Zameen Kha Gayi Aasman Kaise Kaise – Some Non-picturised Songs Of R D Burman – Part 1

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Part 1Decade of 70s where even sky wasn’t the limit

4th Jan 2019, Pancham. You would have been 78 years young today and in all probabilities as active as you were when you left us for that eternal abode. I am, now roughly of your age as you were when you left us. Although I am not even ten percent creative and busy as you were before coming to a forced premature end, I can very well understand that 54 is certainly not the age to leave the life.
That fatal line zamane ne maare jawaan kaise kaise from your overwhelming song from that immortal album ‘baharon ke sapne’ comes invariably to the lips via one’s mind. Dedicating this compilation to you that comprises of your compositions which were similarly ill-fated, means the songs which were properly recorded and released on the audio medium but their visuals somehow didn’t reach to us. They were either altogether not shot or shot but removed from the released videos or were the part of the initial releases but went missing in the subsequent releases. You won’t find their videos on YouTube. You were always known as a visual composer and it’s evident even in the songs in this compilation. It’s quite a loss for us that way. When one goes through the compilation he will understand that these songs are those ‘Aasmaan’s (read stalwarts) who were swallowed by the floor, most of the times, the shooting floor and so the title of the compilation ‘zameen kha gayi aasmaan kaise kaise’ (the other half of ‘zamane ne maare ‘) justifies itself.
Picturisation of your songs has always been a dicey situation considering their visual impact/ comfort /appeal. It’s ‘heads’ most of the time in case of the stalwart directors like Ramesh Sippy, Gulzar, Nasir Hussain, Shakti Samanta and Raj N Sippy, ‘tails’ in case of the lesser ones in the skills as they couldn’t fully understand your visual thoughts behind and the neutral in rest of the cases (like the coin in a Sholay song), neither better nor worse.
So, with this background, let’s launch into the compilation…. 1-2-3…Go..
You can move your face in the opposite direction, Pancham, as stated by Tere-apne Gulzaar saab in ‘Meri sangeet yatra’, as I am going to praise, praise and only praise you, and why not? Mauka bhi hai aarzoo bhi.
Wahaan chalo jis jagah aur koi naa ho (Dhongee-1976)- Kishore-Asha
It’s literally 1-2-3 Go……………
Your association with your favorite Dabbu (Randheer Kapoor) has always been fascinating. It might not have been as classic as the one with the stalwarts like Amitabh and Rajesh Khanna but very interesting and attractive. Those songs have all trademark elements of your compositions like youthfulness, prank, fun and frolic, sung by your singing spearheads, Kishore kumar and Asha Bhosale. Even in the case of your unreleased songs, if someone gives me the option of selecting songs pf only one actor, I would go for Randheer K without hesitating for even one moment.
Such is the guarantee that your association has generated in my mind over these listening years and ears. Wonder how this song was omitted from the movie, the song replete with visualized fun. It starts (and ends) with a twang of a guitar followed by Kishore da’s almost adlib and abrupt burst with the mukahda line with the guitar clinging to his second rendition with superb timing. Asha, too, joins with same immaculate timing at (1-2-3) Ggggo to harmonize excellently. This sequence can draw even the first time listener into its amazing progression that rides on the incessant percussion. It takes a brief gap only at the crossovers, from interlude to antara and antara to mukhada. The latter one is not your trademark mukhada-second-line-to-crossover but a simple roll down of the beats. The repeat thereafter is just like the opening sequence. It’s not only mukhada but your antaras are equally, most of the times, more majestic. This antara, particularly the first one is another example. The burst into the ascent (along ‘dhoondho tanhai ..koi hoga to hogi badee rusvai ‘) is beautifully punctuated by the linger along ‘door in shaharon se..sharam ke paharon se’. We almost visualize ourselves treading along the scenic hill slopes getting a warm reception by a lush green leveled patch. Equally love Bakshi saab’s lyrical complement. Second interlude brings in that element of prank with those interesting verbal exchanges by the singers, Asha’s frantic yells and the police siren sounds sweeping across the speakers. Oh, we are simply missing this fun!! You took us on those experimental yet interesting rides where nobody else, forget dared, not even thought of taking us.

There is the bangla version, too, where you and Asha ji sung the song with the vocal harmony going ‘haathe haath rekhe dujone’ similarly.

Chhalla mere chhaila ne chheena : (Bandhe Haath-1972)- Lata- Chorus
This song could be one of the earliest casualties, if not the first, if we go chronologically. Bandhe haath featured one of the most adorable heroines of the late 60s and early 70s, Mumtaz and the future superstar Amitabh. They came together in this film only for the first and the last time. The director, O.P.Ralhan , after going song-less in your earlier venture with him, went for a full scale dance-musical love story with the double roll of Amitabh providing the subject for the drama and conflict. The released sound track had six songs, dominated by Mumtaz with the playback of the Mangeshkar sisters, although Kishore da and Amitabh shined with the only available solo.
So, one wonders six is not too big a number to subtract one from the list and certainly not when the film story revolved around the dancer’s life. Agreed that it’s another dance song but certainly not ‘just another dance song’ when the talents of the likes of you, Lata ji and Majrooh saab are involved in its making and the one of attractive and graceful Mumtaz to present.
You and Lata ji made her love story musically memorable. The entry of Amitabh in Mumtaz’s life, green room actually, was made interesting by Majrooh saab’s almost telepathic mukhada words ‘yeh kaun aaj aaya’. You two almost made her desperate while seeking the love of shy Amitabh along ‘toone chen liya’. However, you needed Asha ji to bring out the heroine’s despair in that maazi-cabaret (the phrase coined by your favorite Gulzar in ‘Meri Sangeet yatra’) ‘O maazi’ and the sweet complain along ‘bholi soorat ke ek beimaan se’ while going overboard in that multi-singer rollercoaster ‘dil to lai gawa’. Who will forget those cute cameos in that song, one by OP and other by you?
So, it doesn’t need any guess work for the un-picturised ‘Chhalla mere’. But going by the tempo, tone and the rhythmic extravaganza, I feel that it’s the ecstasy of Mumtaz which is being depicted particularly the one arising out of ‘pyar ki khushi’ that makes her ‘chunariya’ ruffle even when the winds are not blowing. Her love must have been approved by Amitabh after that one-way beseech in ‘toone chheen liya’.
And what a gem you composed for the beautiful faced Mumtaz! Marutirao and his percussion sena create that board of the mahol(atmosphere) that resonates with her dancing movements.. Majrooh saab beautified the song further with that ‘anuprass’ (alliteration) alankar with that ‘chh’ series sequence of ‘chhalla mere chhaila ne chheena. Lata is, as usual, exemplary with the perfect execution of your tune that comprises of an amazing range of vocal pitch and texture. She is (high) pitch-perfect in that announcing ‘naacho re..haaye nacho re mere pyar’. She is equally deft to cover the range to whispering low along ‘haye re haye re haye re’. One is compelled to remember a similar phrase in ‘aisa ho who aisa ho’. I cannot complete my expression without paying tribute to your right arm of percussion, Marutirao and his associates. Wonder how many rhythmic patterns he had rolled up in the sleeves of his simple shirt. What a range of instruments, their patterns, sounds! Wow, simply mind-boggling!! To sample a few..the bassy tabla tarang countered by the sharp sounds on matka in the prelude , the lovely revisit to the ‘Mela’-dramatic duggi phrase for the same ‘Mumtaz’ ( ‘gori ke haath mein’- Mela- same you, same Lata ji, same Majrooh saab penning about the same chhalla – wow!! Lagta hai sanjog-on ka jaise mela laga hua hai),the one which accompanies Lata to her traverse to high pitch (‘nachho re ‘) sounding something like ‘dugu dugu dugu’ with the twist ‘ttak dhoon ttak’. The list is endless. It doesn’t stop unfolding its magic even after the song launches itself for the final assault, the coda, where another unique pattern fuels the progression to its crescendo. One has to listen it to believe.
While one finds use of all these folk instruments along with the shehnais, flutes and the dynamic violins logical, he is simply bamboozled by those tender pianic phrases which make most of the brief gap made available to them. This mention is simply necessary for the love of Mike (Machado) and his nimble fingers travelling on that strip of white and black keys.
In all these extravagant features, listeners shouldn’t miss the subtle connection of antara dhun with that of ‘bechara dil kya kare’ or for that matter the one of ‘samandar mein naha ke’ which is poles apart in terms of the treatment.
Kudos!! You are simply unbelievable!!
These are simply addictive features of your compositions that make even a first time listener your faithful fan singing the sentiment
‘ab to Raam jaane pehni teri nishaani, pehan ke utare naheen
Ban ke mera apna dikha diya jo sapna who sapna bikhare naheen’

Tum meri zindagi mein kuchh is tarah se aaye : (Bombay to Goa -1972)- Kishore-Lata- Chorus
This is another casualty of the early 70s, 1972 to be precise, this time on the Mumbai-Goa highway. I have heard that this song did feature in the early prints but was removed for the copy-right reasons. So, the consuming zameen was not the shooting floor this time. They said that this tune and even the part of the lyrics were the part of a song from your real debut, Guru Dutt’s Raaz, penned by the great poet Shailendra ji, possibly rendered by Hemant Kumar and Geeta Dutt . But with the demise of most associated with this venture this will remain a permanent ‘Raaz’.
Anyway, coming back to the song, this song could be the ‘aakhri stop’ of the relation between Amitabh-Aruna that had to go through some rough patches along the competition (of farmaish)medley of Usha Iyer, the speed breakers of the heroine’s blind obsession to glamour industry, the inside-the-bus drama to the final realization of love.
This song remains outstandingly odd for its smooth and melodious progression as compared to its hustling and bustling companions. It sounds so serene and calm as if it has been shot around a serene and calm place with total privacy. Even the ascents in the antara are so gentle that the only thing that creates ripples is Manohari da’s piercing sax piece.
The another outstanding feature I thought was the absence of the chorus, but it was pleasantly found to be untrue thanks to the release of its another version which has the chorus of the bus passengers but you made them behave in such a way that serenity of the song wasn’t disturbed. They sound like hum-safars as against the curious and intimidating yet the mute ham-safars in ‘dil tera hai’.

Now on to some classic cases of double casualties, meaning two songs of same film being discarded.
First one is Mr Romeo, a 1973 film that packed superbly all around performance of yours. It had the youthful exuberance all its way like the punchy ‘babla..babla’ discotheque club song, the romantic duet ‘yahan naheen kahoongi’ that went places , ‘na sone denge’ a rare one where Lata was aggressive than Kishore or that Shubh-chintak pair of Kishore-Manna casting that comedy spell in a funny qawali and not to forget the aggressive dreaming of her hero in ‘isi shahar ki kisi gali mein’.
The two unpicturised solos stood different in this bunch as they portrayed that emotion of betrayal. Firstly the Kishore solo.

Dil toota…toota re : (Mr Romeo- 1973)- Kishore kumar
Gone were those Saigal days when the hero would disconnect himself from the world and weep silently in privacy along ‘jab dil hi toot gayaa’. Even the grief of betrayal by his close ones is chosen to be expressed in bold way packed with your punches and fuelled by the dynamic and intense brass, trumpet and intriguing guitars. The strong presence of the band like instruments makes me guess if Shashi was meant to express t it in the club.
Kishore doesn’t waste time taking over from the piercing guitar strums with his ‘hey hey he he’ and creates the tempo all by himself. The pace set by him is carried throughout the song until the unexpected slow and then almost adlib end. Even the anatars are composed with short length phrases quite consistent with the expression of a man who is angry and fuming. Such an expressive singing this is that even a stone-hearted man can’t stay indifferent.
Another angle to look at the song is the extrovert nature of the character Shashi is playing who likes to create the drama / theatrics even for the small things. He would demand love to his girlfriends through the loud blackmail along’hey mujhe dil de, naheen to sun le main kya karoonga’. The arrival of the heroine seemed to make him softer and civilized as he politely asks her ‘to phir kahaan kahoongi’ or takes a defensive stand in the honeymoon night song ‘na soenge’.
It reminds me of the excessively dramatic on-field behavior of the Brazilian player , Neymar, during the recent world cup matches of your favorite game, football. You must have watched, am sure.
So, the real pain is losing the beloved (‘ek din jo raaste pe aankhein the bichhake..aaj aankhein pher li hai dekha mujh ko aake ‘ ) but he brings in everyone, maa-baap-bhai-behan-dost to strengthen his case.

It was all because the bangla original sung by yourself that also had similar pace and intensity which is not to be missed by anyone.

Ja re ja main tose na boloon : (Mr Romeo- 1973)- Lata Mangeshkar
Again, the song is portraying the ignorance of the partner but it’s not that devastatingly blunt. Instead, it does carry the hope that he will return to her after realizing money is not all one should live for (‘ maana zaroori hai paisa naheen par aisa’ ). Again, the meter is short phrased but this time woven in an experimentally complicated mesh of beats (ref: RDB The man the music, page 182) and Lata’s outstanding singing gives the song the necessary lilting edge. It’s not only the deserted feel but some lovely drizzle of santoor for those ‘saavan ki lambi raatein’ as that complicated rhythm rains steadily all along. Lata shows the excellent attitude of the heroine while sounding beseeching and yearning-to-be romantic in patches.
Another loss one faces by not getting the visuals of these songs of this film is the electronically processed stereo, a useless experiment by HMV that distorted the pleasure of the melody to make it excessively sharp. The visuals would make your fan extract although mono but still excellently sounding versions if he is not fortunate to have the access to those soothing mono SP-ecial rips.

Second film with double casualty was Dev-Hema-Rakhi starrer , a Trimurti banner produced and Yash Chopra directed Joshila. Scenic locations of Darjeeling, stunningly beautiful heroines, debonair Dev and the director later know for the king of romantic song picturisation, the resident yet acknowledged song writer Sahir and above all, You to take all these elements to further heights.
But alas!! With all those Joshila songs two Lata solos that were shy yet drenched with romance and excellent poetry missed the screen.

Jo baat isharon mein kahee , tum naheen samjhe : (Joshila-1973)- Lata Mangeshkar
It has to be Hema who would have lip-synched both of the solos as she is portraying the character of a poetess whose poem (kiska rasta dekhe) started the love between her and Dev. The lyrics , the rendition the orchestration everything so cutely shy yet attractive. The midas touch you all geniuses possessed made even the virtue of simplicity gorgeously noticeable.
Like your leitmotifs in different songs of the same album, your lyricists, too, contributed with their ideas. The ‘not understood ‘baat’ in this song could be the one that probably gave rise to ‘dil mein jo baatein hai..aaj chalo hum keh dein’.
A lovely orchestral mehfil of classic sitars, poignant flutes, the graceful table, the non-interfering and distant yet soulful violins and again, for the love of Mike, piano beats make the song a memorable listening experience. Overwhelming experience, every time!!

Mehfil mein chhupaane pade : (Joshila-1973)- Lata Mangeshkar
Wonder if it was your idea to project this nazm type piece adlib in Lata’s heavenly voice. There is no orchestral mehfil, only a possible ‘sur’ on tanpura or violin to assist her through her headphones but not carried to the recording medium. There was no nagging Gulzar (‘do nainon mein’) to suggest you to record it with minimal orchestration. So, this indeed is a curious case.
This song proves that your compositions sound superb even without the orchestral support. Again, the song must have been intended for Hema who could have been singing in her privacy thinking of Dev and her mulaqat … another song in the ‘baat’ trilogy.

Deewar was an important film in Amitabh’s career that changed his fortunes forever helping him to sit on the superstar throne. It still remains in the memories of the bollywood fans mainly for the cracker of dialogues between Amitabh-Shashi , Amitabh-Nirupa and so on and written by the superstar writer pair Salim-Jaaved. You yourself had agreed in an interview that the songs weren’t upto that mark and the film could have been successful without them, may be by your own standards, otherwise the songs were classic in their own right.
How can one imagine the movie now without the long drive in the Police Jeep with Shashi-Neetu or for that matter that classic 3-staged thriller scene graced by the bossa-novaic ‘I am falling in love’ ?
The film shared the same production team of Joshila, the banner, the director, music director-lyricist although the actors were different. Even the gorgeous title music was repeated as if it was the anthem of not only the ‘Trimurti films’ banner but several other movies of you and other M.D.s. The similarity, unfortunately, did continue in the aspect of the double casualty.
The polydor vinyl released right at the release of the movie 44 years ago on 14 January had all full version songs. Getting this vinyl is like hitting the jackpot. The problem may have started when its dialogues began to overpower the music and the company came up with the version records with hit dialogues at prime and curtailed songs to assist. Some songs didn’t find the place there. Some years ago, the company released an audio CD with all songs but some of them were still curtailed. Thanks to the efforts of your fans, one who doesn’t own that gold vinyl has the access to all full version songs today.
Coming back to the songs, one is Bhupi-chorus song and another Manna da sung philosophical song. Both were faithful yet non glamorous performers in your camp. So, the axing them from the film could have been a simple process. However, when we listen to them we understand what a loss it was.

Idhar ka maal –udhar ka maal : (Deewar -1975)- Bhupendra – Pancham and chorus
That gold vinyl I referred to has the golden nugget of your cameo in this song right at the start after that sound of buzz in the dockyard area. No prizes to guess for the location of this song as its so evident from the initial sounds and Sahir saab’s pin-pointing lyrics netting each and every situation perfectly.
The song could have been performed by Yunus Pervez or any other listless extra actor enjoying some relaxing moments while having a hot chai or finishing their lunch. Amitabh might have been a distant observer. I am strongly of the opinion that the song visuals were the part of the movie in early prints and it was not the shooting ‘zameen’ but the dictatorial emergency (enforced on the country six months later) that consumed this beautifully rendered folk song. That ‘custom se netaon ke ghar tak..kis ka kis se naata hai’ is a dead giveaway. You knew this song was lyrics oriented song and hence didn’t decorate with elaborate orchestration, that would divert one’s mind. The support of robust dholaks, folk mandolins and usual violins was enough. But yet you gave the lyrics some deft touches like the counter of the exuberant ‘oodhar ka maal’ to the softer ‘idhar ka maal’ and the extended ‘iiiiidhar ka maal’ that adds to the amusement.

Deewaron ka jungle (Deewar -1975)- Manna Dey-chorus :
Actually this song has the title word yet it was deleted. The tune was splendid and the rendition perfect . I always envy the luck of this tune which was composed by you and blessed by the voices of the three all time greats of Indian film industry. Firstly it was Lata, the nightingale of India , who honored the tune to be your first non-film bangla song, ‘aamar maloti Lata’ way back in 1966. Then this song portraying the social status of India’s business capital by the non glamorous yet tremendous Manna da, ideal for such kinds of the songs. Hamare tumhare , 1979, brought another version through your spearhead Kishore kumar. It is simply amazing how you created different moods in three songs .
When it came to portray social injustice or sad status, Saahir didn’t need to be told by someone else to be in his elements to paint the scorching reality through his effective pen. Manna da does an amazing rendition to carry it effectively to our heart and mind.
Here is the curtailed version here.

Back to 1974 and another Dev-starrer casualty this is, this time from his own ‘Navketan productions’ movie ‘Ishq-Ishq-Ishq’ (1974). I can bear Dev’s clumsy films only because of your serene pahadi music. This ‘Dev-Burman’ association is so close to my heart and every song in this movie proves that sentiment. Then why did this solo miss the pahadi trek?

Kisi na kisi se hogi mohabbat (Ishq-Ishq-Ishq -1974)- Asha Bhosale
“Sab ke liye hai barabar ka mauka,
Koi bhi de sakta hai mujhko dhoka’
The national election is just round the corner. National or any political election I am invariably reminded of these lines of your song. The situation also seems to be something like that. Every song of this movie had large gathering of actors, lead and extras. This song seems no exception. You have always been exceptional story teller and drama creator. Here, too, the pahadi based song has that heightening of drama with the rise of tension along ‘magar kis se hogi?’ and ‘jise ..hogi ..batta doongi.. naam doongi’ and keeping-it-hanging along ‘bata doongi..haan..hey hey..haan ..bata doongi’ .
That Nepali punch line ‘timri moohar ramroo chhe’ serves as cute cherry over this creamy dessert. It has always been in your case that your antaras excelled over the mukhadas with the amusement graph always ascending. This song also lies in that category. The drama again gets unfolded, the tension again rises and falls similarly compelling us to exclaim.
“O Pancham shaab ji maharaj: not only timru muhaar (mukhada) anatara pani ramroo chhe.”

Dum tumhari Dum (Zehreela Insaan -1974) – Kishore and Chrous
Although started simultaneously with Bobby, this movie was one of the very firsts of Rishi Kapoor. He wore a very different look than Bobby for that totally different venom-spitting angry young man character. Some of the songs were a healing getaway from the scorch of the movie. ‘O hansini’ is a colossal hit and the film still gets recognition from this song. ‘Yeh silsila’ (yes, of the romance between Rishi and Neetu) and ‘mere dil se yeh nain’ were less popular yet adorable songs. The vinyl versions have the dialogues in the prelude and this excluded song too is not the exception which means ‘dum tumhari dum’ was filmed , obviously on Rishi and the rural school boys but went missing just like ‘gadhe ke sar se sing’ or like the tail from the man’s back while evolving from the monkeys.
Back to the song. Composing and rendering such a lovely conversational songs was a child’s play for both, you and Kishore da. Simply love the way the song evolves from the dialogues between Rishi and the school boys with Kishore da playing with the phonetics of ‘dum’ and ‘gum’ and your mouth organ launches the song. What happens thereafter is simply enthralling exchange between Kishore and child chorus. In the same vein as Majrooh saab’s apt phrase ‘jungali ke saath jungali ban jaao’, with Kishore’s infectious style around, you can only become Kishore and nothing else. That ‘goya-moya –simba-chimba’ gibberish (again in the same comic vein of ‘gum-dum) simply steals and seals the show. And just when you begin to get the feel of ‘ek sawaal hai tumse yeh mera’ (Bhoot bangla) comes Kishore and chorus’ ‘hey …hey…arre..haan.. haan’ confirms that gut feeling.
For those who always want more in your compositions can go and listen to the vinyl version. A lovely traditional snake-charmer’s music in the song prelude waits to be cherished.

Maar sutya (Khote Sikke -1974)- Asha Bhosale
One can understand the deletion of a song from a 6-7 member album but this album contained only three songs yet this Asha solo with Punjabi flavor got deleted. Mind boggling, isn’t it? Anyway, if we consider the cowboy western Kishore songs as the reference then Khote Sikkey (‘Jeevan mein tu’) , Kachche Heere (‘haare na insaan’) and ‘Joshiley jo shehzaade hain zameen ke’ ( Joshile , although shared with two other singers) would serve as a trilogy. Around that time there was this ‘Curry western’ trend was quite in vogue, inspired heavily from the ‘spaghetti westerns’ like ‘Mackenna’s Gold’ , ‘The good, the bad and the ugly’ and so on. This could easily attract the English movie urban fans but something ws needed to welcome the rural audience. In short this spicy western curry needed this ‘(khote)sikke-di-roti’. The other two songs just served that purpose. While the Punjabi mujara duet was retained this rustic Punjabi solo went missing. Asha’s super vocal performance with the able support of robust Punjabi dholaks, shehnai and the mandolins with Majrooh saab’s UP-beat lyrics makes it a memorable listening experience. The visuals would have added more flavor just like another Punjabi based song by Asha in Kachche heere (‘chadhi jawani..haye rut mastani’ ) had done.

Chaand sa koi chehra na pahloo mein ho (Sholay -1975)- Kishore- Bhupendra- Manna Dey-Anand Bakshi-chorus
It’s amusing to see that even Sholay was not spared. But this is quite understandable. Just like Deewar, the initial sag in Sholay success was corrected by the huge applause it got from the dialogues rather than the songs except your own Greeko-Arabian ‘mehbooba mehbooba’. The film too went very long and many scenes had to be curtailed with ruthless professionalism. The exclusion of this ten+ minute long qawali , in fact, ‘chaar bhaand’ as they say, was always on the cards. I frankly don’t look much forward to seeing it the tune of which sounds close to ‘mat jaiyyo naukariya chhod ke’. It could have been planned to be picturised, obviously on Dharmendra and Amitabh and I guess Jagdeep’s Soorma Bhopali.

Haathon mein haath hum lekar tera (Chala Murari Hero banane -1977)- Lata
The famous comedian actor, Asrani, who played the jailor in Sholay, roped you in as music director when he directed this movie called ‘Chala murari hero banane’ portraying the dreams and actual realities involved in becoming a hero in the film industry. In this way, it had a film within the film. The audio track had superb and all round entries of the songs from different genres showing your class and range.
This was a Lata song, which took us for a dreamy ride on the flying Arabian carpet. There’s a detailed write up for the song!!

For the convenience of the reproduction of this blog on (the same), let’s take a break in this article. Part 2 will be dealing with the new decade of 80s which had same you but with new sounds, new associates with more songs with renewed vigour and fun but carrying same misfortune.
Hum abhi haazir honge , in part 2 here Lekin, Pancham, aap aur audience : kahee na jaa, aaj kahee mat jaa
And till then listen to this gorgeous duet that graced the decade.

1 Comment

  1. mahesh

    May 14, 2021 at 6:38 am

    what a wonderful analysis.

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