The Maestro and the Nightingale

The twain did meet. AR Rahman and Lata Mangeshkar. For Lukka Chhupi in Rang De Basanti. So, you are probably wondering - "Gawd, its August and RDB was released in January. You sane?' Actually, it so happened that I caught RDB on television this Sunday and more than the movie, I was looking forward to catch a glimpse of this enlightening song. Now, you would ask - "Gawd, isn't Rubaroo the best and the most *enlightening* song of RDB?". Well yeah, it indeed is. Until I heard Lukka Chhupi.

I still remember the time, when I spent half a February Sunday listening to this masterpiece. And since this Sunday, the song hasn't left my lips. And invariably, it brings a few tears...I dunno why. Please spend a few moments with me to understand this gem of a song - a conversation between a concerned mother and her mischievious son. And do close your eyes, when you hear it.

It starts with a sweet strumming of the guitar. Coupled with a childish twang of a jaltarang. Lata's yearning for her son is felt in her mellifluous voice. Only Rahman can fuse such a combination.

Lata:

Lukka chhupi bahot hui
Samne aa jana
Kahan kahan dhoonda tujhe
Thak gayi hai ab teri maa
Aaja sanjh hui
Mujhe teri fikar
Dhundla gayi
Dekh meri nazar
Aajana...

Ahhh. Rahman, in his high pitched emotion brimmed voice, starts off echoing the beautiful lyrics penned by Prasoon Joshi. Feel the soft rhythm of a synthesiser and a harmonium(!!) with the intermittent guitar moves.
Sense the feeling of freedom here.

Rahman:

Kya bataun maa kahan hun main
Yahan udne ko mere khula aasman hai
Tere kisson jaisa bhola salona jahan hai yahan sapnon wala
Meri patang ho befikar ud rahi hai maa
Dor koi loote nahi beech se kaate na

Lata:

Aaja sanjh hui
Mujhe teri fikar
Dhundla gayi
Dekh meri nazar
Aajana...

The jaltarang is back in action. Man, I love this instrument. But then I never knew the introduction of tabla would flutter my heart so much. Rahman's a genius: Tabla, Harmonium, Guitar. At the end of the stanza, the flute adds up to a wonderful rendition.

Lata:

Teri raha take akhiyan
Jane kaisa kaisa hoe jiya
Dheere dheere angan utre andhera
Tera deep kahan
Dhalke suraj kare ishara
Chanda tu hai kahan
Mere chanda tu hai kahan
Lukka Chhupi...

The emotions are right there. A chorus, a guitar-tabla-violin flow and Rahman's succulent melody stirs you
within and might just ease out into a few teardrops. Reason: the boy despite all his dreams and everlasting freedom longs for his mother. Touching.

Rahman:

Kaise tujhko dikhaun yahan hai kya
Mere jharne se paani maa todke piya hai
Gucchha gucchha ka yeh khwaabon ka
Ucchhal ke chhua hai
Chhyaya liye bhali dhoop yahan hai
Naya naya sa hai roop yahan
Yahan sab kuch hai maa fir bhi
Lage bin tere mujhko akela...

Now comes the high point of the entire song. And the best. Confirms my belief that Indian classical music with its medley of SaReGaMas reigns supreme over any other form. Lata and Rahman have synchronized so well -
classic to the core. The pure euphonic taals emanating out with the tabla, harmonium and flute takes you to the zenith of pleasure.

Lata:

Aaja sanjh hui
Mujhe teri fikar
Dhundla gayi
Dekh meri nazar
Aajana...

I bow before thee, Rahman. If there a modern age Mozart, it has to be you. I just cannot digest such a wonderful symphony.