Bappi Lahiri's successful streak as the Disco King is a testament to his music's longevity, distinction

Woke up this morning to the unbelievable news that Bappi Lahiri is no more. Bappida gone?! It can’t be true. We were grieving over the going away of the Melody Queen just days ago. There was no sign of death.

Bappida and I started on the wrong note in the early 1980s. Rather, he started on the wrong note, I thought, with all those atrocious disco numbers from all those Jeetendra-Jaya Prada-Sridevi-K Bappaiah-Raghvendra Rao potboilers. I slammed him fortnight after fortnight in my music column in Filmfare.

He told the Filmfare editor Rauf Ahmed he wanted to meet me. “He probably wants to beat you up,” Rauf joked.

I braved it nonetheless and went to the recording studio to meet Bappida. I expected a showdown. Instead, I met a man with gentle childlike enthusiasm for his music.

“Those songs that you hate are the ones that are bursting into the charts. If I had a chance I would compose only 'Saiyyan bina ghar soona' and 'Tu kahan aa gayi zindagi' for Mata Saraswati.”

We both loved Lataji. Bappida and I remained connected till the end.

He once told me. “It’s God’s and my parents’ blessings and of course Lataji who helped me a lot. Everyone from the age of 6 to 60 dances to my songs. What more could I ask for? I don’t feel old at all. I’ve been into music for more than 50 years.”

Bappida’s mantra for survival was -- change. “I’ve survived so long because I’ve changed with the times. As I look back I feel I am the luckiest music composer in the history of Indian film music. Just look at the artists I’ve worked with: my first song 'Tu hi mere chanda tu hi mera tara' in the film Nanha Shikari was sung by Mukeshji. Then I worked with Mohd Rafi Saab, Asha Bhosleji, Kishore Kumar, P Susheela, S Janaki, SP Balasubramaniam, Yesudas. Most of all I had Lataji’s blessings from the beginning. Whatever Bappi Lahiri is today is because of my parents and Lataji. She’s my Saraswati. It was because of her support that Bappi Lahiri could establish himself in Mumbai. Otherwise, who would have given Bappi a chance when stalwarts composers like Laxmikant-Pyarelal, RD Burman and Kalyanji-Anandji were around?”

Bappida’s successful streak as the Disco King began in 1979 in a film called Suraksha. “I composed 'Mausam hai gaane ka'. That started my journey as a disco composer. 1980s and 90s were only Bappi Lahiri. The ‘disco’ style became unstoppable. Even today that style is in vogue. So many musicians come and gone but Bappi Lahiri’s songs are still being remixed. I had done the original songs in Himmatwala, and I sang in the Himmatwala remake. My songs never dated. I even sang for AR Rahman in Guru and Himesh Reshammiya in Shortcut Romeo.”

Yet it’s the softer more mellifluous melodies like 'Sooni aaoni raahein' in Phir Janam Lenge Hum, 'Milne se pehle bhichad jaye hum kyun' in Aag Hi Aag, 'Zid na karo' in Lahu Ke Do Rang and 'Jaane kyon mujhe ab yun lage' in Agreement that one would like to remember Bappida by. The singer concedes, “Even when I became synonymous with disco music. I continued to compose soft melodies in films like Lahu Ke Do Rang, Patita and Hatya. But what can I do if in Paap Ki Duniya people preferred the massy 'Tu mera tota main tera maina' to the classy 'Bandhan toote na'? But my softer songs in iwere big hits. Kishore Kumar got two Filmfare awards twice for my compositions. Even now when I finish a concert I have to sing 'Chalte chalte mere yeh geet yaad rakhna.'

Very often Bappida was accused of plagiarism. He protested with a laugh, “With due respects, to the other composers they also copied songs from the West. I don’t want to name them. I’ve survived so long because of the love and good wishes of my fans. The fire still rages inside me to do young music. I know I am wedded to Indian melodies in my soul. But the feet are committed to trendy rhythms. I hope to be making young music even when I am 70.”

That was not to be.

Was he proud? “No, it’s not pride. It’s joy, happiness at being able to entertain audiences for so many years. People love me. The industry loves me. This is why I’ve been able to survive as long as Dilip Kumar and Dev Anand. I am still composing songs every day as I always do. I keep aside the evening to create new tunes. I have a whole bank of tunes. I’m doing a film with director Partho Ghosh called Pyar Mein Thoda Twist…I am as excited about this film as I was when I worked with the biggest of filmmakers like Dev Saab and the biggest of actors like Amitabh Bachchanji. I’ve never discriminated between big and small films. Some of my most favourite compositions are to be found in small-budgeted films like Chalte Chalte, Aap Ki Khatir , College Girl and Manokamna.

Bappi Lahiri, who was known for his groovy disco tunes and eye-catching fashion style, has died at the age of 69.

I asked him to select some of his favourite songs. “Kehna musqil hai… there are so many. But off hand, 'Chalte chalte mere yeh geet yaad rakhna' (Chalte Chalte), 'Aao tumhe chand pe le jaaon' (Zakhmee), 'Mana ho tum behadd haseen' (Toote Khilone), 'Pyar manga hai tumhi se' (College Girl), 'Sooni sooni raahein' (Phir Janam Lenge Hum), 'Bambai se aaya mera dost' (Aap Ki Khatir), 'Yaar bin chayan kahan re' (Saaheb), 'Manzilein apni jegah' (Sharaabi), 'Pag ghungroo' (Namak Halaal) , 'Jawani jaan-e-man haseen dilruba' (Namak Halaal) …So many of them. I’ve lost count of all the songs that I’ve composed. I recently composed and sang a duet for the film Pyar Mein Thoda Twist with Kanika Kapoo. And that was a lot of fun.I feel blessed and very happy. I am surrounded by my loved ones. I’ve completed 466 film scores. Out of these 400 are Hindi films. At least in Bollywood, this record is unequalled. My song Pyar chahiye mujhe har ghadi is the anthem of my life. I want to be loved every moment. Because I love every moment.”

But Lataji was Bappida’s favourite. “ I was 4 when in the Eden Garden locality of Kolkata where we lived, Lataji came home and blessed me. I still have a picture of me sitting in her lap. She sang many Bangla songs for my father (Aparesh Lahiri) who was a well-known composer in Kolkata. From then on she has supported me. She sang my first composition in a Bengali film Daadu. If she hadn’t sung for me I’d have been swept away by the competition. My first big Bollywood hit score was Aamir Khan’s father Tahir Hussain’s Zakhmee. In that Lataji sang Abhi abhi thi dushmani and Aao tujhe chand pe le jaaon. Both were big hits. That film also had the Asha-Kishore duet Jalta hai jiya mera bhigi-bhigi raaton mein which was a rage.

Then there were melodies in the films Chalte Chalte and Aap Ki Khatir (which had the chartbuster Bambai se aaya mera dost) which are hummed to this day. That’s how it all began for me.I’d like to say one thing. I’ve survived for 40 years because I’ve changed with the times. Now when I am approaching 70 even now when I finish a concert I have to sing Chalte chalte mere yeh geet yaad rakhna, the title song from Chalte Chalte. So somewhere,even when I became synonymous with disco music I continued to compose soft melodies in films like Lahu Ke Do Rang, Patita and Hatya. But what can I do if in Paap Ki Duniya people preferred the massy Tu mera tota main tera maina to the classy Bandhan toote na? But my softer songs in Sharaabi were big hits. Kishore Kumar got two Filmfare awards twice for my compositions.”

About being branded a disco king Bappida

“It was in 1979 in a film called Suraksha where I composed Mausam hai gaane ka. That started my journey as a disco composer. 1980s and 90s were only Bappi Lahiri.The ‘disco’ style became unstoppable. Even today that style is in vogue. So many musicians come and gone but Bappi Lahiri’s songs are still being remixed. Even now as we speak the songs in the Himmatwala remake are mine. In fact I’ve even sung in the Himmatwala remake. My songs never dated. I even sang for A R Rahman in Guru and Himesh Reshammiya in a film called Shortcut Romeo. I am a singer too. And I can feel the emptiness in the singing world. It’s a fact I can’t tell who’s singing a song these days.

Bappida lamented the scarcity of notable music composers

“They are all good. But they have no distinct identity in the way R D Burman, Madan Mohan, Laxmikant-Pyarelal or I had. Partly it’s the lyrics to blame. Earlier the singers had inspired lyrics by Anand Bakshi, Majrooh Sultanpuri, Indivar and so many others. Even now when I sing ‘Inteha ho gayi’ on stage, a 1000 voices sing back the next two words, ‘Intezaar ki’. Now the poetry has disappeared. Nowadays we can’t tell what’s being sung in the stanza sHaving said that , let me reiterate that present day composers like Salim-Suleiman, Pritam, Shankar-Ehsaan Loy are all talented. Vishal-Shekhar are like my siblings. We are bonded.Our Oooh la la continues to be a rage two years after it was released.In my entire career the only song I’ve sung four times on stage is Ooh la la.”

About his image as the bejewelled disco king Bappida said

“This image of mine came from my idol, Elvis Presley. As child, I’d look at his posters and pictures and imagine myself cultivating a similar image one day when I became a musician. Today it’s come to a state where Indians at international airports approach me anxiously when they don’t see the chains around my neck to ask me, ‘Where is your jewellery?’ I am proud of the image. All the gold chains around my neck are inscribed with the names of particular deities. People back in India keep saying Elton John and I not only resemble one another but are also similar in many other ways. We are both singers and composers and we both like to dress and perform flamboyantly. When I was asked to dub for his first Hollywood film where he has a guest appearance I was delighted”

Bappida wanted to collaborate with Elton John on a song

“We can do something truly pathbreaking together. It is a privilege to be associated with Sir Elton. He is an icon of the music world. All his songs are a memorable fusion of meaningful lyrics and everlasting tunes. I am especially fond of his song ‘Sacrifice’. He is a true musician and plays the piano like a dream.” Bappida is now looking forward to collaborating with sir Elton on a song. “I’ve collaborated in the past with MCHammer, Boy George, Samantha Fox.”

In fact Bappida’s songs have been adapted into more Hollywood and western mediums than any other musician. “You can say I prove the credibility of the adage that old is gold.And you can add , ‘Gold is Bappi Lhiri’ to that. My song Kaliyon ka chaman sung by Mata Saraswati Lata Mangeshkar was used by a band called Truth Hurts. My other tracks like ‘Jimmy Jimmy’, ‘Come Closer’ and ‘Jhoom Jhoom baba’ have featured recently in big blockbuster Hollywood films.I think I am blessed. My hit Tamma tamma was used in the film Badrinath Ki Dulhaniya. Then in Naam Shabana my song ‘Zubi Zubi’ was used.‘Zindagi Mera Dance Dance’ was used in Daddy.By the grace of God, songs that I composed 25-30 years ago are popular once again. I am blessed.”

Bappida’s decision to enter politics in 2014 had surprised many.Rationalizing his transition from music to a discipline as undisciplined and unmusical as politics Bappida said, “I am not going into active politics. But Narendra Modi is showing such a chamatkaar(miracle) in Gujarat.And when the Bharatiya Janata Party invited me to join them I thought over it and decided to go for it. After 42 years of music and 500 films it seemed like the right time to use my status to do something for the industry that has given me everything.If Kolkata is my janm bhoomi, Mumbai is my karm-bhoomi. This film industry has given me everything. Now it’s time for me to give something back to the industry.”

Through his political association Bappida wanted to create funds for old needy and ailing members of the film industry. “So many distinguished members of our film fraternity like Lalita Pawar, A K Hangal and O.P. Nayyar faced financial hardships before they passed away. We need to look after the old and vulnerable entertainers. If I can do anything to help Bollywood by being in politics I think it’s worth my while.”

Then there were bizarre rumours of his death some years ago. Bappida was as baffled by these outrageous reports as his well-wishers. “Fans and friends from all over the world have been calling up . People have even driven down to my house making anxious inquiries of my well-being.God knows why these people are doing this on the internet. Jaana toh sab ko hai. It’s in God’s hand when we come on this earth and when we leave. But to spread ugly rumours of someone’s death is a strange nasty way for workless people to entertain yourself. I suggest people who indulge in such things find more constructive ways to spend time. Educate a girl child, adopt a street dog. Or just listen to my songs.”

Looking back with pleasure at his career Bappida says, “I’ve been lucky. Massy songs like Bambai se aaya mera dost from one of my earliest film scores and Tu ne maari entry have been specially successful for me. I guess I am blessed.And the more the mischief-mongers spread wrong rumours about me the longer my life and career.”

Bappida is sobered and saddened by present-day musical trends. “I belong to the golden era of Hindi film music when Kishore Kumar, Mohd Rafi, Manna Dey, Lata Mangeshkar and Asha Bhosle were the ruling voices. My first composition in the film Nanha Shikari was sung by the great Mukesh. Even today my songs like ; Kabhi alvida na kehna' (Chalte Chalte), Bambai se aaya mera dost(Aap Ki Khatir) and Jawani jaan-e-man (Namak Halaal) are played everywhere.”

Times, sighed Bappida, are changing. “Nowadays film music has no longevity. We hear a song for maybe two weeks.And we don’t know who has sung or composed it. It’s sad that we no longer respect our musical heritage, because music binds India and Indians with the rest of the world.”

Before signing off Bappida said he wanted to go on exploring new musical avenues. “I want to make India proud with my music. I want my sound of music to be heard and hummed in the remotest corners of the world. I want the world to acknowledge Indian music as the best sound on the planet.”

Kabhi Alvida Na Kehna, Bappida.