Voices that created wonders

Rewind to timeless film songs where chorus made the compositions captivating.

May 19, 2016 10:40 pm | Updated 10:40 pm IST

A scene from "Boot Polish".

A scene from "Boot Polish".

Like many poetry lovers, Thomas Gray’s “Elegy Written in a Country Churchyard” happens to be one of my favourites too. While the entire poem resonates with an eternal truth about ironies of life, the gravity of its irrefutable logic that “many a flower is born to blush unseen and waste its sweetness on the desert air” struck me with immense ferocity on a recent afternoon. As I cruised along the “musical highway” of my film song collection, a rare melody from the car speakers made me aware that many chartbusters owed their success also to the brilliance of chorus singers who, alas, are left unacknowledged in the annals of film history for their invaluable contribution.

Replaying the haunting track of “Ab Kahan Jaayein Hum” from “Ujala” over and over again brought back vivid memories of several other gems that have been given life by anonymous chorus singers. Savour the above song in silence and you realise that while Manna Dey has poured his heart in to the endearing Shankar-Jaikishan composition, it is the ‘humming’ magnificence of the chorus that gives Shailendra’s lyrics an everlasting appeal. Similarly, listen attentively to the chorus version of the evergreen “Ae Maalik Tere Bande Hum” (“Do Ankhen Barah Haath”) and you are left admiring the vocal edifice created by Vasant Desai with the help of nameless singers. If off screen, the vocal intonations of the chorus arouse a humble submission to the Almighty; the on screen version helps you pardon the inadequacies of V. Shantaram’s emotive abilities! What you remember is how the blank faces of the hardened criminals develop empathy during the course of the song. Like “Ae Maalik…”, the Manna Dey song “Lapak Jhapak Tu Aa Re Badarwa” from “Boot Polish” is also remembered for the chorus support. The only difference is here the song is in a classical genre.

Traversing the nostalgic path of yesteryear melodies, one is reminded of several unique numbers that owe their listening pleasure as much to the rendition by the lead singers as the idyllic singing of the unheralded chorus. Roshan’s magnetically arresting “Nighaein Milane Ko Jee Chahta Hai” from “Dil Hi To Hai” and Hemant Kumar’s “Saqia Aaj Mujhe Neend Nahin Aayegi” from “Sahib Bibi aur Ghulam” are prime examples of how Asha Bhosle’s divine singing is lent an ethereal fragrance by the feminine chorus. There is no doubting the sensual grace of Asha’s peerless singing but the graceful oration by the chorus, gives these compositions an extra sheen as well as an everlasting coat of charm and dignity.

Put your hand on your heart and you’ll agree that the Lata Mangeshkar – Shamshad Begum duet “Teri Mehfil Mein Kismat Aazma Ke Hum Bhi Dekhenge” (“Mughal-e-Azam”) would have been half as effective if the chorus singers weren’t powerful enough to lend harmonious support to Naushad’s intricate fusion of female clapping with tinkling bangles and bracelets. In fact, three other classics “Jab Raat Hai Aisee Matwali”, “Mohe Panghat Pe Nandlal Chhed Gayo Re” and “Pyar Kiya To Darna Kya” from the same film, despite enthralling singing by Lata, would not have sounded so sublime and complete if the chorus singers had not complemented the lead singer with their inherent brilliance.

R.D. Mathur’s superlative camerawork under K. Asif’s baton along with Naushad – Shakeel Badayuni’s creation would have always attained an immortal place in cinematic pantheons but would it have had such a profound effect if the chorus would have been less than perfect in their classical rendition? If viewers the world over are left speechless till date by the grandeur of the “Sheesh Mahal” (glass palace) with thousands of revolving images of Madhubala as Anarkali, it is thanks, in no small measure, also to the magnificent vocal gyrations of the chorus girls that make it an immortal stanza as well scene to die for actors and audiences alike!

Frankly there are songs galore in Hindi cinema where chorus singers have shown remarkable dexterity as well as resilience to make a resounding impression on our senses. Listening to just a few nuggets like “Saathi Re Bhai Re” (“Char Dil Char Rahein”), “Aa Ab Laut Chalein” (“Jis Desh Men Ganga Behti Hai”) “Apni Azaadi Ko Hum” (“Leader”), “Na To Karwan Ki Talash Hai” (“Barsaat Ki Raat”), “O Gaadiwale Gaadi Dheere Haank Re” (“Mother India”), “Mere Desh Ki Dharti” (“Upkar”), “Daiyya Re Daiyyre Chadh Gayo Paapi Bichhua” (“Madhumati”) would be enough to convince everyone about the “breathtaking contribution” of the chorus singers in making all time hits for Hindi film industry.

Not just qawwalis, bhajans or patriotic numbers but even some of the daintiest romantic songs too have been flavoured with the zing of chorus singing. The naughty Kishore Kumar number “Leena O Leena” (“Swarg Narak”) as well as “Sama Hai Suhana Suhana” (“Ghar Ghar Ki Kahani”) come readily to mind where the chorus bestows a unique pep to enhancing the beauty of the compositions. Even the incomparable Mohammed Rafi has given some of his rarest creations in the company of chorus singers and his ecstatic and versatile flights from the sombre “Hamein Bhi Dedo Sahara” (“Seema”) to naughty “Banda Parawar” (“Phir Wahi Dil Laaya Hun”) as well as one of the most liked YouTube songs “Baar Baar Dekho” were facilitated to Himalayan heights by the velvety vocals by enigmatic chorus singers.

Going by John Milton’s yardstick that “they also serve who only stand and wait”, chorus singers have done a swell job over the years with their artistic contributions. Be it the intricacies of classical music, rock and roll, pop or fusion, the chorus singers have always made film songs proud with their deft vocal gyrations even though they haven’t been paid their due “credit” by the industry. But like the invisible salt which can make or mar the taste of a dish by its quantity as well as quality, the chorus singers too have commanded attention with their meritorious turn out. Their presence may not be seen but it is always felt since they blend with the whole musical creation to provide the perfect experience for our senses!

On the play list

“Teri Mehfil Mein Kismat Aazma Ke Hum Bhi Dekhenge” (Mughal-e-Azam)

“Saqia Aaj Mujhe Neend Nahin Aayegi” (Sahib Bibi Aur Ghulam)

“Aa Ab Laut Chalein” (Jis Desh Men Ganga Behti Hai)

“Ae Maalik Tere Bande Hum” (Do Ankhen Barah Haath)

“O Gaadiwale Gaadi Dheere Haank Re” (Mother India)

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