Chhaayaageet #118 - "When I haven't said OK why have you put your instruments away?"
Recording a song is a laborious affair. An orchestra of 60+ musicians playing their instruments live as the singers sing. Even one slight mistake by anyone means the whole song has to start again from the top. A false note, which may slip by the untrained ear, is sacrilege inside the studio. Sometimes it is the singers who need a few rounds of rehearsals to perfect the right emotion in their voice. Creativity blossoms in a tense environment where there is little room for error.
Today a romantic song is to be recorded, a male solo. The musicians and singer are ready to begin rehearsals. Many of the musicians have a long association with the singer. They have played their instruments in different orchestras for different music composers for whom the singer has also sung many songs.
They have observed one habit of the singer. Whenever the song is recorded in the final take, he would take his comb out of his pant pocket and pass it over his thin receding hairline. One of those quirks. You would miss it if you saw it once, but for people who work together over a number of years, such habits are unmistakable. It's not something you talk about. It's just something you know.
The rehearsals progress. The film's hero is also in attendance. He is always present when songs are recorded. He also has specific ideas about how he might act out the song, and has inputs here and there.
The musicians are following along with the cues of the arranger. The singer is on another side familiarizing himself with the lyrics, the specific ups and downs, the inflections in the voice to emphasize specific words for heightening their emotional appeal.
Everything is going as planned. The music composer decides they are ready for the take. He is one part of the composer duo. Even though their names are paired together on the film credits, they each compose their songs individually.
As they get ready for the take, the singer proceeds to enter the recording booth. The musicians and composer can see him behind the glass window.
The first take goes alright, however, the composer decides its not quite there yet.
Then a second take happens, and then a third.
Each time, something is not quite right. Minor instructions are passed to one musician or another. Or the singer decides he could have sung a specific portion a little better.
It is now the fourth take. The song starts with an overture. The singer starts on a high note, with a slow tempo, with minimal instrumentation. Then the song picks up with other instruments joining in.
Once the song finishes, the singer instinctively pulls out his comb from his pant pocket, and with customary habit, caresses the strands of hair on his head.
The musicians, who have been watching him, know what that means. They start putting their instruments away and start to relax.
Seeing this, the composer is confused. Why are they putting their instruments away? Who told them this take was OK? He reprimands them in his loud stern voice.
"When I haven't said OK why have you put your instruments away?", he thunders.
The musicians are also confused. They look at each other. They look at the singer. Then they look at the composer.
"But we thought the song was final in this take", someone musters enough courage to respond.
"What made you think so? Did I say it is the final take? Did I say OK?", the composer asks incredulously.
"We thought it was final because Rafi Saab took his comb out after the song was over", an explanation comes forward.
"What has that got to do with anything?", the composer is even more confused now.
"Sir, whenever the song is recorded final, he always takes his comb out and caresses his hair. We have seen him do this every time. So we thought the song was done", the musician replies while looking at the singer and the composer alternately.
Hearing this, the composer cannot help a grin and a smile. With a shrug, he concedes that the song was indeed recorded perfectly and that it was indeed the final take.
Mohammad Rafi sang Khuli palak mein jhoota gussa for the film Professor (1962), music by Shankar-Jaikishan and lyrics by Shailendra. Dattaram Wadkar was S-J's music arranger, ensuring the entire ensemble of musicians comes together to create the entire score for the song.
Rafi Saab knew when the song had been recorded perfectly and even without waiting for S-J's OK, by habit he took his comb out when the fourth take of the recording was over.
Notice how Rafi Saab sings the word "haye" differently, effectively acting through his singing.
Shankar-Jaikishan won the Filmfare award for Best Music Director for Professor. All the songs of the film were very popular, including the seminal Ae gulbadan and Humrae gaon koi aayega, which is one of the earliest duets of Lata Mangeshkar and Asha Bhosle.
Singer: Mohammad Rafi
Music: Shankar-Jaikishan
Music Arranger: Dattaram Wadkar
Lyrics: Shailendra
Director: Lekh Tandon
Film: Professor (1962)