As jo jeeta wohi sikandar clocks 33 years, lalit pandit recalls the iconic pehla nasha song - the statesman

Lalit Pandit, one-half of the Jatin-Lalit duo, looks back at the most iconic song of their career. “In my entire career as a composer, I have never created another song like _Pehla Nasha_.

It became such a landmark in my career that I never even attempted it again. I knew _Pehla Nasha_ cannot be done again.” How did _Pehla Nasha_ happen? Advertisement “_Pehla Nasha_ happened 

to us in 1991.  My brother Jatin and I were very new. Our first soundtrack _Yara Dildaara_ was yet to release. When we were invited for a music session with Mansoor Khan, the director of 

_Qayamat Se Qayamat Tak_, we were very excited. He  was making a new film _Jo Jeeta Wohi Sikandar_. We had gone fully prepared. To our good fortune, our sister, (singer) Sulakshnaji had got

us an 8-track recorder. I used to record my songs on that. In those days of analogue dubbing, a house demo was futuristic. I would have  my songs ready.” Advertisement The director, Mansoor

Khan, was really impressed by Jatin-Lalit’s preparation. “He loved the songs we had composed. Can you imagine that after the award-winning song composed by Anand-Milind of _Qayamat Se

Qayamat Tak_, for him to select new music composers must have been a tough decision. I think Mansoor agreed to listen to our songs to oblige a mutual friend. After hearing our songs, he left

without making any commitment. After many sittings, he decided to take us instead of Anand-Milind.” This is when _Pehla Nasha_ was born. Recalls Lalit, “Mansoor wanted one outstanding

romantic song in the film. Jatin and I had other romantic songs in our individual repertoire. When we played _Pehla Nasha_ live for Mansoor he thought it was just okay. I don’t think _Pehla

Nasha_ is a composition for live renderings. He didn’t take to it immediately.  I don’t blame him for not getting it right away. I went back and re-recorded the whole song. We worked on it

for two whole days. It was raining when we went back to Mansoor with the song. As soon as we entered, he said he was not sure about the song, that it was too slow, etc, etc. Before he could

say anything more, I put the headphones on his head and played it on the Walkman. Mansoor is a learned musician. When he heard what we had done, he took to it instantly. He took us to his

father (producer Nasir Husain). He also liked it. Only then were Jatin and I convinced that we would bag this project, _Jo Jeeta Wohi Sikandar_.” Speaking on the genesis of the composition,

Lalit says, “_Pehla Nasha_ wasn’t composed overnight. A lot of thought went into it. For example, the way the piano interlude at the start recurs. I composed it piecemeal. It was India’s

first slow-rock tune. I remember Mansoor’s father, Nasir Husain Saab’s office, used to be very close to Mehboob Studios. Jatin and I would visit his office every day. During those days, to

compose music for a Nasir Husain production was a big deal. We knew it was a make-or-break deal for Jatin and me….I remember we sat together for story and music sessions. Apart from Mansoor,

his sister Nusrat and Aamir (Mansoor’s cousin) would be there.” Lalit says Aamir also loved the song. “Aamir loved Pehla Nasha. The first song of the album _Yahan Ke Hum Sikandar_ was

programmed by  Ranjit Barot in just half an hour. Our temperamental arranger, Babloo Chakraborty, took great offence at that and vowed never to work with us again. I was very young at that

time. Our recordings stop. The shooting was to start in Ooty and we had no arranger. Because of the politics in the music world, even small-time arrangers refused to work with us. The

Bengali musicians were peeved that Jatin and I were doing the music for Nasir Saab and not RD Burman. Anyway, Mansoor agreed to use the song without an arranger. And that worked out well for

 _Pehla Nasha_. Later, Bablooda relented thanks to Nasir Husain Saab. When I sent the song to Bablooda, his reaction was, ‘_Chee chee Lalit. Kya gana kiya hai? Itna kharaab sound hai. Yeh

toh tv serial se be kharaab gana hai_.’ I told him the song is what it is. Everyone loved the song except Bablooda. But when his kids heard it, they loved it. Then he called me and took back

his words.” The crowning glory for _Pehla Nasha_ was yet to come for Lalit.  “This is my first and last song where the violinists, when we recorded the string arrangement, got up and 

applauded. I wept. I finally knew we had done the right thing in _Pehla Nasha_. Our reputation spread across the film industry. The subtlety of the recording was unique. When Panchamda (RD)

heard _Pehla Nasha_ at Nasir Husain Saab’s house, he loved it too.  What bigger certificate for the song? Panchamda started guiding us from then onwards. He was a large-hearted artist. I am

so glad I went through all these experiences in life. They’ve made me what I am.” Advertisement