“Simple can be harder than complex. You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.”

~ Steve Jobs 

I doff my hat to Sandeep Garg who kept his presentation so simple that he certainly moved the hearts of everyone who attended the 4th Premium Member Presentation PMP). In any presentation, there's a thin line dividing "wanting to express" and "wanting to impress" and it equally true for our Member Presentations (MP) and PMP's. Sandeep, to his credit clearly stayed on the "wanting to express" side and delivered a smashing PMP

Key observations on his PMP

• He stuck to his allotted time. In fact, he ended a few minutes earlier thereby implying that he was crisp and concise.
• His song introductions were sharp and didn't wander around aimlessly. I was embarrassed that my intro was longer that most of his song intro :) 
• Straddling across decades, he chose to touch various singers and composers making it an enthralling presentation. 
• The songs chosen were lyrically rich and Sandeep chose to focus on this aspect of the song.

The songs themselves

• Lata Mangeshkar featured in 7 out of 10 songs - 4 solos and 3 duets, though I am sure Sandeep didn't intend it that way.
  • ​Started with "Ruke Ruke Se Kadam" from the film "Mausam" and ended with "Mein Na Bhoolunga" from the film "Roti Kapada Aur Makan". The former is a soulful self-introspective song, while the latter is introspective song of a romance gone sour.
  • Three solos were - "Mera Anthar Ek Mandir" from the film "Tere Mere Sapne", "Ajnabee Kaun Ho Tum" from the film "Sweekar Kiya Maine" and "Jaane Kya Baat Hai" from the film "Sunny". The first is a minimalistic SD Burman composition that's caramelized chocolates dipped in honey. The second is a lilting romantic solo composed by Usha Khanna in Khayyam style. Sandeep connected this song to "I am falling in love with a stranger" song from the film "Deewar" more from a lyrical touch. The third, a RD Burman composition is a soft number from the time when most composers, including RD Burman got more into the Disco and fast rhythm compositions.
  • Two Lata duets also found a place in the presentation. "Zindagi Bhar Nahi Bhoolegi" from the film "Barsaat Ki Raat" and "Ek Baat Dil Mein Aayi Hai" from the film "Rahi Badal Gaye".
•  Kishore and Mohd. Rafi had one solo each. "Aisi Haseen Chandni" from the film "Dard" and "Is Rang Badalti Duniya Mein" from the film "Rajkumar". These songs, sung in different eras had the common thread of the hero singing paeans of the beauty of the heroine.
• One song of Chitra Singh "Hai Ikhtiar Mein Tere" from the Non-film album "Passions" was possibly the highlight of the PMP. 

In summary, Sandeep aced the show with his choice of songs, the lyrical strength of them and an incisive introduction to each of the songs thus holding the audience in rapt attention and craving for more. 

नज़र का रखा क्या है,कब कहाँ दे जाये धोका 
मालूम नहीं क्या दिखे आगेहकीकत या ख्वाब अनोखा 
नज़राना बेमिसाल हो तो नज़र बदलते ना लगे देर 
रिश्ता बना और बिगड़ा कैसे बस नज़रों का हेर फेर 
नज़र में उठना , नज़रों से गिरना सब नज़रिये ने किया एहजाद
रिश्तों के तमाशयीयोने ही किया नज़र लफ्ज़ को बर्बाद
जानता हूँ अब तू भी देगी तेरी नज़र का वास्ता 
नज़र दिखा देगी तुझे मुझे जुड़ा होने का रास्ता 
मुझे मेरी सोच अजीज धोका नहीं मेरे प्यार में 
वो तक़्क़त तेरे इंकार में कहाँ जो ज़ोर है मेरे इकरार में 
माना तेरी नज़र में , तेरा प्यार हम नहीं
कैसे कहे के तेरे , तलबगार हम नहीं 

Thus wrote Arup who is an aspiring poet and has cultivated the art of writing poems which end with the mukhada of Hindi Film songs. The one above is what Arup read out on the show and is an example of this format with the highlighted portion being a song mukhada. 

Arup presented the third PMP (Premier Member Presentation) and what a delightful one it was. Given his poetic inclinations, it was expected that songs which showcase lyrical supremacy would be chosen and Arup did that, yet he left us unquenched for some reason which I will touch upon at the end of this review. He chose 10 songs with focus on nine words (two songs were on the same word). Through these songs Arup, combined with quotes from Shayari's and some his own, managed to keep the audience engaged.

Arup chose 9 words for the songs today and inspired from Arup, I have attempted to weave these words into a brief poem. The highlighted words are part of Arup's choices. 

किस्सा सुनाते हैं तुम्हारी निगहाओं का 
नज़रें जब मिलती है आमने सामने 
सोचते हैं पीछे राह देखें या आगे रहगुज़र 
या गौर करे उन दास्ताँ-इ-इश्क़ पर
जो दूरियों में भी ला रहें हैं हमे करीब

The Songs themselves 

Arup started and ended with two female singers with different capabilities as an artiste. Suraiya - a singer and actor par excellence who chose to live unmarried when her love didnt reach a desired conclusion while the other Meena Kumari , well what can one say of someone who want these words to be her epitaph. 

"She ended life with a broken fiddle, with a broken song, with a broken heart, but not a single regret"

• "Ye Kaisi Ajab Dastaan Ho Gayi Hai" (focus word Dastaan) from the film "Rustom Sohrab" was the first song - a Suraiya swan song from her last film after which she chose to retire never to be seen or heard again in Films. A sonorous ode to love which she died never accomplishing. 
• "Yun Teri Rehguzar Se Deewanawaar Guzre" (focus word Rehguzar) from the non film album "I write, I recite" was the last song and this was written & sung by Meena Kumari . The melody of the song was later recreated by Khayyam (who also tuned this song) as "Inn Ankhon Ki Masti Ke" from "Umrao Jaan" 

There were three songs from Beyond 1985 , which ideally moves into Muzicalli domain as Nostalgiaana R4 largely limits its choices to songs upto 1985.

1. "Kissa Hum Likhenge" (focus word Kissa) from the film "Doli Saja Ke Rakhna" brought out the glory of A R Rahman, whose early work till about 2000 is worth dying for.
2. "Ek Haseen Nigaah Ka" (focus word Nigah) from the film "Maya Memsaab" was a showpiece for the talented composer Hridaynath's modern orchestration. Kumar Sanu made mincemeat of the pronunciation of the word "Haseen" and I suppose the only reason why Gulzar (the lyricist) allowed this to pass is ... well he must have given up!!
3. "Tumko Jab Se Qarib Dekha Hai" from the film "Bahaar" was the surprise packet for the day. A lovely soft romantic melody in Ghazalana Andaz tuned by Manoj Gyan of whom very little is known hit us like a breath of cool mountain breeze on a hot summer day.

Three songs from the mid 60s and early 70s found their way into Arup's presentation.

1. "Shokhiyan Nazar Mein Hain" (focus word Nazar) from the film "Aasra" is a pristine early Laxmikant-Pyarelal work of the 60s with an orchestration that is very different from their work in the subsequent decades. Mohd Rafi is pretty much at home in the LP camp and delivers home a sixer. 
2. "Paas Baitho Tabiyat Behel Jaayegi" (focus word Kareeb) from the film "Punar Milan" was played jointly with the "Bahar" film song is an underrated beauty from an underrated composer - C Arjun.
3. "Raah Mein Kaliyan Khila Ke Yaar" (focus word Raah) from the film "Nafrat" is conventional yet less spoken of vibrant, energetic gem from R D Burman. Even many RD fans have missed this over the passage of time. Kishore in the RD camp in the 70s is magic of different level and this epitomizes it. 

I must mention about two songs that I found disappointing and left me wondering on their place in the show. 

1. "Aage Peechhe Daayen Baayen" from the film "Pick Pocket" is a "Bhangra" flavoured Rafi-Asha duet. Arguably these two singers excel in the Punjabi folk genre (in Films) and in this one too they put their stamp of excellence. However, in my opinion, the song lacked the fervour and josh that one comes to expect from the boisterous Punjabi songs.
2. "Saamne Baithke Jab Dil Ko Churaye Koi" from the film "Lal Pari" was a complete let down. The spark was missing and Shamshad Begum looked out of place in what could be a club kind of a song. One which was tailor made for a Geeta Dutt or even Asha Bhosle.

Overall, an impressive set of songs interwoven into a script which was warm and the attempted to connect with the audience. Could Arup have done with slightly easier to connect songs, even if not popular with respect to the showcased words. Well, the jury is still out on that one.

​And what was Do Lafzon ki Kahani ?? ... the Kahani seemed to have got left behind. 

With Rama Kant-ji, one comes to expect the rare and esoteric and therein lies the joy of his presentations. His horizon of Film songs stretches to the 40s and the 30s and it's always a pleasure to be walked down the garden holding his hands for guidance. On both these fronts Rama kant-ji did not disappoint. 

That said, the choice of Qawwali in his PMP was baffling. Not because this genre is uninspiring and tepid. Quite the contrary, Qawwali’s are awe inspiring when done right. As the song progresses the tempo and passion build up, with each singer trying to outdo the other in both vocal delivery and lyrical subjugation. The show had its fair share of “Eureka” moments, but as a listener one tended to get fatigued by the predictability of this templatized genre. 

Additionally for reasons unknown Roshan’s Qawwali’s were kept out. Admittedly Roshan’s Qawwali’s are popular and have had/ continue to have plenty of airtime. Given Rama kant-ji fetish to highlight only rare songs, I certainly didn’t expect – “Yeh Ishq Ishq hai” and “Nigahen Milane Ko Jee Chahta Hai” to be on the playlist. But I was disappointed to not see a few of the Roshan’s less heard /spoken tracks like 

• "Haseenon ke jalwe pareshan rahte" from Babar
• "Nigaah-E-Naaz Ke + Na Khanjar Uthega" from Barsat ki Raat .. featuring a competition between Male and Female Qawwals 
• "Parda Uthe salaam ho jaye" from Dil Hi toh Hai

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As for the songs played 

• The all-female Qawwalis - "Kabhi Ae Haqeeqat-e-Muntazir" from Dulhan Ek Raat Ki , "Dil Gaya To Gaya, Dilruba Mil Gaya" from Shama were very endearing. However, the crown in this segment was taken by "Aahen Na Bharin Shikwe Na Kiye" from Zeenat which turned out to be a stunning revelation. 
• Asha and Rafi are known to be great exponents of this genre and they delivered with aplomb with "Meri Tasveer Lekar Kya Karoge" from Kala Samunder and "Husnwale Husn Ka Anjam Dekh" from Qawwali Ki Raat
• If there’s any genre that truly belongs to Manna Dey, it must be the Qawwali, IMO. His voice is suited best for this genre, arguably even better than Mohd. Rafi. But the fact that he usually sang for the character actors and not the Hero in Qawwalis put him at a disadvantage. Mannada proves his mettle in "Zalim Meri Sharaab Mein" from Reshma Aur Shera
• "Aaj Rang Hai Ey Ma Khusro Rain Suhaag Ki" from Junoon at over 7 minutes dragged on needlessly. There are many film Qawwalis which are longer than this one, but they hold your attention as they pick up tempo and pace which this one didn’t. 
• Both Qawwalis from Garam Hawa which were an ode to Sufi Saint Salim Chishti probably were the closest to how a real life Qawwali would be, one which was deglamorized version of what we are now used to in Hindi films 

Thank you, Rama kant-ji for exposing us to this genre beyond the popular ones and helping us discover some gems.

We were obviously delighted when Balaji consented to make the first PMP (for non-members) . He comes with a great reputation as an Author & Columnist and besides is a good friend and supporter of Team Nostalgiaana.

When the presentation date happens to be 4th Jan, and the presenter is someone who has co-authored a book on R D Burman, what can one expect?  A full show on R D Burman, right?  Wrong!!!

Balaji slipped in a googly on the attendees when they were expecting a full toss !!

He chose to showcase RD Burman only with his finale song and credit to him to touch upon 10 different composers for each of his song, straddling several decades and genres of songs. Five songs were of composers who dominated the airwaves in the 50s and 60s 

• Naushad - "Husn-e-jaana Idhar Aa" from the film  "Saathi" which Balaji highlighted for the role of the arranger and how he transforms the style and flavour of composers. In this case Kersi Lord bedecked a Naushad composition with his arrangement 
• O P Nayyar - "Ek Tu Hai Piya Jispe Dil Aa Gaya" from the film – "Pran Jaaye Par Vachan Na Jaaye" . Balaji opined that   O P Nayyar lost out in the 70s as his rhythm was unidimensional and he was low on innovation quotient. I don't entirely agree with this. The fact is every artiste has his/ her golden period and then a slide is inevitable. Happened to O P Nayyar too. 
• Shankar-Jaikishan - "Aaj Na Jaane Paagal Manwa" from the film "Begunaah" . Kishore with his "hichkis" interspersed into singing made this very difficult song a walk in the park. Only somebody as supremely talented and God gifted as Kishore Kumar could have pulled this off with aplomb.
• S D Burman - "Dene Wala Jab Bhi Deta" from the film "Funtoosh". If the earlier one was "Hichkis" this one was gibberish in what sounds like Russian. A virtual vocal histrionics is what Kishore indulges in and convert this song into a laugh riot. 
• Madan Mohan - "Charagh Dil Ka Jalao" from the film "Chirag". This is apparently Balaji's top favourite of the Rafi + Madan combination and I concur too. 

Balaji also touched upon a few composers who ruled the roost in the 70s including his favourite - R D Burman 

• Laxmikant-Pyarelal - "Dil ki baatein Dil Hi Jaane" from the film "Roop Tera Mastana". Balaji touched upon the enduring friendship of LP and Pancham and mentioned that due to the orchestration this song had a Pancham-ish feel to it. He also turned emotional talking about how LP paid tribute to Pancham in their first live show after Pancham's death by choosing to play a song on his on stage
• Kalyanji-Anandji - "Aap Ka Sarkar Kya Kuchh" from the film "Hera Pheri" . KA according to Balaji were expert at sound mixing and this song was a great example of this. 
• R D Burman - "Ye Mastani Dagar" from the film "Hifaazat" . Balaji ended the show with his favourite composer ,on whom he co-authored a book too. A frothy, lively number from the early 70s , a time when RD could do no wrong 

The two other composers whom he also touched were

• Sajjad Hussain with the song "Aye Dilruba Nazrein Mila"  from the film "Rustom Sohrab" . A composer with mercurial temparament who spared none in the industry and paid a heavy price for his intemperate conduct. A beauty by Lata during the times when Sajjad was done with his professional work. As they say quality lasts forever and this one surely does. 
• Babla - "Kabhi Hoti Nahin Hai" from the film "Khara Khota". Babla the brother of KA was in showcase as Balaji  highlighted how many unknown actors (today) benefitted by the playback voice of Kishore Kumar. So, while the actors slipped into oblivion, the song continues to enthrall audiences even today. 

Thank you , Balaji for the engaging and entralling presentation.