Carnival of Blogs on Golden Era of Hindi Film Music – April 2013

Welcome to April 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our journey by visiting quite unique tributes /events this month –

SoY has so vividly and even more creatively, weaved in 94^th birthday of Shamshad Begum in through one of the most iconic song ever – Mere Piya Gaye Rangoon – in the article ‘Mere piya gaye Rangoon’ and some more Indo-Burmese links . This in turn isso vividly linked to the memory of the pitiable last days of confinement of The Last Moghul Emperor (!) Bahadur Shah Zafar, his poignant ghazals “he wrote in captivity – Lagta nahi hai jee mera ujade dayar mein and Na kisi ki aankh ka noor hun”.   and very pensive renderings of these ghazals by Habib Wali Mohammad , from among several versions. And then going in for, one more link down the chain to MANDALAY, its historical inks with our freedom movement, is nothing sort of a masterstroke of connecting it with the memories of the exile of the last Burmese Emperor to that place, till the present day cultural connections of Myanmar.

The irony of the fate is that Shamshad Begum passed away on 24^th April 2013. Long live Shamshad Begum, though the memories of her immortal songs, still alive the hearts of her fans..

Here are a few selected obituaries, from among a flurry of such articles that poured in:

Sangeet ke liye shukriya, Shamshad! By Likhavat

#RIP- Shamshad Begum: A song in her hear -  Written by: Gitanjali Roy @ kracktivist    
Shamshad Begum Passes Away at 94 –  Shamshad Begum: The Original Nightingale
Shamshad Begum: A tribute to a voice long gone By Ankush Arora @ India Insight

Jhumka gira re Bareli ke baazaar mein – Atul’s Bollywood Song A Day – with full lyrics . The site has presented several ‘gems’ a day earlier.

Farewell, Shamshad Begum, which refers to a post –  ten favorite Shamshad Begum songs – carried on 14^th April 2011,  to commemorate her birthday @ Dances On the Footpath

Dusted Off presents “Ten Shamshad Begum songs, which are actually, in the majority of the cases, not from Hindi cinema”.

Shri Shrikant Gautam, in his regular column (in Gujarati), “Raag Rang” in Janmabhoomi Pravasi pens ‘lighter’ dimension of the multi-faceted histrionic virtuosity of Pran, on his being belatedly feted with Phalke Award for 2013 in the article (in the translated ) titled “Hillarious Laughs of a Villain”:

Here are the ‘lighter’ songs that Shri Guatam has picked up when Pran was in the thick of a ‘villainous’ role in the film:

Aake Sidhi Lagi Dil Pe Jaise Katariya – Film: Half Ticket (1962), Music Director: Salil Chaudhary, Playback: Kishore Kumar, in male and female voices.

Subhan Allah Haseen Chehra – Film: Kashmir Ki Kali (1964) – Music Director: O P Nayyar,  Playback: Mohammad Rafi

Dil Ki Umange Hai Jawan – Film: Munimji (1955) – Music Director: S D Burman – One Mr. Thakur has caricatured the portion of the song filmed on Pran.

One more side of that virtuosity is Qawwali of Adikhhar (1971) – Jina Hai Usika Jisne  Yeh Raaz Jaana -  filmed on Pran on the screen – Composed by R D Burman, and sung by Mohammad Rafi. The song is a birth day song, and to that extent can be treated as new experiment of use of quawaali form for such events.

Our knowledgeable and prolific co-reader of the blogs normally covered by these Carnivals, Shri Arun Kumar Deshmukha scored a century of posts on ‘Atul’s Bollywood Song A Day – with full lyrics’. The article, “Aa ri sakhi main tohe preet sikha doon’  “which has Historical Importance in Hindi Film Industry of Bombay. MAHAGEET-1937 was THE film for which the FIRST Playback song was recorded and filmed at Bombay”.

We also have two very distinctive sets of songs of Mohammad Rafi –

The first one is, Rare Gems of Mohammad Rafi, by Vijay Bavdekar, has listed 20 songs, the songs that are seemingly gradually fading from the memory, but gems in their own right. I have picked up (with great difficulty) SIX of the songs here:

Us Paar Is Deewwarke Jo Baithe Hai Koi Unse Jake Kahde Hum Jo Kehte Hai – Film: Saiyan (1951)– Music Director: Sajjad

Mohabbat Mein Khudaya –Film: Shahnaz (1948)–Music Director: Ameerbai

Hum To hai Tum Par Dilse Fida Yaar Dedo Hame Kasm-e-Khuda–Film: Bewaqoof (1960)–Music Director: S D Burman

Dilne Pyaar Kiya Hai Ek Bewafase–Film: Shararat (1972)–Music Director: Ganesh

Shaam-e-bahara subah-e-chaman tu mere khwabonki pyaari dulhan –Film Aaja Sanam (1975)–M D Usha Khanna

Ye Kiski Aankhonka Noor Ho Tum Ye Kiska Dilka Quraar Ho Tum-Film: Pakeezah-Music Director:  Gulam Mohammad. This song was not included in the film.

Another very defining list of songs by Mohammad Rafi is Mohammad Rafi and Joy Mukherjee combination had only gave everlasting hits. I have selected FIVE songs from the ones presented in the article for this edition of carnival:

Ae Baby Idhar Aao – Film: Love in Simla (1960) – Music Director: Iqbal Quereshi –  a duet  with Asha Bhosle

Phir Tere Shahr Main  Mitne Ko Chala Aya Hun –Film: Ek Musafir Ek Haseena  (1962)- Music Director:  O P Nayyar  -

Pyar Ki Manzil  Mast Haseen – Film: Ziddi (1964) – Music Director: S D Burman –

Dil Ke Aine Men Tasveer Teri  - Film: Aao Pyar Karen  -Music Director:  Usha Khanna –

Kisne Mujhe Sada Di – Film: Saaz Aur Awaaz -  Music Director: Naushad – a duet with Suman Kalyanpur

The archive of Conversations over Chai also provides us a take on Joy Mukherjeee in Remembering Joy Mukherjee.

And the third one, a standalone song,  is from the ‘messages’ category, Songs movies , on Inde Bollywood and Cie has a range of around 271 songs, as of writing this piece.  We may give quite some them a miss, because they fall beyond the bounds of the scope of the time period that we take up in the carnival. A recent post – Song Sasural (1961) of course has the signature song – Teri Pyari Pyari Surat Ko Nazar Na Lage – from the film, but also has a shot of the Filmfare Title Page of the film. The song clip has the third stanza that is normally seen on the film track only.

We have more sets of articles with a very definite classification:

The songs linked with dancing –

Conversations Over Chai presents a refreshing perspective in My Favourites: Stage Performances . We also have another one from the archives – My Favourites: The Courtesan’s Song.

Harvey Pam’s Blog presents 10 of favourites featuring Waheeda Rehman in Dancing Grace, which, as can be expected, have some of the great dance songs.

And that leads us to more links to Whaeeda Rehaman songs -

10 of my Favorite Waheeda Rehman Songs @ Sunahariyaaden – This is a maiden visit to this blog from this carnival platform.

Ten of my favourite Waheeda Rehman songs @Dusted Off

In addition to these, we have some excellent articles on Waheeda Rehman in our February 2013 edition.

Shishir Kuamr Shrama takes up vintage moments, people from the Hindi Films on Beete Hue Din. As of now, it has two articles (in April 2013) – Mera Sunder Sapana Beet Gaya – Kamini Kaushal, which has listed the links to some of the songs that can be treated as high points of Kamini Kaushal’s histrionic career – and “A Crystalline Eyed Bad Man – Kamal Kapoor, that takes us through the actor’s career.

I did find an article on ‘sad songs’ on “Raat Akeli Hai”. However the site seems more focused on film reviews. I would be visiting them often and see if we can catch up something that can be discussed in detail here.

The series ‘Multiple Versions of Songs’ also continues its journey through Multiple Versions Songs (7) – Both Versions By Female Playback Singers (2) – A Happy And A Sad Version.

As I was closing up this carnival, Conversations Over Chai posted an interesting (!) article – My Favourites: Songs of Cynicism, which ought to not ‘merely philosophical’, but ‘cynical’ lyrics as well.

Similarly SoY has presented  us a ‘chance-caused-relation-induced’ 71^st birthday greetings and a mine of information  In Conversation with Minoo Mumtaz

To sum up the present edition of the blog carnival, we have Songs for all times:  Celebrating 100 years of Hindi film music from Dusted Off. This is an article prepared for the April-June 2013 issue of ForbesLife India on ‘100 years of Indian cinema’, and documenting the YT channel – The Best of Hindi Movies and TV Shows.

Our pursuit of adding more variety to the articles and /or blogs continues on its pleasant journey…

I do look forward to suggestions, inputs…………….

Carnival of Blogs on Golden Era of Hindi Film Music – March 2013

Welcome to March 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We have a quite a range of subjects, and equally wide range of songs this month, which also sets in motion remembrances of birthdays and a special day.

First let us take birthdays, and the posts that have given us some great songs in the bargain:

Talat Mahmood – 24^th February:

SoY presented an excellent variation, in the form of (some of) “his best duets with Asha Bhosle” @ Best duets of Talat Mahmood and Asha Bhosle. “Another significant point about Talat’s duets with Asha Bhosle is that some of these came at a time when Talat was at the top of his career, but Asha Bhosle was still in the shadows of her big sister. If at all, she would be seen as a potential successor to Geeta Dutt tradition. With all this handicap, the fact that these are among some of the best duets ever is not only due to Talat, but also to a great deal due to the unique voice of Asha Bhosle.”

Shri Shrikant Gautam, in his regular weekly column ‘Raag Rang’ in Gujarati newspaper “JanmabhoomiPravasi” chose to present a rare combination of Talat Mahmood singing for Raj Kapoor and Dev Anand respectively. For the benefit of the readers here, I place here below the link to the video clip of the songs mentioned in these articles:

Raj-Talat Synchronization:

Anhonee (1952) – Roshan

Main Dil Hoon Armaan Bhara – http://youtu.be/RqpECqkBVzE [The clip has a wonderful piece (@4.14 onwards) in (unusually) high key rendition @ 4.26.]

Mere Dil Ki Dhadkan Kya Bole – with Lata Mangeshkar – http://youtu.be/8mORpshV3r0

Sama Ke Dil Se Hamare – with Lata Mangeshkar – http://youtu.be/2XMWtjMrJ5I

Ashiana (152) – Madan Mohan

Main Pagal Mera Manwa Pagal –  http://youtu.be/mjudXYpl2ow

Mera Quarar Le Ja – http://youtu.be/qNKZ0TtA5fo and its twin song by Lata  Mangeshkar – http://youtu.be/yz4GMWS4rDs [This clip has an excellent alaap piece by Talat Mahmood, preceding the main song.]

Bewafa (1952) – A R Quereshi

Dil Matwaala Lakh Sambhala – http://youtu.be/EZE3cPKB8kU and its twin by Lata Mangeshkar – http://youtu.be/v7_JHPBUdKE

Tumko Furshat Ho To Meri Jaan Idhar Dekh Bhi Lo – http://youtu.be/RdshBKFkTAE

Tu Aaye Na Aaye Teri Khushi – http://youtu.be/WBOxHEYkRxU

Dil Mila Hai.. Kaam Hathon Kaa Hai – http://youtu.be/ES5gxqm0Jpw

The only RK film for which Talat Mahmood did sing a song – Chali Kaun Se  Desh, Gujariyan Tu Saj Dhaj Ke – a duet with Asha Bhosle – http://youtu.be/EPwQu3b7CkQ-  was Boot Pollish (Music Shanker Jaikishan). Incidentally, Raj Kapoor did not act in this film. Another trivia of this song is that male protagonist on the screen is Shailendra.

The original article, in Gujarati, is available as – રંગ રાગ અને સલામ બોમ્બે_20130303_Page_8.pdf.

Dev and Talat’s melodious company:

Patita (1953) – Shanker Jaikishan

Hai Sabse MAdhur Wo Geet, Jinhe Hum Dard Ke Sur Men Gaate Hain – http://youtu.be/vvVbNdZ7wwQ

Andhe Jahan Ke Andhe Raaste, Jaae To Jaae Kanhan –  http://youtu.be/ogtJBGqh43Y

Tujhe Apne Paas Bulati Hai Apni Duniya – http://youtu.be/Wo8CQHiaiZU

Pocketmaar (1956) Madan Mohan

Yeh Nai Nai Preet Hai – http://youtu.be/6jVdfGM6Kss

Taxi Driver (1954) – S  D Burman

Jaae To Jaae Kahan, Samajega Kaun Yahan – http://youtu.be/vYdRUjZK4KY; which also has a twin song by Lata Mangeshkar – http://youtu.be/_EFyBWNMmgo

Kinare Kinare (1963) – Jaidev

Dekh Li Teri Khudai – http://youtu.be/tnCsk63fr_I

The original article, in Gujarati, is available as રંગ રાગ અને સલામ બોમ્બે_20130310_Page_8.pdf.

‘Dusted Off’ pays fond remembrance to Shashi Kapoor on his 75^th birthday on 18^th March, by reviewing Sharmeelee (1971). The songs that get specific mention are:

Khilte hain gul yahaan – Kishore Kumer (which also has a twin Lata Mangeshkar song)

Megha chhaaye aadhi raat – Lata Mangeshkar

Kaise kahen hum pyaar ne humko, – Kishore Kumar,

“and a lesser known, but a good cabaret number, by Asha Bhosle” – Reshmi ujaala hai makhmali andhera.

‘Dances on the Footpath’ remembers birthday of Khwaja Khurshid Anwar, a music director who could bring out the best in many of the best singers from British India, India, and Pakistan @ Ten Of My Favorite Khawaja Khurshid Anwar Songs Sung By Noor Jehan (Happy 101st Birthday, Khawaja Khurshid Anwar!).

‘Dusted Off’ also had a special post lined up for International Woman Day (8^th March), by way of “Ten of my favourite female duets” –  “A post on saheli songs has already been done in the past. So, to differentiate this post from that one, I decided this list of duets will feature only songs where the women in question are not sahelis—they may be colleagues, relatives, and strangers to each other, whatever. But not sahelis (they may be friends, of course, but there must be another relationship too).”

The subject of female duets is also covered by ‘Harveypam’s Blog’, to commemorate this very day, last year, under the post – The Sister Act – presenting therein 10 of the favourite Lata Mangeshakr – Asha Bhosle duets. Harveypam Blog also had done an interesting post on Hindi Film songs by ‘blind heroines’.

We now turn to posts which have appeared on various sites/ blogs, in the ‘usual’ course of their respective journey into the Golden Years of Hindi Film Music.

We first look at the songs listed out for Gyarah Hazar Ladkiyan @ our maiden visit to Ashok Dave’s Blog [The reviews are in Gujarati]. Composed by N Dutta, the film had some catchy and a couple of evergreen scores by Mohammad Rafi:

1. Kaam Ki Dhun men Hain Ravaan – Mahendra Kapoor and Chorus http://youtu.be/MmqH8Q7fMg8
2. Sablok Idhar Jidhar Who Hai, Udhar Dekh Rahen Hai – Asha Bhosle http://youtu.be/Todtb7-LcfE
3. Pahechano Hum Wohi Hai, Dekho To Aamkhen Mal Ke – Lata Mangeshkar and Chorus – http://youtu.be/_xvhuMdJGoM
4. Dil Ki Tamanaa Thi Masti Men, Manzil Se Bhi Door Nikalate – A Happy version – by Asha Bhosle & Mohammad Rafi – http://youtu.be/AYzrU8jrj2Q  - and a sad version by Mohammad Rafi – http://youtu.be/4IVCdVJ9rUk
5. Gam Gaya To Gam Na Kar, Gam Naya Jaga Le – Asha Bhosle – http://youtu.be/1QWTsAyJCTo
6. Mere Maheboob Mere Saath Hi Chalana Hai Tujhe – Mohammad Rafi – http://youtu.be/AnpAX9zQkns

Also enjoy a beautiful Mexican dance tune, as a bonus -  http://youtu.be/tSZRMu_W92o

Of course, once we visit this site, we find reviews of two other films and the lists of the songs thereto, during the period of review covered by this edition of the Carnival. Since both the films and their songs are equally interesting, we may as well list them out:

Ziddi (1948) – Khemchand Prakash

[The review has a startling revelation – the titles of the film, glaringly has carried Anil Biswas as music director, in place of the actual Khemchand Prakash.]

1. Ek Baat Kahun Tumse, Bura To Na Manoge – “Singer not known” – [I could not find any audio or video link of this song.]
2. Jadoo Kar Gaye Kisi Ke Naina Ki Man Mere Bas Men Nahin – Lata Mangeshkar – http://youtu.be/ctI8KiuswJs
3. Ye Kaun Aaya Ye Solah Singar – Kishore Kumar – Lata Mangeshkar- http://youtu.be/787GGmytWko
4. Rooth Gaye Mose Shyam Sakhi- The original article states that the other singer in this song ‘is not known’. However, as we listen and watch this clip, we may observe that at a point of time (@2.22) Dev Anand sees dancer’s face morphed into that of Kamini Kaushal. From that point of Lata Mangeshkar also takes over the playback from Raaj Kumari (or is it Shamshad Begum as mentioned by the uploader of the clip). -http://youtu.be/zd47dLfWdyM However here is another clip(an audio) where singers are mentioned as  Lata Mangeshkar and Rajkumari. [That should settle the issue of who the other singer is!]  - http://youtu.be/RfviokhEXM4
5. Chanda Re Jaa Re Jaa Re – Lata Mangeshkar – http://youtu.be/2DtN7fredKA
6. Tujhe O Bewafa Hum Zindagi Ka Asara Samaje – Lata Mangeshkar – http://youtu.be/smz-ZYso6MQ
7. Chali Pi Ko Milan – Shamshad Begum – http://youtu.be/s52moCvqs3Y
8. Ab Kaun Sahara Hai, Jab Tera Sahar Choot Gaya Hai –  Lata Mangeshkar- http://youtu.be/sDvZn8x74OY
9. Marane Ki Duaen Kyun Maangun – Kishore Kumar – http://youtu.be/8InU035J6WM

Shriman Satyawadi (1960) – Datta Ram – Known as the solid backbone of Shanker Jaikishan’s orchestration, but highly underrated as an independent music director – has Mukesh’s some of the most lilting songs in this film:

1. Rut Albeli Mast Sama, Saath Hasin Aur Raat Jawan – Mukesh – http://youtu.be/sN-2Fm3UlEQ
2. Ek Baat Kahun Vallah, Yeh Husn Subhanallah – Mahendra Kapoor, Suman Kalyanpur, Mukesh – http://youtu.be/Pabyhom52as
3. Ae Dil Dekhe Hain Hamane Bade Bade Sang Dil – Mukesh – http://youtu.be/VmI35mls9jM
4. Bhigi Hawaon Men, Teri Adaon Men – Suman Kalyanpur, Manna Dey http://youtu.be/xjV0fuf1Df0
5. Rang Rangeeli Bottle Ka Dekh Lo Jaadu – Mohammad Rafi http://youtu.be/_Rh3Z7y2bd0
6. Kyon Udaa Jaata Hai Aanchal, Kun Nazar Sharma Rahi Hai – Suman Kalyanpur – http://youtu.be/9Gi8f9uMT8g
7. Haal-e-Dil Hamara, Jaane Na Bewafa, Ye Jaman – Mukesh – http://youtu.be/ITG7Y6eJY4A

We have two posts this month, similar in subject, but very different in content, on songs that have more than one versions. SoY has yours truly’s guest post, Multiple Versions Songs (6) – Both versions by female playback singer(s) (1) – Abhi To Main Jawan Hun, continuing the series on the subject, whereas ‘Harveypam Blog’ has Shri Arunkumar Deshmukh’s guest post  Inspire!. This post very vividly presents Ek Tune Do Gaane – two songs, one being inspired from another song, generally of another music director.

‘Harveypam Blog’ has two more posts for the current edition of the carnival:

Look, who’s here! presents songs that melodiously describe the emotions when one observes yeh kaun aayaa – someone comes in – either expectedly or unexpectedly- but certainly creating a wave of melodious elation by that coming in.  

SoY also presents 6^th guest article by Shri Subodh Agrawal, “after some gap, with an outstanding article”, Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod, in the series Songs based on classical ragas. Shri Subodh Agrawal “also includes the concluding portion of Tagore’s dance drama ‘Shyama’, which is one of the most poignant and beautiful compositions in Desh you can find anywhere. The classical pieces he has included are recognized landmarks in these Ragas. He combines his great taste in music with a precision in writing he has acquired from his training in Physics and Mathematics in IIT.”

And each of the articles has very lively, informative, and engaging discussions, which also bring in a wealth of songs on the respective subject. Please do not miss them!

Do let me know whether you enjoyed this journey to the Hindi Film Music’s Golden Period?

Do you have any more sites on this insatiable subject which can be included in this blog?

Carnival of Blogs on Golden Era of Hindi Film Music – February 2013

Welcome to February 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We open our account with a very unique and befitting tribute to Mehrun nisha of Hussainabad in Bihar, popularly known as Kumkum, a trained Kathak dancer by Chitrapatasangeet. The post – Kumkum – Tribute to a great dancer – has presented several classical dance pieces, as well as a few non-classical pieces filmed on her, highlighting the nuances of Abhianaya in each song, of which I would like to present Rang Rangeela by Khayaam, from film Barood as very special treat. The author recommends Ham hain tumhaare tum ho hamaare – This song is sung by Rafi and Asha Bhonsle. The song is picturised on Subbiraj and Kumkum as a teasing song. The expressions of Kumkum are lovely to watch in this picturisation.  ‘Dusted Off’ and ‘Memsaab Story’ have rich tags on Kumkum @ http://dustedoff.wordpress.com/tag/kumkum/ and   http://memsaabstory.com/tag/kum-kum/ respectively.

Incidentally, we have more resources on heroines, this month.

Shri Shrikant Guatam penned two part article [રંગ રાગ અને સલામ બોમ્બે_20130203 and રંગ રાગ અને સલામ બોમ્બે_20130210] on Waheeda Rehman’s “other woman roles, in Janmabhoomi Pravasi (in Gujarati). I present one song that typically expresses that “other woman character” , as discussed in the article:

Pyaasaa – as Gulabo – Jaane Kya Tune Kahi – S D Burman – Geeta Dutt – http://youtu.be/mLGCAGHNTJU

Sahib Bibi Aur Ghulam – as Jeba –  Bhanwar Bada Naadan – Hemant Kumar – Asha Bhosle – http://youtu.be/DHyRikMZXqw

Kagaz Ke Phool – as Shanti – Waqt Ne Kiya Kya Haseen Sitam – S D Burman – Lata Mangeshkar – http://youtu.be/MZ3S4-bm70s

Kohraa – a lawfully wedded wife, but is compelled to live under the shadow of the spirit of the husband’s first wife – O Beqaraar Dil – Hemant Kumar – Lata Mangeskar – http://youtu.be/M8vn6PNkoog

Guide –as Rozy – Aaj Phir Zeene Ki Tamanna Hai – S D Burman – Lata Mangeshkar – http://youtu.be/f8PZY9pMOvo

Khamoshi, as Radha – Hamne Dekhi Hai UnAankho Ki Mehakati Kushboo – Hemant Kumar- Lata Mangeshkar – http://youtu.be/LkPEtKO5ARM

Phagun – as Mother, whose married daughter ‘sees’ other woman in her – Sandhya Jo Aaye – S D Burman – Lata Mangeshkar – http://youtu.be/palL1ifDlBA

In a rendezvous tat-e-tat with Simi Garewal, we get to listen to Waheeda Rehman, also, taking about some of these films [Part 1 http://youtu.be/JdSBd4301U4  and Part 2 http://youtu.be/ADhp_f6npqI].

Simi Garewal’s own site has a full page on her own songs.

Conversations Over Chai also had done a beautiful article on Waheeda Rehman in the series The Greats

Continuing the visit of the present carnival with songs on, essentially, feminist themes, ‘Dusted Off’ has presented “ten of my favorite ‘woman pianist’ songs”, songs where a woman is the one actually playing the piano. Apart from the ten of author’s favorites, there are 40+ songs presented by the readers in the “comments”!

“Dances On Footpath” continues feminist flair, by celebrating Happy Birthday, Suman Kalyanpur! and A slightly belated happy birthday to Cuckoo, topping up listings for the month by  Songs from the Pakistani Choo Mantar, Starring Noor Jehan.

“Conversations Over Chai” presents a Word Play: Piya, containing songs listing a ‘favourite’ word. “Piya’” is used as having only ONE meaning – the beloved one, not the as ‘drinking’ also! This post also has deluge of 40+ additional songs in the ever lively “comments”. Such a fabulous with a filter of ‘Piya’ being the first or second word of the mukhda!

And we have a stunning photograph of Rehana Sultan for Dastak @ Tum se kahoon ek baat paron se halki. In a comment which puts the song as   “probably the most sensuous picturisation of a Hindi song ever” the host of the blog “At The Edge”, Vianayak Razdan brings to the records “some great editing by Hrishikesh Mukherjee”.

Switching over to the general mood, “Hareypam’s Blog” also has an innovatively crafted post on This Singing Business, a guest article by ‘pacifist, a melodious tribute the enterprising spirit of Indian SMEs. [Also, posted on this playlist.], which has additionally wide-ranging 30+ songs, by no means a ‘small’ preference for depicting the true colors of India in the films, in the “comments”.

On the other side of the table, our attention is drawn by the song Log Kehte Hai Tu Sachch Hi Kehete Honge, from 1963 film Yeh Dil Kisko Dun (Music director – Iqbal Qureshi) – http://youtu.be/Y-hCvbTjcvQ @ Rafi harmonic for charming Shashi Kapoor for a quite an uncanny similarity, in my personal view, with a ‘Jab Jab Phool  Khile’ song  Hum Ko Tum Se Pyaar Aaya – http://youtu.be/lwKgAdAmSfo.

Songs Of Yore (SoY) carries forward the series of Multiple Version Songs through – Multiple Version Songs (3): Both versions by male playback singers – Different Moods, which is an extension of last month’s  ‘Both Versions by Male Singers 0 A Happy and A Sad Song’;  Multiple Version songs (4): Hindi and Marathi, a brilliant treatise by Shri Arunkumar Deshmukh, and  Multiple Version Songs (5): Hindi and Tamil film songs (1) – ‘Inspired and adopted’ songs, a meticulously crafted piece by Shri N Venkataraman.

This month’s new find, Dr.Mandar V. Bichu presents 5 Songs that define Hindi Film Music , songs that have encapsulated “the entire evolution of Hindi film music, right from the time it began way back in the 1930s to its current status in the post-Millennium era”:

1. Jab dil hi toot gaya – Film: Shahjehan, Year: 1946, Singer: Kundan Lal Saigal, Composer: Naushad – http://youtu.be/nQQPV-DtY3s
2. Barsaat mein humse mile tum – Film: Barsaat, Year: 1949, Singer: Lata Mangeshkar, Composers: Shankar-Jaikishan – http://youtu.be/y_J2ApEIrbs
3. Aaja aaja main hoon pyar tera – Film: Teesri Manzil, Year: 1966, Singers: Mohd. Rafi, Asha Bhosle, Composer: Rahul Dev Burman – http://youtu.be/x8ZrN_pizyQ
4. Roop tera mastana- Film: Aradhana, Year: 1969, Singer: Kishore Kumar, Composer: S.D. Burman – http://youtu.be/ppFmipV6KZc
5. Jai ho – Film: Slumdog Millionaire, Year: 2009, Singer-Composer: A.R. Rahman -  http://youtu.be/UxLSZoFK8EM

So, did you find the journey through this edition of the carnival a bit too long? Well, it does contain large number of songs to listen to. But, is each one not a gem?

Till we meet next month, I look forward to your inputs and comments on this edition.

Carnival of Blogs on Golden Era of Hindi Film Music – January 2013

[Listening to Hindi Film Music, of the period 1950s till almost mid-1975, was one hobby that I did pursue quite avidly even during my First Innings of [so- called, busy (!)] life. It was during 2009-2010 that I could begin to spare time to download a huge number of songs from the internet – both in MP3 and in video formats. I certainly could reach a far greater number of songs, both, popular as well as hidden gems, from internet than I had ever reached through the sources of ‘old world technologies’ of radio, records, audio cassettes or CDs.

But, even till this phase, this was just a hobby, which was my great pastime and stress buster. It was only with the advent of my second innings in 2011 that I got to visit the blogs/ sites that specialized in collecting and presenting the songs-lists in creatively structured manner. That is when my journey to follow my hobby of listening to Hindi Film Music started to transform into seriously following (primarily) the Hindi Film Music of the Golden Era of 1950 till 1970s.

By the end of 2012, I was regular visitor / subscriber to at least half a dozen blogs / sites that have had their own individual style and preferences in the selection and presentation of the songs-lists. I had also grown from a pure passive follower to a moderately active participant, below the “Comments” line on those blogs/sites

So, hosting a collation of posts/ article, in the format of a Carnival, is my next step in the blogosphere journey of Hindi Film Music of the Golden Era.

All the blogs /sites that I visit regularly, have always a very rich fare of tastefully selected songs-lists in each of the post /article. Each of the blog/site has a core group of active participants in the lively discussions on what is presented in the article. So, I would be very brief here while presenting the post/article. I would earnestly request the visitor to this carnival to choose a very definite time slot, wherein his /her passions for the Hindi Film Music of Golden Era are invariably at very high tide, while paying a very very detailed visit to the posts/ articles /comments presented here. The time spent in each of this visit shall be far more worth its while. And that’s a promise.]

Since my introduction to the catchment blogs /sites commenced with Songs of Yore (SoY), I would open the Carnival with the first post of 2013 at SoY – An evening with Mubarak Begum .  SoY has indeed brought back Mubarak Begum with this article – for the GenX, by reviving the memorable songs and, for the GenNext, an introduction to a forgotten chapter of the Golden Period of Hindi Cinema. SoY has done similar immense service to the cause of Hindi Film Music (HFM), by articles on other (almost) forgotten singers:

-          Kamal Barot – http://www.songsofyore.com/category/singers/kamal-barot/

-          Jagjit Kaur – http://www.songsofyore.com/category/singers/jagjit-kaur/

-          Suman Kalyanpur – http://www.songsofyore.com/category/singers/suman-kalyanpur/

-          Subir Sen – http://www.songsofyore.com/category/singers/subir-sen/

-          Asit Baran – http://www.songsofyore.com/category/singers/asit-baran/

among playback singers who did not get the due they seemed to deserve.

SoY also has presented Multiple Version Songs (2): Both versions by male playback singers – Happy and A Sad Song, penned by yours truly, for the fare this month. This is second article in the series of hybrid versions songs, as an important genre of HFM.

Interestingly, the articles form other Blogs also open up quite interesting dimensions of the Golden Era of HFM.

Dusted Off opened the year with a birthday greetings to Shakila, with a guest post – Happy birthday, Shakila! – by none other than her niece Tasneen Khan, (daughter of Shakila’s sister Noor and the legendary Johnny Walker) on Shakila’s 78^th birthday.  The icing on the cake was a follow-through article – Ten of my favourite Shakila songs., wherein Hoon abhi main jawaan literally reflects the Eternally Youthful Longevity of the songs of the Golden Era.

Dusted Off normally presents vivid, lyrically described, reviews of films – Hindi as well as English. This month the reviews include – we shall include only Hindi Films, and that too if the review has a specific mention of a song from that film – Kohraa (1964). Not surprisingly at all, four songs – of the two as the first choice – Yeh nayan dare-dare is the chosen one; a close second being the hauntingly beautiful Jhoom-jhoom dhalti raat, of which the slow, slurring version is more stirring than the slightly faster version., and the other two songs being , O beqaraar dil ho chuka hai and Raah bani khud manzil., are the highlights of the review.

Harveypam’s Blog celebrated another birthday- Nanda’s – quite differently, by presenting songs in Nanda’s Eight Voices. This article is preceded by fondly presenting “ten favorite songs of Nalaini Jaywant” in In Remembrance, Nalini Jaywant [N.B. The songs can be enjoyed at this playlist as well.] As we dip into the comments to this article, we get onto Subodh Agrawal’s value-addition, by way of  “this video on YouTube containing stills( of Nalaini Jayawant) taken by James Burke, Life magazine’s photographer in the early fifties as part of the ‘movie queens’ series.”, and that of Madhubala in bonus – And, if this was not enough, Haveypam richly supplements these with “pics dating from the 1850s”.
We now move on to the typical, theme-based, songs-list on Converstaion Over Chai – My Favourites: Village Songs, which goes on to mention another post on the same theme – Pacifist’s Ek Gaon Ki Kahani (A village story) on Harveypam’s Blog. [The playlist is here] Each of the post succeeds “in depicting village life in its various moods with “fields, fairs, harvest, celebrations, village children, the gaon ka rasiya, and the village belle, hay stacks, sickle, and what have you”.
A site dedicated to the memory of “Shankar- Jaikishan” presents those few songs Geeta Dutt has rendered under their baton, which have held onto their place among more prodigal songs of Geeta Dutt with other music directors or with SJ’s more prodigal ones with the other playback singers @ GEETA DUTT SINGS FOR SHANKAR JAIKISHAN.

Two other sites – Dances on the Footpath and atul’s bollywood song a day- with full lyrics need a very special mention, in that they are neither pure songs-list nor a songs-list and film review sites, similar to the ones we have discussed earlier in this carnival.

Dances on the Footpath  has two, quite interesting, posts this month-

-                     My Favorite Broken-Heart Song of All (from a favorite film from 1948) – a song that does not have “dil todana” as the lyrics, and

-          Sights and sounds of a glamorous Lalita Pawar from the 1930s – presenting Lalita Pawar in her prime youth.

atul’s bollywood song a day- with full lyrics, as the very title of the site  suggests, basically presents full lyrics of the song that is brings up on that day. Of course, it does have an accompanying video clip and good deal of other supportive information as well, a highly quantitative work, with absolutely no compromise on the quality.  January 2013 category archive already has 113 songs, and is still counting.

We would end each edition of the carnival with a first-time visited blog/site, too.

This month I visited, first time,  Bollystalgia’ to find  Bizarre stage shows in Bollywood to watch the “’performance item’(s) … where the hero or heroine happens to be a singer/dancer extraordinaire and does an elaborate stage show incorporating a host of sideys, props and dramatic set designs.”

[I take this opportunity to thank, on my personal behalf and on behalf all fans of Hindi Film Music, all those self-less individuals who have uploaded priceless video clips and songs on to various internet platforms to provide a sea of primary database to the blogs/ sites discussed herein. It is their most invaluable contribution that is more than helping the Golden Era of Hindi Film Music, not only to rekindle the memories of our generation, but also to help leave a rich treasure to the generations of the future.]

The Genesis of Carnival of Blogs on Golden Era of Hindi Film Music

The seeds of my hobby of listening to Hindi Film Music were planted in my early childhood, when we would listen to the songs of the film currently being screened at Modern Talkies, a cinema hall located a street away from the back-wall window of our home, in Bhuj (Kutch, Gujarat). The cinema halls of those days used to play the songs of the current film, as a means of promoting the film, before the show and during the intervals.

However, it was only at the beginning of my ‘second innings’ that I started penning down my views on songs that I liked. But, for this to happen, the credit goes to blogs / sites dedicated to vivaciously re-visiting Golden Era of Hindi Film Music, in a very innovatively and creatively structured manner.

I started by writing tentative ‘comments’ to the articles posted @ Songs of Yore. The articles on artistes like Jagjit Kaur, Suman Kalyanpur, Kamal Barot, Subir Sen; on music directors like Daan Singh, Vinod, C Arjun, Shailesh Mukherji made me to subscribe to the site for receiving the articles as they were published and post my own views and likings on the articles.

Then came an article: Best songs of 1955: And the winners are! , where upon I went on long on expressing my views. And to the surprise of surprises, Shri AKji seemed to receive these excursions very positively.

That built up my rapport not only with SoY, but with also with other blogs linked- rolled thereto – Dusted Off  , Conversations Over Chai ,Harveypam’s Blog ,Atul’s Bollywood Song A Day – with full lyrics.

The Genesis of Carnival of Blogs on Golden Era of Hindi Film Music

I have also been reading a special compilation of articles published on blogs having a common underlying theme. One such very successful and effective series is Leadership Development Carnival, primarily host-anchored by Dan McCarthy of Great Leadership.

So, I also would like to take up Carnival of Blogs on Golden Era of Hindi Film Music. I would compile and present the work of the blogs that I already visit very regularly and share mu views thereto. I would also introduce myself to at least one new blog on the subject, thereby enriching the carnival collection under one roof.

I plan to publish the post on last Sunday of every month, beginning with January, 2013.

Version Song – A song rendered by two or more different singers or in different moods – 3 of 3

Beifore I commence documenting the third part of the post, I should acknowledge that Shri AKji [SoY] has put the matter in the further clear perspective in his comment to the first part of the present series here. He has, very rightly, called the songs as “hybrid” ones, when we see a deviation form the classic format of the “version” songs. In fact, the second part of the present series would be considered a total digression.

So at the cost of expanding / further digressing the subject even further, let me add one more variety to the subject.- there are several ghazals rendered by a large number of different singers, bringing in their own subtle variations in the style, structure and all that
Here are some of the samples:

DIL HI TO HAI

CH Atma and Talat Mahmood

Chitra Singh

Jagjit Singh

Noor Jahan

Begum Akhtar -

DIL-E-NADAN TUJHAY HUA KYA HAI

Noor Jahan

Talat-Suraiya

Mehdi Hassan

Jagjit & Chitra Singh

Suman Kalyanpur

YEH NA THEE HAMARI QISMAT

Ustad Amanat Ali Khan

Begum Akhtar

Abida Parveen

Farida Khanum, Ustad Sabri Khan

RANJISH HI SAHI DIL HI DUKHANE KE LIYE AA-

Runa Laila

Mehdi Hassan

Iqbal Bano

LAGTAA NAHI HAI DIL MERA –

Habib Wali Muhammad Sahab

Mohammad Rafi

If anyone has reasonably good command of classical music, the subject can be extended to same Raag rendered by different singers, particularly male and female vocal artists to identify the differences in the singing and possible reasons.

Version Song – A song rendered by two or more different singers or in different moods – 2 of 3

In the first part of this post, we looked at some of the additions to the already documented the songs in the classic versions songs model.

In this second part,we  now take a look at a slightly different model of the version songs:
In the first version Dev Anand woos stunning Sadhana by ‘Abhi na jao chhod ke’ – Hum Dono – Jaidev, and Sadhana soothes the frayed impatience in the duet –

whereas the second version is based on the same tune, but has altogether a different mood. Sadhana calmly goes on restore the sagging confidence of Dev Ananad. In Jahan Men Aisa Kaun Hai. This clip –

shows the connection between two versions by triggering Sadhana’s response with ‘Adhuri Pyas Chhod ke’ moment of the previous occasion.

In Bachpan Ke Din Bhula Na Dena – Deedar – Naushad –

the version with which we are so familiar is the one rendered by Shamshad Begum and Lata Mangeshkar, a jovial ride by two friends, their childlike innocence does not recognise the distance between their social class. The clip has  a piece by Shamshad and Rafi which then goes to the time when times have separated the friends  @ 3.17 and then @4.44 has Rafi extolling his love to his beloved child friend and the anguish that flows out at the end, @6.17, evident to all the protagonists.

Film Gumrah – Ravi-  had a couple of interesting use of version songs. The first version of Tujhko Mera Pyar Pukare-

is the statement of romance by the two person’s love for each other, whereas the second version -

truly reflects the physical separation but not the severance of emotional bond [Asha’s part is from the background in the picturisation of the song.

In "EK THI LADKI MERI SAHELI- FIRST VERSION" BY ASHA BHONSLE –

the mausi turned-mother aims to win the two children by an [autobiographical] story, whereas in the SAD VERSION –

[now accepted as[ mummy is not able to prevent her dilemma of her past and future – but  does remorsefully hopes that whatever shall happen will be for the good.

Aa Laut Ke Mere Meet from Rani Rupamati is probably more standard form of version songs Here is one by Mukesh –

and the one by Lata Mangeshkar –

It is the filming of the second version –  you will see in the video clip of female version that male member of the regal family is enjoying the worldly pleasures, whereas our heroine suffers her loss of love  -  that brings out the difference between two versions.

Similarly, it would be an interesting study to document some of the Hindi film songs, recorded either originally by another singer [or may be the same singer] in a different language. I would present just one such song here to drive the point of essential difference when two singers present the same tune -  Rafi – Hum Bekhudi Mein Tumko Pukaare Chale Gaye – Kala Pani :-

and here is its original version in Bangla by S D Burman [himself] Ghoom Bhulechi (Hum Bekhudi Mein in Hindi) -

or

We can see a very different being enacted in – Ye Mera Prem Patra Padhkar Ke Tum – Sangam – primarily a   Mohd Rafi  solo but you can trust Raj Kapoor to always come with very special. Here Lata’s pitching in later in the film sequence adds another dimension to the subject of the post.

We will look at more possible variation in the next, concluding part, of this post.

Version Song – A song rendered by two or more different singers or in different moods – 1 of 3

This blog post is essentially a by-product of two quite erudite posts -   Twin Songs  on Songs Of  Yore and It’s The First Anniversary Of My Blog on Conversations Over Chai.

When the first post had appeared, I was still a passive reader of the blogs on this genre – Old-time Hindi Films. Whereas when I placed a well-thought out comment on the second post, it somehow got ‘lost’ on way to the final appearance on the blog.

Hence, motivation for this post – wherein I have regrouped my responses to both posts and (re)documented here:

The songs by two different singers had been an interesting and intriguing subject for the program executives of Radio Ceylon, Vividh Bharati and AIR’s Urdu channel in the days when we had radio as THE source of listening to films songs that were not only popular , but had a distinctive common trait, at a common platform – 1960s and till mid-70s, when we were avid listeners of Hindi Film Music on Radio.

Of course, these programs would bring songs together at the common platform, but had not raised [to the best of my recollection] the issue of whether the male singer or the female singer renders the song better and why. In my own view, at all the times, one is likely to find as many different choices as the  class of listeners  – someone for the inherent preference of the particular singer or someone for the musical aspect or someone for the impact created by the mood and situation in the film.  I would not dare venture offer any opinion of mine, since I neither have the requisite knowledge of music nor have the reason to choose. I belong to the category that would ‘listen’ to something that appeals ‘hearing’ compartment of the brain and be happy. .

I would begin, by  first adding  to the list of versions songs presented in these posts and the  eminent add-on comments by highly informed participants of the discussions on these two forums:.

KHILTE HAIN GUL YAHAN – SHARMILEE 1971- S D Burman :- – classic twin version songs, both set in different moods and serving different purposes in the flow of the story of the film.

Lata

and Kishor

Humein Tumse Pyar Kitna – Kudrat [1981] – R D Burman :- The reasons seem to remain same, but bringing in the leading classical vocalist adds to the flavour of the genre [and possibly, providing some more fodder to the ‘who renders better’ debate].

Kishore Kumar and Parveen Sultana

LAHRON PE LAHER ULFAT HAI JAWAN-CHHABILI -1960 Snehal Bhatkar:- I have not seen the movie hence I am unable to place the purpose of the differing versions. However, singing by Nutan was a novelty to begin with, which gradually turned in strong liking for both the versions.

  Hemant Kumar & Nutan

and  Hemant Kumar [Solo]

Dil Chhed Koi Aisa Nagma – Inspector-1956 – Hemant Kumar:- No additional comments.

 Hemant Kumar

Lata Mangeshkar -

Aye malik tere bande ham..  Do Aankhen Barah Haath – Vasant Desai :-  This time one version is rendered by chorus.

Lata Mangeshkar

 (Male) [Full Version]

We would continue with this subject in subsequent posts …………..

‘Best Songs Of 1955 …..’ — One more gem @ songsofyore.com – Part 2 of 2

We discussed Best Male Playback Singer and Best Female Playback Singer for the year 1955 in the First part of this article.

We would continue our discusssions with Best Duet and Best Music Director categories.

But, before we take this up, let me reiterate my feeling of gratitude for Shri AKji of songsofyore.com for so gracefully accomodating my personal views on this great post.

Best Duet of 1955 for SongsOfYore Awards:

The number of duets and quality of each one, from amongst the duets available in 1955, which I have selected in this list of Top 5 Duets has a couple of pre-meditated filters applied. The first one is that I have eliminated tonga songs. One reason is that there are as many as 3; all rendered by a different duo and by different music director. Second reason is that in this manner I can create somewhat of a comfort of possibly making the selection somewhat easier. The second filter that I have chosen to apply is to pick up only one duet from a film, if it has more than one.
That would enable me to pick up following 5 as my Top Favorites:

1. Kitna haseen hai mausam – Chitalkar and Lata Mangeshkar
2. Muskurati hui chandni – Hemant Kumar and Lata Mangeshkar
3. Bhula nahi dena ji bhula nahi dena – Rafi and Lata Mangeshkar
4. Nain se nain nahi milao – Hemant Kumar and Lata Mangeshkar
5. Idhar tum haseen ho udhar dil jawan hai – Rafi and Geeta Dutt
6. Pyar hua iqrar hua – Manna Dey and Lata Mangeshakr

Oh no, even then I have landed up with SIX. So let me apply a third filter of choosing only one song per pair. Well, I am indeed pained to drop off Muskurati hui chandni in favor of Nain se nain nahi milao, both rendered by Hemant Kumar and Lata Mangeshkar. I think Nain se nain nahi milao was relatively more popular then and has more following even now.
By the same standard, Pyar hua iqrar hua by Manna Dey and Lata Mangeshakar seems to be more eligible to take on the crown of Best Duet of 1955 for SongsOfYore Awards. I do visualize as huge disagreements and as strong agreements, but isn’t it better that we have choicest of choices then and even now.

And here are those three tonga songs – to enjoy the spirited rides so romantically:

Piya piya piya mera jiya pukare – Kishore Kumar and Asha Bhosle

Halke halke chalo sanwre – Hemant Kumar and Lata Mangeshkar

Jab Liya Haath Mein Haath – Rafi & Asha -Vachan

Incidentally, we do remember two equally melodious Hemant- Lata duets: one is again a song while riding, this time, a bicycle – Sanware salone aaye din bahar ke from Ek Hi Rasta, compsed by Hemant Kumar  whereas the other one – Jhir jhir jhir jhir badariya barse from Parivar –Salil Chaudhary, a class in itself among not only all times duets but also among all time rain songs, also so tellingly presented by Shri AKji in his bonus add-on.

Here is the link to the original Bengali song of Jhimjhim jhimjhim jhim badarwa barse to sweeten the joy of this marvelous post.

Jhir jhir baroshey by Dhananjay Bhattacharya from Pasher Bari, music Salil Chaudhary:

And finally, the Best Music Director:

All the movies which appear in this list would certainly have missed a few marks in their overall value, if the music score of each one would not have been what it was. Each one must have certainly tested the guts, nerve and creative genius of the music directors concerned, because the scores have done full justice to the spirit of the film first, and then put on the customary stamp of music director’s tell-tale identification. Each of the score is a masterpiece of the musical rainbow [where one sees some ultraviolet and some infra red as well!!]

1. 1.       S D Burman – Devdas [Over and above one of the greats ever of Talat solos, and an epochal Mubarak Begum ‘kotha’ number, SD has excelled in Lata in Ab aage teri marzi  and Jise tu qabool kar le. Do observe the difference in the two pure ‘dance songs’ -Wo na ayenge palat ke and Ab aage teri marzi in terms of the mood each one has   quintessentially created.]
2. Shankar Jaikishan – Seema [SJ probably could have easily entered this list only on the strength of any one of Tu pyar ka sagar hai  -  Manna Dey orKahan jar aha hai tu ai janewale  -  Rafi or Manmohna bade jhoothe  -  Lata Mangeshkar. But it would certainly belittle their effort if we do not take independent cognisance of use of [The] Ustad Ali Akbar Kan Saheb for playing Sarod [ in fact of the fact they chose to use Sarod is in itself a big plus] for Suno chhoti si gudiya ki lambi kahani  -  Lata Mangeshkar  and such pathos –genic hamen bhi de do sahara  – Rafi and Chorus [as well as for retaining the typical instruments usually deployed by such singing teams in reality].
3. Shankar Jaikishan  – Shree 420 -The musical score has not only lifted this Chaplenese parody on the life of a common man to the height of RK’s Top Five and  placed it on the Hindi Film Immortals, it has given Hindi Film Music some of the eternal Bests – Pyar hua iqrar hua  -  Manna Dey and Lata Mangeshakr, Mera joota hai Japani  -  Mukesh, Dil ka haal sune dilwala  -  Manna Dey & others and Ramaiya vastavaiya  -  Rafi, Mukesh, Lata Mangeshkar & others. SJ have used Manna Dey so masterfully, that but for Mera Juta Hai Japani, Mukesh’s monopoly as Raj Kapoor’s voice may have met child death! They were to repeat Manna Dey in Chori Chori too, this time in totality for Raj Kapoor’s playback voice. It is said that Mukesh was busy with his own productions in those days.
4. Vasant Desai – Janak Janak Payal Baaje – If Shantaram started his trend of depending solely on his sets, dances, music, etc. for his mega-experiments,  Vasant Desai matched in blending  melody, classical raags, and mood for the high bench-mark for pure Musicals in Hindi Cinema. If we look at trio of Shantaram movies, where Vasant Desai is the music director,Toofan Aur Diya and Do ankhe Barah Haath had quite strong primary elements – story or acting – which had rendered Vsant Desai’s masterly scores , as a great positive, but by no means the life-line of these movies.In the case of JJPB, the music is The LifeLine of the film. And, what a lifeline!
5. Yasmin – C Ramchandra -C Ramachandra is at his one of the melodious best here. Also, we find  songs – Bechain nazar betab zigar  -  Talat Mahmood ,Mujhpe ilzam-e-bewafai hai  -  Lata Mangeshkar, Tum apni yaad bhi dil se bhula dete to achcha tha  -  Talat Mahmood and Lata Mangeshkar – that have found an irrevocable space in the Ever Best in the respective category.

I would gravitate to choosing Vasant Desai for his Janak Janak Payal Baje score to be coroneted as Best Music Director. The reason being that all things being equal, the music lent that edge to the movie!

I deeply regret that one of my otherwise favorite N Datta could not be accommodated here. But we can more than make up this loss by remembering one of the most noteworthy version experiments:

 

Ye baharon ka sama by Hemant Kumar  and twin sung by Lata from Milap, lyrics Sahir Ludhiyanvi:

And the final sweetener:

Geeta Dutt – Jaate Ho To Jaao Par Jaaoge Kahan – Milap [1955]

My 21-gun salute to SongsOfYore.com and the knowledgeable visitors to the blog, for keeping the fire of Golden Period of Hindi Cinema so pleasantly, romantically and tastefully live………..

‘Best Songs Of 1955 …..’ — One more gem @ songsofyore.com – Part 1 of 2

Shri AKji, www.songsofyore.com   thought of taking up a massive project of taking up a year wise survey of music of films of 1953-45 in reverse order and placing it for in-depth analysis, comments and suggestions by the readers. The year 1953 was first considered as The Year to commence the reverse countdown because the first Filmfare awards were given in 1954.

Well, let us not mar the beauty of the original post – Best songs of 1955: And the winners are!- by going into the lucid details of music of the films that caught the popular and critical acclaim, presentation of trivia, debuts, special songs, some new version songs and of course, the listing of some the songs that can fill the bill for the audacious SongsOfYore Awards for the year 1955, in the categories:

• Best Male Playback Singer
• Best Female Playback Singer
• Best Duet
• Best Music Direction

The post is so enchantingly written that it was difficult not to take up the studied task of submitting a view, veritably personal and , by no means with any pretence of authority. I have already submitted the views directly on the original blog post as a series of comments.

Presently, I would re-state them so that I have a more easy access to the post, comments by other enlightened participants and to commemorate my tribute to Songs of yore.com

Best Male Playback singer:

At the very bottom of my heart, I am no doubt a stout Rafi fan – particularly when a push comes to that eventual shove. But for that matter, I am [no perjury intended] equally strong follower of Manna Dey and Talat Mahmood. Of course, the Rafi songs in this 1955 list do not appear to be his unanimously Greats Ever, but they are by no means a disparaging competition here.

My Nominations for Best Male Playback Singer:

1. Talat      Mahmood  – Mitwa lagi re ye      kaisi anbujh aag   -   The other solo form      this film -      Kisko khabar thi kisko yakeen tha   -        Talat Mahmood – is perhaps having only one mood – deep melancholy, almost      a doused aag,      whereas this song has, as musical score, succeeded in capturing the mood      of pathos blended with a lurking anbujh      aag of faint hope of possibility of seeing the beloved one,      at least, once more, and that unfulfilled love of the      lifetime. There can be no questions for SD to have chosen Talat      for these numbers.
2. Manna      Dey  – Tu pyar ka sagar hai       -  Manna Dey is all sublime befitting the situation of the song – a      prayer – and still touches the heights of soft ‘bulandi’ to be able to      rouse the sunken human spirit of the targeted mentally unstable      Seema.  Even if we do allocate the      due credits to SJ – for the composition and Shailendra – for so touching      poetry, Manna Dey is still left with a huge credit to his own account as      singer- the emotional listeners would find a sagar of      emotions and the puritans can find gems of technical virtuosity in his      measured ascendancy of scale.
3. Rafi      – O door      ke musafir mujhko bhi sath le le  -  This is best      example of the type of songs which were possibly so composed because Rafi      was to render  it [and he would put      in his extra special efforts, too]or the type of songs the      composer preferred someone else to sing but had to ultimately invite Rafi,      as only Rafi could to justice to his composition in totality. This is one      of my personal favourites – among all songs as well as among Rafi songs.

[I have read somewhere that  Hemantda originally had thought of singing Hum Laaye Hain Kasti Sambhal ke – Jaagriti  himself, but had to ultimately fall back on the width of Rafi’s range of scale to enliven Utho Chhalang maar ke aakash ko chhoo lo.]

4. Rafi  – Kahan ja raha hai tu ai janewale       -  If someone calls back me passionately, I would have turned back      even before the first line was over and then would have raptly listened to      the rest of song and would have simply wept till my heart would have      emptied out.
5. Talat      Mahmood      – Teri zulfon se pyar kaun kare   -        Jaidev has composed this song that shade silkier in tone and a shade more      pathetic in mood than the competing Tasweer      banata hun tasweer nahi banti   from Baradari. And      possibly because of that extra, that Tasweer      banata hun tasweer nahi banti   enabled to be more      popular, because one can sing it that little easily.

In order to finally choose one among these FIVE personally equal favourites, I would choose an exotic measure – a stoke of chance cause, by which the singer appears only once in this list today. So let crown be the company to the song Tu pyar ka sagar hai  by Manna Dey..

Best Female Playback Singer:

It seems that by 1955, Lata Mangeshkar was enshrined as THE [female] singer of the Hind Cinema, as I screen  though the list of songs listed out in this post.SDB is no doubt one my preferred music directors, but that has no bearing on number of his Lata-songs dominating the appearance in this list today.  Trust me, each of the song is here on its own merit. So, I hereby present my top 5 female songs, which, in effect, translates into only 2 playback singers:

1. Lata      Mangeshkar  - Jise      tu qabool kar le   -  Well, I am no way      suited to comment why a composer has chosen the way the composition is      composed, SD’s choice of somewhat faster pace of this song may have caused      its own predicaments for the Director for creating the RIGHT situation and      the heroine to express emotions while performing such a dance. But, every      aspect of the song is just RIGHT. Another noteworthy feature of [both]      Lata songs in the film is that they stand up to two of the great solos of      Talat in the movie, in a movie which has essentially a male-character      dominant theme.
2. Lata      Mangeshkar  - Jogiya se preet kiye dukh      hoye        – Even if the music director Amarnath would have composed many more songs,      this one would have retained its unique charm – that of subdued wailing of      deep hurt of a lady feeling betrayed by that love which fails to penetrate      the ascetic veneer of her counterpart. Lata’s voice quality and her      standard throw of words suit like a T to the mood of the song. In fact,      this quality was soon to become her indelible signature over Hindi Film      Music.

I have since downloaded other Lata songs from the film. Surprisingly, none of the other song has the calibre of the song chosen here.

3. Lata Mangeshkar – Phaili hui hai sapnon      ki baahen OR Ghayal hiraniyan main ban ban dolun        – Almost a formula song! The movies with a very      light plot, hero and heroine sing a romantic solo each before declaration      of mutual love, then at least one romantic duet; villain would spoil the      game leading to a sad solo each from hero and heroine. SD and Lata easily      paired up a long list of such sad solos during the rest of 50s and 60s.

1. 4.    Geeta Dutt  – Preetam aan milo   -   OP, literally, conjures up C H Atma’s natural masculine pathos in Geeta’s ethereal voice. The original post has so well presented the nuances of this song.

5. Lata      Mangeshkar – Manmohna bade jhoothe  -  Perhaps one of      the quite underrated, whether in terms of technical virtuosity or in terms      of bringing out the best of Lata’s vocal cords, this song is in a way much      unlike that of SJ. There are noy many of SJ’s compositions where the duo      have successfully resisted fairly large orchestra to support an otherwise      an excellent tune.

Since I have exhausted the limit of 5 choices for the consideration, I will have to rest contended by listing  Ab to ji hone laga kisi ki surat ka samna by Shamshad Begum and Wo na ayenge palat ke  by Mubarak Begum as “Best Also Run’. Use of Mubarak Beguam by SDB is simply captivating. The original post has done full justice to the song, hence I may only add that Salil Chaudhary must also have been inspired from this one (!) to come up with an equally stunning ‘hum haal e dil sunaye ge  – Mubarak Begum  – film Madhumati 1958 :

I would unhesitatingly propose rendering of Jogiya se preet kiye dukh hoye  by Lata Mangeshkar to be the song that would crown her the Best Female playback singer for the year 1955 for SongsofYore awards.

 

[We would continue with this post in a Second Part, where we will look at  Best Duets and Best Music Direcor  nominations.]