Updated: May 1, 2020 12:18:31 pm
Actor Rishi Kapoor immortalised a number of the most interesting songs on the silver display. Here is an inventory of 9 quintessential Rishi Kapoor numbers that may all the time be synonymous with the actor.
Hum Tum Ek Kamre Mein Band Ho (Bobby, 1973)
When producer and director Raj Kapoor launched Bobby, a romantic drama that he made to get well the cash he misplaced in his magnum opus Mera Naam Joker, he couldn’t afford reigning famous person Rajesh Khanna. So he put his personal son in it. And this tune is what made a younger Rishi Kapoor an in a single day sensation. This was a tune that gave flutters to the younger and previous alike. A tune that personified teenage romance between protagonists Raj Nath (Rishi Kapoor) and Bobby Braganza (Dimple Kapadia), it got here with Anand Bakshi’s trademark and, on this case, extraordinarily elementary lyrics equivalent to ‘Bahar se koi andar na aa sake, Andar se koi bahar na ja sake’ and ‘Hum tum ek jangal se guzre, aur sher aa jaaye’. It surprisingly struck a chord with many. The solely mature bit in regards to the tune composed by Lakshmikant-Pyarelal have been the voices of Lata Mangeshkar and Shailendra, who managed to place in some enjoyable within the fundamentals and delivered this earworm of a tune.
Main Shayar Toh Nahi (Bobby, 1973)
In this lilting Lakshmikant Pyarelal melody, stuffed with guitar riffs, swelling violins and a primary congo beat, Bakshi tried extra cultivated lyrics. The protagonist (Kapoor) is in love and this isn’t a narrative of some fleeting flame anymore. So the author turns poetic. The verse — ‘Jab se dekha maine tujhko, mujhko, shayari aa gayi’, is strengthened usually, cascading these watching/listening into a comparatively refined soundscape. And then there’s the clincher — ‘Main kaafir toh nahi, jab se dekha maine tujhko, mujhko, bandagi aa gayi’. It was a grown-up tune from a rich teenage boy — the tune remodeled pet love and its fetish into maturity, and Kapoor’s attraction simply caught, and didn’t go away, for a few years to come back.
Bachna Aye Hasino (Hum Kisi Se Kam Nahin, 1977)
That opening on the trumpet, the pink coronary heart necklace, the white jumpsuit and the start of the pattern of disco-style stage performances by the lead actor, that is from a movie that got here from the world of director Nasser Hussain, one which was glistening with some absolute Bollywood masala. Pancham’s tune and Kishore Kumar’s voice, which match Kapoor’s persona like a glove, went on to seek out a lot success. It was completely satisfied, it was daring, and intensely smug, as Rajesh (Kapoor) introduced his overconfident arrival. Kapoor smiles, with these deep clefts in his cheek, and that’s the tip of all logic. The tune’s inimitable melody and picturisation continues to be etched in India’s reminiscence.
Om Shanti Om (Karz, 1980)
The second a bunch of horns open this dazzling Lakshmikant Pyarelal (LP) ditty and Rishi Kapoor, wearing a glittery silver jumpsuit with Monty written on the again, will get onto a revolving vinyl set on the stage, hearts start to race. The tune grew to become synonymous with Kapoor and hit the ceiling proper when it got here out. It is liked as a lot even at present. The sort of digital association it had — with guitars and synth turning up the ante — belonged to RD Burman’s oeuvre. But, surprisingly, had LP on the helm. But what many didn’t know and nonetheless don’t, is that in 1978, Lord Shorty, a Trinidad-based musician created an album referred to as Soca Explosion, through which one of many main songs from the album was ‘Om Shanti Om’. A few years later, his tune, with lyrics in Hindi, many extra beats, however the identical hook, Om Shanti Om, launched in Subhash Ghai’s Karz and have become a smash of a tune.
Ek Haseena Thi (Karz, 1980)
Another iconic tune from LP, this 1980 piece was the definition of what a haunting melody could possibly be. Its principal guitar riff, which continues to be performed by so many guitarists, is recognized very strongly with Kapoor holding onto the guitar and evident at Simi Grewal within the viewers and taking part in that famed piece, which appears to be loosely based mostly on Raag Nat Bhairav. It was truly picked from musician George Benson’s tune We As Love.
Khullam Khulla Pyar Karenge (Khel Khel Mein, 1975)
Kishore Kumar and Asha Bhosle sing for Rishi Kapoor and Neetu Singh. The onscreen chemistry of the couple is wonderful to look at, as the 2 characters roam drunk on the streets and speak about free love. This is the ’70s, the flower kids impact had travelled to India too — the dressing and lyrics are exemplary of that.
Parda Hai Parda (Amar Akbar Anthony, 1977)
One of essentially the most well-known on-screen qawwalis of all occasions additionally had Rishi Kapoor taking part in Akbar Allahabadi on display. The parda he’s referring to is that of Neetu Singh, who sits with a rose within the entrance row. While Mohammad Rafi put his coronary heart and soul into doing a stellar playback for this, Kapoor left no stone unturned to do justice to the legendary voice on the reel. A banjo and dholak — the mainstays of avenue qawwali on stage — open the piece. It’s boisterous, charming and might simply soften these hearts with the tune’s crests and troughs. An enormous credit score to the rhythm part right here, which delivers the piece with a swing in its step and thekas on the tabla that hit it out of the park.
Tere Mere Hothon Pe (Chandni, 1989)
The title tune of the movie Chandni could have turn out to be extraordinarily standard, however it’s this mild ditty based mostly on Raag Pahadi that has a depth that few songs of the late ’80s do. A Shiv-Hari composition, it takes you to the mountains immediately and has been picturised on Sridevi and Kapoor.
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Sochenge Tumhe Pyar (Deewana, 1990)
This was once more shot on stage, and was the final tune Rishi Kapoor shot as the primary musician on stage, this time, but once more, in white. Sung by Kumar Sanu, it had a simple and exquisite melody and bought a lot airtime on the radio within the ’90s. Another tune from the movie, ‘Teri Ummeed’, picturised on Kapoor and Divya Bharti, and based mostly on Raag Charukeshi, discovered a whole lot of success. The association was that of primary dholak and synth, the way in which Nadeem Shravan composed most of their songs. It labored as a result of primary instrumentation merging with extraordinarily delicate preparations of flute and sitar. It’s a romantic tune with a tune that has pathos on the backside of it. The end result is without doubt one of the most interesting melodies that Nadeem Shravan ever managed to present us. It’s additionally tough to let go of the picture of a chubby Kapoor in it, in his vibrant sweaters, singing across the timber, and making our hearts wobble with affection.
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