RMIM Bangalore meet 2007 - Report ( Saturday's events)
Srinivas Ganti
Franciase de Bangalore was less than an hour away.
We also picked up Chiranjeevi Singh enroute. Chiranjeevi talked about
his meeting with Anil Biswas and stressed on Anilda's immaculate
memory.
When we reached the venue, Abhay and Manjari had already arrived. We
settled down in the auditorium and set up the music system. Abhay
kicked off the proceedings with "aaj milan ki raat hai" followed by
the Marathi original "dhundha madhumati raat re". There was a
unanimous preference for the Marathi number. The Marathi track of
Pinjara and its Hindi counterpart also featured in the discussion.
Shantarams movies were next on the agenda. Sandhay's acting ability,
rather the lack of it came under scrutiny. Arunabh commented that he
liked her performance in " Jal Bin Machli". We were soon joined by
Anand Srinivasan, who has been reading RMIM since 1998.
Abhay and Manjari did an audio presentation on CR. CRs style of
composing including his preference to get the lyrics first was
illustrated. CR typically composed multiple tunes to the lyric and
picked the one he liked most. The sample played was a Marathi number
expressing a girls love. CR composed 3 different tunes and all the
three were played along with his commentary on his final choice. CR
rejeted the first due to lack of emphasis on the right words. Second
was found to be too blatant an expression of love in the context of a
traditional Marathi girl. The third tune was finally selected.
This was followed by Last years quiz question. The patriotic
composition that brought tears to a PM. The singer was Asha,
PM was LB Shastri and the song wasn't "ai mere watan ke logon". It was
a chorus number by Asha and was recorded after Indo Pak war. It
adressed the widows who gave balidaan of their suhaag. During the show
Asha came on stage decorated with Jewelry and at the end of it she
donated all of that to relief fund. The song played at the meet was a
solo version of the same song. This was performed by Asha at LB
Shastri's residence.
Soon we dispersed for lunch. At the mention of the French venue Vivek
had earlier commneted that we may end up eating Croissants. However we
had a scrumptous India Menu with Rice, Roti, Papad, Kurma, Dal and a
couple of sweets including Benaras Khaja. We were joined by Kalyan and
Dharam Singh. Kalyan came with a note book and pen and I was expecting
a quiz. Kalyan cooly remarked that he never got around writing last
years report and will make a combined one of last years and this
years. We pulled him saying that he will end up wiriting about RMIM
Bangalore meets in his memoirs.
Chiranjeevi introduced us to the Director of Alliance Franciase. He
seemed to have got acquainted to India food and music quite a bit. He
remarked that he found it harder to
appreciate Carnatic music as compared to Hindustanti.
He also mentioned an interesting anecdote with Kavita Krishnamurthy.
During a breakfast with her and L.Submamanian he mnetioned about his
liking for Indian music and asked Kavita to sing a song from Bombay.
Only after Kavita sang the song did he realise that she originally
sang it in the movie.
We sat on wooden tables under the trees for lunch. I mentioned about
my interest in Marathi songs and the recent Bhavgeet concert that I
attended in New Jersey. Manjari then
sang a few Marathi songs of Asha, Lata and Manik Verma.
When we assembled inside the auditorium post lunch Manjari
was requested to sing more. She started with another Marathi number.
Abhay then commneted that telling Manjari about ones interest in
Marathi music is like telling the oldest person
in a group about ones liking for Golf.
Usha Mangeshkar's Hindi output was then discussed. Manjari sang
"mungda, main gud ki dali". The role of the movie Jai Santoshi Maa in
popularising the Goddess was discussed.
The discussion on Usha's duets diverted to Asha-Lata's duets and when
"man kyuun behka" was mentioned I cudn't help saying "16th good song
of LP". (On Friday night Chiranjeevi challenged Ashok to list 20 good
songs of LP and Ashok came up with 15. Chiranjeevis point was that one
has to make an attempt to recall good songs of LP).
It was then the turn of Abhay's quiz. Hints on preludes were given
( lyrics different from Mukhda sung before the song, musical preludes
and lyrics recited were excluded) and the mukhda had to be identified.
This had 4 rounds.
1) Translators round: Prelude words in English are read out.
2) Part of the prelude lyrics are read.
3) entire prelude lyrics are read.
4) Audio of prelude is played
The quiz mainly cenetred around femaled singers and majority of songs
were by Lata. Inspite of the presence of quite a few Lata bhakts the
quiz was quite difficult as many songs were obscure. Most of the right
answers came from Ashok, Arunabha, Chiranjeevi, Manjari and
Dr.Khaitan.
One of the clues was an SJ composition and Abhay gave an extra hint
that the track was discussed on Friday. No one cud crack it and Abhay
mentioned that it was from Aurat. Kalyan, who mnetioned the track on
Friday, came up with an excuse for forgetting. "I got married, had a
kid and started a compnay since I last heard Aurat". Thankfully Kalyan
hasn't forgotten his wit and it was on display several times.
Gulzar winning the best lyricist award for 2005 and 2006 was
mentioned. As Chiranjeevi hasn't heard "Kajraa re" a snippet of the
song was played. While we were on Gulzar, the question of the
lyricists first song was raised. Ashok mentioned last years Bangalore
meet was attended by Hamraaz's publicity agent and he set the record
straight.
Everyone was curious as to who this person was. Ashok stumped everyone
by saying " Surjit Singh" !
Abhay then played several songs including the ones sent by Nani. These
were the numbers from which "dheere se aa jaa ri akhiyan men" was
inspired. An interesting anecdote about "ye zindagi usi ki hai" was
mentioned. CR told in an interview that this song was inspired by a
Marathi number. The composers son wanted to clarify with CR as the
Marathi song in question had a different tune. CR remarked that his
father used to hum the Marathi song in the bathroom "out of tune".
That sounded sinmilar to ye zindagi usi ki hai. Another incident
involving G.D Madgulkar and Sudhir Phadke was also mentioned. Gadmia's
wife once asked Sudhir Phadke " My husband gives you so many different
lyrics. But you seem to compose the same tune for them". She was
referring to Gadima singing the songs in Bathroom. Ashok retorted "All
Marathi songs sound the same" :)
Abhay then played "kacchi hai umariya" and Chiranjeevi pointed out the
different parts of the song that were based on Bihari, Tamil and
Bengali folk. Other songs of chaar dil chaar raahen including
"intezaar aur abhi" and "o stella, o baby" were also discussed.
It was then the turn of the commemorative. The compilation was a
rehash of the 1996 Rare Classical songs tape, with a few additions and
omissions. An mp3 cd from the collection of
Surjit Singh and ML kapur was also distributed. This had 200+ songs
from 1930 to 1937.
We vacated the auditorium around 7:00 pm. Anand, Chiranjeevi, kanchan,
Dharmendra and Dr.Khaitan left. The rest of us assembled at Chetans
place. Anilda was again the topic of discussion. People expressed
their opinion on Anilda not being considered an important figure in
Bengal. Kalyan pointed out that when he approached Bengali
associations with a proposal on Anilda's tour to US there was lukewarm
interest while artists of much lesse stature were given importance.
Arunabha pointed out that Anilda not composing Bengali songs was a
factor. Also Anilda didn't have much box office success post 50's and
his name faded away from public memory. Kalyan and Vivek soon left.
Chetan came to Arunabh's place to pick us up. The venue Alliance
Franciase de Bangalore was less than an hour away.
We also picked up Chiranjeevi Singh enroute. Chiranjeevi talked about
his meeting with Anil Biswas and stressed on Anilda's immaculate
memory.
When we reached the venue, Abhay and Manjari had already arrived. We
settled down in the auditorium and set up the music system. Abhay
kicked off the proceedings with "aaj milan ki raat hai" followed by
the Marathi original "dhundha madhumati raat re". There was a
unanimous preference for the Marathi number. The Marathi track of
Pinjara and its Hindi counterpart also featured in the discussion.
Shantarams movies were next on the agenda. Sandhay's acting ability,
rather the lack of it came under scrutiny. Arunabh commented that he
liked her performance in " Jal Bin Machli". We were soon joined by
Anand Srinivasan, who has been reading RMIM since 1998.
Abhay and Manjari did an audio presentation on CR. CRs style of
composing including his preference to get the lyrics first was
illustrated. CR typically composed multiple tunes to the lyric and
picked the one he liked most. The sample played was a Marathi number
expressing a girls love. CR composed 3 different tunes and all the
three were played along with his commentary on his final choice. CR
rejeted the first due to lack of emphasis on the right words. Second
was found to be too blatant an expression of love in the context of a
traditional Marathi girl. The third tune was finally selected.
This was followed by Last years quiz question. The patriotic
composition that brought tears to a PM. The singer was Asha,
PM was LB Shastri and the song wasn't "ai mere watan ke logon". It was
a chorus number by Asha and was recorded after Indo Pak war. It
adressed the widows who gave balidaan of their suhaag. During the show
Asha came on stage decorated with Jewelry and at the end of it she
donated all of that to relief fund. The song played at the meet was a
solo version of the same song. This was performed by Asha at LB
Shastri's residence.
Soon we dispersed for lunch. At the mention of the French venue Vivek
had earlier commneted that we may end up eating Croissants. However we
had a scrumptous India Menu with Rice, Roti, Papad, Kurma, Dal and a
couple of sweets including Benaras Khaja. We were joined by Kalyan and
Dharam Singh. Kalyan came with a note book and pen and I was expecting
a quiz. Kalyan cooly remarked that he never got around writing last
years report and will make a combined one of last years and this
years. We pulled him saying that he will end up wiriting about RMIM
Bangalore meets in his memoirs.
Chiranjeevi introduced us to the Director of Alliance Franciase. He
seemed to have got acquainted to India food and music quite a bit. He
remarked that he found it harder to
appreciate Carnatic music as compared to Hindustanti.
He also mentioned an interesting anecdote with Kavita Krishnamurthy.
During a breakfast with her and L.Submamanian he mnetioned about his
liking for Indian music and asked Kavita to sing a song from Bombay.
Only after Kavita sang the song did he realise that she originally
sang it in the movie.
We sat on wooden tables under the trees for lunch. I mentioned about
my interest in Marathi songs and the recent Bhavgeet concert that I
attended in New Jersey. Manjari then
sang a few Marathi songs of Asha, Lata and Manik Verma.
When we assembled inside the auditorium post lunch Manjari
was requested to sing more. She started with another Marathi number.
Abhay then commneted that telling Manjari about ones interest in
Marathi music is like telling the oldest person
in a group about ones liking for Golf.
Usha Mangeshkar's Hindi output was then discussed. Manjari sang
"mungda, main gud ki dali". The role of the movie Jai Santoshi Maa in
popularising the Goddess was discussed.
The discussion on Usha's duets diverted to Asha-Lata's duets and when
"man kyuun behka" was mentioned I cudn't help saying "16th good song
of LP". (On Friday night Chiranjeevi challenged Ashok to list 20 good
songs of LP and Ashok came up with 15. Chiranjeevis point was that one
has to make an attempt to recall good songs of LP).
It was then the turn of Abhay's quiz. Hints on preludes were given
( lyrics different from Mukhda sung before the song, musical preludes
and lyrics recited were excluded) and the mukhda had to be identified.
This had 4 rounds.
1) Translators round: Prelude words in English are read out.
2) Part of the prelude lyrics are read.
3) entire prelude lyrics are read.
4) Audio of prelude is played
The quiz mainly cenetred around femaled singers and majority of songs
were by Lata. Inspite of the presence of quite a few Lata bhakts the
quiz was quite difficult as many songs were obscure. Most of the right
answers came from Ashok, Arunabha, Chiranjeevi, Manjari and
Dr.Khaitan.
One of the clues was an SJ composition and Abhay gave an extra hint
that the track was discussed on Friday. No one cud crack it and Abhay
mentioned that it was from Aurat. Kalyan, who mnetioned the track on
Friday, came up with an excuse for forgetting. "I got married, had a
kid and started a compnay since I last heard Aurat". Thankfully Kalyan
hasn't forgotten his wit and it was on display several times.
Gulzar winning the best lyricist award for 2005 and 2006 was
mentioned. As Chiranjeevi hasn't heard "Kajraa re" a snippet of the
song was played. While we were on Gulzar, the question of the
lyricists first song was raised. Ashok mentioned last years Bangalore
meet was attended by Hamraaz's publicity agent and he set the record
straight.
Everyone was curious as to who this person was. Ashok stumped everyone
by saying " Surjit Singh" !
Abhay then played several songs including the ones sent by Nani. These
were the numbers from which "dheere se aa jaa ri akhiyan men" was
inspired. An interesting anecdote about "ye zindagi usi ki hai" was
mentioned. CR told in an interview that this song was inspired by a
Marathi number. The composers son wanted to clarify with CR as the
Marathi song in question had a different tune. CR remarked that his
father used to hum the Marathi song in the bathroom "out of tune".
That sounded sinmilar to ye zindagi usi ki hai. Another incident
involving G.D Madgulkar and Sudhir Phadke was also mentioned. Gadmia's
wife once asked Sudhir Phadke " My husband gives you so many different
lyrics. But you seem to compose the same tune for them". She was
referring to Gadima singing the songs in Bathroom. Ashok retorted "All
Marathi songs sound the same" :)
Abhay then played "kacchi hai umariya" and Chiranjeevi pointed out the
different parts of the song that were based on Bihari, Tamil and
Bengali folk. Other songs of chaar dil chaar raahen including
"intezaar aur abhi" and "o stella, o baby" were also discussed.
It was then the turn of the commemorative. The compilation was a
rehash of the 1996 Rare Classical songs tape, with a few additions and
omissions. An mp3 cd from the collection of
Surjit Singh and ML kapur was also distributed. This had 200+ songs
from 1930 to 1937.
We vacated the auditorium around 7:00 pm. Anand, Chiranjeevi, kanchan,
Dharmendra and Dr.Khaitan left. The rest of us assembled at Chetans
place. Anilda was again the topic of discussion. People expressed
their opinion on Anilda not being considered an important figure in
Bengal. Kalyan pointed out that when he approached Bengali
associations with a proposal on Anilda's tour to US there was lukewarm
interest while artists of much lesse stature were given importance.
Arunabha pointed out that Anilda not composing Bengali songs was a
factor. Also Anilda didn't have much box office success post 50's and
his name faded away from public memory. Kalyan and Vivek soon left.
Chetan came to Arunabh's place to pick us up. The venue Alliance
Franciase de Bangalore was less than an hour away.
We also picked up Chiranjeevi Singh enroute. Chiranjeevi talked about
his meeting with Anil Biswas and stressed on Anilda's immaculate
memory.
When we reached the venue, Abhay and Manjari had already arrived. We
settled down in the auditorium and set up the music system. Abhay
kicked off the proceedings with "aaj milan ki raat hai" followed by
the Marathi original "dhundha madhumati raat re". There was a
unanimous preference for the Marathi number. The Marathi track of
Pinjara and its Hindi counterpart also featured in the discussion.
Shantarams movies were next on the agenda. Sandhay's acting ability,
rather the lack of it came under scrutiny. Arunabh commented that he
liked her performance in " Jal Bin Machli". We were soon joined by
Anand Srinivasan, who has been reading RMIM since 1998.
Abhay and Manjari did an audio presentation on CR. CRs style of
composing including his preference to get the lyrics first was
illustrated. CR typically composed multiple tunes to the lyric and
picked the one he liked most. The sample played was a Marathi number
expressing a girls love. CR composed 3 different tunes and all the
three were played along with his commentary on his final choice. CR
rejeted the first due to lack of emphasis on the right words. Second
was found to be too blatant an expression of love in the context of a
traditional Marathi girl. The third tune was finally selected.
This was followed by Last years quiz question. The patriotic
composition that brought tears to a PM. The singer was Asha,
PM was LB Shastri and the song wasn't "ai mere watan ke logon". It was
a chorus number by Asha and was recorded after Indo Pak war. It
adressed the widows who gave balidaan of their suhaag. During the show
Asha came on stage decorated with Jewelry and at the end of it she
donated all of that to relief fund. The song played at the meet was a
solo version of the same song. This was performed by Asha at LB
Shastri's residence.
Soon we dispersed for lunch. At the mention of the French venue Vivek
had earlier commneted that we may end up eating Croissants. However we
had a scrumptous India Menu with Rice, Roti, Papad, Kurma, Dal and a
couple of sweets including Benaras Khaja. We were joined by Kalyan and
Dharam Singh. Kalyan came with a note book and pen and I was expecting
a quiz. Kalyan cooly remarked that he never got around writing last
years report and will make a combined one of last years and this
years. We pulled him saying that he will end up wiriting about RMIM
Bangalore meets in his memoirs.
Chiranjeevi introduced us to the Director of Alliance Franciase. He
seemed to have got acquainted to India food and music quite a bit. He
remarked that he found it harder to
appreciate Carnatic music as compared to Hindustanti.
He also mentioned an interesting anecdote with Kavita Krishnamurthy.
During a breakfast with her and L.Submamanian he mnetioned about his
liking for Indian music and asked Kavita to sing a song from Bombay.
Only after Kavita sang the song did he realise that she originally
sang it in the movie.
We sat on wooden tables under the trees for lunch. I mentioned about
my interest in Marathi songs and the recent Bhavgeet concert that I
attended in New Jersey. Manjari then
sang a few Marathi songs of Asha, Lata and Manik Verma.
When we assembled inside the auditorium post lunch Manjari
was requested to sing more. She started with another Marathi number.
Abhay then commneted that telling Manjari about ones interest in
Marathi music is like telling the oldest person
in a group about ones liking for Golf.
Usha Mangeshkar's Hindi output was then discussed. Manjari sang
"mungda, main gud ki dali". The role of the movie Jai Santoshi Maa in
popularising the Goddess was discussed.
The discussion on Usha's duets diverted to Asha-Lata's duets and when
"man kyuun behka" was mentioned I cudn't help saying "16th good song
of LP". (On Friday night Chiranjeevi challenged Ashok to list 20 good
songs of LP and Ashok came up with 15. Chiranjeevis point was that one
has to make an attempt to recall good songs of LP).
It was then the turn of Abhay's quiz. Hints on preludes were given
( lyrics different from Mukhda sung before the song, musical preludes
and lyrics recited were excluded) and the mukhda had to be identified.
This had 4 rounds.
1) Translators round: Prelude words in English are read out.
2) Part of the prelude lyrics are read.
3) entire prelude lyrics are read.
4) Audio of prelude is played
The quiz mainly cenetred around femaled singers and majority of songs
were by Lata. Inspite of the presence of quite a few Lata bhakts the
quiz was quite difficult as many songs were obscure. Most of the right
answers came from Ashok, Arunabha, Chiranjeevi, Manjari and
Dr.Khaitan.
One of the clues was an SJ composition and Abhay gave an extra hint
that the track was discussed on Friday. No one cud crack it and Abhay
mentioned that it was from Aurat. Kalyan, who mnetioned the track on
Friday, came up with an excuse for forgetting. "I got married, had a
kid and started a compnay since I last heard Aurat". Thankfully Kalyan
hasn't forgotten his wit and it was on display several times.
Gulzar winning the best lyricist award for 2005 and 2006 was
mentioned. As Chiranjeevi hasn't heard "Kajraa re" a snippet of the
song was played. While we were on Gulzar, the question of the
lyricists first song was raised. Ashok mentioned last years Bangalore
meet was attended by Hamraaz's publicity agent and he set the record
straight.
Everyone was curious as to who this person was. Ashok stumped everyone
by saying " Surjit Singh" !
Abhay then played several songs including the ones sent by Nani. These
were the numbers from which "dheere se aa jaa ri akhiyan men" was
inspired. An interesting anecdote about "ye zindagi usi ki hai" was
mentioned. CR told in an interview that this song was inspired by a
Marathi number. The composers son wanted to clarify with CR as the
Marathi song in question had a different tune. CR remarked that his
father used to hum the Marathi song in the bathroom "out of tune".
That sounded sinmilar to ye zindagi usi ki hai. Another incident
involving G.D Madgulkar and Sudhir Phadke was also mentioned. Gadmia's
wife once asked Sudhir Phadke " My husband gives you so many different
lyrics. But you seem to compose the same tune for them". She was
referring to Gadima singing the songs in Bathroom. Ashok retorted "All
Marathi songs sound the same" :)
Abhay then played "kacchi hai umariya" and Chiranjeevi pointed out the
different parts of the song that were based on Bihari, Tamil and
Bengali folk. Other songs of chaar dil chaar raahen including
"intezaar aur abhi" and "o stella, o baby" were also discussed.
It was then the turn of the commemorative. The compilation was a
rehash of the 1996 Rare Classical songs tape, with a few additions and
omissions. An mp3 cd from the collection of
Surjit Singh and ML kapur was also distributed. This had 200+ songs
from 1930 to 1937.
We vacated the auditorium around 7:00 pm. Anand, Chiranjeevi, kanchan,
Dharmendra and Dr.Khaitan left. The rest of us assembled at Chetans
place. Anilda was again the topic of discussion. People expressed
their opinion on Anilda not being considered an important figure in
Bengal. Kalyan pointed out that when he approached Bengali
associations with a proposal on Anilda's tour to US there was lukewarm
interest while artists of much lesse stature were given importance.
Arunabha pointed out that Anilda not composing Bengali songs was a
factor. Also Anilda didn't have much box office success post 50's and
his name faded away from public memory. Kalyan and Vivek soon left.
Ashok, Abhay, Chetan, Arunabha, Manjari, Myself then went to an indian
restuarant for dinner.
Ashok and Yours truly ordered North Indian mini meal while the rest
ordered Pav Bhaji.
The mini meal was quite heavy and we needed others help top finish it.
While we were enjoying the meal, powe went out and Abhay remakrked
"Andher Nagari". I added "Choupart Raja".
We asked Manjari on Anilda being a household name in Maharashtra. She
attributed it to the extensive books on HFM in Marathi and that
several writers had high regard for Anilda and wrote articles on him.
After dinner Abhay and Manjari left. Arunabha and Myself were
accomanied by the "deadly duo" on our way home. I have been grilled by
the "deadly duo" since 1999 and this was no exception. The allegations
this time were more serious and included betrayal. We reached a mutual
agreement and the case was adjourned till next meet.
Ashok and Chetan then left to Chetan's place while Arunabha and Yours
Truly returned to Chidiya Ghar (Kastle Grace).
....Over to next meet in US....
surhall
This very happy news to all members in banglore meeting. And
RMIM Bangalore meet 2007 - Report ( Saturday's
events) Options is very good . from my side namskar to all. surjit
singh ji give cd also good.
thanks
dhall
Anant Rege
"Srinivas Ganti" <sga...@gmail.com> wrote in message
news:1177561518....@t39g2000prd.googlegroups.com...
>
Thanks for the report. However these kind of reports depress me. Can you not
just say that it was waste of time, food was not great and everybody was
quite bored?
>
> Abhay then played several songs including the ones sent by Nani. These
> were the numbers from which "dheere se aa jaa ri akhiyan men" was
> inspired. An interesting anecdote about "ye zindagi usi ki hai" was
> mentioned. CR told in an interview that this song was inspired by a
> Marathi number. The composers son wanted to clarify with CR as the
> Marathi song in question had a different tune. CR remarked that his
> father used to hum the Marathi song in the bathroom "out of tune".
> That sounded sinmilar to ye zindagi usi ki hai. Another incident
> involving G.D Madgulkar and Sudhir Phadke was also mentioned. Gadmia's
> wife once asked Sudhir Phadke " My husband gives you so many different
> lyrics. But you seem to compose the same tune for them". She was
> referring to Gadima singing the songs in Bathroom. Ashok retorted "All
> Marathi songs sound the same" :)
>
I am not surprised. If one plays same song at 10 different times for Ashok,
he would say that all 10 songs sound similar.
But I have a sympathy for Gadima's wife. She probably said that she was
referring to Gadima singing the songs just because she did not want to
offend a dear family friend like Sudhir Phadke. It is easy to pick on ones
husband than a friend. But I have felt the same all the time. Many of Sudhir
Phadke's Marathi songs just feel like that they are based on same basic tune
or structure. The whole Geet Ramayan is just one continuous long song. Of
course I am little exaggerating here but basically that is how I have always
felt. And I am not referring to a composer's signature here. Shankar
Jaikishen, OPN, Naushad, Madan Mohan etc. all had their own styles and as a
person grows up listening to more and more music from the era, its kind of
becomes easy to reconize a previously unheard song and attribute it to a
proper MD. However even when a person develops an ear for these signatures,
one does not fail to notice that the actual tunes of the songs usually are
vastly different. Naushad is an exception of course. Coming back to Marathi
scene, I feel that Vasant Prabhu had a signature, so does Hridaynath but
Sudhir Phadke had a limited set of tunes which were re-used again and again
with little variation. Of course Babuji has given some great songs, most of
which I love are from the early days, again just like Naushad but I don't
feel same about his later output. The division of credit for the popularity
of a song is always a debatable issue but I feel majority of the credit for
Babuji's popularity should go to great lyrics by Gadima. Let me put it this
way. If a person who does not understand Marathi but has a good ear for
compositions, that leaves out Ashok I suppose, is forced to listen many
Marathi songs by various composers, in his/her opinion, VP, HM will always
score much higher than SP.
Anant
(PS: some of the smileys in the post are intentionally left out.)
Ritu
wrote:
> with little variation. Of course Babuji has given some great songs, most of
> which I love are from the early days, again just like Naushad but I don't
> feel same about his later output.
I feel that about Jaidev. Esp. in the later days. His tunes have very
little variation. Everything sounds the same. Great MD but very
repetitive.
Ritu
Vinayak
Sudhir Phadke gave music to about a dozen Hindi Films but was MD for
many such as 50/60/70 Marathi films.
I dont agree that his music was repeat tunes.
I dont have ALL his songs but have most.
Vinayak