Khushboo music revisited ...
Ashish Bokil
Eons before, i'd been asked to comment on the interpretations on
lyrics of "O Maanjhee re ..." from Khushboo. well .. having seen the
movie a long time ago, i had very faint [or rather no specific] memories
of the picturization of many songs in that movie, so i felt i couldn't
have added to it more than what had already been said. So, i managed to
watch that movie a few months back and have gotten a chance now to put
down my thoughts on it.
Again, what i write, is only ONE interepretation, among many that can/have
been figured out by others. Before i write the interpretation here is a
outline of this movie, which is based on SharatChandra Chatterjee's novel
that with the same title [in Hindi] ...
While in her early teens, Hema Malini was foreordained to marry Jitu bhai,
a decision mutually reachd by their "friendly" parents. So Hema begins to
think of young jitu as her husband even before marriage. When they grow
up, some family feud makes jitu's family break this promise and they
refuse to accept hema as their bahu and hema can't accept this situation.
she still thinks of jitu as her husband and lives her life in that manner,
with sindoor, etc., as a person rejected by jitu. Jitu, in the meantime,
becomes doctor and goes to some village for treating and briefly, for
some compelling reason, marries sharmila tagore, who doesn't live for too
long [naturally very convenient] and hema and jitu are at the crossroads
where they are fighting their own urges to be together and his family's
resentment towards it. Hema wants jitu to accept her, but at the same
time, she has this ego that she should be asked first [why not?] ...
jitu also wants it, but he also wants his mom to be happy, and somehow,
circumstances keep this from happening. In the meantime, hema becomes very
friendly with jitu's son from his first wife. Basically Hema loves
everything that belongs to jitu and jitu is torn between the two
feelings [as i figured, not from jitu's acting[?????], but from the
dialogues and the general story ;-)] ... The emotional complexity of the
movie is the fact that hema has been absolutely completely devoted to
this doode despite the fact that she never had married him, that he was
married before, and she knows that its not HE who did not want to marry
him, and that he loved his family too and on the other hand he understands
her feelings and feels gratified, understands his mom's resentment and her
happiness, yet honors her ego and that of his mom's at the expense of his
own. I think it is very very difficult to depict all this simultaneously,
but have come out extremely well ...
So, here is one day when jitu's on a boat in the middle of the river
singing away this awwwwwwwwsomely powerful and melodic kishore solo
.... and Hema is watching him from the shore ... this is, possibly an
otherwise normal occuring in their lives, only this particular evening, he
is singing this beauuuuuuuuuuuuuuuutiful song .....
O maanjhee re ... apnaa kinaaraa ...
nadiyaa ki dhaaraa hai ...
------ a direct reference to his mom's happiness, and hema's
happiness - that it seems he will never be able to meet any one of them
completely ... he has to live his life like this ...
saahilon pe behane waale .... kabhee sunaa to hogaa kaheen ....
------ a direct reference to 1) hema standing on the shore ... 2) the same
two shores - his mom's and hema's happiness ...
ho .... kaaghazon ki kashtiyon kaa koi kinaaraa hotaa nahee ..
----- he seems to be riding a "kaaghaz ki kashti" something that he can
not steer [his feeling of helplessness] and something that will
definitely doobofy before he reaches shore .... he asks them to abandon
hope because there is no guarantee that his boat will reach any of them by
itself ...
koi kinaaraa jo kinaare se mile wo ... apnaa kinraaraa hai ...
-------- in a river, the two shores seem to meet at infinity ... he has to
travel until then, in order to be able to meet them both ... a feeling of
desolation ... so for him, the only kinaaraa is the "beech dhaar" which at
least flows close to him ... and every wave is attached to the other wave
... thus they are his only kinaaraa ... his destiny is to keep riding the
boat in the river ....
paaniyon main beh rahe hain ... kaiin kinaare toote hue ...
------ jab kinaare tootate hain to mitti ke chhote-chhote tukaDe paani
main mil jaate hain ... aur gum ho jaate hain ... jo pathhrile [strong]
kinaare rehte hain, wo toot-kar paani man tairate rehte hain ...the hope
of happiness [kinaaraa] is undergoing the same process with his mom and
hema. they both see him upset and torn between the two feelings, they
want him to be happy too, but it doesn't seem to be happening.
ho ... raaste main mil gaye hain sabhee sahaare chhoote hue ...
------ a direct reference to his getting back to his old love[?] Hema and
coming back to his village after going through a travelling phase in life.
koi sahaaraa majhdhaare main mile wo .. apnaa sahaaraa hai .... !!
in this state of mind, he can hope for getting a sahaaraa only in the flow
of life, without making any specific efforts ... because making specific
efforts towards going to one side [say hema] would make the other [his
mom] unhappy.
o maanjhee re ....
---------------------------
To me, this imagination of G and his amazing ability to put them in
words is something that is basically not seen in anyone else .... Simply
out of this world !!!!!!!!!!!! its not just conflicting words, but the
thought is expressed with razor-sharp poignancy.
I think that, while a lot of interpretations are very easily possible of a
Gulzar song, the most pertinent one can be deduced only when you actually
see the movie. Unlike many songs [of other lyricists] which have only a
very general flavor, the songs written by G are very very intricately
entwined with the story that has preceded the song. It bears refereces to
the situations gone long before the song actually began, but those which
have direct implications to the emotions presented in the song. This is
not observed in too many songs of other lyricists. Most of the songs in
most of the movies can be easily interchanged without any drastic loss of
artistic [?] effect or implications. And even the best of the best lyrics
can have [suffer from] this attribute. A simplest example is Raja Mehdi
Ali Khaan's "aapki nazaron ne samjhaa.." - wonderful lyrics and the song
fits perfectly with the situation that Mala Sinha s anpaDh and Dharmendra
is BA [WOW!!], and she feels gratified that he has still accepted her even
though he deserved better [now i agree one hundred precent with that,
although for different reasons ;-), but that's not the point] ... However,
the lyrics do not indicate WHY is she the inferior one ... I mean why
should i not assume that he deserves something better than mala sinha
because she looks ugly? or that because she comsumes grocery of 3 people
alone all by herself? ... well! jokes apart, the same song will easily fit
into a situation when heroine is poor and hero is billionaire, .... or
that herione is physically disabled and hero is Mr. Universe, or .. think
of any situation with discrepancy. It does not take the beauty of that
song, but the fact remains that it is a general song. It takes less
effort to write something absolutely general in a beautiful manner and
writing something referentially specific in an imaginatively beautiful way
.... if you identify with that imagination, you will delve and happily
drown in the feeling, if not, you will scoff and term it as merely
eclectic ... I basically disagree with the theory - "art, to be art, has
to appeal to masses."
give a thought to many of HIS songs and you would realize that they are
extremely relevant and in a lot of ways specific to the situation. May
be, sometime, if i am able to, i will write on "tan pe lagati kaanch ki
boonde.." from the movie "Asthaa" which is, solely in my opinion, an
epitome of this attribute of his poetry ...
well ... i had originally, also intended to write on "do nainon main
..", especially about the movie version of it, but this post has already
become too long .. so may be will do that some other time ...
thanx for your patience ...
ashish
Anil Hingorani
Hi Ashish,
Loved your interpretaion of Khusboo music. Would certainly like to see
more articles of this type from you and other people.
>
> To me, this imagination of G and his amazing ability to put them in
> words is something that is basically not seen in anyone else .... Simply
> out of this world !!!!!!!!!!!! its not just conflicting words, but the
> thought is expressed with razor-sharp poignancy.
>
Well said. Gulzar is one-of-a-kind, despite being accused (by some
RMIMers) of using mundane and exoteric words like 'barTan'.
> May
> be, sometime, if i am able to, i will write on "tan pe lagati kaanch ki
> boonde.." from the movie "Asthaa" which is, solely in my opinion, an
> epitome of this attribute of his poetry ...
>
> well ... i had originally, also intended to write on "do nainon main
> ..", especially about the movie version of it, but this post has already
> become too long .. so may be will do that some other time ...
>
Please do so - for both the songs.
Thanks.
Anil
Ashok
Looks like this post showed up at my site after some delay. Perhaps it is
not suprising: given the amount of hot air in it, it perhaps floated in the
air for quite some time. :)
Ashish's "interpretation" of the 'Khushboo' song lyrics reminds me of the
story of the confidence artists who nearly managed to convince the emperor
and all the adults in the empire that they had created a magnificent dress
for him and would have gotten away with it but for a kid who didn't buy the
BS (baloney stuff). Personally, I'd much rather learn by reading other people
discussing song lyrics rather than come in with my own angle. Accordingly, I
waited for a while hoping that nettors proficient in Hindi poetry and songs
would intervene. Looks like it has fallen to me to wonder aloud if emperor
Ghulzar is naked (or nearly so, but for a la.ngoTi)!
In article <Pine.GSO.3.96.970322...@piglet.cc.utexas.edu>,
ash...@ccwf.cc.utexas.edu says...
>Again, what i write, is only ONE interepretation, among many that can/have
>been figured out by others. Before i write the interpretation here is a
No problem with more than one disciplined interpretation. Only thing is,
interpretation is not the same as IMHO or "Well, this is what came to my
mind." The result of your "free-associating" with the words of Gulzar
might very well be of independent interest to many nettors, which is fine.
You can even grandly call it interpretation, which is not fine, but I would
have let it pass. What I do object to is using such dubious stuff as a
lanuching pad to berate the efforts of other lyricists and claim high ground
for one's own pretentions. I propose to argue that the stuff is indeed
dubious and the attack on other lyricsts, self-ignorant.
<Outline of the film snipped>
>So, here is one day when jitu's on a boat in the middle of the river
>singing away this awwwwwwwwsomely powerful and melodic kishore solo
>.... and Hema is watching him from the shore ... this is, possibly an
>otherwise normal occuring in their lives, only this particular evening, he
>is singing this beauuuuuuuuuuuuuuuutiful song .....
Despite all these inarticulate attempts to convey the beauty of the song,
it is a very ordinary tune, with nothing interesting whatsoever in the
melody. Kishore delivers it with his customary competence of that period
(1975). Musically, the most interesting aspect of the song is the rhythm
section that RDB composed. But, all that is beside the point. For now,
we are interested in the lyrics, and the "interpretation", to see how much
is wheat and how much, chaff.
O maanjhee re
apnaa kinaaraa nadiyaa ki dhaaraa hai
> ------ a direct reference to his mom's happiness, and hema's
>happiness -
What do you mean, "direct reference"? The only way to refer "directly"
to his mom's happiness is for him to say "my mom's happiness." At this
stage it might sound like carping, but talk of "direct reference" to Hema
standing on the shore, later in the "interpretatiion", makes me wonder
about what is direct and what is symbolic to the interpretor.
>that it seems he will never be able to meet any one of them
>completely ... he has to live his life like this ...
What is "them"? Their expectations? From your outline of the film, it
looks like he has met his mother's demand by not marrying Hema. Anyway,
to carry on: literally, the line is gibberish and you haven't given any
interpretation, anchored in Gulzar's words, which makes the line sensible.
You seem to be mapping "kinaara" to a cluster relating to happiness,
expectation, goal, aim, hope and such. The line does not support your inter-
pretation; it remains Ghulzarish/gibberish.
>saahilon pe behane waale .... kabhee sunaa to hogaa kaheen ....
>
>------ a direct reference to 1) hema standing on the shore ... 2) the same
>two shores - his mom's and hema's happiness ...
What are these numbered items 1) and 2)? Two interpretations? One multi-
layered interpretation? Double dose of hot air? The first of the two
is poetically downright illiterate: it confuses the symbolic and the literal
levels. "Hema standing on the shore" symbolically ought to mean that she
has achieved her happiness, fulfilled her goal. That she is actually standing
on the shore at this moment is irrelevant. As for 2), you are not adding
anything; you are repeating what you said above. How does this line
advance whatever theme the song is exploring?
Look at the phrase "saahilo.n pe behanewaale". The only meaningful sense
I can think of for the verb "behanaa" in that phrase is "to overflow." All
other meanings of "behanaa" make the phrase incoherent. Your interpretive
framework ought to be capable of accommodating "river overflowing the shores"
(or suggest any other coherent meaning for the phrase). Simply waving your
hand at Hema standing on the shore and muttering about same two shores of
happiness doesn't add anything, except hot air.
>ho .... kaaghazon ki kashtiyon kaa koi kinaaraa hotaa nahee ..
>
>----- he seems to be riding a "kaaghaz ki kashti" something that he can
>not steer [his feeling of helplessness] and something that will
>definitely doobofy before he reaches shore .... he asks them to abandon
>hope because there is no guarantee that his boat will reach any of them by
>itself ...
I like the explanation here if it is confined to the minimalist one of
the paper boat. But confusion of the levels persists: is he "riding" a
paper boat or is he "like" a paper boat? Also, If you keep piling on,
it leads to inelegances like "doobofy" (perhaps inelegances cannot be
avoided in the Ghulzar realm), and worse, over-interpretation. It is
not clear whether he is addressing Hema and his mother or himself or
maanjhi (and who/what would that be?). More substantively, why the
particular construction "kaa koi kinaara hota nahi.n"? Just for the
purpose of rhyming? What is the meaning of "koi": is it a loose adjective
for "kinaara" or an indefinite pronoun that goes with "kinaara hona"?
Too many loose ends. So, this is the la.ngoTi, and a torn one at that. :)
>
>koi kinaaraa jo kinaare se mile wo ... apnaa kinraaraa hai ...
>
>-------- in a river, the two shores seem to meet at infinity
No. On the contrary, visual illusion works in such a way that two lines
that are practically parallel (railway tracks are another example), appear
to converge.
> ... he has to
>travel until then, in order to be able to meet them both ... a feeling of
>desolation ... so for him, the only kinaaraa is the "beech dhaar" which at
>least flows close to him ...
It is not in this line. You are repeating your explanation of the opening
line. "which at least flows close to him ..." are wasted words.
>and every wave is attached to the other wave
>... thus they are his only kinaaraa ... his destiny is to keep riding the
>boat in the river ....
Again, words are cheap.
>
>paaniyon main beh rahe hain ... kaiin kinaare toote hue ...
>
>------ jab kinaare tootate hain to mitti ke chhote-chhote tukaDe paani
>main mil jaate hain ... aur gum ho jaate hain ... jo pathhrile [strong]
>kinaare rehte hain, wo toot-kar paani man tairate rehte hain ...the hope
>of happiness [kinaaraa] is undergoing the same process with his mom and
>hema. they both see him upset and torn between the two feelings, they
>want him to be happy too, but it doesn't seem to be happening.
The imagery of the shore breaking and floating is interesting, but your
explanation of what it signifies doesn't jibe. Again, the question is
what is "kai": is it "kai kinaare"? How many shores are there? Or is
it "kai" as a pronoun that goes with "kinaare TooTe hue" paralleling the
next line?
>
>ho ... raaste main mil gaye hain sabhee sahaare chhoote hue ...
>
>------ a direct reference to his getting back to his old love[?] Hema and
>coming back to his village after going through a travelling phase in life.
Unacceptable. Your interpretation doesn't address any of the key words:
What do "raaste me.n milanaa" and "sahaare chhooTe hue" signify? According
to you, it's like he is giving a synopsis of the storyline, so far!
Also, Gulzar has broken off his "kinaara, dhaara" metaphor and switched to
"raasta, sahaara". That is okay, but what is he saying, if anything?
>koi sahaaraa majhdhaare main mile wo .. apnaa sahaaraa hai .... !!
>
>in this state of mind, he can hope for getting a sahaaraa only in the flow
>of life, without making any specific efforts ... because making specific
>efforts towards going to one side [say hema] would make the other [his
>mom] unhappy.
But, what IS the "sahaaraa" he is hoping for? Gulzar has mixed up his
metaphors here. Again, it is okay in itself, but what has he delivered?
If not in majdhaar where else would you need sahaara? So the line is
totally vacuous: sahaara apnaa sahaara hai!
>To me, this imagination of G and his amazing ability to put them in
>words is something that is basically not seen in anyone else .... Simply
>out of this world !!!!!!!!!!!! its not just conflicting words, but the
>thought is expressed with razor-sharp poignancy.
Let us contrast this breathless praise with what's established above!
Imagination: Where?
Ability to put them in words: Put what in words? What is them? His
ability to just put down words does amaze me.
Out of this world? Yes, in a way!
Conflicting words would be fine, but these are mostly vacuous lines.
Thought: Where is it?
Razor-sharp: On the contrary, it is comically obtuse.
To sum up, out of six lines in the song, one is half-way coherent, two
are vacuous and the remaining three are gibberish.
>
>I think that, while a lot of interpretations are very easily possible of a
>Gulzar song, the most pertinent one can be deduced only when you actually
>see the movie. Unlike many songs [of other lyricists] which have only a
>very general flavor, the songs written by G are very very intricately
>entwined with the story that has preceded the song. It bears refereces to
>the situations gone long before the song actually began, but those which
>have direct implications to the emotions presented in the song. This is
>not observed in too many songs of other lyricists. Most of the songs in
>most of the movies can be easily interchanged without any drastic loss of
>artistic [?] effect or implications. And even the best of the best lyrics
>can have [suffer from] this attribute. A simplest example is Raja Mehdi
>Ali Khaan's "aapki nazaron ne samjhaa.." - wonderful lyrics and the song
>fits perfectly with the situation that Mala Sinha s anpaDh and Dharmendra
>is BA [WOW!!], and she feels gratified that he has still accepted her even
>though he deserved better [now i agree one hundred precent with that,
>although for different reasons ;-), but that's not the point] ...
>However,
>the lyrics do not indicate WHY is she the inferior one ... I mean why
>should i not assume that he deserves something better than mala sinha
>because she looks ugly? or that because she comsumes grocery of 3 people
>alone all by herself? ... well! jokes apart, the same song will easily fit
>into a situation when heroine is poor and hero is billionaire, .... or
>that herione is physically disabled and hero is Mr. Universe, or .. think
>of any situation with discrepancy.
This is where the pompous self-ignorance of the Gulzar crowd shows. Why
don't you take the Khushboo song and ask the same questions? "kinaara/dhaara"
is as trite a metaphor as you can get. Two shores can be taken to represent
any dilemma facing a character: love versus duty, lover versus parents,
friendship versus love, one's own dreams versus others' expecations, and
so on (I shall leave the field of gross examples to Gulzar camp). Where
does the 'Khushboo' song bring in the specifics of hero's context? The
song could be used anywhere a character has difficulty choosing between
two desirable, but contradictory, alternatives, provided that one doesn't
ask probing questions! And if one asks probing questions, the song
collapses into almost nothing like a soap bubble.
> It does not take the beauty of that
>song, but the fact remains that it is a general song. It takes less
>effort to write something absolutely general in a beautiful manner and
>writing something referentially specific in an imaginatively beautiful way
I don't know about which of those two takes less effort. What I do know
is it takes far less effort than either to toss off vacuous lines, hoping
that some kinds of people will bite.
>.... if you identify with that imagination, you will delve and happily
>drown in the feeling, if not, you will scoff and term it as merely
>eclectic ... I basically disagree with the theory - "art, to be art, has
>to appeal to masses."
Not everything that fails to appeal to masses is great art! (Also, not
everything that appeals to masses is devoid of artistic merit.) The
degradation in the quality of our films, lyrics, and music cannot be
explained by such simple-minded pseudo-elitist theories. Anyway, that is
a different topic. What I gather from the above paragraph is that the
Gulzar camp sees itself as the intellectual and artistic avant-guard.
This is the usual mideset of the middle-brow pseudo-intelligentsia.
I don't want to judge the entire oeuvre of Gulzar, but songs like the one
analyzed above are neither fish nor foul: they don't have popular appeal,
nor do they have any artistic merit. Dishing them out and parading them
around is intellectually and artistically fraudulent.
I agree that, to use the analogy of painting, one gets tired of looking at
paintings that are very pretty and painstakingly drawn, but leave nothing
to one's imagination. That is one of the impulses behind non-representational
movements and by all means an interested person can seek to be challenged by
them. But it is important to distinguish studying a Picasso from what goes
a Rorschach test: make a random inkblot and analyze it. The latter might
reveal interesting things about the person doing it, but the inkblot is just
an inkblot! I think songs like the one above are the equivalant of random
inkblots. Any example of Picasso equivalents? I hope knowledgeable nettors
will dig up many, but here is one: "ambar ki ek paak suraahi" from
'Kadambari.' I would like to see attempts at interpreting the poem, but it
seems to be beyond the ken of the Ghulzar crowd, whose discussion of the
poem and the poet so far have been limited to wrongly claiming the poem to
be a Ghulzar creation and to expressing their inability to judge the relative
artistic standing of Amrita Preetam and Ghulzar!
>give a thought to many of HIS songs and you would realize that they are
>extremely relevant and in a lot of ways specific to the situation. May
>be, sometime, if i am able to, i will write on "tan pe lagati kaanch ki
>boonde.." from the movie "Asthaa" which is, solely in my opinion, an
>epitome of this attribute of his poetry ...
>well ... i had originally, also intended to write on "do nainon main
>..", especially about the movie version of it, but this post has already
>become too long .. so may be will do that some other time ...
>
>thanx for your patience ...
>ashish
>
I'll look forward to them. Here's hoping that the songs and the
interpretations will be as strong as the claims.
This has been a de(con)structive post, so far. So, let me end with a
stanza involving rivers and shores, penned by a mainstream lyricist; a
song that has given me considerable pleasure. The lyricist is Shailendra.
The music by Shankar-Jaikishan is, uncharacteristically for mid-1960s,
spare and quite melodious:
jeevan se kaisaa chhuT_kaara
hai naidyaa ke saath kinaara
Ashok
Surajit A. Bose
Ashok wrote:
> Despite all these inarticulate attempts to convey the beauty of the song,
> it is a very ordinary tune, with nothing interesting whatsoever in the
> melody. Kishore delivers it with his customary competence of that period
> (1975). Musically, the most interesting aspect of the song is the rhythm
> section that RDB composed. But, all that is beside the point. For now,
> we are interested in the lyrics, and the "interpretation", to see how much
> is wheat and how much, chaff.
>
> O maanjhee re
> apnaa kinaaraa nadiyaa ki dhaaraa hai
The lyrics are typically Gulzar, but Ashok, you're letting your opinion
of the lyricist interfere with your appreciation of the music. It's a
wonderfully composed piece, one of RDB/Kishore's best. You're right
about the percussion.
Actually I think Gulzar's imagination flowers when he writes for or
about children. "lakDii kii kaaThii" is the best children's song I've
ever heard; "ik thaa bachpan" a lovely evocation of childhood and the
pang of its loss. His songs celebrating childhood have a
light-heartedness, irony, and innocent beauty that is IMHO missing from
the mannered ponderousness of his more typical work.
-s
Nitin Sharma
Surajit A. Bose (bos...@nd.edu) wrote:
:
: Actually I think Gulzar's imagination flowers when he writes for or
: about children. "lakDii kii kaaThii" is the best children's song I've
: ever heard; "ik thaa bachpan" a lovely evocation of childhood and the
I thought so too. Gulzar writes songs which are hit with children.
another one is 'abcd masterjee ki ayee chitthi...'. An okay
song for the kids.
: pang of its loss. His songs celebrating childhood have a
: light-heartedness, irony, and innocent beauty that is IMHO missing from
: the mannered ponderousness of his more typical work.
But until I heard the (hugely popular) 'chaddi pahan ke phool
khila hai..' song for the tv serial Jungle Book.
Its hard to associate innocent 'beauty' with this one. Irony? may
be, in a weird sort of way..
But you must grant he knows quite well what will or what won't appeal
to the kids.
-nitin
Arnab Gupta
Nitin Sharma wrote:
>
..[deleted]..
>
> But until I heard the (hugely popular) 'chaddi pahan ke phool
> khila hai..' song for the tv serial Jungle Book.
> Its hard to associate innocent 'beauty' with this one. Irony? may
> be, in a weird sort of way..
>
Is it possible that `chaddi pahan ke phool khila hai..' refers to
Mowgli - the entire animal kingdom comes to hear about this newcomer ?
At least this is what my girlfriend thinks. :-)
Arnab.
Shivakumar G V
:
: about children. "lakDii kii kaaThii" is the best children's song I've
Not to forget 'chaddi pahanke phool khila hain phool khila
hai'.............
What has not been emphasised is the way Gulzar looks at life,
which is much unorthodox when compared to others....
tujhse naaraz nahin zindagi hairaan hoon mein...sums up
very nicely what most of us fell nut are unable to put in such
beatiful words..Thats what makes us more happy...somebody bringing
out the sentiments in us through beatitful composition of words...
Be it romance, unhappiness, lightheated ness...Gulzar is definetely
unparalled...One moreexample is 'Saare ke Saare Gama ko lekar...'
'Bole re papeehara' ...'aapki aankhome kuch'...'phir wohi raat hai'
...His versatility is also unparalled..................
Ashok, there is no way that I can buy your words...'O Maanjhi
also belongs to the above classy songs'.....
shivu
M.Tech1
CSE
IITB
: ever heard; "ik thaa bachpan" a lovely evocation of childhood and the
: pang of its loss. His songs celebrating childhood have a
: light-heartedness, irony, and innocent beauty that is IMHO missing from
: the mannered ponderousness of his more typical work.
:
: -s