Pancham UnMixed - a review

This is an excellent review by Shashi Rao....


Pancham Unmixed - Mujhe Chalte Jaana Hai (an unending journey...)

April 26 - Arclight Hollywood Cinema - LA
Time: 6:30pm

The world premiere of the documentary on Pancham featured as part of the Indian Film Festival of LA - known as IFFLA. Indian cinema has
arrived and is staying comfortably in Hollywood!

The evening started off with festivities with a live band outdoors, celebrities mingling and lots of anticipation.

I am glad to have no prior intimation on the concept of this movie. All I knew was it was presented in a documentary format.

The movie hall was filled 85-90% to capacity - unbelievable but thrilled to see such a diverse crowd. Apprehension also lingered on
how such a venture would be received - a documentary on an Indian music composer which was mostly narrated in Hinglish, Hindi and
Bangla.

The movie begins with introductory credits - Pancham is introduced with pictures and titles on screen.

What is interesting about the documentary's narration is:
1. There are interviews but you never see or hear the interviewer. This gives the effect of a narration unmonitored, unguided and
unprompted.
2. There are hardly any videos featuring Pancham. It is a celebration of this talented person's life - a few friends gathered in remembering him. The impact is effective - he cannot be seen or heard...but he is around.

The initial interviews narrate the tale of his childhood, his early beginings as a music composer. Manna Dey explaining the story behind
his name Pancham and the amazing camaraderie they shared inspite of the 20-year age gap between them.

Amazing to hear Ameen Sayani as his "Binaca Geetmala voice" recounts his meetings with Pancham at Mehmoods' - the impressive variety in
music which he provided in his debut Chote Nawab.

The movie and more to the point the audience begin to settle down eager for the next stage in Pancham's career. We have Asha Bhosle
explaining her first meeting with Pancham. One finds her narration a tad distant and devoid of any personal recollections.

Shammi Kapoor demonstrates a sharp memory and a candid attitude to his reminiscences. A real treat is his effortless humming of the
nepali tune on which 'Deewana Mujh Sa Nahin' is based on.

What follows next is an amazing array of narrations, demonstrations and personal interviews with some of the most talented,
knowledgeable people close to Pancham. Close to Pancham each in his/her own unique way.

The documentary does not lose its pace to monotony or repetitiveness. In fact there are a few curve balls (or the doosra)
thrown in - which completely catches you off guard. You simply cannot avoid a chuckle or a clap of amazement or appreciation. Some
highlights:
- Bhanuda's wonderful narration of Pancham composing a song while taking a shower. He starts with the final note of the guitar and
works his way backwards.
- Taufiq Qureshi's mind-blowing performance of scatting - demonstrating Pancham's unique sensuous style of 'Ha Haah Ha..Huh-a-
Huh Huh' - amazing breath control that went on for minutes.
- Shantanu Moitra's knowledgeable demonstration of Pancham's technique of overlaying a folk instrument or tune with
modern/western instrument. As most Pancham fans suspect, he discloses his influence of Pancham's style when he composed the
ektaara tune on the piano for 'Piya Bole Piyu Bole'.
- The audience was rolling with amazed laughter when Gulshan Bawra narrates how Pancham's gets influences not just with music - but
with headlines, movie plots, etc. The story behind watching the movie XANADU, reading the headlines on Pakistani President Zia-Ul-
Haq - and coming up with 'Jaane Jaa O Meri Jaane Jaa'.
- Pt. Ronu Majumdar demonstrating with his flute in his own humble way Pancham's creation, the hidden ragas, the immense hard work and
talent in some of the seemingly simple compositions.
- Vishal Bharadwaj's journey back to his college days - the impact of Pancham - to his unforgivable statement of how one can never ever
escape Pancham…'Bas Who Aa Jaata Hai…' - he demonstrates 'Beedi Jalai Le' and when he comes to the 'Dhidhing-Dang-Ding' part - he
stops and says...'See...this is Pancham...you can never escape him'.

There are numerous personal accounts that are touching yet never mushy or overtly emotional.
- Pyarelal's fond recounting of how Pancham wooed his first wife Rita Patel in Simla and how Pyarelal helped him. Later Sachin Bhowmick provides an amusing anecdote of Pancham's getting duped in love.
- One gets a lump in their throat when Anju-ji (Mrs. Gulshan Bawra) remembers getting the call on the fateful morning of Pancham's
demise. One feels her helplessness when she sounds apologetic on taking 30 minutes to reach Pancham's home - blaming their age for
not rushing any faster.
- Shammi Kapoor, Shakti Samanta, Pt. Shiv Kumar Sharma, Manohari, Bhupinder and Shailendra Singh do not mince words when explaining
Pancham's bad phase - there is no sensationalism - just matter-of-fact statements.
- The surprise one gets at the end of Gulzar's funny narration of being dropped as a 'hot potato' which ends in a stark insight into
the crying human inside - missing those pranks...the person.
- A senior artist and great talent such as Pt. Hari Parasad Chaurasia humbly admitting to hanging around Pancham's recording -
even if it meant simply playing the fake flute in air.
- The bits and pieces around the Pancham Dubai team, their gatherings, their lives woven around Pancham – makes this
documentary more personal to relate with.

There are those intense technical insights:
- Kavita Krishnamurthy demonstrates amazing talent in recalling each nuance and suggestion that Pancham made which embellished the songs. One simply wonders why she is not singing more often.
- Gautam Rajadhyaksha's impassioned comparison of Pancham to Puccini and Richard Rogers and his reasoning for the comparison.
- Bhanu Gupta's demonstration of playing with open notes, Ranjit Gazmer (Kancha), Ramesh Iyer and Ankush C's demonstrations of some
simple instruments used innovatively.
- The consistent demonstration of Pancham using side instruments for the main rhythm - the amazing use of the guitar simply to provide
the first note - the Dha...
- Shantanu Moitra, Shanker-Ehsan-Loy and Taufeeq Qureshi amaze you every time they appear on screen - their technical narrations are
something that explains the complexities underlying Pancham's compositions and his talent at making it look simple.

And then there are those surprising highs:
- Javed-saab's regret on a king dying just after his coronation is followed by the punch line regarding a comment made by Cassius Clay
on being a champion. Amazing - simply amazing!!
- Vidhu Vinod Chopra who shocks you with his initial (misconceived) abrasive attitude - only to reveal an unparalled passion and belief
in his icon.
- Randhir Kapoor who is still celebrating Pancham and whistling from the sidelines on Pancham's final sixer.
- Shrishti Behl's matter-of-fact recollections of her Pancham uncle. The Behl family's closeness comes across so human when their faces
light-up on visualising Pancham playing for Ramesh Behl in the skies above - or their interest in Pancham's remix video models - one
understands the concept of laughter getting mixed with tears.

Some scenes simply get engraved in your mind - be it Shammi Kapoor's heartbreaking yet stoic last stare into the camera or Bhanu-da's
simple statement 'He was my God' or Manna Dey's matter-of-fact 'I loved him...I just loved him' or Bhupinder's attempt at controlling
his singing voice heavy with memories of yore

Brahmanand like a master craftsman weaves his tale without any sign or fingerprint of the master on his work. His effort succeeds
because it lets the artists featured live and breathe. There is no trace of a scripted approach or a story with an agenda.

It is just as he promises `a simple story told in a very simple format'.

Amazingly in the post-movie Q&A session - a young African-American who never knew anything about Pancham made a pertinent comment - 'I
don't know his music - but it seems like his story cried out to be told!' Another comment from an American artist currently working in
India corroborated the experience of watching a human tale focused on his works, talent and music.

At the content and technical level, my initial reactions included the perception that there were a couple of short-comings in the
documentary. But when I asked the director Brahmanand, I realized these apparent shortcomings were not because of his team's lack of
trying - it was just not to be. For instance:
- One misses some of the living entities who had worked a lot with Pancham or knew him at a personal level. Lata Mangeshkar, Dev Anand,
Ramesh Sippy, Rajesh Khanna, etc. come to mind. For various reasons - none could provide an interview in the 2.5 years of the movie's
making.
- The song clips are from the DVD/VCD of Ultra, Shemaroo, etc. These portions display their inherent weak quality in terms of sound and
quality. How one wishes the director had access to the original archives and music spools. Had this been an effort to document even
a trivial music talent in Minnesota - I am sure the excellent archival material would far outshine the person's talent. Hats off
to Brahmanand's team for producing a effective story with the limited resources at their disposal. The entire documentary resounds
to the concept of mind over matter or should we say man over matter.

The movie ends on a celebratory note - with the feeling of satisfaction and exultation. It feels like attending the wake of a
good friend who was eulogized and cherished by a group of very close friends.

There are tons of details and incidents in the movie which I simply cannot convey on a few pieces of paper. One has to view it to
experience its 10,000 sq. ft. landscape. I might as well be attempting to draw the complete picture of the Grand Canyon.

The premiere was embellished by the presence of Pete Gavankar – Pancham's closest friend, brother, producer of Pantera and an
amazing person who at his age with his unbridled enthusiasm makes you sorely miss Pancham. He provided some terrific insights before
and after the movie – his tales of Pancham can provide Brahmanand enough fodder for Pancham Unmixed – Part II.

Finally the one thought that struck my mind was that this movie could have (and still would) saved me and the Pancham Yahoogroup
about 10-12 years of hard effort. All we have to do is simply make it mandatory for every member to watch this movie as a basic
qualification. A ton of energy in explaining the obvious and repetitive postings can be avoided. This movie is indeed
our `Pancham – for the Dummies'.

A blissful and content Loin still on his unending journey for…Pancham UnMixed!!!.

Asha reveals RD [I] - review from 2006

Thought of sharing this album review...I'm in full agreement....

IndiaGlitz [Monday, March 06, 2006]

Who else but Asha Bhonsle herself could know R.D. Burman better? Hence its quite apt when she takes it upon her to reveal the REAL RD in her latest album 'ASHA REVEALS RD' where she recreates Pancham's favorite tracks. Reproduced and rearranged by Nitin Shankar, the music by Pancham has been given a new touch by using extnesvie brass, strings, chorus sections and live rhythm and percussions. Sudesh Bhonsle is the guest singer for some of the songs that are a part of this twin CD pack comprising of 22 tracks in total. In Part I, we review first CD of 'ASHA REVEALS RD' that promises to be a collector's delight.

The album makes a great kickstart as Ashaji gives a commentary about RD's fasniation for different kinds of music and what were his desires when it came to arranging music differently.

1) O Diwano Dil Sambhalo [The Great Gambler, lyrics: Anand Bakshi]

A song that has its moments of sensuality and passion, 'O Diwano Dil Sambhalo' is a beautifully recreated number that keeps the melody of the original intact and still makes you enjoy the beauty of this Pancham tune. Along with the beauty comes the rhythm that is maintained throughout the song's duration that makes you hum along the song as it plays.

2) Aaj Ki Raat [Anamika, lyrics: Majrooh]

Three decades after it was first composed, 'Aaj Ki Raat' still continues to haunt as the grand orchestra at the beginning paves way for Ashaji to take over the proceedings. As you hear along the number, you realize that it had so much international appeal to it during interludes. Use of electric guitar gives it a modern day feel while the Asha-RD combo makes you wonder what to appreciate more - the singer or the musician!?

3) 1, 2 Cha Cha Cha [Shalimar, lyrics Anand Bakshi]

Originally sung by Usha Uthup, its a treat to hear '1, 2 Cha Cha Cha' all over again with Ashaji behind the mike (and also in front of the camera) this time around. She adds her own nuances in this number that fits in so well with the hip-hop mood that is catching up heat with music lovers post the success of 'Right Here Right Now' [Blussmaster] and 'Meter Down' [Taxi No. 9211]. A highly rhythmic track, it has an assortment of music instruments in use that make it worthy to reach the top all over again.

4) Karle Pyaar [Talash, music: S.D. Burman, lyrics: Majrooh]

One may wonder on looking at the song's credit that since 'Karle Pyaar' was composed by S.D. Burman, why has Asha included it in the list? Well, the fact is, as stated by Ashaji in the album's inlay card, that the song was in fact composed by RD only but senior Burman was credited for it. A lively cabaret number, it has an element of jazz and rock'n'roll with beautiful lyrics by Majrooh that makes you wonder why some of today's cabarets have vulgar lyrics? Yet another rhythmic number that is so characterisitc of RD, it continues to build on the album's tempo.

5) Bhali Bhali Si Ek Surat [Buddha Mil Gaya, lyrics: Majrooh]

Now that's one re-arrangement that makes its presence felt amonsgt approximately hundred remixes a day that are churned out in the industry today. With light calyspo arrangements accompanying 'Bhali Bhali Si Ek Surat', one begins thinking if RD would have conceptualised the song in this way from the very inception. Sudesh Bhonsle sings in his original voice rather than trying to imitate anyone and gives ample support to Ashaji.

6) Muttukodi Kavaadi Hadaa [Do Phool, lyrics: Majrooh]

For 'Muttukodi Kavaadi Hadaa' from 'Do Phool', Sudesh Bhonsle does improvise on his vocals and comes up with a 'deep' rendition to suit the south-Indian feel of the song. The song may have been hugely popular when it was heard first in 1973 but in today's context it doesn't really fit in the bill and comes a speed breaker in the album.

7) Goyake Chunanche [Manoranjan, lyrics: Anand Bakshi]

Lesser heard 'Goyake Chunanche' has Sudesh Bhonsle pairing up with Ashaji once more and together they spin a melodious tale that is in true RD style. The marriage of rhythm and melody impresses once again and what impresses about the song is that arranger Nitin Shankar never once goes overboard in trying to 'mix' the song unnessarily and instead keeps its essence intact. Its nice to see that this song has been revived and current generation gets to hear it all over again.

8) Pyar Diwana Hota Hai [Kati Patang, lyrics : Anand Bakshi]

Now this is one song that one looks forward to hear with bated breath. Afterall there haven't been many who have been able to match Kishoreda when it comes to singing but Sudesh Bhonsle takes the challenge and jumps into the ring. This is the first song in the album that doesn't feature Asha Bhonsle but one doesn't really mind that as Sudesh Bhonsle does an almost perfect rendition at each and every fine nuance associated with the song and comes up with a praiseworthy outcome.

9) Mera Pyaar Shalimar [Shalimar, lyrics: Anand Bakshi]

After '1, 2, Cha Cha Cha', second song from the film 'Shalimar' is included in the album in the form of 'Mera Pyaar Shalimar'. After hearing the song one gets an impression that this was probably the first song ever that could have competed with the signature songs that always come with James Bond opening title sequences. Haunting, sad, exciting, intriguing - there aren't enough words to describe the feel of this classic called 'Mera Pyaar Shalimar' that makes for a simply superb hearing.

10) Jaane Kya Baat Hai [Sunny, lyrics: Anand Bakshi]

It's the turn to fall into love all over again with the hauntingly beautiful 'Jaane Kya Baat Hai' from the film 'Sunny'. Originally sung by Lataji, such is the effect of Ashaji's voice from the very first note that it makes you go for the remote and increase the volume a trifle more. Use of piano alongside the number gives it a fresh feel that makes you fall in love with the album more and more. When the song first came a couple of decades back, it made for a good hearing but the effect is multiplied as you get up, close and personal with Ashaji, RD and Anand Bakshi saab who is at his poetic best in this song.

11) Hum Bewafa [Shalimar, lyrics: Anand Bakshi]

Many in the past have claimed that RD was at his best for his musical score in 'Shalimar' and Ashaji shows that probably she too thinks the same when she ropes in third song from the movie in the form of 'Hum Bewafa'. A great number originally rendered by Kishore Kumar, Sudesh Bhonsle doesn't let the great down when he comes up with her own version of this hauntingly sad number about love, broken trust and separation. A classic revisited.

Visit part II of the review for knowing more about the second CD of the album.

Rating: ****

Asha reveals RD: review from 2006

Asha reveals RD [II] - Asha Bhonsle

IndiaGlitz [Tuesday, March 07, 2006]

Who else but Asha Bhonsle herself could know R.D. Burman better? Hence its quite apt when she takes it upon her to reveal the REAL RD in her latest album 'ASHA REVEALS RD' where she recreates Pancham's favorite tracks. Reproduced and rearranged by Nitin Shankar, the music by Pancham has been given a new touch by using extensive brass, strings, chorus sections and live rhythm and percussions. Sudesh Bhonsle is the guest singer for some of the songs that are a part of this twin CD pack comprising of 22 tracks in total. In Part II, we review second CD of 'ASHA REVEALS RD' that promises to be a collector's delight.

1) Ek Baar Jan-E-Jana [Kala Sona, lyrics: Majrooh]

The CD begins with a relatively lesser known number 'Ek Baar Jane-E-Jana' that was composed way back in 1975 for the film 'Kala Sona'. An inviting love song, it has melodious music and it is surprising that the song hasn't found much mileage over the years. The song is sung in an inimitable style by Ashaji as she stirs the naughty elements well with the main menu of love.

2) Chhodo Sanam [Kudrat, lyrics: Majrooh]

Its time to get lively with 'Chhodo Sanam' that fits in so very well with today's Indi-pop scene when it comes to rhythm. Sudesh Bhonsle joins her soon after but this is one song where one would have loved to hear Ashaji alone. Nitin Shankar shows his prowess behind the rearrangements once again while making a good impression.

3) Sharabi Aankhen [Madhosh, lyrics: Majrooh]

This song could do wonders today if presented in a chic new style that fits into the mood of this side of the century. 'Sharabi Aankhen' proves once again that RD was way ahead of its times when it came to composing music. The rocking arrangements of this lesser known foot tapping number is highly westernized when it comes to use of numerous instruments and inspite of the fact that most of it is on-your-face, one doesn't mind that due to its club feel. A duet between Ashaji and Sudesh, it is the first song in this twin-CD pack that is an ideal fit for a smashing dance number.

4) Keh Doon Tumhen [Deewar, lyrics: Sahir]

This song needs no introduction. After all the remix culture has given it so much of mileage in last 2-3 years that it is difficult to adjudge if the song had gone anywhere 3 decades since its release. A duet between Ashaji and Sudesh, this beautifully written number by Sahir is highly melodious with an equally foot tapping effect that is simply addictive.

5) Samne Yeh Kaun Aaya [Jawani Diwani, lyrics: Anand Bakshi]

Another song in succession that has been kept alive by the numerous remix albums that keep flooding the album, 'Samne Yeh Kaun Aaya' continues the fun mood of the album further. On hearing Sudesh Bhonsle once again for the song, one wonders why he has been labeled as a guest singer in the album as he is there for almost each and every song. One wishes he was credited better for his work, especially for numbers like this that are solo renditions.

6) Dhanno Ki Aankhon Mein [Kitaab, lyrics: Gulzar]

There was a phase when RD was working extensively with Gulzar saab. And when the two met, sparks flew. One such example is 'Dhanno Ki Aankhon Mein' from the film 'Kitaab' that was first of its kinds and brought with it a new sound when it was heard first. A song with a punch, the style was later repeated in 'Chahe Meri Jaan Tu Le Le' [Dayavan]. Sudesh Bhonsle is the singer once again for this solo track and does a good imitation of Panchamda who had originally rendered the song.

7) Ek Ladki Ko Dekha To [1942 - A Love Story, lyrics: Javed Akhtar]

The song came too late in RD's career. It came at a time when he was at his all time low and ironically when the songs from the movie became universally popular, he was not alive to bask in the glory of the album's success. A song, which is still fresh in everyone's mind, it is indeed a challenge to recreate something like 'Ek Ladki Ko Dekha'. Nitin Shankar succeeds in this endeavor of his as he opens the track with the strings of guitar giving it a new appeal altogether. Even later, the signature tune that accompanies the song is replaced with blanks, guitar strings and piano that take some time to settle down but eventually does. Fourth solo song in succession by Sudesh Bhonsle, one feels yet again that it would have been better if Kumar Sanu's voice would have been kept intact or he could have been approached to make a guest appearance for this very number.

8) Sona Rupa [Joshila, lyrics: Sahir]

After a long gap, Asha Bhonsle comes behind the mike once again with 'Sona Rupa' from the film 'Joshila'. A rhythmic number with a certain flow that is so different from most of the tracks by RD-Asha combo, it is surprising to see that it hasn't found much favor amongst today's remix music directors. It has all the ingredients to make for an exciting remix music video and we are sure that there would be a version coming soon the small screen.

9) Yeh Naina Yaad Hain [Manzil Manzil, lyrics: Majrooh]

This was yet another song from the 80s that had a haunting appeal and brought with it so much of class inspite of belonging to the commercial setting. The song had a 'jungle' setting when it came to music and the same effect is consolidated upon in this version as well. Great rhythm and rendition makes it a good club number and one gets a thought that if a lounge version of the same song hits the market today, it would be a big success.

10) Maine Dil Abhi Diya Nahin [The Train, lyrics: Anand Bakshi]

Towards the end of this twin-CD pack comes yet another lesser known track 'Maine Dil Abhi Diya Nahin' that gives an impression of a cabaret setting. Old fashioned in appeal inspite of current style of musical arrangement being associated with it, this Anand Bakshi number doesn't really match up to the standards of the remaining numbers in the album and doesn't really appeal much.

11) Dum Maro Dum/Piya Tu [Hare Raama Hare Krishna/Caravan, Anand Bakshi/Majrooh]

If there are RD and Asha then there have to be 'Dum Maro Dum' and 'Piya Tu'. Afterall how could an album be complete without two of these classics and hence it is all the more justified when they come together as a combo at the very end of the album. There is an electric feel to the proceedings when the signature tunes of both the numbers are fused to mark the beginning of this track. An apt finale!

Just two word to sum up this album - COLLECTOR'S DELIGHT.

Rating: ****

"Yaad Hai Pancham....", Gulzar's new album, 'Chaand Parosa Hai'

"Yaad Hai Pancham....", Gulzar's new album, 'Chaand Parosa Hai'

The track title, Yaad Hai Pancham from the newly released album 'CHAAND PAROSA HAI'.

After listening to Yaad Hai Pancham, my first reaction was simply Vaah!!! Waah!!! kya attempt hai?
Gulzar once again proved his closeness to Pancham.

Back to Yaad Hai Pancham, very nicely crafted composition. I don't really understand urdu/hindi poetry but believe it's pretty difficult to compose verses. Bhupinder did a good job, specially blending Mitali's voice in the middle, brought out that Panchamish-touch. Composition is very suitable to verses, I think.

My only beef is they could've opted for full-orchestra, violins/cello with timpani etc. would've brought out more depth and emotions, specially in the closing section with "Main Akela Hoon Dund Me Pancham"....instead of keyboard and octapad, just imagine full 60+ violins strumming with chello/flute and brass/percussions...hitting with bouncy Timpani..WaaH!! Would've been a spectacular finish...just my opinion.

Leaving you with the idea....This Album with our beloved Pancham-da!!!!

Honestly I can't imagine what a treat that could've been!!!!!!

Pancham beyond any other music director

This is truly a vivid analysis by our very own Shashi Rao, worth reading...

Shashi,
I have only one thing for you, sincerely

It totally amazes me about the depth of your observation and moreover the ease and simplicity of conveying your findings to the "aam-junta". I'm taking liberty of saving this post for your reference, truly very very well written.

thanks for sharing your thoughts with us.

Here's what Shashi has to say....

1. Firstly let me say that crap is universal - there is no direction to it. There are enough instances of mulch marketed as art in every movie sector - be it Hindi, southie production, Punjabi film or a Chiranjeet's Bangla action thriller.

Now what can an MD do about it. Quite a few things. MDs have refused illogical words, cheap words and even suggested changes. For instance Pancham was hesistant of even making Lata say the word 'badmaashiyon' written by Gulzar. The MD has to willingly participate in the making of an item song. These are experienced music composers (most of them) who know what the output sounds like.

Pancham had only a few instances of sheer desperation - and mostly in the 90s where he agreed for either a 'Main Na Jhooth Bolun' or a 'Step by Step' or 'Dil To Chaahe Hamaara', etc. Even then he has been foolishly candid (foolish - from a self-marketing perspective) to complain about the detierorating words.

An MD can rise above the words if needed. At the same time, an MD can become careless and compose mindlessly.

In Boppi's instance this happened due to his sheer overload of work, his penchant to lift music, his strategy to record 5-8 songs a day. Where is the time to nourish the tunes?

Forget the Padmalaya banner movies, Boppi was lackluster even in his other ventures in the 90s. I like Boppi's earlier works - be it Aap Ki Khaatir, Manokamna, Toote Khilone, Aangan Ki Kali, Lahu Ke Do Rang, etc. Even in the 80s he would still provide one odd good song in movies like Taxi Chor, Laparwah, etc.

However his music compositions degraded wherein his arrangements were half-hearted, his interlude music pieces were completely uninspired.

Many would point to his output for Prakash Mehra. I only see Boppi carrying on KA's tradition with Prakash Mehra. Even there KA far exceeded Boppi in giving the masti-bhara Kishore Kumar numbers.

Pancham on the other hand - his music never suffered. In fact in the 90s you will find him completely adventurous in music arrangement. Take albums like Gunhegar Kaun, Jeene Do, Parinda, Gurudev, Chor Pe Mor, Khule Aam, Siyaasat - he gave mind-blowing music pieces. In fact it almost seemed as if he cared 2 hoots for what people wanted. Only in rare instances did he attempt to compete with the prevalent LP - say in Alag Alag or tried a SJ in Awaara Baap.

Even when he did not have the right resources - as in Anyay Hi Anyay - he still managed to churn out some decent music arrangements. His non-filmi albums Dil Tera Hua or Tera Mera Pyar Jawan are still quite experimental to date. Lots of people complain of it being too electronic - I find this as a different sound he was experimenting with.

Even in the 80s when Pancham was the most overworked - he rarely allowed his quality to suffer. In fact he confidently composed beauties like Zameen Aasmaan, Ram Tere Kitne Naam, Sunny, Andar Bahar, etc. You would not find him reusing his same arrangements - repeating work with the same singers and lyricists.

In fact in the 90s post Rafi and KK - Pancham experimented the most with the singers. Sure many of his attempts backfired. But he did not sit comfortable dependant on Asha and Amit and borrow whatever was succeeding. Instead he was still being innovative with a Sudesh Bhosle, Babla Mehta, Gautam Mukerjee, Kavita, Alka, Jayshree Shivram, etc.

The difference between LP, Boppi, KA and RR on one side - and Pancham on the other is - the amount of compromise a composer would make to be in the rat race. Pancham bemoaned the fact that he did not get enough work - but he NEVER compromised to get work or to succeed. If he made a 'Boliyan Ve Boliiyan' or a 'Seene Mein Shole' or a 'Maine Kaha Tumne Suna' - he made it as per his wishes. If the director tried to impose - as in the case of Oonche Log, Dacait, Indrajeet - the difference is quite apparent. Pancham went overboard to admit his compromise.

I have never ever heard or read either LP or Boppi admit to ripping Mori Kante - I heard them backbite each other on who made a better Jumma Chumma or a Tamma Tamma.

So to return to your point - I do believe Pancham made some compromises - but the instances are so few to dim his creativity. Even if a lyricist gave him a line like 'I am a sexy playboy' or 'Baat Thi Yaar Ek Bair Ki' or 'Sholo Se Garam Ho' or 'Duniya Kii Aabaadi Mein Aayega Zalzala', etc. - he managed to still churn out....dunno why I suddenly remember my friend Dr. Viyakar - the word is aah "humdinger!!!".

2. Ok...I have to admit - out of the Bangla movies you mention - I have only heard Birodh, Kalidas and Purshottam properly. The remaining I am saving - need something to look forward for the next few years. Hence I can comment only on these movies. And let me also admit - I have no clue of the meaning of Bangla lyrics - am language challenged when it comes to Bangla.

However - I can read RD Burman or Rahul Dev Burman in any language. I am still proud of digging out a Kalidas - when 2 of my esteemed and veteran Bengali friends could not.

Anyways - Birodh was a dual language movie - I find both Shatru and Birodh with potential. As far as Pancham is concerned - he rose above even horrible lyrics in Hindi - what was it 'Babuji Dil Doge...Dil Lene Ka Dil Dene Ka Mausam Aa Gaya'. If someone showed this line to Dada Burman - tandav!!!

Purshottam seems to be growing on me day by day - be it the Amit Kumar number or 'Dit Paari' sung by a audibly tired/ailing Pancham.

As for no one remembering any song from these movies, I do not have the details - but I would have these questions:
1. How well was the music marketed?
2. How timely was the movie made and delivered to screen?
3. The fate of the movie

In the 90s most movies stopped having the 25 week silver jubilee runs. Even then...there was always 3-4 movies released every week. In those days the only people who succeeded (read Subhash Ghai, Yash Chopra, the Barjatyas, etc.) were the ones who invested in marketing their product. Then even if you had a weak product like 'Hum Tumhare Hain Kaun' or 'Khalnayak' - you still got attention and limited time adulation.

Imagine if the same amount of effort was spent on a Gurudev or Siyaasat or Rama O Rama - they would've succeeded more than what they received.

The same I believe would apply for Bangla movies. In case of Purshottam I do know that Pancham was closely associated with both Biswajeet and Prasanjeet - so there is no refusing that movie. In fact when I heard it was Prasanjeet's directorial debut - I purchased the VHS of this movie. Alas even though hiis intent was good his narration was muddled and amateurish.

As for your statistics that 90% of times Boppida's associated with his southern remake outputs - well...if we did do an analysis of his assignments in the 80s thru 90s - 90% of his output is/was for those banners.

One more thing - what I hated about his output was - he hardly spent any time composing. Most of the numbers were direct lifts from the original Tamil or Telegu songs. It was like Boppi and Indivar and Arun Paudwal spent time doing timepass in the recording studio.

Pancham - we associate him with so many unique sounds. What was so unique or signature about Boppi in any of these numbers? Actually it was Indivar who shone more than Boppi in these songs - cause one can still recognize his 'Ooi Ooi Garmi Hai Kahan Hai' or 'Pyar Ki Gaadi Tez Chalaao'.

Boppi also composed with veteran wordsmiths like Kaifi Azmi and Amit Khanna - but in the 80s - even his 'Sachche Ka Bol Bala' or 'Ham Rahe Na Hum' sounds like his output for Indivar.

Finally I am not ignoring Boppi's worthy output - in fact I have a list of my own favorites. But none of them I listen for their music arrangement. These are good...some even great songs. But only to listen. Nothing there for me to go "ooh...check out those drum beats" or "wow.....what a riff on guitar" or "omygosh...what is that sound".

Pancham was and is the only music composer - who went on extended vacations during his music pieces - be it interlude or M1/M2/M3 music.

As I had mentioned - I think we have gone beyond Pantera - my last post on this thread. Thanks for being patient to my ramblings.

Shashi