Music Review: Gaman (1978)


Directed byMuzaffar Ali
Produced byMuzaffar Ali
Written byHriday Lani
StarringFarooq Shaikh,
Smita Patil,
Gita Siddharth
Music byJaidev
Lyrics byShahryar, 
Makhdoom Mohiuddin
CinematographyNadeem Khan
Edited byJethu Mundul
Distributed byIntegrated Films
Release date 1978
Running time 135 minutes
CountryIndia
LanguageHindi

Jaidev Verma (commonly known as Jaidev), a name synonymous with brilliant musical scores, yet the world seems to have forgotten this genius. Unduly underrated and forgotten by his peers and the film world, his music stand bounds apart from the general sound and feel of this film-world. In fact if you were to take each and every one of his scores and listened to them side by side, you would understand the care and grace he poured out into these melodies. There is not one soundtrack that fits a mould, his compositions were unique and rhythmically harmonious. He stood strong from a creativity perspective and this skillful composer still remained in the shadows of the bigwigs. Maybe it was his simple lifestyle, and humanitarian personality that allayed these situations, but it was never the fault of his music. He left this world brokenhearted and alone, but he gave us listeners gems upon gems to emboss in our souls, to fulfil voids in our hearts. Gaman is that masterpiece in Jaidev’s career that will leave you speechless at his art.

Muzaffar Ali needs no introduction, he has only made five films in his illustrious career, but each noteworthy and relegates heavily on social themes. The one aspect that remained constant in all his movies right up to the 2005 Film, Jaanisaar, is the strong musical output. Not only that, but the fact that these soundtracks were successful and enjoyed by both the masses and the classes. He knew how to tap into the musical psyche of the nation and had major success with all his films. Interestingly, it is the brave way he intellectually tells his stories that touches a chord with the common person. Gaman was Muzaffar Ali’s directorial debut.

The film’s music, by Jaidev, who won the National Film Award for Best Music Direction in 1979 for his work, and for the Song “Aap Ki Yaad Aati Rahi”, Chhaya Ganguly won a National Film Award for Best Female Playback Singer. Shahryar wrote the lyrics for the film, most notably “Seene Mein Jalan, Aankhon Mein Toofaan”, sung by Suresh Wadkar, which highlighted the alienation and broken dreams of the migrant community. Ghazal singer Hariharan, Suresh Wadkar and Chhaya Ganguly made their playback singing debuts with the film.

As the back cover of the LP beautifully points out,
Gaman is a poem of the dispossessed of this country; of those who are forced by circumstances beyond their control to leave their families and their homes thereby destroying the social and cultural fabric if the environment themselves.

Gaman is made by an artists who is a newcomer to Indian Films, Muzafar Ali. He has tried to portray the steady disintegration of the rural social, cultural and economic structure and its crushing impact on one poor family; the helpless rush of migrants pouring into the city; the crazy, fragmented and disoriented loved in the city itself and the exacerbating pressure exerted by migration on its fragile texture. He has selected traditional and modern lyrics to communicate this phenomenon as a living experience on celluloid. The modern ghazals are by late Makhdoom Mohiuddin of Hyderabad and Shahryar Of Aligarh.

Jaidev Is the music director. He has used the fresh new voices of newcomers Chhaya Ganguli, Suresh Wadkar and Hariharan and the mature timbre of Hira Devi Mishra. His music is a blend of Classical Purity and Rhythm”

The Tracks Of Gaman are:

No.TitleArtistLyricsLength
1Aaja Sanvariya Tohe Garwa Laga LoonHira Devi MishraTraditional5:54
2Aap Ki Yaad Aati Rahi Raat BharChhaya GanguliMakhdoom Mohiuddin4:59
3Ajeeb SaanehaHariharanSharyar4:20
4Seene Men JalanSuresh WadkarSharyar4:25
5Nausha Amiron Ka Hira Devi Mishra & ChorusTraditional2:58
Total Length   22:36

An interesting story about the beginnings of Jaidev goes something like this:

On January 26, 1952, Hanwant Singh, the 28-year-old Maharaja of the erstwhile princely state of Jodhpur, and his wife, the former actress Zubeida (now christened Vidya Rani), got into his Beechcraft Bonanza, a light six-seater plane, for a celebratory ride. The Maharaja, an avid flyer, had been campaigning assiduously for weeks ahead of independent India’s first democratic election, and he believed he was headed for a landslide win. However, the joyride turned into a tragedy as the plane crashed, killing its occupants.

At the time of his death, the Maharaja had apparently been working on plans to open a college of the arts in Jodhpur. Working closely with the Maharaja on this project was Ali Akbar Khan, the sarod maestro who had been appointed court musician a few years before independence. With the sudden death of his benefactor, Khan moved to Bombay. Accompanying him was one of his disciples, a young man named Jaidev Verma.

This was not the first time that Jaidev was coming to Bombay. Born in East Africa, where his father worked as an official in the railways, Jaidev moved with his family to Ludhiana in 1927. Here, he began learning vocal music. The story goes that after watching Ali Baba at a theatre in Lahore in 1932 Jaidev fell in love with the movies. A few years later, he somehow managed to make his way to Bombay where he landed up a small part in JBH Wadia’s mythological drama Vaman Avatar (1934). After working in a handful of films, including a couple of the Fearless Nadia swashbucklers, Jaidev headed back to Ludhiana, where he continued his musical training and also took up a job as a music teacher in a school.

The death of Jaidev’s father seems to have been a catalyst in his leaving Ludhiana and moving to Almora to try and learn under the great Allauddin Khan, who was then teaching at Uday Shankar’s India Cultural Centre. The centre was dedicated to teaching dance but Jaidev seems to have stayed on. In 1944, with the centre about to close down, Jaidev got a letter of introduction addressed to Allauddin Khan’s son, Ali Akbar Khan. The sarodist, then working with All India Radio, Lucknow, took the young man under his wing.

In Bombay, Ali Akbar Khan was approached by Chetan Anand to compose for a couple of films produced under the family banner Navketan. Aandhiyan (1952) and Humsafar (1953) starred Dev Anand, but both films failed to click at the box office. Ali Akbar Khan decided to move on, but Jaidev stayed back in Bombay and began assisting SD Burman.

Jaidev’s first break as a music director also came with Chetan Anand. Joru Ka Bhai (1955), which starred Balraj Sahni, too didn’t fare well at the box office, but gave ample opportunity to the young music director to showcase his skills. The stand out song was the delectable Subah Ka Intezaar.

After Joru Ka Bhai came Samundari Daku (1956) and Chetan Anand’s Anjali (1957). Both films had some fine songs, but it was in 1961 with Hum Dono that Jaidev really caught everyone’s attention. The stupendous success of Hum Dono was followed up with the classy Mujhe Jeene Do (1963), the tragic love story of a dacoit and a courtesan.

https://scroll.in/reel/826109/between-music-composer-jaidev-and-the-big-league-stood-that-thing-called-fate

Gaman was Jaidev’s second National Award win after Reshma Aur Shera (1971). His repertoire stands tall, quality over quantity belting out wondrous musical scores that are hummed and sung even today.

Let us delve into the colours of Gaman:

Cut to 2001, I attend the screening of Mira Nair’s Monsoon Wedding, brilliant as it was, the songs somehow remain glued to my mind. Here Mira Nair samples different Bollywood songs (old & new) to depict the onscreen happenings. A particular song that is imprinted in my mind is the song titled ‘Fabric‘ remixed by MIDIval Punditz. Its a poignant song that resonates feelings of longing in my heart. The sheer intensity of the track’s vocals are enough for me start researching the background of the song. All i find is that the track is sung by Hira Devi Mishra, reworked by the group named above. No mention of Jaidev or Gaman sadly, It is two years after this that i find the original song from Gaman, and a wonderful treasure discovery for me. Now i understand why this song evoked longing and heartache, now i understand why this song was chosen to portray two parallel love stories in Monsoon Wedding, now i understand the Power of Jaidev!

Not much is known about the singer Hira Devi Mishra; She took her initial training under Pt Sarju Prasad Mishra and later under Ustad Ata Khan of Patiala Gharana. but from what we do get to hear in Gaman, there is no doubt in my mind that her classical background, sharp vocals and skill uplift Jaidev’s rustic compositions to great heights.

Red is the colour associated with life and its lifeline: blood. It is associated with love, passion and longing. Thus is associated “Aaja Sanvariya Tohe Garwa Laga Loon” with this colour as it’s bandish is seeped with the purity of longing and divine feelings of love in this Raga Bhairavi Thumri. The additional lyrics are set in Brij Basha.

The first recording of the bandish ‘Ras Ke Bhare Tore Nain‘ was recorded way back in 1905 and sung by Gauhar Jaan, She was one of the first performers to record music on 78 rpm records in India, and released by Gramophone Company of India. Having recorded more than 600 records in more than ten languages between 1902 and 1920, Gauhar Jahan is credited with popularising Hindustani classical music such as thumri, dadra, kajri, tarana during the period. As i have mentioned in previous reviews, Jaidev’s version of this thumri is not a copy as these Bandishes have been sung throughout the ages and belongs to no one in particular. I will include the video of Gauhar Jaan’s rendition below.

Raga Bhairavi aptly portrays its traits as the “Queen Of Melodies” in this spectacular Jaidev composition set to Deepchandi Taal. It creates a beautiful sense of love; soft and easy-flowing spatial rendition by Hira Devi Mishra. Aptly described as the expression of the singer’s soul and temperament, thumri is purely romantic or devotional in its content. Unlike Dhrupad and khayal, the stress in thumri-singing is not so much on the melodic unfoldment as on the portraiture of the mood enshrined in the lyric. Imagination thus plays a vital role in the rendition of thumri. It calls for a sense of restraint and discrimination on the part of the singer, as the expressive aspect of the poetic theme is basic to its delineation. The singer has to comprehend the lyrical motivations of the chosen song to be able to give full musical expression to the emotion it embodies.

Throughout its rendition Hira Devi Mishra displays great control over her voice modulation and delicate intonation.

The Sitar opens the track in a flourish, then we hear Hiraji croon, an Alaap of sorts, with the sitar continually flourishing the alaap. In just these opening lines she diaplays powerful usage ‘Murki‘. Listen to her voice as she opens the alaap, the slight change in meend through the Bandish, especially in the repeated lyric ‘Ras Ke Bhare Tore Nain‘. How beautiful were those golden days of music where music like this was wholeheartedly appreciated, and the proof is that it has stood the passages of time. It is timeless. You could still hear this song and feel its pathos today.

It is beyond the delicate alaap that those ‘Murkis‘ become ‘Khatkas‘ as Hiraji delves deeper into the heart. In the antaras that follow, the lyrics expand and Hiraji gives this entire thumri a fantastic feel.

What can be said about Jaidev’s subtle composition? It stays true to its classical heritage, yet somehow manages to encapsulate a contemporary new-age feel. We hear four instruments confluence “Aaja Sanvariya Tohe Garwa Laga Loon”; Sitar, Flute, Tabla and Sarangi, but listen to what Jaidev manages to output. The singing remains fore, the raga is luxuriously spatial, the lyrics are full of heart and the emotion pours out. Even the end piece has Hiraji crooning the Alaap Bandish with a totally different set of ‘Murkis‘ that tug at the heart.

Arre Pathik Giridhari Sun Tu Itni Kahiyo Ter
Drig Jhar Laayee Raadhika Aa Ab Brij Bhoolat Pher

Please Listen Dear Krishna Your Radha Has Come Away From Brij And Is So Forlorn With You

Aa Ja Sanvariya
Come, My Beloved
Tohe Garwa Laga Loon
I Long For Your Embrace
Aa Aa Ja Sanvariya Aa
Come, My Beloved
Tohe Garwa Laga Loon
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love

Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love

Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love

Jehi Chitavat Tehi Bas Karee Raakhat
Please My Dear Krishna Let Me Kiss Your Face And Your Luscious Beautiful Eyes
Jehi Chitavat Tehi Bas Karee Raakhat
Please My Dear Krishna Let Me Kiss Your Face And Your Luscious Beautiful Eyes
Bas Karee Raakhat
Your Luscious Beautiful Eyes
Bas Karee Raakhat
Your Luscious Beautiful Eyes
Naaheen Pade Maika Chain Sanvariya
I Cannot Handle My Restlessness My Beloved
Naaheen Pade Maika Chain Sanvariya
I Cannot Handle My Restlessness My Beloved
Naaheen Pade Maika Chain Sanvariya
I Cannot Handle My Restlessness My Beloved
Naaheen Pade Maika Chain Sanvariya
I Cannot Handle My Restlessness My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love

Aa Ja Sanvariya Aa Aa
Come, My Beloved
Tohe Ae Garwa Laga Loon
I Long For Your Embrace
Aa Aa Ja Sanvariya
Come, My Beloved
Tohe Tohe Garwa Laga Loon
I Long For Your Embrace
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain Sanvariya
Your Eyes Are Filled With Love, My Beloved
Ras Ke Bhare Tore Nain
Your Eyes Are Filled With Love

Now this is a great example of two songs being produced in same Raga but coming off quite ‘differently’ due to the format of the song. Staying with red, “Aap Ki Yaad Aati Rahi Raat Bhar” is also sung in Raga Bhairavi, but in the Ghazal format. This was the introduction to newcomer Chhaya Ganguli. She couldn’t have asked for a greater piece of work to mark her beginnings; having Jaidev as the composer and the Late Makhdoom Mohiuddin as the lyricist. She was in capable hands, so much so that this song got her a National Award. Something that any aspiring singer would be delighted at.

The Ghazal is a form of amatory poem which has its origination around Persia and Arabia. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. this holds true for this Jaidev Composition too, seeped in melodic beauty whilst the lyric is seeped forlorn rhythmic cycles. In Hindustani classical music, the Raga is delivered through smooth flowing lyrical verses, also with slight vocal intonation and dulcet modulation.

Chhaya Ganguli has a very small body of work to go by, and most of her non-film songs seems to have garnered more attention, and despite her winning the National Award for this song, she chose to concentrate on her Job as a programmer in broadcasting for All India Radio and Doorsdarshan. Ganguli trained with ghazal singer Madhurani, whom she met through Jaidev.

A sobering flute, swarmandal and Jaltarang open the track, with Chhaya singing the opening lines, little music is heard, but in between the lines we get the same three instruments embellishing the Mukhda. Chhaya’s voice is sharp and gets straight to the point, her passion flowing through to the listener. We know that the shayari is glorious, but Chhaya’s rendition brings the emotion forth with spectacular grace.

The next antara is introduced by the Sarod adding further melancholy to the atmosphere, Chhaya sings the shayari with slight intonations but keeps the listener glued with her rendition, she pours her heart out. The lyrics cleverly ends the antara with the mukhda of the song.

The flute takes to the fore and intensifies the emotions that have already been played out thus far. Even more intuitively the next lyric speaks about the melodies of the flute. Up until this moment where the lyric goes back to the mukhda, the song is almost just singing with minimal music. Jaidev then introduces the kaherwa taal which brings out the crescendo of this ghazal.

The tabla and Sarod play together with slight strums of the swarmandal; the next antara begins with a slightly increased tempo, guitar strums can also be heard and beautifully adds to the song. Chhaya remaining sharp throughout.

The flute cries out woefully scorned, with the sarod giving an intense appeal, the final antara is adorned with great instrumentation, Chhaya remains the moon though. Deservedly winning the National award for this transcendental rendition. The song closes off with the tabla and guitar strums. Jaidev’s creation is nothing less than spectacular, the thought behind the Ghazal is superbly portrayed. After hearing these melodies, how on earth could we even compare the noise we hear today to these songs; they are embedded in the soul.

Aap Ki Yaad Aati Rahi Raat Bhar.
Your Memories Kept Coming Throughout The Night
Chasham-E-Nam Muskuraati Rahi Raat Bhar
Tearful Eyes Kept Smiling Throughout The Night.
Aap Ki Yaad Aati Rahi
Your Memories Kept Coming Throughout

Raat Bhar Dard Ki Shamaa Jalti Rahi
The Candle Of Pain Kept Burning Throughout The Night
Gham Ki Lau Tharatharaati Rahi Raat Bhar
The Flame Of Sorrow Remained Flickering Throughout The Night.
Aap Ki Yaad Aati Rahi
Your Memories Kept Coming Throughout

Bansuri Ki Surili Suhani Sada
Like The Melodious Sound Of Flute
Yaad Ban Banke Aati Rahi Raat Bhat
The Memories Kept Coming Throughout The Night.
Chasham-E-Nam Muskuraati Rahi Raat Bhar
Tearful Eyes Kept Smiling Throughout The Night.

Yaad Ki Chand Dil Me Utarti Rahi
The Moons Of Memories Kept Setting Down In My Heart
Chandni Jagmagati Rahi Raat Bhar
The Moonlight Remained Dangling Throughout The Night.
Aap Ki Yaad Aati Rahi
Your Memories Kept Coming Throughout

Koi Deewana Galiyon Mein Phirta Raha
A Madman Kept Roaming Around In The Street
Koi Awaaz Aati Rahi Raat Bhar
A Voice Kept Coming Throughout The Night
Chasham-E-Nam Muskuraati Rahi Raat Bhar
Tearful Eyes Kept Smiling Throughout The Night.
Aap Ki Yaad Aati Rahi
Your Memories Kept Coming Throughout

Anxiety soaks the mind in Yellow, and that’s the route Jaidev approaches with his next masterpiece. Hariharan’s maiden ghazal in filmdom is brightly metaphorical thanks to the superb imagery and shayari meter penned by Shahryar. We are not only treated to this, but also vocals that creates a sense of the unknown, it will make your heart melt with its lilting sarangi interludes.

It’s a wonder when i read in books and on the internet that this song is compared to Rafi Saheb’sKabhi Khud Pe Kabhi Halat Pe” from Hum Dono also composed by Jaidev. The lyric meter is no doubt the same, but hear these songs side by side and ask yourself, is the rendition the same? Comparing any singer to Rafi Saheb is like asking a beginner to begin at the top! Could it maybe be the melody, Ahh.. what on earth could make these two songs sound similar yet have such different feelings. Maybe the fact that both of these are based on Raga Gara (Or Raga Pancham Se Gara as it is commonly known). These were masterful composers that knew their content and a lot of thought has gone into both these masterpieces. Enjoy them without being judgemental; save that for the noise we hear today.

Brilliance is once again noticed in the minds of Jaidev and Muzaffar Ali. To represent this anxiety we get a melodic unfoldment of Raga Gara in the ghazal format. Gara itself means uncertain or unknown! On Jaidev’s part, what a discovery for music that he introduced Hariharan, a singer of great worth. “Ajeeb Saaneha Mujh Par Guzar Gaya Yaaron” became such a hit that it won him an Uttar Pradesh State Film Award, as well as a National Award nomination.

Sitar and Sarangi decorate the opening piece of this song, we immediately hear Hariharan singing the mukhda, it is like a river flowing through unknown territory experiencing every turn and geological change for the first time, irony is, this water will never flow through the same territory twice; that’s how unique this listening experience was. Jaidev employs the Dadra Taal here with the percussion, and we get hints of guitar during the singing, but hear what Hariharan sings, his intonations makes one ponder deeply.

Hear closely as the antaras are weaved in quite quickly with short musical interludes; the lilting Sarangi ushers in the new antaras. It personifies the lyric and creates a tumultuous thought. Shahryar’s poetry will strike a chord with anyone who understands what it feels like not knowing whats going to happen next. Hariharan takes us through a journey of the unknown with this Ghazal, but how much more beautifully can one create such a strong current? Thanks to Jaidev we can hear how beautiful anxiety feels.

Ajeeb Saaneha Mujh Par Guzar Gaya Yaaron
How Strange Was This Incident That Befell Me, Friends
Main Apne Saaye Se Kal Raat Dar Gaya Yaaron
For Last Night, I Flinched With Fear At My Own Shadow
Ajeeb Saaneha Mujh Par Guzar Gaya Yaaron
How Strange Was This Incident That Befell Me, Friends
Main Apne Saaye Se
At My Own Shadow
Main Apne Saaye Se Kal Raat Dar Gaya Yaaron
For Last Night, I Flinched With Fear At My Own Shadow
Ajeeb Saaneha
How Strange Was This Incident

Har Ek Naqsh-E-Tamannaa Ka Ho Gaya Dhundhlaa
Every Ideal That I Ever Aspired To Has Begun To Fade
Har Ek Naqsh-E-Tamannaa Ka Ho Gaya Dhundhlaa
Every Ideal That I Ever Aspired To Has Begun To Fade
Har Ek Zakhm Mere Dil Ka Bhar Gaya Yaaron
Every Clot That Rent My Heart Has Begun To Congeal
Har Ek Zakhm Mere Dil Ka Bhar Gaya Yaaron
Every Clot That Rent My Heart Has Begun To Congeal
Ajeeb Saaneha
How Strange Was This Incident

Bhatak Rahi Thi
Tossed About
Bhatak Rahi Thi Jo Kashti Woh Garq-E-Aab Hui
Every Boat, Tossed About, Lost, Was Eventually Sunk
Chadaa Hua Tha Jo Dariya Utar Gaya Yaaron
The Raging River That Had Swelled Has Now Receded
Chadaa Hua Tha Jo Dariya Utar Gaya Yaaron
The Raging River That Had Swelled Has Now Receded
Ajeeb Saaneha
How Strange Was This Incident

Woh Kaun Tha
Who Was That?
Woh Kaun Tha Woh Kahaan Ka Tha Kya Hua Tha Use
Who Was That, Where Was He From, What Befell Him?
Suna Hai Aaj Koi Shakhs Mar Gaya Yaaron
I Have Heard, Friends That Someone Lost His Life Today
Suna Hai Aaj Koi Shakhs Mar Gaya Yaaron
I Have Heard, Friends That Someone Lost His Life Today
Ajeeb Saaneha Mujh Par Guzar Gaya Yaaron
How Strange Was This Incident That Befell Me, Friends
Main Apne Saaye Se Kal Raat Dar Gaya Yaaron
For Last Night, I Flinched With Fear At My Own Shadow
Ajeeb Saaneha
How Strange Was This Incident

Grayish hues of hopelessness and futility colours the Raga Bageshri based “Seene Mein Jalan“. We are treated to another debutant, Suresh Wadkar in his maiden venture into film playback singing. and yet again what another major discovery for us music lovers. Suresh Wadkar has gone on to sing many timeless songs that has enriched the bollywood collective and has surely carved out his space in the halls of the greats; absolutely versatile and charasmatic, his voice has ensured that we only heard the best.

If one translates this Shahryar Ghazal into English, so much substance gets lost in that movement; there are lines which can be described in over a hundred ways in English and still not come to the exact heart of the line. But that is the power of Shahryar’s pen; flowing with creative metaphors about the challenges of life in a city. To assign the mega life of the city as a “burning feeling” or “confusion” or “an uninhabited desert” is just pure genius, for there is much more behind these words. Shahryar unsaid word are felt and comes across brilliantly. An it is still relevant today.

Jaidev employs the dadra taal to bring this beautiful track to life. It is unpretentious and unassuming and goes straight for the heart and mind. What is being sung? but how warm it feels! The flute, santoor and sitar add in quite a splendour trying to change those gray shades. these three instruments create the musical interludes and flow of the song. Jaidev might have himself played the sarod for this album. It is highlighted in almost every track and handsomely showcases the versatility of the instrument. One must notice the way Suresh sings the line “Seene Mein Jalan” after every antara, it’s as if the burning in his chest is happening right there.

Seene Mein Jalan Ankhon Mein Toofan Sa Kyon Hain?
What’s The Cause For This Burning Feeling And All The Confusion In Me?
Seene Mein Jalan Ankhon Mein Toofan Sa Kyon Hain?
What’s The Cause For This Burning Feeling And All The Confusion In Me?
Is Shehar Mein Har Shaks Pareshan Sa Kyon Hain?
And Why Does Everyone In The City Seem To Have Similar Worries?
Is Shehar Mein Har Shaks Pareshan Sa Kyon Hain?
And Why Does Everyone In The City Seem To Have Similar Worries?
Seene Mein Jalan
This Burning Feeling In Me

Dil Hai Toh Dhadakne Ka Bahana Kyun Dhunde
Why Is My Heart Looking For A Special Reason To Beat?
Dil Hai Toh
My Heart
Dil Hai Toh Dhadakne Ka Bahana Kyun Dhunde
Why Is My Heart Looking For A Special Reason To Beat?
Pathar Ki Tarah Behis-O-Bejaan Sa Kyun Hain?
And Why Has It Suddenly Become As Flat And As Lifeless At A Stone?
Pathar Ki Tarah Behis-O-Bejaan Sa Kyun Hain?
And Why Has It Suddenly Become As Flat And As Lifeless At A Stone?
Seene Mein Jalan
This Burning Feeling In Me

Tanhai Ki Ye Kaun Si Manzil Hain Rafiqoon,
Tell Me Friends, What Secluded Place Have I Come To?
Tanhai Ki
What Secluded Place Have I Come To?
Tanhai Ki Ye Kaun Si Manzil Hain Rafiqoon
Tell Me Friends, What Secluded Place Have I Come To?
Taa-Hadd-E-Nazar Ek Bayaabaan Sa Kyun Hain
As Far As The Eye Can See, Why Is There Is Nothing But An Uninhabited Desert?
Taa-Hadd-E-Nazar Ek Bayaabaan Sa Kyun Hain
As Far As The Eye Can See, Why Is There Is Nothing But An Uninhabited Desert?
Seene Mein Jalan
This Burning Feeling In Me

Kya Koi Nayi Baat Nazar Aati Hai Hum Mein
Has Anything Changed In My Appearance Lately?
Kya Koi
Has Anything
Kya Koi Nayi Baat Nazar Aati Hai Hum Mein
Has Anything Changed In My Appearance Lately?
Aaina Hume Dekh Ke Hairaan Sa Kyun Hai?
Why Then, Does The Mirror Get Stupefied By My Reflection In It?”
Aaina Hume Dekh Ke Hairaan Sa Kyun Hai?
Why Then, Does The Mirror Get Stupefied By My Reflection In It?”
Seene Mein Jalan Ankhon Mein Toofan Sa Kyon Hain?
What’s The Cause For This Burning Feeling And All The Confusion In Me?
Is Shehar Mein Har Shaks Pareshan Sa Kyon Hain?
And Why Does Everyone In The City Seem To Have Similar Worries?
Seene Mein Jalan
This Burning Feeling In Me

We come to the final song of Gaman; “Nausha Amiron Ka“, labelled a Banra on the LP and also the only song to repeat a singer, Hira Devi Mishra with chorus. A Banra is a form of traditional folk melody derived out of a branch of the North Indian Classical Music melodic system.

In this instance the track is used to convey a happy, playful notion pertaining to a wedding. These kind of melodies were used to shower praise onto the Bridegroom / Baraat procession as they arrived at the Bride’s house, or the place where the wedding took place.

As is typical in these kind of melodies we hear the track decorated with Dholak and Shehnai, but what stands out is having Hira Devi Mishra croon. Jaidev’s composition is far from average, it infact is rustic and takes you to the rural wedding grounds where such traditions were maintained. It is a time capsule that retains some of the traditions that had live singers and musicians, not like nowadays, where a system blaring the latest Bollywood discredits are played and that suffices.

The Shehnai is prominent and plays happily during the interludes. Hira’s vocals gets you to that happy place and ever so slightly suffuses great tonal capability; her inflections on the lyrics by Shahryar are superb. The chorus ably supports Hiraji and adds a zest that makes you want to dance.

Bade Dhoom Ghajar Se Aayo Re
Nausha Amiron Ka
Bade Dhoom Ghajar Se Aayo Re
Nausha Amiron Ka
Bade Dhoom Ghajar Se Aayo Re
Nausha Amiron Ka

Sahera Jo Tera Lakh Ka
Sahera Jo Tera Lakh Ka
Kalagi Hazaaron Ki
Kalagi Hazaaron Ki
Kalagi Hazaaron Ki
Badho Badho Dulhe
Raam Nausha Re
Teri Chaal Amiron Ki
Badho Badho Dulhe
Raam Nausha Re
Teri Chaal Amiron Ki
Bade Dhoom Ghajar Se Aayo Re
Nausha Amiron Ka

Jama Jo Tera Lakh Ka
Jama Jo Tera Lakh Ka
Joda Hazaaron Ka
Joda Hazaaron Ka
Joda Hazaaron Ka
Paheno Paheno Dulhe
Raam Nausha Re
Teri Chaal Amiron Ki
Paheno Paheno Dulhe
Raam Nausha Re
Teri Chaal Amiron Ki
Bade Dhoom Ghajar Se Aayo Re
Nausha Amiron Ka

Jaidev unfortunately got the wrong end of the stick every time, even with his natural talent and his three National Award wins. He favoured the Classical music system in his compositions and it came across really creatively. Listen to his soundtracks and even his non-film albums, They are unique, melodiously crafted albums that will resonate with the common person. Gaman is definitely a universal soundtrack that will find many admirers, but let us not forget Jaidev and what joy he gave us.

Now let us see the faces of the singing stars – a feature i will provide with each review from now on.

Jaidev’s Insoiring score for Gaman, scores full marks:

Rating
★★★★★★★★★★

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