Kalyanji-Anandji had been nothing if not risk-takers. Within the 1950s, the composing duo launched the digital instrument clavioline to the Hindi movie business shortly after it was invented in France. Over 4 many years, they labored with freshly minted filmmakers (Manmohan Desai, Prakash Mehra, Manoj Kumar, Subhash Ghai, Feroz Khan, Chandra Barot) and first-time lyricists (Gulshan Bawra and MG Hashmat). They launched new singers (Kumar Sanu, Anuradha Paudwal, Alka Yagnik, Sadhana Sargam, Udit Narayan, Sunidhi Chauhan).

The musical vary of their soundtracks between the 1950s and 1990s exemplifies their enthusiasm for charting new territories. Kalyanji-Anandji produced the Nationwide Movie Award-winning semi-classical melodies of Saraswatichandra (1968) in addition to the funky tunes of Don (1978). They had been at house with folksy songs for Manoj Kumar’s son-of-the-soil motion pictures and electropop numbers for the motion movies of Feroz Khan.

Kalyanji Virji Shah, the older of the brothers, died in 2000. Anandji Virji Shah was a riot within the MX Participant sequence Occasions of Music’s episode on June 20, during which he regaled host Vishal Dadlani and composers Ajay-Atul with one humorous anecdote after one other.

Occasions of Music feat. Anandji and Ajay-Atul (2020).

As per the format of the sequence, Anandji and Ajay-Atul reworked one another’s tune. With sweeping strings and a choir group, Ajay-Atul’s tackle Zindagi Ka Safar (Safar, 1970) was an try to transcend the tune’s interiority. Anandji’s main contribution to his rearrangement of Abhi Mujhme Kahi (Agneepath, 2012) had been a bunch of magnificent interludes.

In an interview with Scroll.in, the 87-year-old Anandji mentioned a few of his albums, working with Manoj Kumar and Feroz Khan, and the adjustments he has witnessed in Hindi movie music through the years.

What do you make of the evolution of Hindi movie music?
Within the early years, it was [composers] Raichand Boral and Saraswati Devi’s time. The songs had been sluggish. After Partition, musicians migrated from undivided Punjab to Bombay, and the songs turned high-pitched.

Slowly, the world got here nearer. Communication bought quicker. Western music blended with our music. Household bought separated. Music branched into completely different kinds. Life turned quick, and so did our music.

Again within the day, we listened to your complete narration of the screenplay. Music discussions would go on for days and nights. We’d fashion our music on the premise of location. We couldn’t use, say, santoor and matka in Kashmir, the place our movie Jab Jab Phool Khile was set. The heroine was a contemporary lady, so her tune Yeh Sama, Sama Hai Ye Pyar Ka had a Westernised soul.

Yeh Sama, Sama Hai Ye Pyar Ka, Jab Jab Phool Khile (1965).

You, your brother Babla Shah, and nephew, composer Viju Shah, had been fairly the trailblazers.
A few of our improvements simply occurred with out us realising we did one thing new, like once we used the clavioline for Hemant [Kumar] da’s tune Man Dole Mera Tan Dole in Nagin. Even in the present day, right here and outdoors India, the groom will get off the horse and dances to that tune.

Babla was superb with rhythms. He introduced the tumba and rototoms from the West. Viju bhai introduced the synthesiser, with which you possibly can play brass, orchestra, the smallest devices.

What was your relationship together with your contemporaries, Laxmikant-Pyarelal and RD Burman?
We did numerous work along with love. Laxmikant-Pyarelal had been our assistants. Kalyanji performed the clavioline for [RD] Burman da. There was no ego. We frequently labored concurrently in the identical studios.

Dharmatma (1975) theme by Kalyanji-Anandji.

Let’s speak about a few of your soundtracks. ‘Chandan Sa Badan’ from ‘Saraswatichandra’ continues to be so common.
The story was a 100 years previous, set within the 19th century. So our director, Govind Saraiya, was cussed about making the movie in black-and-white, however everybody was taking pictures in color by then. He didn’t need folks to see stars like Jeetendra or Shammi Kapoor within the hero’s function, so he selected a brand new boy from Bengal [Manish]. He mentioned, we’ll repair his traces throughout dubbing. And we each ought to rating as a result of we’re Gujarati. He mentioned, make Gujarati music in Hindi.

The 2 of us weren’t satisfied the movie would work, considering it’s in black-and-white. However in the long run, we agreed, considering even a color image can flop. We labored arduous on the music, and picture, it gave us our first Nationwide [Film] Award.

Chandan Sa Badan, Saraswatichandra (1968).

‘Kora Kagaz’ introduced you your first and solely Filmfare Award for Music Course.
It was a remake of a Bengali movie [Saat Paanke Baandha]. The director, Anil Ganguly, was additionally Bengali. So we needed to maintain a Bengali contact within the music. It had simply three songs, and the movie was in manufacturing for a very long time. A bit would get shot, then taking pictures would cease, then start months later.

So, once more, we didn’t have a lot confidence within the film, however look, we bought our first Filmfare Award for it, and Lata [Mangeshkar] ji bought a Nationwide Award [Best Female Playback Singer category, for Roothe Roothe Piya]. The concept that solely high-profile movies will work, and small movies will flop, is mistaken.

‘Johny Mera Naam’ had a enjoyable soundtrack.
It had every kind of color: bhajan, disco, romantic. It had an emotional tune like Babul Pyaare, a devotional tune, Govind Bolo Hari Gopal Bolo, and one thing mild like Pal Bhar Ke Liye Koi Hume Pyar Lar Le. Such soundtracks are difficult however thrilling to do.

Pal Bhar Ke Liye, Johny Mera Naam (1970).

You composed for a bunch of Manoj Kumar’s hit motion pictures.
Manoj Kumar was related to the Indian soil. He wished a desi color in his movies and music. What’s essential to type an expert bond that lasts lengthy is knowing and belief. That’s how we started working with each Manoj Kumar and Feroz Khan.

For Upkar, Manoj ji wished the tune Kasme Vade Pyar Wafa Ka proper earlier than the interval. Now it was a sluggish, unhappy tune, and that too sung by Pran, probably the most well-known villain actor on the the time. So, once more, we had been scared, considering the movie is fairly lengthy, and if this tune comes throughout interval, viewers will run away, seeing a villain singing a philosophical tune.

However Manoj ji insisted, and it labored. That’s how belief develops. In these days, we hung round on a regular basis, discussing music each alternative we may get, as if we had been discussing the most recent love in our life.

Kasme Vade Pyar Wafa Ka, Upkar (1967).

And what about Feroz Khan?
Often, if a director desires one thing, the producer typically is available in the way in which, or the actor and director might not be on the identical web page. Feroz ji was actor-director-producer, so he by no means compromised on his imaginative and prescient. He was keen on no matter new was taking place in music on the time, particularly Arabic music, and that’s what we delivered.

You should examine and be educated about every kind of music,to compose for Hindi movies, for you by no means know what you may be requested to ship.

Ae Naujawan Hai Sab Kuch Yahan, Apradh (1972).

Additionally learn:

The fabulously funky journey of Kutchi brothers Kalyanji and Anandji

For disco dandiya pioneer Babla, it has all the time been concerning the beat

Viju Shah interview: ‘I wished to do with electronics what Laxmikant-Pyarelal did with acoustics’



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