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

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…….

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Author: ASHOK M VAISHNAV

In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging! One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems. So I commenced my Second Innings to focus on this area of my life as the primary occupation. At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships. I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator. And yet, The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

3 thoughts on “Carnival of Blogs on Golden Era of Hindi Film Music – May 2014”

  1. yeah It’s so nice nice blog for Hindi Music Collection. Thanks alot for sharing such a wonderful things. Awesome source of entertainment.
    Thanks Ashok for sharing such a wonderful thing.
    DjMaza

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