was also copied from the same film with Ilayaraja’s (IR) super hit ” Ilaya Nila Pozhigirathey” sung by SPB. If you aks any Tamil film music fan , this song would appear in top 5 of IR & SPB career best songs. The excellent guitar in the original was something KA couldnt replicate. Especially listen to the end of the song .
There is an interesting cross -copying between K-A & IR..Way back in 1984 , IR copied the famous song Kasme Vade Pyar Wafa of Upkar into a Tamil film that was sung by K J Yesudas. I am providing links to both the songs just in case anyone interested…
Original of Nile Nile amber….
1) https://www.youtube.com/watch?v=AsN_9uXAoNE
Copy of Kasme Vade Pyar wafa….
2) https://www.youtube.com/watch?v=E-JhtdNO7vQ
KA had a very strong professional association with Manoj Kumar, Prakash Mehra, Firoz Khan , Subhash Ghai etc. which resulted in Super hit music in several commercially successful movies. They vibed well with almost all industry members. Kalyanji bhai was known for his sense of humour and Anandji Bhai was a very obedient younger brother.
AK ji
My generation began taking note of HFM in early seventies, as such I feel like playing on a home pitch.
Barring few exceptions like kora Kagaz, KA 2.0 list is dominated by action movies. This may be because most of the producer- directors favoring KA ( Prakash Mehra, Brij, Arjun Hingorani, Feroz Khan) specialized in that genre. Naturally, KK, KA-2.0 songs show the effect of this fact. Yet within these limitations, KA composed some outstanding ” serious” songs for KK in post seventies.
Dr Rajesh ji has mentioned one of my favourites ” Main pyaasa tum sawan” from Farar. For some unknown reasons, till very recently I believed that this song was composed by SDB.
Safar was a movie in which there were two poingnant compositions rendered by KK
Zindagi ka safar – Indeevar
https://youtu.be/9XOnMlK5WBY?si=vososdbvUCk9EVXd
Jeevan se bhari – Indeevar
https://youtu.be/v_nkcw1mD_8?si=x6IcgZgcO_zo_n-C
And here is a little known gem from Do Anjaane
Luk chhip luk chiip – Anjaan
https://youtu.be/kGmucOvkCNg?si=Ou03RTTfTVeHUuoy
Both Amitabh and KK have excelled in bringing out the love of the estranged father.
Dear Sirs,
While going through the details we could find that Kishore started with KA during the mid sixties with films like TEEN BAHURANIYAN and SUHAAG RAAT and he could get one song in each of these movies. Later with Rajesh Khanna emerging KA started his songs with Kishore and later extended to other stars like Shashi Kapoor, Amitabh , Jeetendra and so on successfully and during the seventies they use Kishore successfully in almost every film and were second only to RDB. This went on until Kishore’s death and KA brought out excellent songs rendered by Kishore for many actors of the time.
Dr Shetty @10,
Gunijanon re bhaktjano from Aansoo Aur Muskan belongs to 1970. It is my favourite song for many reasons. One is, Kishore Kumar embeds a parody of Pankaj Mullick’s Sundar nari preetam pyari out of nothing. I have included it in Kalyanji-Anandji 1.0’s other male singers. Apni to jaise taise was a roaring hit. Other songs I will have to check up and should have been added. But there were unending stream of songs and ‘Made for each other’ seemed an appropriate title.
@12,
But besides personal friendship, they had something special which showed in their super success.
Sivanandamji @11,
Thanks a lot for providing the Tamil original of Neele neele ambar par, and Tamil adaptation of Kasme vade pyar wafa sab. In Neele neele ambar par, hero is an obvious drawback, the guitar interlude is faster than IR’s and that also makes a difference. Thanks a lot again.
Mr Muli @13,
Thanks a lot for your comments. Luk chhip luk chhip has all the qualities you have mentioned in the son. I am starting to look at KA-KK with a new respect.
KB @14,
You have given an excellent review of the journey of Kishore Kumar with Rafi.
AK,
A nice write-up and good selection of songs which shows the journey of the combo in the period of 71-80. KA were without doubt part of the ruling trio of 71-80 they made with RDB and LP.
For me this is an excellent topic to comment. I would first give some data analysis and then my comments. But first let me say that I know very well about the period of 70s. I graduated in 1974 and got job in Oct 77 so I got a good time to view cinema to the time. In school there are restrictions, but in college we are more independent and I was also a cricket player of my college and got opportunities of touring and getting to see films in halls. In that era almost all college students had a craze for films and I was no exception. You are of my age and you may have similar experiences. I am writing all this for the friends here, so that they may not think that we are from mythological age 😉 based on our preference for the golden period.
Now some data analysis. I would give here comparative data about the big three of 70s. As per data collected by me on the basis of HFGK upto 1980, LP had 1291 songs from 241 films, KA had 963 from 176 and RDB 811 from 150 films. Up to 1970, LP had 429 songs from 71 films, KA 401 from 63 and RDB 112 from 17. In 71-80 LP had 862 from 170, KA 562 from 113 and RDB 699 from 133. From this data we see that LP despite giving 5 years start to KA surpassed them by 1970 and lead the trio in the whole period of 71-80 also. RDB despite giving music as a single person got more films and composed more songs than KA in 71-80. So KA were a distant third in 71-80 in this regard.
As I have told in my earlier comments that I try to make a list of hit songs of each MD whose data I summarise. Fortunately I have this data for the trio upto 1980. I will analyse the data of the trio in this regard. LP had 520 hits from 241 films averaging 2.16 per film. For upto 70 they had 214 from 71 films (avge 3.01) and for 71-80 and 306 from 170 (avge 1.80). KA had in total 344 from 176 (avge 1.95), upto 70 they had 189 from 63 (avge 3.0) and for 71-80 they had 155 from 113 (avge 1.37). RDB had 238 from 150 (avge 1.59) in total, 47 from 17 (avge 2.76) upto 70 and 191 from 133 (avge 1.44) in 71-80. So what are the takeaways. All three had very good hit rate in the what you may call Rafi era and their hit rate significantly dropped in the so called KK era. In 71-80 LP is far ahead in the hit rate than the other two and it can be said that the main reason was he was using Rafi more than the other two.
I would give here the hit rate figures of SJ to make a comparison. SJ in total gave 565 hits from 161 films (avge 3.51). They gave 483 hits from 111 upto 70 (avge 4.35) and 82 from 50 (avge 1.64) in 71-80. We know that in most of the 71-80 films Shankar was the only MD from this team. It can be seen that SJ were far far ahead of the trio in hits upto 70 despite their lean period in about half of the 50s. Even in 71-80 they are only behind Rafi lovers LP and far ahead of the other two. It would be a mistake to assume that SJ used KK less in 71-80. In fact they gave KK 66 songs which is more than 23% of the total songs they composed. They gave 58 songs to Rafi in this period.
Now I come to the use of KK by the trio. LP gave him 229 songs from their 862 which is 26.57 % of their songs in the period of 71-80. KA gave 160 from 562 (28.46 %) and RDB gave 310 from 699 (44.35). Look at the vast difference in the percentage of songs which RDB gave to KK as compared to the other two. RDB gave KK even more songs than Asha and Lata. From this data it can be seen that the ‘made for each other’ tag should be given to RDB-KK. If we look at the total no of songs which each one gave to KK vis-a-vis Rafi, RDB’s slant in favour of KK would be more clear. Of the total of 1291 songs upto 1980, LP gave 260 to KK and 326 to Rafi. Of the 963 songs, KA gave 180 to KK and 170 to Rafi. But, RDB gave 327 to KK as against 103 to Rafi out of his 811 songs.
Now look at the hit ratio by each MD for KK songs in 71-80. LP gave 88 hits out of 229 KK songs averaging a hit every 2.6 songs. This average of hit per song was 2.84 for RDB, there being 109 hits out of 310 songs. KA’s 160 songs produced 53 hits giving an avge of 3.01. So we see in this aspect also KA was the last.
It would be interesting to compare the success of the trio with Rafi vis-a-vis KK in total number of songs and hits out of them. LP had 202 hits out of 326 (64 %) for Rafi and 104 out of 260 (40 %) for KK. KA had 92 out of 170 (54 %) for Rafi and 63 out of 180 (35 %) for KK. RDB had 53 out of 103 (50 %) for Rafi and 119 out of 327 (36 %) for KK. So we see here also LP have the better record than the other two in the case of both the singers. KA have a slightly better record for Rafi than RDB and for KK they have almost identical performance.
I will give songs separately.
AK,
You posted 16 songs and 8 others have been posted by other friends from 71-80. I have not analysed songs from 81-85. All of these 24 songs are in my list of 53 hits of KK-KA combo from 71-80. This is a good test of my list.
I give here some songs which appeal to me better than the remaining songs.
Mila jo pyar to hum pyar ke kabil na rahe – Preet Ki Dori – Indivar. KK was always good in sad songs.
https://www.youtube.com/watch?v=DKCBzdsY9Pw
Baras gayi re taras gayi re – Joru Ka Gulam – Anand Bakshi. Caught up in a comic situation Rajesh Khanna lip syncs and acts out perfectly this KK double meaning song like ‘apni to har aah ik toofan hai’. This song should have been in the main list.
https://www.youtube.com/watch?v=friEe-d_2WI
Seedha saada aadmi hoon raho door door – Shubh Din – Verma Malik. This song should be termed as a great achievement for this pair, because this became a hit in a totally nondescript film which might not have been released even.
https://www.youtube.com/watch?v=PsTytBLBNYQ
Chori mera kaam yaro chori mera kaam – Chori Mera Kaam – Verma Malik.
https://www.youtube.com/watch?v=nALMVS2scvA
Barson purana ye yaraana ik pal mein kyon toota – Hera Pheri – Anjaan. A sad background song.
https://www.youtube.com/watch?v=Ad8Trqts_Ww
Hans Ji,
I am truly amazed by the statistics that you have! Although I am not at all in possesion of the database and also go more by my instincts, I realize you are having similar views like me about Rafi & S-J. I have a soft corner for both , though in my own blogsite, I have tried to cover almost all the legends without any personal bias creeping in. Compared to SOY I am just into 3rd year of my blogsite. Also one humble request-now that I can reasonably guess your age, whenever you or AK ji ( for that matter most of the SOY followers) refer to me , please remove the ” Ji” after my name and address me as Siva. I am almost a decade and half younger!! But still love the songs of 50’s & 60’s….
Hans @19,
Thanks a lot for your appreciation and your command over data. It is the inference from data that I may not agree with it.
The second point first. ‘Hit’ is a subjective matter. Your other data is hard data. What are the takeaways. I acknowledge LP’s runaway records. They beat everyone in all top rankings based on numbers. In the short period from their debut to 1970, they managed to create superhits for all the mainstream playback singers – perhaps except Asha Bhosle. Lata was their clear favourite over her by miles.
What are the undisputed takeaways from your data? KA had clear 4 years lead over LP, and RDB had 2 years lead, yet LP outdo them by a wide margin in numbers, as they outdo all the famous composers. That is amazing command over market. I often say they were quite open about all the tricks of the trade everyone employed and they were no exception.
Even with RDB’s debut at least two years before LP, he composed over 86% songs in the period 1971-80. Hence my observation that he was a 1970s man.
KA’s had a long stint in the Golden Era (up to 1970), in a much shorter period of 1971-80 they composed over 58% of their total songs. Even though third, being among Big Three is remarkable, because in the Golden Era they were among middling music directors, not counted among any big list. For them 1971-80 was a real transformation in their music style, and KK was an important vehicle. Still I would agree with you on RDB-KK. Personal and long familial friendship was also a factor.
@20,
Among the songs you have added, Baras gayi re taras gayi is my great favourite. You know there can be only so many in the main list.
Sivanandamji @21,
I am coming in your conversation with Hans as you have referred to me sideways. I have no fixed formula for ‘Ji’. I don’t go by the age. Some names sound good as first name; some, one instinctively feels like adding it. So you have to bear with it.
I do have biases, I am quite open about them. For example I have huge bias for Roshan-Rafi, I put this combo over SJ-Rafi, I hope I am not offending you.
AK Ji,
Absolutely no offence! at all. In fact in 2021 , when I was recovering from a major surgery, SOY was with me and the immense variety of blogs you have created kept me motivated . In a way you are my inspiration. We all have our personal choices…with Rafi & Lata , this is my feeling: when I listen to Rafi- Naushad , I feel that is the best combination, then with Roshan, OPN , SJ, MM, SDB…the same feeling continues!!. Same in case of Lata with Naushad, CR, MM, SJ, SDB, Hemant Kumar, Roshan , Salil da’, Jaidev, Vasant Desai etc…that magic keeps the golden era alive and also us…bloggers!!
Sivanandam,
I have started addressing you by name, I hope you will do the same. I am from Haryana and we believe in respect from heart and address is not important. DP Rangan is much senior to me in age but he asked me to do away with ‘ji’ and I have done that. If all of us start this on SOY it would be better.
I also agree with you on all the combos looking great when you listen. Music, as every other thing needs variety. We can not feel satisfied with just one composer or one singer.