Memories Of A Golden Era

During a recent visit to Kochi, Bollywood music composer Shravan Rathod talks about his brilliant partnership with Nadeem Saifee, even as he analyses the music of today

Photos: Shravan Rathod; Nadeem Saifee (left) and Shravan Rathod 

Shevlin Sebastian  

Music composer Shravan Rathod appears in the lobby of the Taj Gateway at Kochi recently with a big smile on his face. “I had a good time,” says the judge of the Antakshri competition conducted recently by the North Indian Association, under the chairmanship of Pawan Tolasaria.

Not surprisingly, music is not far away from Shravan's mind as he says, “I have heard a few Malayalam songs and Yesudas is one of my favourite singers. He is a pearl of India. I have been a lifelong fan.”

As he leans back on the sofa, it does not take him long to make a journey into the past.

One day, in 1972, Shravan's friend, Harish Bopaiya invited him for a college function where he was singing. Shravan readily agreed. As Harish began singing, Shravan immediately noticed the congo player. “He played so well and had a magnetic personality,” says Shravan.

Thereafter, Shravan asked Harish about the congo player. “His name is Nadeem Saifee and he wants to be a composer like you,” says Harish. “Come, I will introduce you.”

When they were introduced in the green room, something clicked between the two.

Shravan asked Nadeem to sing something. “And he sang a beautiful bhajan of Lord Ram,” says Shravan. “I was surprised that as a Muslim he could sing a bhajan.”

When Nadeem asked Shravan to sing, he sang a Western cabaret song, which was popular in Bollywood at that time.

They parted with the promise that they would meet again.

After five days Harish came to Shravan’s house and said Nadeem wanted to meet. So Shravan went to Nadeem’s place. “It was a nice house,” says Shravan. “Nadeem belonged to a rich family. They gave me a big welcome. And I had a sumptuous lunch.”

Following lunch, Nadeem said, “Let's work together. And Shravan agreed.

They started composing music and met more than 100 producers. But nothing happened. 16 years went by.

In 1988, the duo composed the music for ‘Baap Numbri, Beta Dus Nambri’. Anuradha Paudwal and Mohammed Aziz sang the first song, ‘Pehli Baar Hua Hai’. Anuradha started crying when she heard the recording.

Later, she called up Gulshan Kumar, the founder of the music company T series, and spoke about the talents of Nadeem-Shravan.

Gulshan immediately flew down from Delhi, met the duo, listened to the songs and signed them up. A year later, they composed the songs for the Mahesh Bhatt film, ‘Aashiqui’. The film was released on August 12, 1989.

Nadeem and Shravan went for the matinee show at the Metro cinema.  The hall was house full. When the songs were played, the audience clapped.

“Usually, during a show, people step out for a cigarette during the songs,” says Shravan. “But in this film, the opposite happened.”

During the interval when the lights came on, the people recognized the duo. “They clapped, shouted, and took our autographs. Nadeem turned to me and said, ‘I think we have become stars’.”

Indeed, they had. Later, they did the music for 160 films in 15 years and had 150 hits.

Asked about the qualities a song needs, to be a hit Shravan says, “The most important part of a song is the lyrics. It should be excellent. Secondly, we need to know the entire story of the film before we do the orchestration. Thereafter, we have to get the best singers. Mohammed Rafi, Lata Mangeshkar, Kishore Kumar, Asha Bhonsle, Mukesh and Manna Dey were golden singers. Their pronunciation was good, and they sang with their hearts. That is why people still listen to their songs. During our era, there was Kumar Sanu, Alka Yagnik, Anuradha Paudwal and Udit Narayan who dominated the charts.” 

Not surprisingly, he is disappointed by the music of today. “There is a lot of technology,” says Shravan. “But electronic music is artificial. It cannot be compared to a live orchestra. Today, people 'watch' songs instead of 'listening' to them. Nevertheless, there are talented singers and music directors, but they should focus on the lyrics and the concept of Indianness. We are copying Western styles too much.”

He says composers should use Indian instruments. “Nadeem and I used the bansuri, sitar and shehnai in all our compositions,” he says. “The soul of India is contained within these three instruments. RD Burman always used the bansuri. That is why his songs have lasted. In Madan Mohan’s songs, the sitar was always used. The other instruments which can be played are the sarod, flute, tabla, harmonium and the violin.” 

Meanwhile, the duo’s career came to a juddering halt, when Gulshan Kumar was shot dead outside the Jeeteshwar Mahadev Mandir, Mumbai, on August 12, 1997. For some reason, Nadeem came under suspicion. He was in London at that time. Later, he settled in London and has been exonerated by the House of Lords in the United Kingdom but the case is still going on in the Indian courts. So, he has not returned to India. Today, Nadeem is a British citizen, who lives in Dubai and runs a perfumery business.

“I am in touch with Nadeem,” says Shravan. “We are planning a world tour. Let us hope it materialises.”

Kishore Kumar: The eccentric genius

The singing legend Kishore was known for his eccentricities. Music composer Shravan Rathod recounts an experience. “At the Famous Recording Studio in Tardeo, Kishore Kumar asked his secretary, ‘Did you have your coffee?’,” says Shravan. “That was code language for, ‘Did you get the money for this recording?’”

The secretary said, ‘No, I have not had coffee’.” Kishore said, ‘You did not have coffee? No problem’.”

When the music director said he was ready, Kishore went to the mike and began coughing. Kishore apologised and said he could not sing because his throat was bad. Then he left the studio and got into his car.

Immediately, the assistant producer followed in another car. At a traffic signal, both the cars came side by side.

The assistant producer said, “Sir, what happened?”

Kishore replied, “I asked my secretary whether he had coffee, he said no. That means he did not get the money. So without the money, there cannot be any recording.”

The assistant producer said, “Kishore Da, you are the producer of this film.”

Kishore looked puzzled and said, “Am I?”

Then the singer told the driver, “Turn the car around.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)