This here sort Indian 7″ is without argument a holy grail of the Bollywood genre, and rightly so! And as a lover of beautifully bizarre go-go soundtracks, you can imagine how thrilled I was, to have finally got my little mittens on a very nice copy only recently! I think everyone remembers that moment when their ears and eyes first experienced the infamous Jan Pehechan Ho film clip from the 1965 Indian suspense thriller.
THE MYTH – Gumnaam, which translates to Unknown or Anonymous, is a film adaptation of the 1939 book And Then There Were None by Agatha Christie, which is widely considered her masterpiece, and was actually described by herself as the most difficult to write. Publications International lists the novel as the seventh best-selling title with more than 100 million copies sold. The Bollywood film adaption was directed by Raja Nawathe, who had commenced his film career as assistant director to Raj Kapoor, for three productions between 1948 and 1951, and were titled Aag, Barsaat, and Awaara. His debut as independent director started in 1953 with the film Aah, which, at the time, did not quite make its mark at the box-office, however his next directorial venture in 1956, Basant Bahar, was a musical success, which received the Certificate of Merit for Best Feature Film in Hindi . He directed one another film before Gumnaam called Sohni Mahiwal in 1958.
The Jan Pehechan Ho moment of Gumnaam, is a wonderful explosion of genuine music film art, and a seminal piece of Indian film history! The wild go go action takes place on the imaginary Silver Jubilee disco dance floor of the Princes Club. The floor is explosive with energy screaming from the dancers and band members, while sophisticated yet surprisingly unfazed high class diners watch on. You have masked men in tight fitted suits frantically hip swinging alongside shimmying shapely goddesses in tight pink fringing, and sometimes presented through some dynamic camera angles. And the track is purely unbeatable! Killer guitar riffs with that nice fat 60’s twang, up against the most applicable wild beat which compliments the tight horn section that seems to have lost it’s way from an Italian spaghetti western sound score.
THE MUSIC for the film Gumnaam, was composed by Indian duo Shankar & Jaikishan, who composed music for the Hindi film industry together from 1949 to 1971. The two earlier had both worked for Prithviraj Kapoor’s Prithvi Theatres , a traveling troupe which staged memorable productions all across India (it was Shankar who assured a job for Jaikishan who was a key harmonium player, without the permission of Kapoor). The two of them developed a very close friendship and apart from following their musical pursuits, they also used to play significant roles in various plays including the famous play Pathan, which was performed on stage nearly 600 times in Mumbai.
The two became known by the acronym “S-J”, and would form a core team with lyricists Shailendra and Hasrat Jaipuri, and with singers Mohammed Rafi and Lata Mangeshkar (although they also worked with almost all the popular singers of their time). The commercial geniuses lead the Bollywood music in spite of tough competition from maestros like Roshan, SD Burman, OP Nayyar and Madanmohan. S-J were the house composers or RK Films and were on their pay-roll till the end. Even after the termination of the professional association between Shankar and Raj Kapoor (Jaikishan had died by then), Kapoor had used a number of their earlier compositions (which were in his custody) for a lot of his films, though the credits were given officially to other composers.
Shankar & Jaikishan’s compositions broke new ground in Hindi film music. Apart from relying upon their knowledge of Indian classical music, they also employed western beats and orchestration, and it became their established practice to have at least one song in a movie based on semi-classical style. While working as a team, Shankar and Jaikishan used to compose their songs separately. Between the two, Shankar was the senior partner and he would usually arrange the orchestra, even for Jaikishan’s songs. There was a gentleman’s agreement between them, for not identifying the actual composer of the song. Dance numbers, title/theme songs and soulful songs were Shankar’s forte while Jaikishan was a master of composing background score, but both Shankar and Jaikishan were equally proficient in scoring western music based songs. Despite their distinct working styles and preferences, it is very difficult to identify who composed what, and best to accept all their work was truly a joint effort.
Shankar & Jaikishan made a major contribution towards the development of jazz music in India and the new genre Indo jazz. Their 1968 album Raaga-Jazz style, the earliest Indo-jazz recording to come from India, and is considered to be one of the most innovative, with 11 songs based on Indian Ragas with saxophone, trumpet, tabla, bass and of course with sitar by Rais Khan.
THE LEADING MASKED MAN – That compelling personality who plays the singer-front man to this outrageous cacophony of spectacle, is dancer Herman Benjamin, also known as “Mr. Charisma”. He made his entry into the world of Hindi cinema as a choreographer, or as they were often called a “dance-master”, sometime in the late 50’s. Most often he assisted other choreographers with the more traditional dance routines, but on occasion he was handed one or two songs that leaned more towards the night club rock n’ roll numbers, that were getting more and more popular in the Bollywood films of those days. He also appeared on screen as a dancer in quite a few films of this period. Benjamin is the handsome devil prototype, and has an animalistic magnetism that Errol Flynn would duel to the death for. His apparent charming and humorous nature overflows with his maneuvers. Even among a crowded dance floor such as in the sequence of Tin Kanastar Peet Peet Karhis from the 1958 film Love Marriage, his distinct drawing power is undeniable. It‘s also evident that Benjamin studied Herbert “Whitey” White’s school of Lindy Hoppers and jitterbuggers, perhaps only through film, because some of his moves are brilliantly borrowed from the 40’s and 50’s! While Benjamin plays the moves in grand style, it is believed that Surya Kuma who at the time, was inspired by an English dance craze called “The Shake”, was likely the mastermind behind the Jan Pehechan Ho dance floor phenomena (both he and Benjamin helped choreograph the dances in Gumnaam). Benjamin sadly passed away on 13th September 1968 and was only 37 years old, which is such an injustice, but I’m so grateful he left a huge legacy of film attributions credited up until 1971, for us to enjoy.
THE LEADING LADY – Strutting alongside Benjamin’s skillful and tight dance floor motions, dressed in tight gold lamé, is the stand out prismatic and blazing lead female dancer Laxmi Chhaya! Her wild energy is captivating and ferocious during the Jan Pehechan Ho routine, and it’s difficult to comprehend that she was only 18 at the time of shooting, when she danced herself into film history. In fact Chhaya was nine when she appeared in her first film Talaq in 1958, when director Mahesh Kaul had spotted her among the guests on the sets. Three years later her role in Bada Aadmi, established her as a dancing star. Although she’s most likely most recognised for her Gumnaam role on this side of the world, Chhaya in fact had a major and successful career in the Bollywood circuit, working in over 55 film productions between 1961 through to at least 1982. Just a year after Gumnaan, Herman choreographed the routine for Aaja Aaja for Nasir Husain’s Teesri Manzil. Chhaya again had a feature role, but this time she is far more sedated, with her part as a spectator. Maybe after her earlier smoking Jan Pehechan Ho performance, the Indian screen management felt they needed to cool things down for a while.
Chhaya moments of spectacular grandeur are a plenty in this time of Bollywood cinema. One of those spell binding moments is from the 1968 film Suhaag Raat, where there’s a cobra and peacock dance off between two beauties, Madhumati who convincingly plays the sensual serpent, up against the peacock adorned Chhaya! The battle is furiously tense and tight, and amazingly fought til the end! In the 1970 S. Sukhdev directed film My Love, there’s a seductive devilish dance by blond bombshell “Caron Leslie” to some low grinding grooves composed by Daan Singh . With the devil shadowing her moves, the room gets so heated that uncomfortable onlookers almost turn away with embarrassment and guilt. But once Chhaya gets the nod things get even hotter on the dance floor. Miss Leslie is swiped by a far more dominant, spirited and high powered challenger, and the music is to revved up with heated frantic African tribal beats! Below I’ve listed a few of my favourite Chhaya moments of wonderment well worth looking at.
THE BAND – The brilliance of Jan Pahechan Ho shines further beyond the dance floor and lifts up onto the bandstand. The group “performing” the anthem is known as Ted Lyons and his Cubs. Regardless of the cult popularity of this Bollywood performance, I found it difficult to find a lot of information on this mythical line-up. In fact when watching the clip, the line is blurred between actual bands members from bands actors, especially without knowing the real life line up of the Cubs. But it’s not important and the blend is splendid. I can tell you that the leader of the pack, Terence “Ted” Lyons plays the centered guitarist (with the red guitar) and is brother to the famous dancer/film actress Edwina Lyons (his other sister Marie Shinde was a very active dancer and choreographer also at that time). In the 1967 film Raat Aur Din, Edwina dancers along with Laxmi Chhaya to Awaara Ae Mera Dil, which also features Ted Lyons And His Cubs, however this time Terence has moved away from band member to join the dance floor society (he can be seen, especially near the end of the song, dancing in the shadows to the left of the band). Aficionados of Bollywood cinema would possibly recognise The Cubs appearing frequently in famous films, one other notable presence is in the film of the same year, Janwar. The song is an adopted “I Wanna Hold Your Hand”, titled Dekho Ab To, where this time Ted is behind the drum kit of The Cubs (pictured).
According to Memsaab’s incredible blog dedication, Feel the love! Ted Lyons & His Cubs, he emigrated to Brisbane, Australia, in 1972, resulting with the break up of the band and any further screen appearances. He says that he danced way more than he appeared with his band, and although they played plenty of weddings and events, no studio recordings were ever produced. He spent 20 years in the Bombay film industry as a dancer and drummer/band leader.
THE SINGER – The actual voice behind the man behind the mask, is the legendary and prolific Bollywood singer Mohammed Rafi. He was born 24 December 1924, as the fifth of six sons in a village near Amritsar, Punjab (the family moved to Lahore later in the 1920’s). Rafi’s elder brother, Mohammad Deen, had a friend Abdul Hameed, who recognised Rafi’s talent and would encourage him to sing, and later even convinced the family elders to let Rafi move to Mumbai.
There’s an infamous story about Mohammed Rafi’s rise to stardom. One time he and his brother Hamid went to attend a performance by the renown K.L. Saigal. The power went off (and from my brief experiences in Indian, a common occurrence even these days), and the dignified Saigal refused to sing without the benefit of the sound system. With agitated audiences tempers brewing, Hamid persuaded the organisers to allow Rafi to sing for them until the power was restored. It was readily agreed and everyone in the house was impressed, including the great composer and music director Shyam Sunder who happened to be among the audience. Rafi was invited to sing for one of his films in 1944 at the age of 20, with the song Soniye Hiriye, Teri Yaad Ne Bahut Sataya, for the film Gul Baloch, and was quickly brought to attention of other music directors.
Early in his career Rafi got a huge break when he got to work with Naushad Ali (pictured), one of the foremost musical directors for Hindi films of the time. His versatile musical vocabulary offered him a myriad of singing roles, one highlight must have been in the 1960 film Mughal-E-Azam, where Rafi sang Ae Mohabbat Zindabad, alongside a chorus of 100 singers. This relationship would establish himself as one of the most prominent playback singers in the industry cinema and he ended up singing a total of 149 songs for Naushad.
Rafi’s partnership with Shankar & Jaikishan was also very famous and successful (Rafi was their favourite singer despite having good reputation with other playback singers of the time). Out of six Filmfare awards, Rafi won three for S-J songs, and sang a total of 341 numbers (216 solo) for the partnership! With the voice in demand, he would also work with other big name producers. S.D.Burman used Rafi as a singing voice of Dev Anand and Guru Dutt, and would end up collaborating on 37 movies. Rafi also worked with the great Ravi Shankar, and in fact received his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), which was composed by Ravi. Rafi also received the National Award for Ravi’s song “Babul Ki Duaen Leti Ja” from the film Neel Kamal (1968), and admits that he actually wept during the recording of this stirring song. Myself, I love the swaying Baar Baar Dekho he sang for China Town in 1962.
Mohammed Rafi died on 31 July 1980, following a massive heart attack…his funeral procession was one befitting a king. Said to have been the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending despite heavy rains on that day. The government of India announced a two-day public holiday in his honour. In 2010, Rafi’s tomb was demolished to make space for new burials. Fans who visit his tomb twice a year to mark his birth and death anniversaries, use the coconut tree that is nearest his grave as a marker. Rafi was a big player in the history of Indian film which goes with out saying, and there’s actually some great sites out there that celebrate this man’s career and achievements, which I recommend new fans of this genre pursue.
THE SONG – The lyrics to Shankar-Jaikishan’s Jan Pahechan Ho is by Shailendra (Shankardas Kesarilal), a popular songwriter who had already won the Filmfare Best Lyricist Award twice before Gumnaan. But sadly his promising career was cut short, when he was just 43 years of age. In 1961 Shailendra invested heavily in the production of the movie Teesri Kasam (released in 1966), directed by Basu Bhattacharya and starring Raj Kapoor and Waheeda Rehman. Although the film won the National Film Award for Best Feature Film, it was a commercial failure. Stress, tensions and anxiety due to financial loss quickly contributed to his defeating health, and coupled with alcohol abuse, ultimately led to his death on 14 December 1966.
If you look up the literal interpretation on the song, well the words and meanings kind of bump into each other, which is not uncommon ofcourse. Here’s my blurry attempt at the song’s interpretation, mashing some of those online translations.
Oh you stealer of my heart…you who avoid my gaze…at least tell me your name.
For it will never return, not by anybodys calling…
straight and direct…they have pierced my heart…
All this small talk…should not be a town story…
I am sure my feeble translation is questionable, but do go to grabbingsand.org, for some fun and more in-depth translations, by people far more competent than myself .
IN CLOSING – Indian vinyl is not the easiest to find, especially in good playing condition. But this is a must for 7 lovers and you are rewarded with Lata Mangeshkar’s Gumnaam Hai Koi, a lovely cover version Henry Mancini’s of Charade! I have to mention that you will find an edited cut down version on the EP. (I do find the 3 minute edit version very does the job adequately), so if you’re after the long play version that you know and love from the film cut, them the LP could be a good option, which does appear far more often on the market. Note that the LP cover pictured above is the repress cover from Angel Records that came out the a little later in the same year of ’65.
To have Raja Nawathe and his collaborators all combining visions and talents, at what must have been a most amazing time, and to be rewarded with unbeatable masterpiece that is Jan Peechan Ho, is a blessing that will keep us music lovers dancing and smiling for a very, very long time!
Some great Chhaya dance floor appearances…
1 – Upkar -1967 Gulaabi Raat Gulaabi
2 – Wahan Ke Log -1967 (with Indian space go-go gals!) Woh Pyaar Pyaar Pyaar Pyaar Chanda
3 – Baharon Ke Sapne – 1967 (duel with Laxmi Chhaya and Bela Bose) Do Pal Jo Teri
4 – Suhaag Raat – 1968 “Cobra And Peacock Fight” 1968
5 – My Love – 1970 Laxmi Chhaya and Caron Leslie
6 – Ek Khiladi Bawan Pattey – 1972 (hippie love) Le Le Ye Dil Ka Nagina Bahroopiye Log Saare
 In over 16 years of existence, the theater staged some 2,662 performances with Prithviraj supposedly starring as the lead actor in every single show. By the late 1950s, it was clear that the era of the traveling theater had been irreversibly supplanted by the cinema, which was sweeping across the lands. Clearly it was no longer financially feasible for a troupe of up to 80 people to travel the country for four to six months at a time, along with their props and equipment and living in hotels and campsites. Many of the fine actors and technicians that Prithvi Theatres nurtured had found their way to the movies.
 Carole Lesley (Maureen Rippingale) was a British actress who had a short but significant career as a “blonde bombshell”. In this film, this particular actress is credited as Caron Leslie. I am almost certain this is not her in this film but a dedicated inspired impersonator instead. But I could be wrong.
References and recommendations…
Track 1- Let’s Dance Together Track 2 – Cha Cha Cha!
Rahul Dev Burman was born on June 27, 1939 in Kolkata, to the Bollywood composer/singer Sachin Dev Burman and his lyricist wife Meera Dev Burman. According to some stories, he was nicknamed Pancham da because, as a child, whenever he cried, it sounded in the fifth note (Pa), G scale, of music notation (the word Pancham means five, or fifth, in Bengali, his mother tongue). Another theory says that little Rahul received the nickname because he could cry in five different notes.
When Burman was nine years old, he composed his first song, Aye meri topi palat ke aa, which his father used in the 1956 film Funtoosh. Sar jo tera chakraaye was included in Guru Dutt’s 1957 soundtrack for Pyaasa, and was also another father/son collaboration this time sung by Gumnaan singer Mohammed Rafi. In Mumbai, Burman learnt to play the sarod by classical musician Ali Akbar Khan and also the tabla by Samta Prasad . He also considered composer poet and a playwright, Salil Chowder as his guru. He served as an assistant to his father, and often played harmonica in his orchestras.
RD Burman’s first released film as an independent music director was Chhote Nawab (1961). Popular Bollywood comedian Mehmood was the producer and first approached Burman’s father for the music, however he had to turn down the offer, saying that he did not have any free dates available. At that very meeting, Mehmood noticed Rahul playing tabla in a back room, and signed him up as the music director for the film. Burman’s first hit movie as a film music director was Teesri Manzil (1966), which starred Shammi Kapoor, who is hailed as one of the most entertaining lead actors that Hindi cinema has ever produced, and was married to actress beauty Geeta Bali. The scored had six songs, all of which were written by Majrooh Sultanpuri, and sung by Mohammed Rafi. Four of these were duets were with his future wife and superstar Asha Bhosle (apparently they first met when she was the mother of two and he was in 10th grade having dropped out to pursue music). I advise you to search for the brilliant Hassina zulfo walli clip, where you witness some amazing set designing, which is actually quite typical in this wonderful film genre. Nasir Hussain went on to sign RD Burman and lyricist Majrooh Sultanpuri for six of his films.
In 1971, Burman composed the music for Dev Anand’s Hare Rama Hare Krishna. Asha Bhosle won the Filmfare Best Female Playback Award for the infamous electrifying Dum Maro Dum (Take Another Toke), from this film, which was a huge hit and proved to be a seminal rock number in Hindi film music. Dev Anand did not include the complete version of Dum Maro Dum in the movie, because he was worried that the song would overshadow the film. The hit film was a star-making vehicle for the model and beauty queen, Zeenat Aman, who won over the heart’s of world audiences, in her role as the westernized hippie, Janice.  The film was a huge success for her, going on to win the Filmfare Best Supporting Actress Award, as well as the BFJA Award for Best Actress. She would become one of the highest paid Hindi actress between 1976-80 and appeared on every Hindi film magazine’s cover during the 1970s. Hare Rama Hare Krishna dealt with the decadence of the Hippie culture. It aimed to have an anti-drug message and also depicts some problems associated with Westernization such as divorce, and is said to be loosely based on the 1968 Richard Rush movie Psych-Out.
Bombay to Goa is a 1972 Bollywood adventure-comedy film directed by S. Ramanathan, and is actually a remake of a 1966 hit Tamil film Madras to Pondicherry. The movie is known particularly for its catchy tunes and includes Usha Iyer’s incredible Listen To The Pouring Rain which is a cool mashup of tunes such as Temptation, Fever and ends with a frenzied Be-Bop-A-Lula! In 1976, the Vijay Anand directed spy thriller, Bullet was released with yet another exciting soundtrack. This time Asha Bhosle is back providing the vocals on the trippy Peene Ke Baad Aati Hai Yaad Bhooli, again with suitable bizzaro film sets to match! Oh to be on that set when this was all happening!
The 1978 Hollywood and Bollywood joint production film Shalimar starred Dharmendra, Shammi Kapoor, Prem Nath, Aruna Irani and once again Zeenat Aman (pictured right). Also in supporting roles in their first and only Bollywood film was, English actor Sir Rex Harrison, and American actors John Saxon and Sylvia Miles. The film was released in two versions; Hindi in India and also an English version in the US, known as Raiders of the Sacred Stone (and supposedly also as The Deadly Thief). All versions however were unsuccessful, although later gaining cult status. In this Indian crime adventure, the world’s best jewel thief invites his illustrious peers to try to steal the world’s most priceless jewel, the Shalimar ruby, from his home on a remote private island. If they fail, they will die.
The Shalimar soundtrack is packed with Burman gems! While the credibility of the film plot may be somewhat questionable, Burman’s work on the score is genuinely masterful and simply like nothing else. The Title Music has to be the number one all time opener to come from the Bollywood genre, and how I wish it was circulated on a 7”. Intense off beat jazz constructions, over operatic vocals, this masterpiece is a tip of the hat to greats like Morricone and John Barry, and I don’t say that lightly.
One of the film’s on going musical themes, is the delightful Hum Bewafa Hargiz Na Thay, which at one time comes with a pretty extraordinary beach tribal dance scene filmed at night. And Mera Pyar Shalimar with Asha Bhosle’s dreamy vocals is pure ecstasy. Sylvia Miles who had won two Oscar nominations for Best Supporting Actress in the movies Midnight Cowboy and Farewell My Lovely, apparently snatched the role of Countess Rasmussen, from the intended Gina Lollobrigida, Italian sex symbol of the fifties and sixties. She plays a far fetched trapeze artist-master thief, who seems to have a love for doing an over excessive amount of somersaults and cart wheels that’s really ever necessary. In one scene where the countess is attempting a break in and theft of the Shalimar jewel, one of Burman’s big jazz tracks Countess’ Caper, plays over the top, doing it’s best to add drama, but really only adding even more lunacy to the moment.
Moving on to the feature 7”, of the 2 tracks, Baby Let’s Dance Together, sung by the mysterious Kittu, is the standout for me. A laid back super chic funk oozing pure class, this song criminally only gets a brief look in during the film, as a background track to an enticing bedroom scene from Sheila Enders to S.S. Kumar, that quickly ends in an argument. Who the vocalist Kittu is, I can’t really tell you, as the only other song credit I could find from her, was for the track I Have a Crush On You from the 1980 Ek Baar Phir, film directed by Vinod Pande. The second track on offering is the quirky work out, One Two Cha Cha Cha, which actually has the responsibility of opening the film even before the aforementioned diabolical Title Music. Vocals provided by Usha Uthup, accompanied nicely with the expected Burman Moog and sitar, the opening set up brings us into a day lit seedy gambling club, with Sheila Enders approaching an eager flare filled dance floor, who she will provide a personal instructional dance routine for. What a way to open a spy thriller. That’s the way ah ha, ah ha, I like it!
Burman’s genius workings for this soundtrack did not go unnoticed, resulting with 3 Filmfare nominations…Best Music – R.D. Burman, Best Male Playback Singer – Kishore Kumar for the song Hum Bewafa Harghiz Na, and Best Female Playback Singer – Usha Uthup for One Two Cha Cha, which funnily enough ended up being won by Asha Bhosle for the Kalayanji Anandji track Yeh Mera Dil Yaar Ka Diwana from the exceptional Don score. The highly regarded LP comes in a few variants, the best in my view is the fold out cover with the intricate die-cut inserts nicely formatted with film stills. If you need to have a few important Bollywood soundtracks in your collection, this one’s on the top of the list and isn’t too difficult to find, although as with most Indian records, it pays to hold off until you can find a nice conditioned record.
Burman would go on to release more killer soundtracks, and a handful with accompanying 7″s. Getting into some serious stuff, I want to bring up The Burning Train score. When I first heard the opening score I really struggled to believe it wasn’t a contemporary production. I love this period of Burman! Released in 1980, directed by Ravi Chopra, the film featured a huge all-star cast . The plot revolves around a train named Super Express that catches fire on its inaugural run from New Delhi to Mumbai. It’s out of control, the drivers are dead, and many lives will certainly expire if somehow the burning train isn’t stopped. I’ll be a bit more elaborate on this film when the time comes (and it will) to post that particular soundtrack. But this is R.D. Burman on FIRE as the title track clearly displays, as well as the Latin flavoured Meri Nazar Hai TujhPe if you even needed more proof.
If it was one Burman really excelled at, it was drawing in audiences into films with exciting title tracks, and Hindi action thrillers such as the 1980 Shaan (Pride) provided the perfect platform. This film was directed by Ramesh Sippy after the super success of his previous venture, Sholay. He drew inspiration from the American Western and spaghetti western films, and took its lead from the James Bond films with fancy sets and beautiful costumes. Shaan took three years to make and it was expected to match the success of Sholay but failed to do so, however, it ran to packed houses in its re-runs and ended up making a lot of money. Eventually, it was declared to be the highest grosser of 1980 by IBOS. Once again the opening track Doston Se Pyar Kiya with the mighty Usha Uthup on vocals, is exciting and abstract, and perfectly wigged out! Thanks to Burman, the film recieved a Best Music nomination at Filmfare, this being its sole nomination. For the Bollywood Rocky film, also released in 1980, Burman gave us some killer breaks and spaced out “borrowing” with the War of the World’s inspired Aa Dekhen Jara.
In 1983, Chor Police, the directorial debut movie of Bollywood actor Amjad Khan, includes one of my all time favourite Bollywood dance numbers, Aaj Mera Dil. In yet another Bhosle-Burman classic, we have once again another killer dance sequence, this time it’s the Indian beauty Parveen Babi as Seema, drawing the audience right in with her hypnotizing moves. Audacious and daring, starting with a slow and wonderfully psychedelic intro, simple exotic moog lines are soon swooped over by spaced out guitar riffs, perfectly syncopated percussion and Asha’s “from another world” vocal lines…this is one of Burman’s best!
Burman also made an international “non-film” album not many know about, a Latin-American-Indian monster, nowadays quite sort. Released in ‘87, Pantera was financed by his father, and as well with his friend Pete Gavankar, who wanted the aspiring musician to explore the music scene outside India. The idea at first didn’t really appeal to the reluctant Burman, for it was well known those days that producing a record usually took months in that part of the world, and he wasn’t sure he wanted to move away from his home land. In 1981, Gavankar borrowed 15 tunes from RD, who had composed them in a matter of seven days and handed the tapes to his sister Nilu, who was connected to pop groups in San Francisco. Nilu played the tunes to an upcoming musician Jose Flores who immediately liked five compositions and recorded them. Back in India, Burman heard the tracks, and it charged him up enough to go to San Francisco and record an album. It was carnival season when Pancham landed in San Fran’on June 15, 1984. The atmosphere there inspired him so much that he composed the tracks Carnival and Caminando almost immediately. One evening, they visited a disco where Burman’s and Jose’s joint collaborated In Every City was played. He recalls how all the people started dancing, and then how they all clapped at the climax. He was so moved he almost cried. All the artists on Pantera were significant musicians, and it also included vocalists from diverse backgrounds – a Japanese, a Puerto Rican and an African-American.
Rahul Dev Burman was quite ahead of his time, and his music came with a harmony, uniqueness and an integrity. Often been credited for revolutionising Bollywood music, he successfully blended Latin sounds, cabaret, psychedelic vibes and disco and funk styles. He experimented with an array of new sounds with great execution, and developed songs that went to become massively popular with the audience. But even after 331 released movie scores, he was awarded a total of only three Filmfare Awards, one of which was awarded posthumously (for 1942: A Love Story). 
In 1995, Filmfare Awards constituted the Filmfare RD Burman Award for New Music Talent in his memory. Pancham da’s death in 1994, after a massive heart attack, left a void in the Indian film music industry, but even over two decades later, his lilting melodies and soulful tunes continue to inspire and influence musicians and music aficionados alike. Hindi film music is forever indebted to him.
Top picture…Sachin Dev Burman with his son, Rahul Dev Burman. Image owned by Penguin India (rediff.com)
B&W picture…Hare Rama Hare Krishna Director-Actor Dev Anand with Rahul Dev Burman (thequint.com)
 Zeenat Aman did her schooling in Panchgani and went to University of Southern California in Los Angeles for further studies on student aid, but she could not complete her graduation. Upon her return to India, she first took up a job as a journalist for Femina and then later on moved on to modeling. One of the first few brands that she modeled for was Taj Mahal Tea in 1966. She was the second runner up in the Miss India Contest and went on to win the Miss Asia Pacific in 1970.
Dev Anand offered Zaheeda (his second heroine in Prem Pujari) the role of his sister in Hare Rama Hare Krishna. Not realizing the importance of this secondary role, Zaheeda wanted the lead female part (eventually played by Mumtaz) and she opted out. Zeenat Aman was chosen as a last-minute replacement. Her hip looks in Yaadon Ki Baaraat (1973) as the girl carrying a guitar, singing Churaliya Hai Tumne Jo Dil Ko (over Asha Bhosle’s voice) has won her more popularity and the hearts of millions of fans.
Zeenat Aman unfortunately had to deal with domestic violence in both her marriages. Sanjay Khan, her first husband, had reportedly bashed her up leaving a permanent scar on her eye, and vision problems. Her second husband Mazhar Khan also reportedly harassed the actress physically. A brave Aman dressed up as a village girl with a burnt face when she approached Raj Kapoor’s office, when he was finalising his heroine for Satyam Shivam Sundaram. He was so impressed and proud of her dedication, that he signed her right then.
 Dharmendra, Hema Malini, Vinod Khanna, Parveen Babi, Jeetendra, Neetu Singh, Vinod Mehra, and Danny Denzongpa.
So I just recently returned from a short but incredible trip into country India, which I’m just refusing to let go of at the moment. The experience was one I’ll never forget because of the people I met, the things I saw, and the sounds I heard.
Somehow, in the little city known as Pushkar, a small record shop appeared, something I was not expecting to see, and a lovely man named Shashi, sat behind the counter. Now my knowledge of Indian music is very thin, especially in the Bollywood genre, which is what a lot of the shop stock consisted of. But after a few days of drop-ins, and some great recommendations from the shop keeper, I started to comprehend the realisation that there were certainly some records that needed to come back home with me! While most of my wins were marvelous, colourful outlandish soundtrack LP’s, I did also manage to bring home a few 7″s, including this one by prolific and renowned “disco king” Bappi Lahiri, that I thought I should share.
Bappi Lahiri was born in Calcutta, West Bengal in 1952 into a family with a rich tradition in classical music. His father, Aparesh Lahiri was a famous Bengali singer and his mother, Bansari Lahiri was a musician and a singer who was well-versed in classical music and Shyama Sangeet. His parents were determined to teach their only child in every aspect of music, and by the tender age of three, Bappi began to play the tabla. At the young age of 19, Bappi began his career as a music director, and received his first opportunity in a Bengali film, Daadu in 1972. The first Hindi film he composed music for was Nanha Shikari in 1973, and only 2 years later it was Tahir Husain’s Hindi film, Zakhmee that brought him to the heights of Bollywood fame, also bringing forth a new era in the Hindi film industry. Bappi rose from strength to strength, and the music for his subsequent films Chalte Chalte and Surakksha were tremendously popular, placing Bappi on the pedestal of stardom, and making him the youngest music director of his time to have attained such intense success in such a short duration.
Surakksha, which I think translates as “Protection” in Hindi, was directed by Ravikant Nagaich and released in 1979. The film stars Mithun Chakraborty as CBI Officer Gopi, Ranjeeta Kaur, Jeevan, Jagdeep, Iftekhar, and Aruna Irani. Based as a spy thriller (with the hero’s code of Gunmaster G9, as opposed to 007), it was the first of a two of such films with Chakraborty in the lead, the other being the sequel Wardat. The success of Surakksha made Chakraborty a huge commercial star.
I have yet to watch this film in it’s entirety, so I’m just summarising the plot through other sources here. The evil Shiv Shakti Organization (SSO) intends to spread terror in India. The trouble starts when a plane manned by Captain Kapoor is attacked by a stream of deadly signals forcing the plane to land. The missing agent gets replaced by a look alike, but Officer Gopi, aka Gunmaster G-9, who was assigned by the Central Bureau of Investigation, is on to it! But there are obstacles, including Priya Varma, played by Ranjeeta Kaur, who’s out to investigate her father’s death, supposedly by Gopi, and who’s determined to seduce and enslave him. Gunmaster G-9 must also battle other women, venomous snakes, gangsters, kidnappers and even a robot-human. The fast adventures continue with wild stunts and car chases, but of course there’s always an opportunity to dance with scantily-clad girls, before there inevitable meeting with the patchy-eyed SSO chief Doctor Shiva .
Actress Prema Narayan who plays Maggie, is quite the attractive star who has quite an established Bollywood movie career, appearing in close to seventy films. Originally an English teacher in a convent school, she later opted for a modelling career and was crowned Femina Miss India World in 1971. Besides being noticed for her acting prowess she was also appreciated for her western-style dance numbers. A fine example of those said dance moves can be witnessed during the song Tere Jaisa Pyara Koi Nahin in Hotel. She was also a regular feature in lower-grade horror films including Mangalsutra, Saat Saal Baad and Ghabrahat. Mithun Chakraborty made his acting debut with the art house drama Mrigayaa (1976), for which he won his first National Film Award for Best Actor, and to this day has appeared in more than 350 films. Most famous for his lead role as dancer Jimmy in the 1982 super-hit film Disco Dancer, he is particularly recognised as one of the best “dancing-heroes” in Bollywood with his unique “Disco and Desi” fusion-style dancing that is immensely popular among the masses. The 1981 Gunmaster sequel Wardat, was even more high action with giant locust plagues attacks (brought on by evil men who plan to black market farmer’s grains), a new hunch backed super villain called Jambola, more gadgets and even flying cars!
The title track Mausam Hai Gaane KaAlong, includes the popular singer Annette Pinto, who would provide her voice talents on the Gunmaster sequel a few years later as well. Her dynamic voice really delivers a huge cinematic, almost Morricone-like characteristic quality to this opening titles track, and has to be the perfect introduction director Nagaich could have wished for! She went on to release many more sizzlers with other producers also, including Handsome Man from Mr. Bond in 1992 (composer-duo Anand-Milind and brother Anand Chitragupth), the hot disco Love Me Now for Hemant Bhosle and the film Barrister in 1982, and the cheeky Hello Darling with Rajesh Roshan, from the film Telephone in 1985. She also stars on the absolute incredible title track for The Burning Train from composer Rahul Dev Burman, where you feel like she’s channeling Yma Sumac! I will feature that one soon!
Surakksha also marked Bappi Lahiri’s entry as a singer, where he would provide his voice talents onto four of films compositions, including the second track on this EP, Dil Tha Akela Akela, which incredibly sounds like The Stones’ As Tears Go By! In fact throughout his career Lahiri has been accused of plagiarizing music produced by other composers without giving them any credit or royalties. I was actually surprised at first, when listening to a bunch of his records, at just how many covers he did, not realising that they were apparently original compositions. Ironically portions of his song Thoda Resham Lagta Hai were included in the song Addictive by American R&B singer Truth Hurts in 2002. Copyright holders sued Interscope Records and its parent company, Universal Music Group to the tune of more than $500 million. But lets not take any praise away from this talented producer/musican. His interpretation can sometimes be wonderful takes on well worn classics (have a listen to Meri Jaisi Mehbooba from Baadal) that can only make you squeal with delight.
Bappi Lahiri would go on to release literally stacks and stacks of LP’s, and so far my standouts-latest discoveries include Karate, Wanted Dead or Alive, Morchha and Dance Dance…or big sounding soundtracks! Along with Biddu (who had the international breakthrough in 1974 with Kung Fu Fighting with eleven million records sold), Lahiri helped popularise disco music Indian style. The pioneer of disco beats with his refreshing, vibrant, and rhythmic music had the entire nation dancing for decades. He has also worked with renowned singers like Lata Mangeshkar and Asha Bhosle, had paved the path to fame for Alisha Chinai and Usha Uthup through his compositions, and has sung alsongside Mohammed Rafi and Kishore Kumar. In fact a barrage of popular singers have sung songs composed by Bappi Lahiri in a career spanning for 40 years in over 600 films in over 5000 songs. Bappi received an award in 1990 from the then Indian President Giani Zail Singh for the best musical score in the film Thanedaar and was invited by Ex-Prime Minister of India, H.D. Deve Gowda, to compose a song for the World Football Tournament in Calcutta.
Lahiri disappeared from the Indian film industry in the 1990s though he tried a brief comeback in the Prakash Mehra produced Dalal starring Mithun Chakraborty with the song Gutur Gutur which was a big hit although it had its share of controversies due to its suggestive lyrics. Thereafter he focused on bringing out albums with remixes of his earlier songs, and to this day appears on guest spots for popular TV shows, with the occasional film role. Lahiri is famous for his constant desire to reinvent himself and face the challenge to keep up with the rapidly changing preferences of current generations. He is the complete entertainer and superstar with his multiple talents as a singer, music director, and percussionist! I feel I have only scratched the surface of what this man has done for Bollywood music, and the damage to dance floors he is responsible for all around India.
Parade PRC 5052 Italy 10 Jan 1968
For many years I’ve been a huge fan of those dark Italian cinematic soundtracks from the 60’s and 70’s, but If I had to specify a period in my life where it all started, I have to honestly say it was way back in my childhood. Growing up in the 70’s, occasionally those great spaghetti westerns were screened on the TV, if very late, on a Saturday night. And while I was most of the time permitted to sit alongside and experience these great films with my papa, I somehow doubt I would have lasted the distance at that time of night. However the dramatic opening titles definitely pulled me in, and they stuck and still are quite memorable for me today. The Good, The Bad And The Ugly was one of those films, and it so happened that my papa also owned the picture sleeve 45 (the Hugo Montenegro version) which I would play over and over.
But it wasn’t until many years later, as I was growing up and started to dig deeper into the heart and soul of music, did I start realising the great names and achievements of these composers. Nino Rota, Armando Trovajoli, Piero Umiliani, Piero Piccioni…these and many more were true masters of the genre. But there is no argument that it is Ennio Morricone who is the ruler of the castle, who stands tallest without a doubt, on that high cinematic mountain.
One of Morricone’s strongest elements of his work has to be depth and atmosphere, and in the 60’s, there was a plenty of it. Many of his compositions and film scores were immersed with very deep, haunting and many times sensual flavours. Moody female vocals would be key, and were often used as background instruments rather than lyrically. Now while this Morricone sound is famous today, and those vocals are such an important and recognisable ingredient, it’s still difficult to find out a real lot about these incredible singers, as is the case with Christy (and also Edda Dell’Orso from previous post). Luckily I have a few friends who are big fans (such as Brendan Young aka dj Diabolik) who have been able to give me a few leads to follow.
Maria Cristina Brancucci was born in Rome on April 20, 1940. In 1966 Morricone took her into the recording studio to lay down some vocal tracks for Sergio Sollima’s feature La Resa Dei Conti. It was a big spaghetti western that deserved a big opening title track, which she provided so appropriately with Run Man Run. The film falls under the subgenre called Zapata Westerns (spaghetti westerns with some political context usually concerning the Mexican revolution) and was co-written by long time Sergio Leone collaborator Sergio Donati. With Tomás Milián who plays Cuchillo and bounty hunter Jonathan Corbett, who is played by Lee Van Cleef, it is today considered as one of the best Italian Westerns ever made due to its tightly directed staged scenes and genius score. The English release, The Big Gundown, would also provide an alternate English version of “Run”, but I definitely lean more towards the more pure Italian version.
In 1967, Christy calibrated with Morricone for the spy spoof OK Connery (re-titled Operation Kid Brother for the US). The plot involves an evil criminal named Thanato, who is bent on taking over the world, using a magnetic wave generator that will cause all metal-based machinery to grind to a halt. However, the secret agent normally assigned to such tasks isn’t available, so they engage his civilian brother, Neil, who is a world class plastic surgeon, hypnotist, and lip reader, which turn out to be precisely the skills required for thwarting Thanatos. Sean Connery’s brother Neil, actually plays the role of the surgeon, and the film includes a bunch of familiar bond faces including Bernard Lee, the original M from the Bond series, and the original Moneypenny, Lois Maxwell. Former Miss Rome and Miss World 1960 runner up Daniela Bianchi, is also starring in the wild romp and she sizzles just as you would hope and expect from an Italian beauty queen!
In 1968 Christy would be called upon again for another western, Tepepa (also known as Long Live the Revolution and Blood and Guns), this time directed by Giulio Petroni. The film stars Tomas Milian as the Mexican revolutionary leader, Jesus Maria Moran a.k.a. Tepepa, and in opposing roles, Orson Welles as Colonel Cascorro, and John Steiner as Doctor Henry Price, who saves Tepepa from the firing squad in order to exact personal revenge for the death of his fiancée. Christy provides the fitting dramatic Al Messico Che Vorrei, again with Morricone at the wheel.
In the late sixties, Christy’s 7″ release Deep Down was recorded for Mario Bava’s diabolical Danger: Diabolik masterpiece. If you happen to be a fan of pop mod spy action films, then this is your movie! It’s bizarre Italian cult cinema at it’s best, and needless to say, it’s legendary with Italian genre film buffs. But even before the 1968 cinematic hero existed, the myth was well and truly alive in the form of a long running controversial pocket sized publication entitled Diabolik. It was created by former secretary, editor and model Angela Giussani, who founded the Astorina publishing house, a company that was limited to board and Western card games. Angela really studied the market and concluded that many commuters liked to read mystery novels. She imagined a magazine commuters could read during their trips, that was entertaining yet intriguing, with breathtaking action.
Inspired by Marcel Allain and Pierre Souvestre’s Fantomas, Angela and her younger sister Luciana, who had now started working with her, came up with the handsome masked criminal, who would be seen really as an anti-hero for grown-ups of both sexes. The first issue had a dark yet vibrant cover of a masked man in the background and a woman screaming in the foreground, with the subtitle “Il fumetto del brivido” (The comic book of terror). This really highlighted that the publication was aimed at an audience of grown-ups, who likely preferred noir novels, something rather unique for those times when comics were considered as light entertainment for kids. Luciana collaborated with her on the series’ stories starting from issue #13, and the exciting adventures evolved. Diabolik was soon a successful working man’s super hero which has sold more than 150 million copies since he made his first appearance.
In the Dino De Laurentiis produced feature film, John Phillip Law plays the “master sports car racer, master skin diver, master lover”, Diabolik, and the stunning Austrian Marisa Mell plays his girlfriend Eva Kant. The movie is a real trip. It’s got that great 60’s vibrant Technicolour palette, over the top action and charismatic characters, and like its De Laurentiis companion Barbarella, it’s damn sexy! (1*)
So the plot in a nut shell is. After an armored car leaves the bank with ten-million dollars, Diabolik manages to attack and steal the money, escaping with his partner. He heads back to his secret underground electronic hideout where he decides to steal the famous Aksand emerald necklace for Eva’s birthday from the Saint Just Castle. He out smarts the law, as he has done so many times before, and succeeds, but gangster Ralph Valmont finds a way to kidnap Eva and holds her up for ransom. With the ten million dollars and emerald necklace for trade, Diabolik sets off to the rescue. Eva makes her escape and Diabolik kills Valmont, but this time he is trapped and faces a shiny gold plated death. The police find Diabolik and proclaim him dead, but soon it is revealed that he has in fact faked his death through a technique taught to him by Tibetan lamas. He returns to life, however if he does not get the antidote within 12 hours, he will die. I think I’ll leave it there and keep you all hanging, so you can go out and find a copy to see how it all unfolds for the anti hero.
The film is typical of a De Laurentiis production, and while some just can’t see the beauty in this genre, tagging it as camp and cheese, I seriously love this kind of film making. For me everything works as it only could have, in that late sixties era of cinema history. And when the psychedelic spiraling open titles kick in, again we have the great Christy-Morricone collaboration with Deep Down. This time, as opposed to her previous more expressive soundtrack recordings, Christy is far more subtle with her approach. It’s actually very sensual and her vocals riding nicely up alongside the distorted whaling guitar that brands the composition. Don’t get me wrong, she stills sings with her gusto and passion, but this time it’s the whispery voice that really draws you in here. The genius of Morricone shines in this perfect collaboration. Some may find this surprising, but this Parade 1968 single featured, is the only vinyl to be officially released from this infamous underground cult film. The word on the street is that all masters and recordings of Morricone’s work for the film were destroyed in a studio fire. An “unofficial” soundtrack on Sycodelic in 2001 was released but it is believed that these recordings may have been ripped from a laser disc edition of the film, as some sound effects and dialogue are evident throughout. What you will find on this release are 3 alternate versions of Deep Down performed by Edda Dell’Orso (featured on my last post) and the incredible psychedelic Valmont’s Go Go Pad and Underwater Wah-Wa. Crazy fabulous stuff! This featured isolated Diabolik single is flipped with the unconnected Amore Amore Amore, which was produced by Piero Piccioni for Alberto Sordi’s 1967 film Un italiano in America.
Deep Down is such a great little 7″ and a bit of a shining gem in my collection, obviously because it’s an important piece of Diabolik history, but also because I just love this song so, so, so very much. It’s not too difficult to find and it plays nicely for those early cocktail sets. Deep Down was recently covered by Mike Patton on his Mondo Cane Lp, and there’s some great clips online, in particularly the live footage at the Holland Festival in Amsterdam, you may want to search. Whether fans agree if Patton gives the song it’s deserved justice or not, I don’t know, But I have to say, once those horns kick in on that live version, the hairs do rise!
In the late 60s Christy recorded more pop songs (including a great version of Quando Quando Quando) and ended up a popular Italian TV variety artist for a number of years. Today she’s now a well known voice actor, who dubbed Barbara Streisand’s voice for the Italian version of Funny Girl, and has worked on countless animated films including The Princess and the Frog, Anastasia, Bambi, Beauty and the Beast, The Three Musketeers and The Lion King 3.
(1*) The release of Barbarella and Danger: Diabolik lead to a minor trend of adaptations of comic strips that emphasized mild sado-masochism and late 1960s fetish gear. These films were followed up with Piero Vivarelli’s Satanik (1968), Bruno Corbucci’s Isabella, duchessa dei diavoli (1969) and Corrado Farina’s Baba Yaga (1973) which had a Piero Umiliani soundtrack.
Black and white photo. Angela and Luciana Giussani, the creators of the comic book Diabolik, in their studio, 27th September 1966 (photo credit unknown).
Danger: Diabolik! Trailer
Recommended reading… Anna Battista’s irenebrination
As the saying goes, behind every great man, there is a great lady, but there was more than one that strengthened one particular composer’s work if we’re talking about Morricone. A key element so important to his sound, Morricone would expose and you could even say, flaunt his leading ladies up front in the mix down, even if they were at the time providing background sounds or atmospheric vocals.
I’m going to parallel two posts celebrating two important women with names that are synonymous with Morricone, particularly from the 60’s and 70’s, when that era of his film scores were infamous for that beautiful sensual psychedelic and at some times haunting sound. But I also want to present other composer’s that all contributed to that now distinctive classic Italian cinematic sound if that time. This post I’ll be looking into an Edda Dell’Orsa composition she undertook for one of those other composers, and with a follow up post, I will pursue a journey into the works of Maria Cristina Brancucci, also known as Christy. As always, I wish I was able to enlighten you all with more information about Dell’Orso’s musical journey, but facts and life details are a little mysterious and not too easy to come by. However I will go through a bunch of my favourite Edda tracks and touch on some of those great composer contributions.
Edda Lucia Sabatini, was born in Genoa, Italy on February 16, 1935 and married pianist Giacomo Dell’Orso in 1958. She studied singing and piano at the National Academy of Santa Cecilia in Rome from around 1958, and in time she would possess a beautiful soprano voice with a three octave range that would stamp many now legendary composers work.
Around the mid sixties, Morricone was the first composer and conductor to use her astonishing voice for a feature film, and with immense artistry, he created unforgettable innovative vocal lines and sound effects. One of those early soundtracks was for Sergio Leone’s 1966 Il buono, il brutto, il cattivo (The Good, the Bad and the Ugly) and it includes one of the most celebrated Morricone’s themes, The Ecstasy of Gold, which is played while Tuco is frantically searching a cemetery for the grave that holds $200,000 in gold coins. This amazing piece of cinematic music has been covered from Yo Yo Ma to Metallica, but as famous as this soundtrack is today, Edda was actually was uncredited for her part. The soundtrack album was on the charts for more than a year, reaching No. 4 on the Billboard pop album chart and No. 10 on the black album chart. The main theme was also a hit for American musician Hugo Montenegro, whose rendition on the was a No. 2 Billboard pop single 2 years later in 1968.
This was an incredibly busy period for Dell’Orso recording from film to film, studio to studio. Westerns were of course very popular after the success of A Fistful Of Dollars, and the hard working Dell’Orsa kept providing the goods, including the very moving titled track C’era una volta il West (Once Upon a Time in the West) for Sergio Leone in 1968, another Morricone partnership (1*). Again in ’71, another fitting title track with the quirky Giù la testa for Leone’s Duck, You Sucker! (also known as A Fistful of Dynamite and Giù la testa), but she also worked far beyond the Italian West.
In 1967 Dell’Orso scores the opening swinging title song Seli, for the Italian science fiction film Mission Stardust (…4 …3 …2 …1 …morte), composed by Antón García Abril & Marcello Giombini. Some fans of the genre consider this offbeat film so appallingly bad that they playfully deny its very existence, however this rare soundtrack is also called a masterpiece by many jazzy lounge aficionados, which I tend to support. The next year Dell’Orsa contributes to the infamous Danger: Diabolk soundtrack, offering 3 alternate versions of Deep Down…The Shower, Eva’s Holy Dress and the tripped out, whimsical Emerald Bikini version. The title track was performed by Christy, another female legend of the Italian cinema soundtrack that Morricone liked to work with. 1969 offered up a true classic Dell’Orso-Morricone cooperative, with Metti una sera a cena for the Italian drama film of the same name, directed by Giuseppe Patroni Griffi. One of my favourites.
Dell’Orso moved into another film genre with the thriller La stagione dei sensi (Season of the Senses), bringing with her the lovely bossa styled Una Voce Allo Specchio. The title track for Giuseppe Patroni Griffi’s 1969 drama, Metti, Una Sera A Cena, is classic and rich in Dell’Orso spices, and was covered a few years later quite nicely by Milva. The 1967 chilling score for Bruno Gaburro sci-fi post-apocalyptic Ecce Homo I Sopravvissuti, which gave Morricone an alternate opportunity to get down low into the darker side of Dell’Orso’s vocal soul, and the outcome is a soundtrack which offer varied versions of Venuta dal mare throughout, that all raise the hairs. Staying on the horror theme, Dell’Orso contributed to two films by Italian shock horror director Dario Argento, the first in 1970 called L’uccello Dalle Plume di Cristallo (The Bird With Crystal Plumage), and then for Perche Si Uccidono? (Why Do They Kill Themselves), a film essay about drugs and self-destruction. For the latter 1976 film, the score was a collaboration with composer Fabio Frizzi and instrumental band Goblin (often used by Argento), under the pseudonym of Il Reale Impero Britannico.
Dell’Orso was also providing her voice for other prominent, mostly Italian composers of those times, and was also a key figure of the I Cantori Moderni choir, which was founded by Morricone’s childhood friend and composer Alessandro Alessandroni (2*)(3*). Piero Umiliani was one composer that regularly worked with Edda & I Cantori Moderni, and some of the best Dell’Orso work came from this collaboration. One of Umiliani’s most recognised tracks is Mah Na Mah Na, which he did for Svezia, Inferno E Paradiso, a 1968 pseudo-documentary about sexuality in Sweden, which ironically was later popularized by Sesame Street and The Muppet Show. Another Umiliani-Dell’Orso standout is the fuzzed up Le isole dell’ amore, for the 1970 film with the same title, which to be honest I know absolutely nothing about! Another soundtrack worth mentioning from the same year, is the impossible to find whacked out 5 Dolls for an August Moon, originally titled 5 Bambole per la Luna d’Agosto, and directed by Mario Bava (4*). Also check out the very chic Luna Di Miele, which was recorded for the documentary directed by Mino Loy and Luigi Scattini called Questo Sporco Mondo Meraviglioso, and includes whistling by Alessandro Alessandroni.
So lets now move on to the feature 7″ which was recorded for Giorgio Moser’s TV special Le Montagne Della Luce. Kilimangiaro is a beautifully produced composition with Dell’Orso’s trademark atmospheric artistry. Arranged by Gianni Oddi and composed by Romolo Grano, this track alone is well worth the effort it will take to find this rare thing. However while the titled A side was probably the selling point, it’s the magnificent B-side Kukumbe, that I think is the dynamic and most grooviest track she’s worked on. Big breaks, fender rhodes, jazzy trumpet, congas and top scat vocals by Edda, all amount up to a very sizeable and rhythmic killer production. I’ve been fortunate enough to play this on a big sound system and it was real fun! That bass drive grooves very nicely with that back beat. Now if you’re hoping that there’s a few Dell’Orso 7″s that you need to get a hold off, well in fact as far as I know there are only a few officials, one other being an earlier release from ’69 titled Sospendi Il Tempo, for the psychodrama La stagione dei sensi.
Dell’Orso would continue to record for many soundtracks and collaborate with many musicians. There was a very pertinent chemistry delivered in 1974 when Dell’Orso voice was utilized quite significantly on Italian master guitarist Bruno Battisti D’Amario’s album Samba Para Ti, which includes the beautiful spaced out Show Samba and the frantic upbeat Playa Sin Sol. The following year proceeded with a second team-up album called Granada and includes the standout upbeat latin dancer Su Delicia and a very cool version of Ipanema. In 1976 she worked alongside her hubby’s brother Gianni Dell’Orso, and laid down the sexy discotheque track Night Magic for Mondo Di Notte Oggi (directed by Gianni Proia), a soundtrack which has some nice funk moments, in particular on Soul Meeting.
Many years later in 2011, Danger Mouse and Daniele Luppi released Rome, a soundtrack for a non-existent movie, that took five years to record. Obviously die hard fans of that era of Italian cinematic sound, the producers had their hearts set to develop the sound and process as authentic to that time as possible. The album was recorded using only vintage analogue recording equipment and musical instruments from the 1960s and 1970s. They also took the opportunity to reunite Alessandroni’s Cantori Moderni choir, who had not performed together since the early 1980s. Dell’Orso’s beautiful voice can be heard on the Theme of Rome track. The album also features vocals by Norah Jones and also Jack White who also provided the lyrics for his three songs. Even more recent, Dell’Orso was picked up by Alex Puddu, another true devotee of Italian vintage sound, to work on his 2013 album Registrazioni Al Buio, where she laid down 3 very smooth tracks (5*).
To try and cover all the composers, producers and productions Edda Dell’Orso worked with especially in the specific 60′ to 70’s period, would be a bit of a feat, and true fans will agree that I’m really only scratching the surface here. Her work is the epitome of intelligence and sophistication and she is the sound of Italian cinema, and remarkably she still continues to perform today with her strong distinctive voice. And obviously there’s a lot more we can talk about, regarding those great Italian composers that she worked with, that thankfully are now getting the praise they have always deserved. In time I’m hoping to cover a special selection of favourite cinematic Italian 7’S, but for now, stay tuned because there will be a follow up post tomorrow, celebrating another Italian female legend of the cinema soundtrack, Christy!
(1*) Edda Dell’Orso performing C’era una volta il West live in 1982.
(2*) Alessandroni was an accomplished whistler, and he can be heard quite famously on numerous Leone’s western soundtracks, and also was responsible for THAT twangy guitar riff that is central to the main theme for The Good, the Bad and the Ugly.
(3*) I Cantori Moderni, was an eight-to-sixteen person vocal group featuring Edda Dell’Orso, Giulia De Mutiis (Alessandroni’s first wife), Gianna Spagnuolo, Augusto Giardino, and Franco Cosacchi.
(4*) Mario Bava’s work from the “golden age” of Italian horror films is said to have kick-started the giallo film genre and the modern “slasher film”. He was also a special effects artist and had all director, screenwriter, and cinematographer credits for many movies including Danger: Diabolik, Planet of the Vampires, The Whip and the Body, Black Sabbath and Kill, Baby, Kill to name but a few.
(5*) Dell’Orso with Alex Puddu band captured live in Copenhaghen.
Research and referencing…
Track 1 – Star Wars Title Theme
Track 2 – Funk
Okay, so I may need to explain something here. I’ve just had a very significant birthday (a number which really relates to this blog content) and thought I really should post something that is quite special to me, for this momentous occasion. Star Wars was one of the biggest and influential things to happen to me as a young kid. It inspired me, it strengthened my imagination, and it let me dream…and it also introduced me to the 7″ record.
Meco’s take on the Star Wars Theme was the first 45 I ever owned! I remember vividly when my papa wanted to reward me for scoring a rare soccer goal…I asked if we to go to that little record shop in Beverly Hills to see if they had the music to that science fiction movie which all us young boys were going space nuts over! At the time I didn’t realise (or care) that the version I had in my hands, wasn’t actually the original John Williams score, but in fact a “dance” take by an Italian named Domenico Monardo.
Meco was born on November 29th, 1939 in Johnsonburg, Pennsylvania, and had a passion for building model ships and science fiction movies. He got his first musical education from his father who played the Valve trombone in a small Italian band. Although at 9, Meco wanted to play the drums, his father convinced him that the trombone was the right instrument, which he stayed with (he did however opt for the Slide Trombone, troublesome as it was for the small-statured boy to extend the slide fully at first). He joined the high school band while still attending grammar school and at 17, won a scholarship to the Eastman School of Music in Rochester, New York which provided him with some solid classical & jazz skills. There, together with his two friends Chuck Mangione and Ron Carter, he started the Eastman School of Music Jazz Band. He attended West Point, where he played in the Cadet Band, and learned about arranging from an Army sergeant.
Meco worked from 1965 to 1974 as a studio player and arranger, and also earned a nice living arranging commercials, however his breakthrough arrived in 1974 when he co-produced the Gloria Gaynor’s smash Never Can Say Goodbye, followed by the Carol Douglas’ Doctor’s Orders. Having aligned himself with Broadway arranger Harold Wheeler and producer Tony Bongiovi, Meco was now on his way to producing several early disco hits.
On May 25th, 1977, Meco, along with many hundred others, lined up at the New York City theatre for the the opening day screening of this new science fiction film starring Mark Hamill, Carrie Fisher and Harrison Ford. He was amazed by the film and loved the score (he went back to see it eleven times in all), but he couldn’t help but feel there was an opportunity for a commercial hit combining Williams’ dramatic score along with the other big phenomenon of the time, disco!
He conceived of a 15-minute disco treatment of several themes in the movie, including the music played by the Cantina Band in the bar on Tatooine, and also really wanted to include R2-D2 sound effects. He called Jimmy Ienner at Millennium Records and Neil Bogart at Casablanca Records and explained his idea. Based on the tremendous success of Star Wars, Bogart and Ienner agreed to Meco’s idea without hearing any of the music. Meco was thinking grand and hired 75 musicians to play on the track, which was just unheard of for a pop production, (all credited on the lp sleeve) and played trombone and keyboards himself. The complete composition was released as part of an album, Star Wars And Other Galactic Funk, and on a 12″ single. The original main title theme by The London Symphony Orchestra was released by 20th Century Records and entered the Hot 100 on July 9th, 1977, less than two months after the film opened. It raced up to #10 on the charts, however Meco’s electro-disco medley, which debuted on the chart on August 6th, 1977, raced past it to go to #1 the week of October 1st, 1977 where it stayed for two weeks and received endless airplay.
So on the flip of this 7″ we have the percussive track simply titled Funk. It actually holds up okay, Mandingo-esque, some nice horns and rhythms, and quite odd to find it here on this B side. Obviously this 7″ got released in every corner of the globe, but I have to say it’s the Italians that scored the best cover artwork, which is a simpler stylised version of that fab album cover art.
A few years later the Italian was eager to do it all again with the release of the SW sequel, however Meco Plays Music From The Empire Strikes Back was a different sounding album. Disco was out and the new sound was rock-oriented instead. First Harold Wheeler was replaced by Lance Quinn, who was a guitarist on the previous Meco releases, giving the arrangements a totally different sound. And this time it was going to be released on RSO Records instead of Millennium/Casablanca Records and importantly, it was endorsed by George Lucas which meant he could finally use the very real sound effects.
And then things started to get even weirder! With the success of the album, Lucas gave the green light for Christmas In The Stars (The Star Wars Christmas Album). Once again on RSO Records, this time Harold Wheeler was back with his arrangements. Lucas not only allowed the use of special effects of R2D2, but also the voice of Anthony Daniels as leading vocals for C-3PO. There was also a vocalist that appeared on a track by the name of John Bongiovi, who had not yet achieved fame as Jon Bon Jovi. The great album cover is by Ralph McQuarrie, the designer who made most of the artwork for the “Star Wars” trilogy.
And then in 83, we got the Ewok Celebration, which was to be Meco’s last movie-based album. The album features other film and television themes as well as sax and lyricon solos by, dare I say, Kenny G! The Ewok Celebration Theme includes a rap by C-3PO (performed by Duke Bootee).
So yes, in hindsight, Meco’ Star Wars Title Theme is simply disco with lasers and beep boops, not a genre I really go crazy over these days, but I have to remind you, the impact this movie and it’s soundtrack had on me, would shape the person I was growing into (I even joined the school band after see Star Wars just to learn the cornet, hoping I could play the main theme). And to play so many memorable soundtrack moments including the Cantina “movement” all within 3.28 seconds was just fantastic. As a kid with a Star Wars obsession, it was pefect! I would play it over and over again, reliving the exciting space adventures Lucas had implanted into me, which will last a life time.
United Artists 50328 US Year 1968 The Kane Triplets were a three piece vocal sensation made up of the sweet identical triplets Lucille, Jeanne and Maureen Kane, and started their professional show business career very early in life. As children, they were discovered by the McGuire Sisters after performing on the Arthur Godfrey Talent Scout Show, and were asked to join with them in their act on the road and on several television shows. As you can imagine, these little ladies must have been so overly cute and wholesome, but from the footage that you can track down on the net, you cannot deny them of their harmony abilities!Reaction to the girls was amazing! The triplets established their own act and with their growing success, worked in very renowned venues throughout the country, and making Vegas their second home. They even got to work with huge celebrities like Tony Bennett, Andy Williams, Sergio Mendes, Smokey Robinson and the Temptations
The ladies released a few 45’s but it was in 1968 when this little monster was unleashed to the world! Easily their most stinging and thrilling recording, which really does give justice to Lalo Schifrin’s original 66′ master piece. While writing credits go to Fred Milano and Angelo D’Aleo of The Belmonts, I can’t tell you if this was in fact the first vocal release, but it’s by far the best I’ve heard. The fact that these now adorably blossomed but still innocent looking ladies are behind this big composition and production makes it even more tastier!
The Kane Triplets were in show business for more than 20 years and made dozens of television appearances, but sadly another sad ending to this story learning that Jeanne Kane was found murdered at a Staten Island (New York City) commuter rail station parking lot, murdered by her ex-husband and retired sergeant John Galtieri in 2007. But on a nicer note, this song always get a great reaction on the dance floor when played and will keep these three little sisters shining on together for many more years.