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The
‘poetic’ composer
There are composers and composers. Some largely prefer lyrics
written to their tunes or metres (Shanker-Jaikishan, the Burmans)
though they can set even the most absurd (Mera kuch saaman/
R.D. Burman) or complex lyrics to music. Others insisted on
the lyrics first (C. Ramachandra). Still others did not mind
either way (Laxmikant-Pyarelal, Anu Malik) or worked by a
combination method, where they got mukhdas written to their
tune, and later tuned the antaras written for them.
Though apparently completely diverse fields, the departments
of shabd (words or lyrics) and dhun (tune or composition)
are not all that disparate. Many composers composed mukhdas
with their own dummy words, many of which were also retained
if they were good or apt enough. Lyricists, used to working
both ways at song writing, or in the habit of frequenting
kavi-sammelans or mushairas, wrote to a metre and often find
themselves humming lyrics to a tune. Sometimes again, the
tune is so good that it is retained and professionally developed
by the composer. A genius like Raj Kapoor would even compose
both the tune and the words of the mukhda, getting his lyricist
to write the rest of the song and his music director to tune
it!
However all this trans-speciality contribution was unofficial
in Hindi films. The only official lyricists-cum-music directors
in Hindi films were the poet Prem Dhawan, Ravindra Jain and
Anand Raaj Anand. Prem Dhawan often wrote lyrics for others,
but in the ’60s and ’70s, he composed for a few
films, notably Shaheed, Raat Ke Andhere Mein (the Rafi classic
Agar bewafa tujhko pehchan jaate) and Pavitra Papi, which
had many popular songs. Ravindra Jain also worked with other
lyricists and occasionally composed songs for other music
directors’ films (Kalicharan, Dada). But while Prem Dhawan
never tuned anyone else’s lyrics, Anand Raaj Anand never
wrote songs for any other composer, even if he worked with
lyricists from Anand Bakshi to newcomer Atul Kale.
Some years ago, Raam-Laxman wrote a non-descript song in Anmol.
Vishal Bharadwaj wrote something in Betaabi. In the ’80s,
Rajesh Roshan developed this itch for penning lyrics in a
few films, even spinning a hit in Waada na tod (Lata/Dil Tujhko
Diya). Composer Ravi would also dabble occasionally in lyrics,
like Kismet ke khel niraale mere bhaiyya (Ek Phool Do Mail)
and even did some entire films (like his son’s Mera Suhaag)
alone as lyrics writer. Anu Malik today (Miss 420, Ishq) writes
lyrics often.
Interestingly now, the reverse is happening. Nitin Raikwar
who provided the basic framework of the tune of his Aati kya
Khandala to music directors Jatin Lalit (Ghulam) is now going
to actually score music for a film. Deepak Choudhury, who
wrote lyrics for a few films like Rakshak and Vinashak has
actually stepped into Rajesh Roshan’s place even after
he recorded a couple of songs in Officer. The music is already
out and is as good or as formulaeic as any other. And now
comes the news that P.K. Misra, who wrote all those gobbledeygood
lyrics for Rahman’s dubbed films (Telephone dhun) and
other dubbed films, will actually compose singer Sapna Awasthi’s
next album. For better or for verse, such “poetic”
composers are in now.
Rajiv
Vijayakar
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