Mausam Pyar Ka


Mausam Pyar Ka

This song is from Sitamgar. Sitamgar was released in 1985 and is another musically rich album by RD. The songs are of various genre Tum DilwalonKe Aage (Jazz), Pyar Jab Na Diya (Western), the unreleased Kisi Gareeb Ke Dil Se (typical Bollywood).
I have been fascinated by the use of guitars in RD’s music. He also had the best team of guitarists who are legends in their own way - Dilip Naik, Bhupendra Singh (remember the song Dum Maaro Dum), Bhanu Dasgupta (Sholay), Charanjit Singh (Lead and bass), Tony Vaz (the first Bass Guitarist in Hindi Film music), Ramesh Iyer, Sunil Kaushik, Raju Singh (son of Charanjit Singh). “Sitamgar” was released by HMV in mono sound and how we yearn for the stereo. “Mausam Pyar Ka” is one such song that has super use of guitars. It is set similar to the title song of Yeh Wada Raha and is visually pleasing with excellent photography.

 The main sounds are from acoustic, 12 string and bass guitars, Flute, Keyboards, Tabla, Violins and Percussions.

 It starts with strums on acoustic guitar and 12 string guitar followed by bass guitar and high hats (cymbals) providing the rhythm in the background. Another guitar vjoins and provides body to the sounds. Ten seconds in the song, the pickup on Tabla sets the tone followed by chorus and violins. The bass guitar that was prominent till now in providing the rhythm slips into background when the chorus enters the party, but continues to provide that rhythm throughout the song. In this song the chorus can be replaced by viloins, but they are used in a way such that they complement each other in complete “harmony”. The Taal on Tabla (4/4) is similar to Jaane Do Na from Sagar but while that was a slow song the Tabla in this song is tuned at a slightly higher pitch to match the mood.

The song can be seen and heard below.




मौसम प्यार का, रंग बदलता रहे
यूँ ही चलता रहे, तेरे मेरे प्यार का कारवाँ
The song starts in slow motion in a very fresh surrounding with greenery all over and the good looking couple smiling all the time as they move in and out of the fog. The song continues its leisurely pace as Asha croons the opening lines. The high hats and bass guitar provide the required sound effect for her vocals. The chorus follows her and leads us into the entry of Kishore Kumar. He starts singing softly as if crooning into the beloved’s ears. There isn’t any Tabla when he sings. This is one of those rare songs where there aren’t any percussions played in the mukhda of the song!

Tabla is again introduced in the first interlude music
supporting the flute and the (surprise surprise) Taar Shehnai! This instrument is infamous for being used only to bring out emotions of extreme sadness. Here the instrument contrasts the bass of the flute with its high pitch. These small inflections, diversions, subtle introductions - while maintaining the pattern and semblance of a normal song - makes this song more than just any usual Hindi Film song. Notice how RD masterfully makes the progression from the mukhada to the first interlude music - into the first Antara - with a hint of sadness to be followed by the choral that brings it back to the Antara.

ठंड़ी हवा मतवाली, कहे हमारे संग उड़के
अभी कहीं देखो ना मुड़के
हो, पीछे अब कहाँ ये नज़ारे ये समा...
मौसम प्यार का, रंग बदलता रहे
यूँ ही चलता रहे, तेरे मेरे प्यार का कारवाँ

The second interlude music has only single
notes on the 12 string guitar and supporting harmony by the chorus. The use of chorus in this song is more than for providing harmony. It is more of Obbligato, the song would be incomplete without them. Note that RD has used chorus for many romantic songs picturised on Rishi Kapoor. Think of Zehreela Insaan, Sagar, Yeh Wada Raha, Hum Kisi Se Kum Nahi, Zamane Ko Dikhana Hai.
 
कहाँ कहाँ से होके तुझ तक
लायी है मुझको ये राहें
छोड़ूंगा मैं कैसे ये बाहें
अरे, अब तो ऐ सनम तू जहाँ मैं वहाँ...

Kishore slips into the second Antara effortlessly. The way he sings “Kaha Kaha Se Hoke Tujh Tak….”, his voice literally meanders along the words to convey the efforts the hero has taken to reach his beloved. The way he changes his tone and sings “…. Chhodunga Main kaise yeh Baahein…”

Note the change of scale at 3:50 towards the end of the second Antara as Kishore for the first time sings the mukhda of the song in his “normal” voice summing up the song. As Asha gets into the last part of the song he again slips to the soft voice for the sawaal jawaab kind of interaction between the lovers.

The song ends in trademark RD style with same instrumentation as when it started, with the addition of staccato like notes on electric guitar.

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