Lyrics: Majrooh Sultanpuri
Audio on: HMV
Singer: Asha Bhosale + Asha Bhosale & Pancham
Pancham was always different from other music directors. One can see these unique features in this song. Film Kala Sona was released in 1975, produced by Harish Shah and directed by Ravi Nagich.
Total length of the song is 5 minutes and 45 sec out of which 1 minute and 28 sec is intro music. Which means almost 25% of the song is intro music. Lets now analyze the song by parts :
Intro Music :
Music starts with gongs on Bass guitar and Ashaji’s dual voice in two octaves, followed by tumba pick up and fast rhythm pattern. Kersiji’s synthesizer which is playing just three notes and brilliantly followed by brass section. Violins giving exact western style of feel to support brass section and one must listen to the marathon efforts by Amrutrao Katkar to support rhythm section with his speedy Reso Reso pattern.
I don’t know how Pancham and Kersiji must have thought of using simple frequency generator to give the effect of an old door opening (not at all used in visual). Pancham’s voice with chorus once again gives overall grip to the fast rhythm. The intro ends with drum & timpani sound.
The Song :
Ashaji starts the song in her normal scale and once again perfectly supported by Bass Guitar gongs (as heard in intro). Pick-up was Marutirao’s specialty which he has demonstrated once again in this song. Even the rhythm pattern throughout the song is reverse of what we hear normally which is “ Tak Tak dugu dugu” completing 4/4 pattern.
Ashaji’s second voice follows in chord fashion generating perfect haunting effect which was done with pancham’s special technique of “Voice over Voice”. I must state here that in the year 1974-75 there were no computers to support such technique which is so simple now. All these efforts put in were manual recording of two tracks. Hats off to Pancham and Ashaji for these novelty ideas. If we listen carefully we can understand that the cross line after “La La La” is picked up by second Ashaji which once again means that the home work done before recording must be great. One Ashaji ends and the other starts, sometimes they overlap in chord fashion. All these juggleries done in one song?
1st interlude starts with Marimba effect on which superimposes the brass and other string instruments. Since the intro music was long Pancham must have made short M1. The second interlude music is quite interesting. Guitar Santoor combo with very odd timings starts the M2, the violins follow usual pattern, superimposed by brass section. All of a sudden drum set declares a stop and a small DIMDI starts with Kersiji’s high pitch synth supporting instrument. Male Chorus starts “Hay Ho” which itself is having variety of timing within. Ashaji overlaps once again the rhythm with her “La La La La…”. The rhythm pattern once again goes back to “Tak Tak Dugu Dugu” to continue the antara.
Antara pattern is also very odd as far as Indian songs are concerned. No one must have used such a phrase which is supported in chord once again by second Ashaji. The end of the song is usual fade out type with both Ashaji overlapping each other.
One more great thing about this song was that Ashaji’s two voices were used for two dancers while pasteurizing. Helenji’s dance in Egyptian style make over with another co-dancer. One can see the contented looks of Firoz Khan, Danny and Imtiaz Khan watching the dance in the frame. All in all the music and the visual is a treat to eyes and ears.
Once again hats of Pancham, his team and Ashaji for a great song. Last point regarding this song from my side would be that what Pancham did manually in 1974-75 is so simple with new computer technology in 21st century but unfortunately Pancham is no more and no other Music director has guts to create such wonder.