Carnival of Blogs on Golden Era of Hindi Film Music–September 2014

2 Comments

Welcome to September, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The entire August 2014 edition of our blog carnival was dedicated to the memories of Mohammad Rafi. As result, we had not been able to visit any of the other published post in that episode. We will make good those inadvertent omissions in the present episode.

We begin out tour of our regular blogs:

Hemant Kumar’s songs by SD Burman

Besides his own compositions, Hemant Kumar freely sang under other composers. SD Burman was one of the most important for him, making him the voice of Dev Anand – one of the big three – in many films. Continuing the series on SD Burman for various singers, SoY presents songs for Hemant Kumar as a tribute to the latter on his 25th death anniversary.(b. 16 June 1920; d. 26 September 1989).

Best Songs of 1951: Wrap Up 2

This is the part Two of the Wrap Up round on Best songs of 1951: And the winners are? . Part 1 has addressed wide ranging discussions on Male Playback Singers for the Year 1951. The ‘other’ female playback singers bring immense variety and several of them had their landmark songs in the year. As a result, this year SoY has taken up a separate post for ‘other’ (than Lata Mangeshakar) Female Playback Singers. .

Aao bachcho tumhein dikhayen jhanki….ki

Jagriti (1954), has a more or less mirror image on the other side as Bedari. Actor Ratan Kumar (Nazir Rizvi) was the common link, where he played the same role of a differently-abled nice boy, who reforms the wayward boy

Multiple Version Songs (18): Hindi-Telugu exchange [Guest article by Arunkumar Deshmukh]

His first guest article in the series on Multiple Version Songs was on Hindi-Marathi, naturally.  Arunji surprised everyone by an equally erudite article on Hindi – Kannada versions. The Hindi- Telugu exchange is equally rich and interesting.

Ten of my favourite ‘male pianist’ songs’ is a veritable collection of songs picturised on men sitting at pianos, a worthy sequel to women pianists .

That also gives us cause to recall an archived article – My favorite piano-songs, from the 50s and 60s that have at least one character “playing” the piano throughout the song. Even as some songs would get repeated in these three articles, the presentations offer a varied fare that whets our appetite of different perspectives.

August being the month of festivals, it was high time a post on Festival Songs that would collate songs relating to various festivals was eagerly awaited.

My Favourites: Letters in Verse resurrects the now forgotten art and passion of writing letters.

August 27 is the death anniversary of Mukesh. ‘Made for each other: Mukesh and Kalyanji-Anandji’ pays tribute to Mukesh, by exploring one of the very special associations he had had with some of the leading music directors of his era.

Coincidentally we also have an exclusive post – Kalyanji-Anandji, the immortal duo detailing their notable films, songs, achievements and key recognitions that highlight their versatile talent. The post also discusses their distinctive composing style and more importantly, highlight their personal nature and why they are immortal.

We now stray beyond our oft-tracked path and take a look at occasional marvels that one lands up in such journeys:

First Ghalib ghazal to be used in a film was ‘Aah ko chahiye ek umr asar hone tak’ was the first Mirza Ghalib ghazal to be used in a movie (Masoom – 1941).

Whilst on Cutting The Chai, we also join the (still continuing) celebration of 100 years of Indian Cinema @ 100 Years of Indian Cinema: India Post’s 50 commemorative stamps.

This is also a diamond jubilee year of 1964 film Dosti, which is rightly commemorated @ Dukh To Apana Saathi Hai – Sushil Kumar.

And as coincidences would have, we landed upon The spirituality in Hindi Film songs, which also talks about immortal songs, of this 1964 movie, Dosti’, penned by inimitable Majrooh Sultanpuri and sung in the angelic voice of Mohammed Rafi”.

We have been a given an excellent lead for very unusual wealth of information in terms of several articles @ Scroll.in . Here is one example - A reminder for the Scots: India has a thriving bagpipe tradition too – Folk troupes in the country’s Garhwal region, especially those that play for weddings, often include a bagpiper. – by Mridula Chari.

Similarly Suresh Chandvankar, the Honorary Secretary of Society of Indian Record Collectors and the Editor of The Record News, the annual journal of the Society has contributed Marathi and English articles on the 78 rpm era to various periodicals, newspapers and websites. We take up one of the several articles for this edition, and will take up at least one article in each our subsequent editions.

Mimicry and comic songs from the dawn of the recording era in India – European recording companies scoured India looking for interesting sounds and songs, between 1902 to 1908.

We have a very interesting fare from our friend Bhagwan Thavrani :

In our regular ending of the carnival, we have “3-G: Great Lyrics, Grand Music and Golden Voice in Indian Cinema by Sri Biman Baruah , information shared by Sri Binu Nair, Founder, Rafi Foundation, Mumbai listing Mohammed Rafi solos written by Hasrat Jaipuri and filmed on different Actors:

Year Film Song Music Actor
1961 Jab Pyar Kisi Se Hota Hai Teri Zulfon Se Judaee Tu Nahin Mangi Thi Shankar Jaikishan Dev Anand
1962 Asli Naqli Chheda Mera Dil Ne Tarana Tere Pyar Ka Shankar Jaikishan Dev Anand
1963 Tere Ghar Ke Samne Dil Ka Bhanwar Kare Pukar, Pyar Ke Raag Suno Re S.D. Burman Dev Anand
1968 Duniya Falsafa Pyar Ka Tum Kya Jano, Tumne Kabhi Pyar Na Kiya Shankar Jaikishan Dev Anand
1964 Aayee Milan Ki Bela Tum Kamsin Ho, Nadaan Ho Shankar Jaikishan Rajendra Kumar
1965 Arzoo Aye Phoolon Ki Raani Baharoon Ki Malka Shankar Jaikishan Rajendra Kumar
1966 Suraj Chehere Pe Giri Zulfen Kehdo Tu Utha Do Main Shankar Jaikishan Rajendra Kumar
1968 Jhuk Gaya Aasman Kaun Hai Jo Sapnon Mein Aaya Shankar Jaikishan Rajendra Kumar
1961 Junglee Ehsaan Tera Hoga Mujh Par Shankar Jaikishan Shammi Kapoor
1962 Professor Aye Gul Badan Aye Gulbadan Shankar Jaikishan Shammi Kapoor
1964 Rajkumar Is Rang Badalti Duniya Mein Insaan Ki Niyaat Thik Nahin Hai Shankar Jaikishan Shammi Kapoor
1969 Tumse Accha Kaun Hai Janam Janam Ke Saath Nibhane Ko Shankar Jaikishan Shammi Kapoor
1966 Gaban Ehshan Mere Dil Pe Tuhmare Hain Dostoon, Yeh Dil Tuhmare Pyar Ka Shankar Jaikishan Sunil Dutt
1970 Bhai-Bhai Mere Mehbbob Tere Dam Se Bahar Aaye Shankar Jaikishan Sunil Dutt
1965 Gumnaam Ek Ladki Hai Jisne Jina Muskil Kar Diya Shankar Jaikishan Manoj Kumar
1964 Ziddi Teri Surat Se Nahin Milti Kisi Ki Surat S. D. Burman Joy Mukherjee
1966 Love In Tokyo Aaja Re Aa Jara Lehrake Aa Jara Shankar Jaikishan Joy Mukherjee
1964 April Fool Meri Mohabbat Paak Mohabbat Aur Jahan Ki Shankar Jaikishan Biswajeet
1972 Shararat Dil Ne Pyar Kiya Hai Ek Bewafa Se Ganesh Biswajeet
1968 Mere Huzoor Rukh Se Zara Naqab Utha Do Mere Huzoor Shankar Jaikishan Jeetendra
1969 Pyar Hi Pyar Main Kahin Kavi Na Ban Jaoon Shankar Jaikishan Dharmendra
1973 Naina Hum Ko Tu Jaan Se Pyaari Shankar Jaikishan Shashi  Kapoor

This is certainly not an exhaustive list. We will try to make good the misses in due course of time.

Carnival of Blogs on Golden Era of Hindi Film Music–August 2014–Part II

9 Comments

Welcome to Part II of August, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We had broken down the present edition in the two parts to make the posts reasonably presentable.

In the first part of the article, we have has a d detailed look at arrange of sols under a range of music directors across the entire spectrum of Mohammad Rafi’s active career as well his duets with S D Burman.

We now move on…….

We take up one more post which looks at Mohammad Rafi’s solo songs, from the archives of Dusted off, for a detailed listing of the song..

Rafi in Ten Moods showcases the breathtaking versatility of this man and his voice in these ten songs.

Cynical: Yeh duniya agar mil bhi jaaye Pyaasa
Devotional: Man tarpat Hari darshan ko aaj Baiju Bawra
Exuberant: Duniya paagal hai ya phir main deewaana Shagird
Patriotic: Yeh desh hai veer jawaanon ka Naya Daur
Romantic: Deewaana hua baadal Kashmir ki Kali
Comic: Jangal mein mor naacha Madhumati
Melancholic: Dekhi zamaane ki yaari Kaagaz ke Phool
Seductive: Aaja re aa zara aa Love in Tokyo
Philosophical:  Man re tu kaahe na dheer dhare Chitralekha
Empathetic: Tukde hain mere dil ke Mere Sanam

Part I spurred Rafi in Ten Moods – Part II, which also needs to be tied up here:

Philosophical: Aaj puraani raahon se, Aadmi
Gloomy/Sad: Aye mere dost aye mere humdum, Meherbaan
Devotional: Insaaf ka mandir hai, Amar
Lovesick: Aanchal mein sajaa lena kaliyaan, Phir Wohi Dil Laya Hoon
Classical: Madhuban mein radhika naache re, Kohinoor
Heroic/Royal: Hoshiyaar! jaanewaale zara hoshiyaar, Raj Kumar
Praise/Taareef: Salaam aap ki meethi Boyfriend
Adoring: Yeh teri saadgi yeh tera baankpan, Shabnam
Patriotic: Jahaan daal daal par, Sikander-E-Azam
Romantic: Door reh kar na karo baat, Amaanat

We now again turn back to Mohammad Rafi in duets with female as well male singers in The Legends: Mohammed Rafi – Part 2. Each of the song is supplemented by a second choice as well, to which we have added choices by the readers.

With Lata Mangesgkar
Aansoo Husnlal Bhagatram Sun meri saajna re 1953
Maya Salil Chuadhary Tasveer teri dil mein 1961
Piya Milan Ki Aas S N Tripathi Tune Chhal Kiya
Dil Tera Diwana Shanker Jaikishn Mujhe kitna pyar hai tumse 1962
With Asha Bhosle
Banarasi Thug Iqbal Quereshi Aaj mausam ki masti 1962
Phir Wohi Dil Laya Hoon O P Nayyar Nazneen bada rangeen hai 1963
Chah Cha Cha Iqbal Quereshi Ek chameli ke mandve tale 1964
Kashmir Ki Kali O P Nayyar Deewana Hua Badal
Tu Hi Meri Zindagi Rono Mukherji Jidhar bhi main dekhun 1965
With Geeta Dutt
Aar Paar O P Nayyar Arre na na na na na na tauba tauba 1954
Mr. & Mrs. 55 O P Nayyar Udhar tum haseen ho 1955
Bade Sarkar O P Nayyar Jahan Jahan Khayal 1957
12 O’clock O P Nayyar Dekh idhar ae haseena 1958
With Noorjehan
Jugnu Feroz Nizami Yahan badla wafa ka 1947
With Shamshad Begum
Chandani Raat Naushad Chheen ke dil kyun pher li aankhen 1949
Kaise baje dil ka sitar
Sindbad The Sailor Chitragupt Adaa se jhoomte huye 1952
Sawan Hansraj Behl Bheega bheega pyar ka sama 1959
Rail Ka Dibba Ghulam Mohammad La de mohe balma aasmani 1953
Aag Ram Ganguly Solah baras ki bhayee umariya 1948
Wih Suraiya
Dastan Naushad Ta ra ri a ra ri 1950
Shama Parwana Ghulam Mohammad Beqarar sa koi 1954
With Suman Kalyanpur
Black Cat N Dutta Nashe Mein Hum 1959
Shagoon Khayyam Parbaton ke pedon par 1964
Jee Chahta Hai Kalyanji Anandji Ae jaan-e-tamanna
Bheegi Raat Roshan Aise ta no dekho 1965
Mohabbat Isko Kahete Hain Khayyam Thaheriye hosh mein
Brahmchari Shanker Jaikishan Aaj kal tere mere pyar ke charche 1968
With Sudha Malhotra
Detective Mukul Roy Aankhon pe bharosa mat kar 1958
With Lalita Deolkar
Saajan C Ramchandra Humko tumhara hi Aashara 1947
With Aarti Mukherjee
Boy Friend Shanker Jaikishan Aigo Aigo yeh kya ho gaya 1961
With Usha Khanna
Daku Mangal Sinh Usha Khanna Sone ke tere 1966
With Talat Mahmood
Sushila C Arjun Gham ki andheri raat mein  1966
With Kishore Kumar
Akalmand O P Nayyar Do Akalmand do fikarmand 1966
Chupke Chupke S D Burman Sa re ga ma 1975
With Manna Dey
Parvarish Dattaram Mama o mama 1958
Sachai Shanker Jaikishan Ae Dost Maine Duniya Part I 1969
Part II
Part III
With Mukesh
Do Jasoos Ravindra Jain Do jasoos kare mehsoos 1975
With Chitalkar
Sagai C Ramchandra Haseenon ki gaadi mein 1951
With S D Batish
Chand Ki Duniya S D Batish Hoke rocket pe sawaar 1959

We will also take a brief look at some more articles for the archives of several other blogs. Each of the article does merit a very detailed look in :

We do agree that what we have covered is hardly a drop from the ocean of facts, fictions and reviews written about Mohammed Rafi, during and after his lifetime.

That is the beauty of Rafi saga- after you have said everything you wanted to say, there is still so much left to say…….

Carnival of Blogs on Golden Era of Hindi Film Music–August 2014–Part I

Leave a comment

Welcome to Part I of August, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

31st July is the anniversary of Mohammed Rafi. So, we will devote this entire edition exclusively to what is published on the occasion.

For the present edition have three articles form that two of our regular blogs and one for the archives of another of our regular blog which have full length articles to commemorate the day. Each of these articles, and the discussions thereon, have been so rich in the selection of the songs that we will move away from our regular pattern of briefly visiting the content of the post, collate the songs form the post and the discussions and list of each of the song individually. However, for the other articles, we would follow our usual practice.

Our first call is The Legends: Mohammed Rafi.

The post has narrated each of the song in the descending order of the year in which the film was released. Therefore, we have added up and arranged the listing of the songs referred to in the discussion in similar fashion.

Year: 1947
C Ramchandra Saajan Humko tumhara hi Aashara
Year: 1949
Naushad Dulari Suhani raat dhal chuki
Year: 1954
Ghulam Mohammed Mirza Ghalib Hai bas ke har ek
Husnlal Bhagatram Shama Parwana Tu ne mera yaar
Year: 1956
Shankar-Jaikishen Basant Bahar Duniya na bhaye mohe
O P Nayyar Chhoomantar Garib Janke Humko Na Tum
Year: 1957
Hansraj Behl Changez Khan Mohabbat zinda rehti hai
O P Nayyar Tum Sa Nahin Dekha Jawaniyan yeh mast mast bin piye
O P Nayyar Naya Daur Aana Hai To Aa
Dattaram Ab Dilli Door Nahin Chun Chun Karti Aayi Chidiyan
Year: 1958
Salil Choudhary Madhumati Toote hue khwabon ne
S D Burman Kala Pani Ham bekhudi mein tum ko
Year 1959
Usha Khanna Dil Deke Dekho Hum aur tum aur ye sama
Year: 1960
S N Tripathi Lal Quila Lagta nahin hai dil mera ujde dayaar mein
Ravi Chaudhavi Ka Chand Ye Lucknow Ki Sar Zameen
S D Burman Bombai Ka Babu Saathi na koi manzil
Iqbal Quereshi Bindiya Main Apne Aap Se Gabhar Gaya Hun
Year: 1961
Khayyam Shola Aur Shabnam Jaane kya doondhte rehti hain
Naushad Ganga Jamuna Nain lad jai hein
N Datta Kala Samundar Meri Tasveer lekar kya karoge…
Salil Chaudhary Maya Koi Sone ke Dil wala
Year: 1962
Roshan Vallah Kya Baat Hai Gham-e-Hasti se beghana hota
S D Burman Baat Ek Raat Ki Akela hoon main
Year: 1963
S D Burman Tere Ghar Ke Samne Tu kahan ye bata
Pt. Ravi Shankar Godaan Pipra ke patwa
Laxmikant Pyarelal Parasmani Roshan tumhi se duniya
N Dutta Gyrah Hazar Ladkiyan Dil ki tamanna thi (solo)
Dil Ki Tamanna thi…. (with Asha Bhosle)
Year: 1964
Roshan Chitralekha Man re tu kahe na dheer dhare
Kalyanji Anandji Ishaara Dil beqaraar sa hai
Iqbal Qureshi Cha Cha Cha Woh Hum Na Thi Woh Tum Na Thi
Madan Mohan Haqueequat Mein ye Soch kar uske dar se utha tha
C Arjun Punar Milan Paas baitho tabiyat behal jayegi,
Madan Mohan Sharabi Kabhi na Kabhi Kahin na kahin
Jaidev Hum Dono Main zindagi ka saath nibhata chala
S D Burman Ziddi Jaanu Kya Mera Dil
Year: 1965
Ravi Kaajal Choo lene do nazuk hothon ko
Chitragupt Akashdeep Mujhe dard-e-dil ka pata na tha
O P Nayyar Mere Sanam Pukarta chala hoon main
Shanker Jaikishan Raj Hath Aaye Bahar Ban Ke
G S Kohli Adventures of Robinhood Maana Mere Haseen Sanam
Year: 1966
Madan Mohan Dulhan Ek Raat Ki Ek haseen shaam ko
O P Nayyar Baharen Phit Bhji Aayegi Aap ke haseen rukh pe
R D Burman Teesri Manzil Deewana mujhsa nahin
Usha Khanna Shabanam Maine Rakha Hei Mohabbat
Chitragupt Oonche Log Jaag dil-e-diwana
Year: 1967
Laxmikant Pyarelal Chhaila Babu Tere pyar ne mujhe gham diya
R D Burman Bahaon Ke Sapne Jamaane ne maare jawaan kaise
Year: 1968
Laxmikant Pyarelal Mere Hamdam Mere Dost Hui sham unka khaya aa gaya
Roshan Anokhi Raat Mile na phool to katon se dosti karli
Year: 1977
Khayyam Shanker Hussain Kahin ek masum nazuk si ladki

And then we take up Rafi’s duets by SD Burman.

The total MF duets of Md.Rafi for S D Burman would be 39. Here is the break-up.

Pre 1957 – Lata Mangeshkar 1, Geeta Dutt 4, Total: 5
1957-67 – Lata Mangeshkar 6, Geeta Dutt 5, Asha Bhosle 17, Kamala Sista 1, Total 29
After 1967 – Lata Mangeshkar 4, Asha Bhosle 1, Total 5

In all, with Lata Mangeshkar 11, Geeta Dutt 9, Asha Bhosle 18, Kamala Sista 1, Total 39
One duet with Shamsad Begum for the unreleased film Sazaa not included.

We have rearranged the songs in the post as well as the songs in the discussions and grouped them with the accompanying female playback singer.

 

With Geeta Dutt
Naujawan 1951 Panghat pe dekho aayi milan ki bela
Zara Jhoom Le
Jeevan Jyoti 1953 Lag gayi akhiyan tumse mori
Pyasa 1957 Hum aapki ankhon mein is dil ko basa lein to
Kaala Baazar 1960 Rimjhim ke taraane le ke aayi barsaat
Ek Ke Baad Ek Batao kya karungi
Manzil Chupke se mile pyaase do dil
Miyan Bibi Razi Tune Le Liya Hai
With Asha Bhosle
Nau Do Gyarah 1957 Aaja panchchi akela hai
Kala Pani 1958 Achchaji Main haari chalo maan jao
Insaan Jaag Utha 1959 Chand sa mukhada kyon sharamaya
Bombai Ka Babu 1960 Deewana Mastana Hua Dil
Manzil Dil to hai deewana na
Baat Ek Raat Ki Jo hai deewane pyar ke
Sheeshe ka ho ya paththar ka dil
Kaise Kahoon 1964 Kisi ki muhabbat mein
Dr. Vidya Yoon hans hans ken a dekho
With Lata Mangeshkar
Ek Nazar 1951 Mujhe preet nagariya hai
Tere Ghar Ke Samne 1963 Dekho rootha na karo
Dr. Vidya 1964 Main kal phir miloongi
Jwel Thief 1967 Dil Pukare Aare Aare
Talash 1969 Palkon ke peechche se tumne kya
Ishq Par Zor Nahin 1970 Ye dil deewana hai
With Kamla Sista
Miya Bibi Raazi 1964 Paani hota doob jaati
With Suman Kalyanpur and S D Batish
Kaise Kahoon 1964 Manmohan man mein ho tumhi

We have two more articles which also deserve a similar full scale drill-down. However, in order to maintain the normal length of a post, we have taken up those two articles in the immediately following part -2 of this post.

Before we close, we would record some of the archived posts for this part of the article:

Carnival of Blogs on Golden Era of Hindi Film Music – July 2014

2 Comments

Welcome to July, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the period of the current edition of the Carnival of Blogs on Golden Era of Hindi Film Music, we have birth anniversaries of two music directors whose work apparently spans two ends of the spectrum of Golden Period.

We take up the first chronological end – Anil Biswas.

Remembering Anil Biswas, The SingerA tribute on Anil Biswas’s Birth Centenary (b. 7 July 1914; d. 31 May 2003)

“Songs of Yore heralded 2014 as the Year of Anil Biswas with Inaugural post by his daughter, Shikha Biswas Vohra – Anil Biswas: The Maestro and My Father. We have since had three more posts dedicated to him with his songs for Suraiya, Talat Mahmood, and his sister, Parul Ghosh…… Therefore, in our tribute to the Bhishm Pitamah in his Centenary Year, it is important to remember him as a singer too.”

The Maker of Mukesh: Anil Biswas’s opening paints a very vivid picture of the role of Anil Biswas – a Guru (of those days), in general, and the extent to which he would take pains for his passion – the music. While continuing the Centenary Tributes to Anil Biswas, SoY pays a very special tribute to Mukesh as well on his 91st birth anniversary (on 22nd July).

The Masters: Sajjad Hussain quite vividly portrays the nuances of Sajjad’s music. “According to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.”

Bulo C Rani – Phoolon Se Hum Shikhenge , Fariyad Na Karana, Ro Lena presents a bouquet of songs by one of the highly meritorious music directors of the Golden Period who could never hit the commercial success. The article is in Gujarati, but that should not come in the way of enjoying the melodies presented therein.

Atul’s Bollywood Song A Day– With Full Lyrics has crossed a great milestones of publishing 10,000 songs. To commemorate the event, several regular guest writers have contributed a post on this occasion. Visiting these posts is a subject by itself, which we would take up separately.

Forgotten Melodies (Part 2) – Sweet Melodies From My Father’s Films.

“When I did my previous post I was more or less sure about the songs that I would select for this post. I decided then that my next post would be a selection of songs that have struck a chord in my heart and songs that I have just liked because of the sweet melody and of course the lyrics.” The first part of the article – Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Films – has appeared in June 2014 episode of our Blog Carnival.

Kamal Hai?! Bindiya Songs has five songs but all of them relate to period beyond the extended end of our time scale. But Anu Warrier (Conversations over Chai) has added Khanke Kangnaa Bindiya Hanse , Lata Mangeshkar – S D Burman – Dr Vidya [1962] among others in her comment.

Makeover of the filmi doormats lists of five filmi doormats – Jameela in Chaudavi Ka Chand (1961)[ Badle, badle mere sarkar nazar aate hai]; Simran in Dilwale Dulahaniya Le Jaayendge (1995); Anjali in Kuchch Kuchch Hota Hai (1998); Lalita in Parineeta (1953 ) and (2005) and Chandramukhi in Devdaas (1935 ), (1955 ) and (2002).

Music, fantasy and colour in V Shantaram’s Navrang narrates ‘over-the-top explosions of colour and classical music in Hindi-film history’.

A Song For The Day is “a personal favorite” in as much as “the song stands for a sense of energy that accompanies longing and loneliness and infuses ephemeral pathos which depending on one’s mood may well turn out to be lasting.” The song neing discussed here is: Jab Chali Thandi Hawa, Jab Uthi Kaali Ghata, Mujhko Aye Jaan-e-Wafa Tum Yaad Aaye – Do Badan (1966) – Asha Bhosle – Ravi.

Kyunki Ye Ishq Ishq Hai Ishq ‘discovers’ the quawaali by Mubarak Ali Khan – Na Tu But Kade Ke Talab. Nusrat Ali Hateh Khan has also rendered this quawalli in his very unique style. And now let us listen what we have always loved to listen – Na To Carvaan Ki Talaash Hai

SoY has also commenced Best songs of 1951: Wrap Up 1 – The article goes on to sum up contributions by the readers and then presents – Songs of Yore Award for the best Male Playback Singer of 1951 goes to Talat Mahmood, and the best song is Meri yaad mein tum na aansoo bahana. Mukesh is given Jury’s Special Honour.

To end the current edition we will take up 75th Birthday (26th June) tribute articles –

However, I would like to recall his first two films only:

The Second one ….Bhoot Bangala (1965 )

And the First.. Chhote Nawab (1961)

And you guessed it right… these songs are also our tribute to Mohammed Rafi as well…..

Carnival of Blogs on Golden Era of Hindi Film Music – June 2014

4 Comments

Welcome to June, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our carnival with visits to our regular blogs:

Suraiya’s songs by SD Burman

“Since SD Burman made his debut late, his songs for Suraiya are much less compared to, say, Naushad’s, but as was his wont, he had a talent to create something for every singer, which would easily rank among his/her landmark songs, even if we just count Man more hua matwala and Nain deewane, Suraiya’s songs by SD Burman have a place among her greatest songs.”

Songs of Yore completes four years – With a tribute to Juthika Roy

Juthika Roy“Born in 1920, she sang her first song on the radio at the age of 7, which was a Rabindra Sangeet, Aar dekhona, andhaare aamaay dekhate daao. Her first HMV record was of two Bengali songs, which was followed by two Meera bhajans in Hindi in 1935-36. She became synonymous with Meera bhajans and achieved enormous popularity during the 40s through 50s. Kamal Dasgupta composed most of her songs, with whom she also sang a number of duets, including some naats and qawwalis.”

Shri Arunkumar Deshamukh has also guest-written an article on Juthika Roy – Mandir ho har kadam pe pooja ho subah shaam@ atul’s bollywood song a day- with full lyrics. The song presented here is a duet of Juthika Roy with Kamal Dasgupta.

Whilst on the subject of Juthika Roy, let us also enjoy Juthika Roy’s interview on Vividh Bharati, on 25th February 2009 @ Anmol Fankar.

The incredible brother-sister in music: Anil Biswas’s songs for Parul Ghosh

“Her swan song in films was in Aandolan (1951) – Vande Mataramwith Manna Dey and Sudha Malhotra, composed by Pannalal Ghosh. She sang about 100 songs in all in 25 films. She died on August 13, 1977 after prolonged illness in Bombay. The song list (not exhaustive) at Cineplot shows that she sang for most of the top composers of the time, but her most famous songs are by his brother.”

Ten of my favourite Sunil Dutt songs is the collection of solo songs Sunil Dutt sings on the screen. The list does not contains only song from a given film.

Twin Songsare true back-to-back songs, songs that segue into each other with no dialogues or scenes in between. The compilation presents 14 sets of such songs in one go, which one can be listen here too.

Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Filmscaptures some of more favoured dance sequences from films in which Tarun Bose has played a role.

Lively songs from Naushad“is devoted to the multitude of lively songs that Naushad composed through the 1940s, 50s and 60s.Lively here does not “mean only songs that celebrate joy or abandon”. It also includes “songs that have a (relatively) lively and attractive pace when compared to slow, brooding songs. Some of his lively songs may actually be sad situations. But the songs may be lively with a relatively fast tempo or with lyrics, expressions or situations that appear cheerful!.” For an uninterrupted listening, do use this playlist.

We now turn to the archives of the other blogs and articles:

4 June was the birthday of Nutan. We recall Nutan’s Biography, and supplement it with Lady Nutan, wherein very interesting aspects of her life have been presented. The article has sourced a good deal of material from Cineplot.

Jaikishan – The Eternal Prince of Hindi Film Music is an exclusive interview with Bhairavi Jaikishan, daughter of famed Jaikishan of Shanker Jaikishan duo. – “Listen to the soulful Rafi number ‘Yaad Na Jaaye Beete Dinonki” from Dil Ek Mandir. And listen to the Spanish ‘original’ Besame Mucho and one is left awestruck! The feel is similar but to the Indian ear – it is the pathos of the SJ-Rafi rendition which touches the heart! This was a typical Jaikishan characteristic.”

Evolution of the Hindi film song (Part 1, Part 2, Part 3, Part 4, Part 5 and Part 6) traces the way Hindi Film Sings evolved. Presented here are some excerpts:

“We saw the late 30s and early 40s responsible for the entry of singers such as GM Durrani, Arun Kumar, Parul Ghosh, Zohra Ambala, Amirbai Karnataki, Rajkumari, Shamshad Begum and Suraiya. Now a newer generation of singers followed them. Among the male singers, Shankar Rao Vyas introduced Manna Dey with Ram Rajya in 1943, Naushad introduced Mohd. Rafi to Hindi films with Pehle Aap in 1944 and Anil Biswas introduced Mukesh in Pehli Nazar in 1945. Of these perhaps the most important talent was undoubtedly Mohd. Rafi.

“While Rafi, Mukesh and Kishore Kumar went on to rule the Hindi Film Industries from the 1950s, there were other male playback singers whose contribution could not be denied – Manna Dey, Talat Mehmood and Hemant Kumar….. Meanwhile the 1940s had also thrown up some of the best female talent in playback singing – Meena Kapoor, Asha Bhosle, Geeta Dutt and of course the one and only Lata Mangeshkar…”

And now, we move over to our regular Mohammad Rafi-related video clips and articles:

Mohammed Rafi – VOA Tribute – Rare interview and his own selection of songs -

The special program is a joint production of the staffers of VOA Urdu Service and the VOA English division. This is based on a rare interview of the legendary Bollywood singer, Mohammad Rafi, recorded during one of his visits to London in 1977 by Subhash Vohra of VOA English, who was then working for the BBC Hindi Service. This program, devoted to the memories of Rafi, also includes his own selection of songs.
You can also listen to very intimate observations of the famed Bollywood personality, Ameen Sayani, who is still adored in South Asia for his masterly music presentation over several decades.

My Abba - A MemoirYasmin Khalid Rafi, daughter-in-law of Mohammed Rafi published her book- Mohammed Rafi – My Abba, A Memoire. In a review of the book on “Outlook”, With A Song on His Lips, Sathya Saran has this to state – “Few sang as Rafi sang, few touched so many as he did. A mellow, melancholy memoir recalls a master we don’t know.”

We have chosen to remain brief and focused in this episode. How would you to react to this style?

Carnival of Blogs on Golden Era of Hindi Film Music – May 2014

1 Comment

Welcome to May 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

This month many of our regular blogs that we visit seem to have turned on to film reviews. Well, that provides us a good opportunity to test wider oceans.

Husnlal-Bhagatram – The ‘First’ Composer Duo – pens the narrative of the origin and rise of Husnlal – Bhagatram…. The duo is fond of fast pace, actualized mainly through dholak and employment of atonal drums such as matka or idiophones such as ghunghroo, etc.” …Another aspect of their composing style .. is that “they make a musical statement which consists of successive song-lines with a descending and repetitive tonal contours”, which “appears to resolve the melody into completeness and it seems easier to remember” and “very few notes are used in those lines”. …..

One style feature that makes many of Husnlal-Bhagatram’s fast-paced songs catchy and instantly likeable is their tendency to punctuate the melody lines with very short and catchy orchestral phrases as a trigger for repetition of words or line, or by inserting short pauses at the end of a mukhda or antara before the rhythm moves forward. There are many examples to illustrate this point but… here are two songs that .. can be easily identified as Husnlal-Bhagatram creations.

The first example is Suraiya’s popular ‘tere nainon ne chori kiya’ from ‘Pyar Ki Jeet (1948). The pause after ‘tere nainon ne’ is filled with a brief flute piece that becomes such an integral part of the tune that if you try humming the tune, that flute piece would instantly play in your mind. …………The other example is Lata’s ‘tum dil ko tod doge’ from ‘Farmaaish’ (1953). The prelude itself is enough for one to identify it as their creation, but look at the rest of the composition. The first line is broken right at the middle and filled with a music piece, then at the end of the line comes another music piece before the line is repeated in exactly the same manner. In the antaras, a similar approach is followed, although the musical punctuation is used at the end of each line and a lovely pause is introduced at the end of the cross-line.”

We have A lovely Mohammed Rafi – Suraiya duet from Sanam (1951), composed by Husnlal Bhagatram, Mohammed Rafi singing for Dev Anand and Suraiya singing for herself.

KHURSHEED BANO … Barso re .. Tansen.. A Forgotten songKursheed and Suraiya were the two singing actresses of Mumbai Film-world who have shared the honours with the renowned singer K.L. Saigal. This talented and famous actress/singer of the thirties and the forty’s, Khurshid Bano rested in peace on 18th April 2001 in Karachi, at the age of 87 years and thus an era of talent in terms of acting/singing in the film industry finally came to an end.

In Melody Makers of Yesteryears (Unforgettable melodies) – part 1, usha manohartakes up “Chitragupt, Sardar Mallik and Narayan Dutta who were not often approached by any of the top movie makers like Bimal Roy, Nasir Hussain, Guru Dutt , Raj Kapoor or Mehboob Khan, but nonetheless they did make an impact, and once in a while did get a chance to work with some top film makers. Whenever they composed music for any film, they came out with some of the most melodious and meaningful compositions .

In Part 2she takes up Dattaram, G S Kohli and Sapan Jagamohan.

In Part 3, Ajit Merchant, Iqbal Quereshi and Bipin Babul have been covered in details.

Fascinating True Story Of A Lata Mangeshkar Song Born in A Los Angeles Music Shop narrates a very interesting story of a song which later in the same year (1958) Salil Chwdury composed – a classical Bengali song in Raag Khamaj (Carnatic-Hari Kambhoji) using the lovely Sur Bahar Sitar, David Bernard (of that LA music shop) gifted him in Los Angeles.. Sitar is the only musical instrument that is predominantly heard in the orchestration of this entire private song.. Perhaps this is also the only song in the Indian music history today wherein only Sitar is heard throughout a song..This Bengali song, is “..Naa jeo naa rajani ekhono baki..aaro kichhu dite baki.. bole raatjaaga pakhi..” was sung by the legendary Lata Mangeshkar..and its Hindi version “O Sajana barkhaa bahaar aayee..Ras ki phuhaar laayi.. Akhiyon mein pyar laayi..” (Parakh-1959).

Funny Hindi Songs – 20 Best Old Hindi Comedy Songs – “The other day I was watching the weekend show on Times Now which featured some of the best old Hindi comedy songs of yesteryear. Thus was the birth of this hub. They showed around 9 -11 songs as for the time constraint which every program on TV has. Here on the net, we don’t have any such time constraint, so I went ahead to compile a list of best 20 funny Hindi songs…..All these songs are excellently written and in one form or the other will give you a happy feeling. If the lyrics don’t evoke the laughing gases in you then do watch the video and shake a leg with it.”

We take a pause here in our charting of new waters.

Sickle Songs? Has listed three songs:

Aai Sawan Rut Ai – Mela (9148) – Mukesh, Shamshad Begum – Naushad

Naache Re Dharati Ke PyaareHeera Moti (1959) – Lata Mangeshkar, Hemant Kumar – Salil Chudhary [This is the only song composed by Salil Chaudhary, all others were composed by Roshan)

Aaj Meri Man Men Sakhi – Aan (1952) – Lata Mangeshkar and Chorus – Naushad

Does anyone have any more of the songs to add on to this subject?

Multiple Version Songs (16): Rabindra Sangeet and Pankaj Mullickis a very tribute to Gurudev Rabindranath Thakur (7 May 1861 – 7 August 1941) and Pankaj Mullick (10 May 1905 – 19 February 1978) by guest author N Venkataraman.

SoY has also released one more of Multiple Version Songs post — Multiple Versions Songs (17): Haunting Melodies in Different Moods And Settings — guest written by yours truly.

We have a very interesting two part article by Shrikant Guatam, in his regular weekly (Gujarati) column “RangRaag” in ‘Madhuvan’   supplement of Janmabhoomi Pravasi. The article has listed Exceptional Partnerships – that of a music director and a lyricist – in the world of Hindi Film Music and have provided songs such partnerships have germinated. Since recording each of the song in the article here would entail copying the whole article, I have listed here the Partnership and the film(s) in which they have collaborated:

Hemant Kumar Sahir Ludhianvi Girl Friend 1960
Majrooh Sultanpuri Ek Hi Rasta 1956
Gulzar Khamoshi 1969
S D Burman Gulzar Bandini 1963
[just one song – Mora Gora Ang Lai Le – Lata Mangeshkar; beginning the long innings that Gulzar played donning lyricist cap, among several others]
Madan Mohan Gulzar Mausam 1975
Sahir Ludhianvi Railway Platform 1955
Ghazal 1964
(jointly with Jai Dev) Laila Majnu 1976
Majrooh Sultanpuri Aakhari Dao 1958
Naushad Majrooh Sultanpuri Shajahan 1946
Andaz 1949
Saathi 1968
Roshan Neeraj Nai Umar Ki Nai Fasl 1965
Laxmikant Pyarelal Hasrat Jaipuri Chhaila Babu 1967
Kalyanji Anandji Sahir Ludhianvi Nanha Farishta 1969
Gulzar Purnima 1965
Majrooh Sultanpuri Ishara 1964
Hasrat Jaipuri Ghar Ghar Ki Kahani 1970

Both parts of the article, in Gujarati, can be read here and here.

This spurred me to re-look at an article on Shailendra’s filmography. Shailendra’s is a classic 80-20 Pareto Principle case – his great bulk of the work is with Shaker Jaikishan, followed by work with S D Burman and Salil Chaudhary and to fair extent with Roshan. Interestingly he has an equally impressive list of ‘exceptional partnerships’. Here are these gems:

Basant Prakash Badnaam 1952
Sapan Jagmohan Begana 1963
Ninu Majumdar Bhai Saaheb 1954
Robin Banerjee Massom 1960
Shailesh Mukherjee Savera 1958
Shivram Narayan Naya Kadam 1958
Chitragupta Kal Hamara Hai 1959
R D Burman Chhote Nawab 1961
Manohar Chingari 1955
Sudhir Kar Kaanch Ki Gudiya 1961
Shardul Kwatra Piple Saheb 1954
Tees Maar Khaan 1955
Kalyanji Anandji Satta Bazar 1959
Kishore Kumar Door Gagan Ki Chhaon Men 1964
Hum Do Daku 1967
Door Ka Raahi 1971
Anil Biswas Sautela Bhai 1962
Chhoti Chhoti Baaten 1965
C. Ramchandra Chhatrapati Shivaji 1952
Anarkali 1953
Ravi Dilli Ka Thug 1958
Jawani Ki Hawa 1959
Nai Raahen 1959
Mukul Roy Shailab 1956
Detective 1958
Pandit Ravi Shankar Anuradha 1960

Our friend Bhagwan Thavrani remembers: Tum Na Aaye Sanam Shama Jalti Rahi – Bhootnath (1963) – Vedpal – Lata mangeshkar – wherein he especially takes note of “Meri Awaz Ko Jaane Kyaa Ho Gaya, Main Baharon Men Gaati Rahi Jogiya.

We now take up regular take on Mohammad Rafi :

  • Mohammad Rafi- A short film on his life and songs – Part 1, Part 2 , Part 3 of film on the songs and life of legendary singer Mohammad Rafi, with inputs of Vinod Viplav, who has written his first biography-Meri Awaz Suno. This short film was produced and aired by CNBC News and Entertainment TV Channel.
  • Meri Awaaz Suno – Part 1 – Memories of Madan Mohan through his timeless melodies sung by Mohammad Rafi – Features introduction by Madanji, new nostalgic comments by Madanji and tributes by Mala Sinha, Khayyam and Jagjit Singh. It also features snippets of songs from Aakhari Dao (1958), Ghazal (1964), Suhagan (1964), Sharabi (1964), Haqueequat (1964) and Mera Saaya (1966).

Meri Awaaz Suno – Part 2 – Memories of Madan Mohan through his timeless melodies sung by Mohammad Rafi – Features tributes by Lataji, Pt. Shivkumar Sharma, Jaidev, Majrooh Sultanpuri and Jatin-Lalit. It also features snippets of songs from Aap Ki Parchhaiyan (1964), Dulhan Ek Raat Ki (1966), Heer Ranjha (1970), Naunihal (1967), Chirag (1969), Hanste Zakhm (1973), Laila Majnu (1976) and Tere Bagair (2009).

Each of our episodes is able to scratch the surface of all the great work done by a vast number of fans, lovers and knowledgeable people on the web, i.e. leaving out even a greater amount of documentation done on the print media. Let us salute these great work and join in bring up more and more of such work in our reach…….

Carnival of Blogs on Golden Era of Hindi Film Music – April 2014

2 Comments

Welcome to April 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Welcome, spring!with a few songs for the spring.

Forgotten Composers Unforgettable Melodies (9): Lachhiram -A very awkward and unfamiliar name, and not among the mainstream composers, it is so great a coincidence that even as this Blog Carnival’s March 2014 edition was on net, SoY had published this post. Lachchiram Tomar appears to have given music for around 20 films, but even in these hyper-active internet days, one does not find pre-1950 songs on internet!

Arunkumar Deshmukh, in his comment @ 13states: Aye Dil Machal Machal Ke Yoon, Rota Hai Zaar Zaar Kya “ solo of Lata from film Main Suhagan Hoon is the ONLY song of Lata, Lachhiram ever composed. He was the ‘one film-one song’ composer of Lata.” This aspect was also strongly mentioned in Shri Ashok Dave’s post on Main Suhagan Hoon, wherein it is categorically stated that Lachhiram had rather a strong preference for Asha Bhosle. Obviously, the reasons for such a pattern are not evidenced.

We have one more post relating to Forgotten composers – Celebrating the Uncelebrated: Ten of my favourite songs by lesser-known composers.

Most satisfying aspect of the subject of ‘Forgotten’ Creators of “Unforgettable” Melodies is that there are still fairly large number of knowledgeable persons who keep on with their active contributions of these ‘geniuses’ on internet and do a great service of creating an unforgettable documentation of this vital aspect of Indian Cinema.

The haunting music of Hemant Kumar– i.e. haunting songs that for some reason remain etched in your mind and you keep humming or visualizing the song often. Or, when a song conveys deep emotions that are unforgettable or which leave an impact even when you are not listening to the song. Enjoy 22 of these songs on the player here.

Lata Mangeshkar Sings for Laxmikant Pyarelal -Part 1talks about Lata – LP collaboration in 60s andPart 2talks about period from 1970 till 1996.

Found: Vyjayanthimala’s Other Bharatanatyam Dance in Chittor Rani Padmini (1963, Tamil)! – Cinema Nritya Gharana had presenteda beautiful Bharatanatyam dance of Vyjayanthimala’s in the 1963 Tamil film Chittor Rani Padmini in the first post on V.S. Muthuswami Pillai, but lamented that the second dance at the end of the movie she was said to have performed for the king could not be located . [This article was covered in August 2013 edition of this Blog Carnival.] Well! The dance has now been located, at the rich treasure house of Kandasamy Sekkarakudi Subbiah Pillai’s YouTube channel, and it is fantastic!

There are two dances that feature performers who are not yet identified (but definitely would like to know more about) and there is one song for which the identity of some of the singers seems to be a subject of hot debate. So, for the first post devoted to Khazanchi (there will probably be more here), let’s delve into these… Some Mystery Singers and Dancers in Khazanchi (1941).

The Mystery of the Missing Songs- a list of the songs (I knew were) filmed and deleted for one reason or the other.

Ten of my favourite ‘classic poem’ songs’ lists ten songs that are, in whole or part, written by classic poets.

My Favourites: Ghoda-Gaadi Songs -Here are these songs, “in the memory of an animal-drawn vehicle that gave us some wonderful melodies. But with some caveats.

  • The songs can encompass any sort of horse-drawn vehicle – carriages, phaetons, Victorias, carts.
  • The whole song had to be picturised on the vehicle. (That took care of two of my favourite songs, Ye kya kar dala tune from Howrah Bridge and Sun bairi balam from Bawre Nain.)
  • It had to include the hero and  the heroine, even if only one of them were singing. (I originally titled this post Ghoda, Ghodi and Ghoda-Gaadi.) That deleted two other songs from my list: Chhoti si ye zindagani re from Aah, and Jhoome re neela ambar jhoomefrom Ek Gaaon ki Kahani.”

And as can be expected, there is at least one more of aTen of my favourite ghoda-gaadi songs “from pre-70s films that I’ve seen. Other than that, my requisites for the selected songs were:
1. That the person singing (on screen, that is) remains in the ghoda-gaadi through at least 80% of the song (which is whyAe dil hai mushkildoesn’t feature in this list).
2. Horse-drawn vehicles of all types qualify: tongas, Victorias, phaetons, even chariots. Horseback is out.
3. And, no two songs from the same film are allowed.”

SoY continues the great series on S D Burman and his songs with the leading playback singers, on the first death anniversary of Shamshad Begum with East meets West: Shamshad Begum’s songs by SD Burman.

We have some excellent material on one of most known ‘back-room’ face of Hindi Film Music – Manohari Singh.

In The Reed ManManohari Singh talks about his life and experiences, his colleagues and what it was like in the halcyon days of the Hindi film music world. [The post is penned byAshwin Panemangalore, who is primarily an electrical engineer, put in a long stint at L & T’s group of companies in software and instrumentation. After retiring in 2008 he is indulging in his passion for jazz.]

Manohari Singh – The Charming Pied Piper- Music lovers, both connoisseurs and common listeners, throng to listen to the mere sound of his instrument playing……Be it the Saxophone, Western (Key) Flute, the Clarinet or the Mandolin, there is a magical charm in the way he plays those instruments. There is unanimous agreement about the man’s extra special expressions, amazing breath control and inimitable tone of instrument playing.

Memories of Manohari Singh (1931 – 2010)is an anthological video clip capturing Manohari Singh’s work.

We also have two excellent posts presenting some important facets of legacies of two of the great (background) singers of Hindi Film Music world.

Lata Dinanath Mangeshkar Gramophone Record Museum : A National Heritage Made by Shri Suman Chaurasiya has more than 28000 records., of which records of Lata Mangeshkar’ s song number over 6000.

@ Beete Hue Din, Shishir Krishna Sharma’s article‘Tere Pyar Ka Aasra Chahta Hoon’ – Mahendra Kapoorremembers Mahendra Kapoor’s debut song,a duet ‘Kisi Ke Zulm Ki Tasweer Hai Mazdoor Ki Basti’ with Dhan Indorewala from the 1953 release movie ‘Madmast’. [ An interesting trivia – Music Director of this film – Madmast- V. Balsara and Dhan Indorewala went to marry later on.] Another song which Mahendra Kapoor sang for this movie was a qawwali with S.D.Batish, ‘Unhe Dekhein To Wo Munh Pher…Hamey Ankhein Dikhaate Hain’. …..

We also have some additional inputs by Shishir Krishna Sharma @ Mahendra Kapoor’s First Film Song He sang his first solo, “Kisko Daani Kahen … Tere Dar Ki Bhikmangi Hai Daata Duniya Saari” for Snehal Bhatkar’s Diwali Ki Raat in 1956.

The next song which he had sung was a Heer for the punjabi movie, Heer which had music by Anil Biswas. In addition to the above songs, He is also known to have recorded the following before participating in the competition:-

1. A few lines for the song “Ek Taraf Joru Ne Hai Nikaala” for composer Bulo C Rani in the movie Madhur Milan(1955). This song had been sung by Mohd Rafi, Geeta Dutt and A.R. Ojha and penned by Raja Mehdi Ali Khan.

2. A duet with Sabita Banerjee for composer Shanmukh Babu, “Oh Bedardi Jaane Ke Na kar Bahaane” for the movie Lalkaar(1956).

We eulogise passing away of V K Murthy, one of the most outstanding cinematographer, and Nanda, the beautiful and versatile actress of the Golden Era of Hindi Films.

The Masters : V K Murthy- Venkatrama Pandit Krishnamurthy’s journey to becoming VK Murthy, the eminent technician who was known as ‘Guru Dutt’s eyes’ is the stuff films are made of – a rags to riches story that began in the erstwhile princely state of Mysore in 1923.

Iconic beam shot by V K Murthy  for Waqt Ne Kiya Kya Haseen Sitam
No post on VK Murthy can be complete without the story behind the fantastic beamshot, for the song Waqt ne kiya,even though it’s been repeated in every tribute that has ever been written about the director, the film, or now, the cinematographer.

Here are a few of the video clips on V K Murthy:

Ten of my favourite Nanda songs“to celebrate Nanda’s life and career—and to wish her farewell—a selection of ten of her songs that I particularly like. These are all from pre-70s films that I’ve seen, and in each song, Nanda’s character does some—if not all—of the singing…… RIP, Nanda. You will be missed. Your sunny smiles and laughing eyes, your dignity, your ability to make your characters so believable—all will be remembered.”

Here are some more tributes to Nanda from You Tube:

During the period for the present edition, our friend Bhagwan Thavrani has remembered Pyar Ki Dastan Tum Suno To Kahen – Lata Mangeshkar (Music Director: Hemant Kumar) from Farar (1965). That reminded me to look for Dil-E-Nadaan Ko Sambhalun To from the same film, which shows Lata Mangeshkar as singer in the credits, but is believed to have been rendered by Suman Kalyanpur. In any case, Hemant Kuamr was at his melodious self, in the film. Here are the rest of the songs from the film:

Songs of Yore has presented Best songs of 1951: And the winners are?- After reviewing the best songs of 1955 and 1953, which were gap years in the Filmfare Awards (Baiju Bawra,1952 was the first film to get the Filmfare Awards for the best music, but in the later years no films of 1953 and 1955 won these awards, SoY now comes to the pre-Filmfare era with 1951. 1951 seems to have more than 110 films and 1000 songs. Without any doubt, all discussions are going to be as live as any discussions on SoY or the previous 1955 and 1953 posts have been.

One of the most iconic song from the year 1951 is Thandi Hawayein Laharati Aayen – Naujawan – Lata Mangeshkar, S D Burman. In Thandi Hawayein Legacy – Charles Bayer crooned “C’est la vie” in Algiers(1938) without even realizing what a big chain of inspirations he had set for the next generation of Indian music makers.

Old Is Gold has presented two part interview with Ghalib Khan , son of famous Hindi Film lyricist Asad Bhopali. Thefirst part of the interviewends with an outstanding song from Film Afasana (1951)’s Kismat Bigdi Duniya Badli – Mukesh (Husnalal Bhagatram).

Thesecond part of the interviewtakes us to our usual section on Mohammad Rafi with Miss Bombay (1949) song – Zindagi Bhar Gham Judaai Ka Hamen Tadpaayega First Version and Second Version (Hansraj Behl) and “Ek Naari Do Roop” song Dil Ka Soona Saaz Tarana Dhoondhega(Ganesh).

Here are three posts on Mohammad Rafi for the present edition of this Blog Carnival:

I am sure you will enjoy the present edition of our Blog Carnival and look forward to additions / inputs to enrich it further…….

Older Entries