Month: September 2015

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2015

Welcome to September, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our recall of the anniversaries with Fearless Nadia (?)singing a romantic song 1943, apparently sung by Rajkumari and Mansoor), from Hunterwale Ki Beti , composed by Chhannalal Naik – Chanchal Dhara Nadi Kinara AND An Evening With Nadia – Karan Bali – Fearless Nadia films, produced by Wadia Movietone, were a genre unto themselves, a certain draw to many more visits to Movies at the Museum…

Another important memory is rekindled in “Guzra Hua Zamana Aata Nahin Dobara” – S. Mohinder. The interview presented herein no doubt is worth reading. But I have not been able to resist temptation of reproducing here the songs presented in the article. The songs pan S. Mohinder’s career.

Some more songs are also available @ S.MOHINDER SONGS.

Quite interestingly, Samir Dholakia also has remembered Sudhir Kapoor’s article – Kyun Chamke Bijuriya Saawan Ki posted on the birthday of S Mohinder and Asha Bhosle. This gem of a song is from film Bekhabar (1965). The article also leads us to Phool Muskuraye Kyon, Chand Jagmagaye Kyon. . . which is a duet by Mohammad Rafi and Asha Bhosle from ‘Sarfarosh’ (1964).

Asha Bhosle with reluctant Naushad and C Ramchandra: Part 1 (solos) : The two dominant composers of the era, Naushad and C Ramchandra, gave a look-up to Asha Bhosle very sparingly in the early years. From the array of songs presented in the article, we have picked up some of the songs that may be fading up from the memory –

Asha Bhosle with reluctant Naushad and C Ramchandra: Part 2 (duets) : Asha Bhosle’s duets, too, composed by them are no less memorable. Therefore, to have a complete picture of the songs that Naushad and CR composed for Asha Bhosle, we have been presented with her duets made by the two reluctant Masters.

Happy 89th Birthday, Madam Noor Jehan! 21st September was Noor Jehan’s 89th birthday. Here is the list of previous posts: 83rd Birthday (2009) || 84th Birthday (2010) || 85th Birthday (2011) || September 2012 – Noor Jehan and Lata, with a clip of one fine song from each. || 87th Birthday (2013) || 88th Birthday (2014) .

India’s loss, Pakistan’s gain: The journey of singing great Noor Jehan after 1947 – Karan Bali – It took Noor Jehan until 1951 to appear in a movie in Pakistan. We have picked those songs from the article that represent her (second) acting career.

Shailendra was the proverbial moth who got burned too quickly – The lyricist died 49 years ago, leaving behind a legacy of exquisite songs that make you cry and think.- Akshay Manwani [Akshay Manwani is the author of Sahir Ludhianvi: The People’s Poet (HarperCollins India 2013)]– Shailendra would have been 92 on August 30. In Ganesh Anantharaman’s National Award-winning book Bollywood Melodies: A History of the Hindi Film Song, eminent lyricist and filmmaker Gulzar said about Shailendra: “In my view he was the lyricist, who understood films as a medium distinct from poetry and theatre perfectly, and adapted to it beautifully. For his ability to know the medium, understand the situation, get into the characters, and writing in a language suiting the character, he was without peer… I’d go as far as to say that among all the lyricists of Hindi cinema, only Shailendra became a part of the film medium, expertly and successfully. All others remained poets who wrote for films.”

Dolls and puppets, child-like(?) dances, sprightly singing by Lata, Shankar Jaikishan… A series of songs that come to mind because of a number of associations, all described in the title here… The last is quite different from the first, but it’s interesting how the songs actually progress from the first to the last – while being in chronological order, too!

We now move over to other posts from our regular blogs.

Ten of My Favorite Background Songs is an interesting compilation of a very popular genre of background songs. Excluded here are the songs that appear in the credit titles of the film. The readers have further enriched the collection.

R.D. Burman – The Man, The Music is a follow up of the review of reading Gaata Rahe Mera Dil .

Basant (1960) : While not one of OPN’s best and popular score, it has some very fine tunes. And we would certainly enjoy – Chori Chori ik ishaara ho gaya hai, Naino mein suraj ki kiranein, Raaste mein ik haseen.

Bells and Whistles – “Bells and Whistles” is a popular English idiom. It means extra or fancy add-ons. However, when you hear bells or whistles in some Hindi film songs, they seem very much an integral part of the song and not something fancy or extra.  There are literally hundreds of songs that feature bells and whistles. We have here a playlist of 15 lively and popular songs with bells and whistles. These songs have been picked from movies from the mid 1960s to the mid 2000s.

From back-up to the front row: Reintroducing Bollywood dancer Edwina Lyons – Nandini Ramnath – Surjit Singh’s book ‘Edwina An Unsung Dancer of the Bollywood Era‘ focuses attention on a minor Anglo-Indian dancer who shimmied across the screen between the 1950s and the ’70s.

Before we pay visit to MUSINGS, we have Nigahen Milane Ko Ji Chahta Hai – The combination of Roshan’s admirable music, Sahir Ludhianvi’s beautiful words, Asha’s flawless rendition, Nutan’s lovely expressive face and the Qawwali style makes this quite irresistible. Here is the song:

rAz kI bAt hai mehfil mE.n kahE.n yA na kahE.n
bas gayA hai kOI is dil mE.n kahE.n yA na kahE.n

nigAhE.n milAnE kO jI chAhtA hai
dil-O-jA.n luTAnE kO jI chAhtA hai

While we went visiting other sections of the blog, MUSINGS has added the film reviews – Laat Saheb (1967), Grahan (1972), Anjaam (1978) and Kasturi (1978).

Now we move over songs remembered by our friends in this month –

Bhagvan Thavrani

[Asides: Here is one of a very rich list of songs on Raag Bhimpalasi].

  • Kanha Bole Na – Sangat(1976) – Manna Dey, Lata – Salil Choudhary – Janisar Akhtar

Samir Dholakia has referred songs wherein the actor has also rendered the song or the singer has acted in the film. This should pertain the period after vintage era, when playback singing by specialist singers had become the rule. This can be a very long list, which we will take up separately in due course:

Sumant (Dadu) Vashi form Chicago (U S A) had sent in these songs

We have been posting a series of posts on the widely discussed and participated exercise of annual review of songs of a particular year – Best songs of 1950: And the winners are?. We have covered up documentation of the further micro-review of the songs C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad, Anil Biswas and other Music directors’ Lata Mangeshakar’s songs, as well as those of Suraiya and Shamshad Begum in June 2015 and Rajkumari, Geeta Roy and Other female Singers in July 2015.. We had then continued to explore Male Solo Songs of Mukesh, Talat Mahamood, Mohammad Rafi, G M Durrani and Chitalkar, Manna Dey, Arun Kumar, Manmohan Krishna and Others as well as Songs by several other playback singers for Raj Kapoor in July 2015. For August-, 2015, we covered Male Female Duets of Mukesh, Mohammad Rafi, Talat Mahmood, G M Durrani, and those of Chitalkar and other Male Singers.

Our onwards journey had:

We have concluded the series with.…

I have also prepared an edited compilation of all the posts @ The Songs of 1950 @ SoY

SoY has also published Best songs of 1950: Wrap Up 2, covering ‘Other’ Female Singers

In the end, we have (our customary) very special songs of Mohammad Rafi taken out from the songs.

We continue our pursuit of the golden period of Hindi Film Music …….

Carnival of Quality Management Articles and Blogs – September, 2015

Welcome to September, 2015 edition of Carnival of Quality Management Articles and Blogs.

The search for “Improving measures of measurement of process” took us to the first building block -‘performance measures and metrics’, followed by the search for resources relating to the ‘structuring for the process of improvement’. Then we took one more step forward, so as to look at some basics for “Deploying the Improvement Process”. We then went over to explore different ideas and approaches in “Implementing the Improvement Process”.

We now take a look at Measuring the Improvement Process.

How to Improve Manufacturing Productivity – by Tara Duggan, Demand Media

Improving manufacturing productivity involves collecting and analyzing data and making effective decisions. Ensuring the success of these operational excellence initiatives often depends on divisions working together to share data and interpret it appropriately

Step 1 – Identify the work flow associated with manufacturing your product. This includes the people, processes and technology required for production as well as the resources, communication and procedures needed throughout the company.

Step 2 – Track reports to analyze financial and customer satisfaction data. Share the same comprehensive data with all project managers so they can develop manufacturing process improvement plans, assign resources to complete the tasks, manage the budgets and determine if the projects met their goals. Establish criteria for standardizing project processes to ensure that all project managers systematically evaluate performance consistently and interpret changes appropriately.

Step 3 – Create a balanced scorecard based on data from a secure repository. Identify financial measures for the scorecard such as monthly sales, customer measures such as the number of product support calls, process measures such as number of products manufactured each month and employee measures such as staff retention. As you implement process improvement changes, note any changes in these operational measures to validate that your interventions were successful.

Step 4 – Monitor information generated from process improvement projects to implement improvements throughout all of your manufacturing operations. Analyze costs and benefits.

LEAN SIX SIGMA METRICS: HOW TO MEASURE IMPROVEMENTS WITHIN A PROCESS – Different Time, Cost, Process Complexity, Organizational Perspective metrics frequently used in Lean Six Sigma projects to measure the outcomes of a process, identify opportunities for improvement and monitor changes over time.

Using ROI to Measure the Results of BPI Initiatives – Process improvement initiatives are becoming a focal point for organizations – regardless of their size or industry – and Executives want to see the positive monetary impact from these initiatives. Here is where Business Impact and ROI analysis comes into play to measure the effectiveness of an organization’s process improvement initiatives.

Measuring improvement

  • If you do not gather strong baseline data, you will never know exactly how much you have achieved.
  • For the..project, your measures should focus on the critical stakeholder experience and staff experience, as this is the focus of the overall programme. Ultimately, these factors will show whether you have met your aim.
  • Data
  • Measure little and often: measurement for improvement does not require large datasets. It is better to start with one measure, and add more, than to be ambitious about the number of measures to be collected and feel defeated by the scale of it.
  • for improvement is different from data for research. It is messier and less accurate, but highly relevant to the daily work of clinicians. Sampling is often appropriate – for example, asking 10 patients per month, as opposed to all patients. In measuring for improvement, it is rapid, small-scale feedback (through PDSA cycles) that will help you assess the impact of your changes.
  • Monitor your progress through a dashboard. This must include the main types of measure (process, outcomes and balancing measures). It should also make clear what the goal is (how much to achieve and by when), how progress will be calculated, and where the data will come from. All these are essential questions to answer when developing your measures. (See PFCC sample measurement dashboard).
  • Make sure your measures relate directly to the factors that you are changing.
  • Driver diagrams play a useful role in this activity as these help pin down what is important.. and measures that relate to these drivers.
  • Make sure you are clear about what you plan to accomplish, how you will know that this change will improve patients’ experience or outcomes, and precisely what activities you will put in place to effect this change.
  • Use the expertise in quality improvement within your organization to support you. Techniques such as ‘run charts’ (see PFCC further reading), which can track progress over time can be very useful in providing a persuasive picture of your progress. Above all, remember that the purpose of measurement for improvement is to support you to achieve your aims. The data must therefore be of value to you – not for reporting elsewhere.

How Do You Measure Process Improvement?

Maturity Levels in the Staged Representation
Maturity Levels in the Staged Representation

Measurement of Process Improvement is a paper of Practical Software and Systems Measurement (PSM) community. The paper includes areas of measurement of process improvement, measuring the value of process, improvement, measuring readiness for process improvement, measuring the process improvement progress.

Three Ways For Measuring Continuous Improvement Success – Mark Ruby emphasizes the critical role of measurement in the success of Continual Improvement in terms of three dimensional measurement perspectives:

#1 Measure based on Financial results

# 2 Measure based on an assessment tool

# 3 Measure based on view of the stakeholder

How to Measure Continuous Improvement – By Emile Heskey

  1. Find ways to quantify progress
  2. Review the data in terms of initial goals
  3. Develop a series of criteria midway through the project which can be used for measuring the improvements.
  4. Accept Setbacks.

Cultural Transformation: Measuring and improving the culture to achieve significant business results – Charles Aubrey – Culture was defined over These values: Manage with Information and Metrics, Empower Employees, Teamwork, Respect and Ethical Behavior, Improve and Innovate, Coach/Mentor and Make a Difference, and Surpass Customer Expectations.

The measurement of the improvement was built into a detailed survey.

Measuring continuous improvement: sustainability at Sibelco Benelux presents the measurement of continuous improvement of the sustainability.

Measuring Asset Performance for Continuous Improvement – In this 7-minute, 9-second video, Mike Poland of Life Cycle Engineering explains the measure phase of a simple implementation model for a risk-based asset management system. Learn the importance of metrics, process parameters and key performance indicators (KPIs), as well as how to correctly interpret data and take the appropriate corrective actions.

Measuring Continuous Improvement In Engineering Education Programs: A Graphical Approach – The methodology, the Pitt-SW Analysis, is an adaptation of the competitive strategy principle of SWOT (strength, weakness, opportunities and threats). It consists of four steps – data collection, data summarization, display of proportions, and construction of a Strengths and Weakness (SW) table by the application of rules that reflect the desired sensitivity of the methodology. The results of the SW table can be displayed graphically using basic symbols to highlight and track changes in students’ perceptions.

These are at best a few samples on the subject. Measurement of the continual improvement will find as many variants as required by the as differing needs of differing circumstances, performed by the people with as many differing backgrounds. Obviously, we cannot cover all such variants in a single episode of our blog carnival. So, we would continue our onward journey of the process of improvement for two more months.

We turn to our regular sections now:

Bill Troy, ASQ CEO has presented three guest articles. Each one makes a very interesting and thought-provoking material. So we will only document the titles of these articles here:

Julia McIntosh, ASQ communications in the ‘August Roundup: Creating a Performance Culture: What Not To Do’ has collected the round of views of ASQ Bloggers on ways to change company culture in a positive direction. The original referenced article of James Lawther is Creating a Performance Culture: What Not To Do.

We then move over to ASQ TV Episodes:

  • Five Whys for the Birds – Reversing the deteriorating of the Jefferson Memorial in Washington, D.C., with the five whys technique. The story may be a bit of a myth in some quality circles, but it still contains a good example of … the ‘five whys’ technique for root cause analysis.
  • Taking a deeper dive into root cause analysis – Root cause analysis can be used to find the crux of any problem in virtually any setting. Let’s take a look at some nuances of root cause analysis and how to apply it successfully. In this episode, we’ll… cover: • Knowing how far to take one root cause analysis method • An example of the 5 WHYs technique QP article • Finding the root cause of a deteriorating building “Flip the Switch” • Incorporating the scientific method approach in root cause analysis. Watch a full interview with Matthew Barsalou.
  • Taking the Scientific Method Approach to Root Cause Analysis – You probably take it for granted that root cause analysis should be empirical-that is, verifiable by observation or experience rather than just theory. In “real life,” organizational approaches to finding… a root cause don’t always pan out this way because people are anxious for answers. However, author and expert Matthew Barsalou suggests that the scientific method may be a good approach to root cause analysis
  • Standards and Auditing – Learn how to identify, categorize and take action on risks – vital skills for organizations transitioning to ISO 9001:2015. Also learn how audits can be conducted virtually. To watch the webinar, click … here.
  • Auditing, Risk, and ATM – Dennis Arter offers tips and techniques about assessing and managing risk with the help of risk catalogues and the ATM method (Accept-Transfer-Mitigate).

Our ASQ’s Influential Voice for the month is – Prem Ranganath.

Prem RanganathPrem Ranganath is a senior director and global head of IT delivery excellence and risk assurance at Quintiles Inc. He is a senior member of ASQ and enjoys working with teams to enable quality as a necessary and valuable behavior. He is very passionate about introducing a quality mindset and practices in K-12 so that quality is ingrained into interactions and decisions early on. Prem teaches at a graduate level course on software quality and product management at Marquette University in Milwaukee, Wis. He blogs at – The Art of Quality.  The blog tagline is: Ideas and experiences to inspire professionals and students to pursue the art

I look forward to your active participation in enriching the blog carnival as we pursue our Improvement journey ………….

The Micro View of The Best Songs of 1950 @ Songs of Yore – Summing Up – II: Duet Songs and The Best Music Director

We now conclude our micro-view of songs of a particular year – Best songs of 1950: And the winners are?. We have covered up documentation of the further micro-review of the songs C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad, Anil Biswas and other Music directors’ Lata Mangeshakar’s songs, as well as those of Suraiya and Shamshad Begum in June 2015 and Rajkumari, Geeta Roy and Other female Singers in July 2015.. We had then continued to explore Male Solo Songs of Mukesh, Talat Mahamood, Mohammad Rafi, G M Durrani and Chitalkar, Manna Dey, Arun Kumar, Manmohan Krishna and Others too in July 2015. During August 2015, we had Other playback singers for Raj Kapoor and Male-Female duets of Mukesh, Mohammad Rafi, Talat Mahmood, G M Durani and Those of Chitalkar and Other Male Singers for our micro-review. In the concluding month of September, we completed micro-review of Triads / Triads+ too.

Having covered all the facets – Female Solos, Male Solos, Male-Female / Male-Male/Female-Female Duets and Triads /Triads + – in individual details from micro-view of ‘Best songs of 1950: And the winners are?, I presented MY choice of the TOP 10 songs in Female Solos as well those in Male Solos in the previous episode.

Summing Up – Duets

The last category in the songs section was Duets. We had extensively covered the most happening category of Male-Female Duet Songs as well relatively very selectively used category of Female-Female Duets and Male-Male Duets.

In the Male-Female Duets we had listened to 52 songs in all. These can be viewed wither from Male-Female duets angle or from Female-Male Duets angle. From the Male-Female angle, the duets of Mohammad Rafi (21), Mukesh (13), Talat Mahmood (7) and G M Durrani (6) total 37 songs. In the mirror, from Female-Male duets angle, this works out to 13 duets of Shamshad Begum, 11 of Lata Mangeshkar, 9 Geeta Roy, 5 of Suraiya and 3 each of Raj Kumari and Zohrabai Ambalewali – 44.

Here are My Favorite Male-Female Duets, in no particular order.:

Mukesh + Lata Mangeshkar – Zamaane ka dastoor hai yeh purana – Lajwaab – Prem Dhawan- Anil Biswas

Mukesh + Geeta Roy – Khayalon Men Kisi Ke Is Tarah Aaya Nahin Karte– Baware Nayan – Kedar Sharma – Roshan

Mukesh + Raj Kumari – Mujhe Sach Sach Bata – Baware Nayan – Kedar Sharma – Roshan

Mohammad Rafi + Lata Mangeshkar– Mahi O dupata mora de de – Meena Bazaar – Qamar Jalalabadi – Music Husnlal-Bhaatram

Mohammad Rafi + Suraiya – Dil Ko Hae Dil Ko ..Teri Tasveer Se Bahalae Hue Hain – Dastaan – Shakeel Badayuni – Naushad

Talat Mahmood + Lata Mangeshkar – Yaad aanewale phir yaad aa rahe hain – Anmol Ratan – DN Madhok- Vinod

Talat Mahmood + Shamshad Begum – Milte hi aankhen dil hua deewana kisi ka – Babul – Shakeel Badayuni – Naushad

G M Durrani + Pramodini Desai – Chiraiya Udi Jaye Re ….. Dodo Dodo Babu – Dilruba – – Gyan Dutt

Madan Mohan + Shmamshad Begum – Humse na dil ko lagana musafir – Aankhen – Bharat Vyas – Madan Mohan

And the icing on the cake is:

Hemant Kumar and Roma Devi (?) –Milte hi ankhen dil hua – cover version

Male-male duets were good to listen to after these many years. But the real evergreen duets do belong to Female – Female duets category..

Here are my favorites:

Shamshad Begum + Lata Mangeshkar – Kisi ke dil mein rahna tha – Babul – Shakeel Badayuni – Naushad

Geeta Roy + Suraiya – Preet ka nata jodnewale – Afsar – Narendra Sharma – S D Burman

Lata Mangeshkar and Amirbai Karnataki – Gore gore O baanke chore – Samadhi – Rajendra Krishna – C Ramchandra

Lata Mangeshkar and Sarswati Rane – Jab dil ko sataye gham tu chhed sakhi sargam – Sargam – PL Santoshi – C Ramchandra

Lata Mangeshkar and Saraswati Rane – Tinak tin tani do din ki zindagani – Sargam – PL Santoshi – C Ramchandra

1950 would certainly go as a very special year in the history of HFM in so far as the specific variety of Triads and Triads + goes. There would be very few, if any, years which may have so varied a crop of triads and triads + songs.

Here are My Favorite Triads and Triads

Mohammad Rafi + Shamshad Begum + Talat Mahmood + Chorus – Nadiya mein utha hai shor – Babul – Shakeel Badayuni – Naushad –

Mukesh + S D Batish, Shamshad Begum + Chorus – Jaao Sidharo He Raadha Ke Shyam – Arzoo – Jan Nissar Akhtar – Anil Biswas

Best Music Director

The year 1950 has presented a very interesting picture in so far as music directors are concerned.

There are MANY music directors at the very Bottom of the Pyramid who have hardly made any impact by their creations. Then a level above, are A FEW music directors, like Husnlal Bhagatram, Hansraj Behl, Ghulam Mohammad, Vasant Desai, Vinod, Madan Mohan, Snehal Bhatkar, who have had from one to several films, a song here or a song there that did attract fair amount of public and critic attention.

A rung above them are music directors like Roshan (Bawre Nain), S D Burman (Afsar), Anil Biswas (Arzoo, Beqasoor) who did not have many films in the year but did have at least one film that not only attained Great Success in those days, but went on to become ever-green as well.

At the top are C Ramchandra (Nirala, Samadhi, Sangeeta, Saragam, Sangram),  Naushad (Dastan, Babul) and Bulo C Rani (Jogan). Each of their films was a great musical success, several of the songs form each film went on to write their own records of commercial success as well as wen on to become evergreens as well.

So one may choose, as per own individual preference, either Baware Nain or Afsana or Dastan or Babul or Arzoo as the Film that had Best Music, but the C Ramachandra is MY CHOICE as the Best Music Director for the year. He has successfully crafted the music, as much for the class as that for the mass, in all the films, even when the films were primarily meant for the mass.

 

Concluded….

+++

The Micro View of The Best Songs of 1950 @ Songs of Yore – Summing Up – I : Female and Male Solo Songs

We now conclude our micro-view of songs of a particular year – Best songs of 1950: And the winners are?. We have covered up documentation of the further micro-review of the songs C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad, Anil Biswas and other Music directors’ Lata Mangeshakar’s songs, as well as those of Suraiya and Shamshad Begum in June 2015 and Rajkumari, Geeta Roy and Other female Singers in July 2015.. We had then continued to explore Male Solo Songs of Mukesh, Talat Mahamood, Mohammad Rafi, G M Durrani and Chitalkar, Manna Dey, Arun Kumar, Manmohan Krishna and Others too in July 2015. During August 2015, we had Other playback singers for Raj Kapoor and Male-Female duets of Mukesh, Mohammad Rafi, Talat Mahmood, G M Durani and Those of Chitalkar and Other Male Singers for our micro-review. In the concluding month of September, we completed micro-review of Triads / Triads+ too.

It is time to sum up the series, by way of MY choice of the TOP 10 songs in each category.

My Favorite Female Solos for the Year 1950

In so far as Female playback singers are concerned, songs by Lata Mangeshkar almost equal other playback singers put together, within this universe of 152 “memorable songs”. So, in terms of numbers, one may conclude that Lata’s single-handed share of around 50% has established he dominance in the field. I would take this conclusion with a pinch of salt. Some of the music directors who were to take her on completely in the later years, Madan Mohan, Roshan, S D Burman, Naushad have none to a few songs with Lata in this year. In fact only C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad seem to have accepted her in totality. Anil Bisaws, too, continues to repose his faith in her. So her acceptance is not as universal as it happened during the later years.

Also, apart from the numbers, when one looks at the list of memorable songs, there are many songs by other female singers which stand out on popularity, then and in later years, as well as the merits of the composition in comparison to the songs that stand out from Lata’s stable.

Asha Bhosle’s presence is seen during the year, but there does not appear to be any song that can measure up to Memorable category.

Here is the list, in no particular order:

1. Mehfil Mein Jal Uthi Shama – Nirala – C Ramchandra – Lata Mangeshkar

2. Koi Kisi Ka Deewana Na Bane – Sargam – C Ramchandra – Lata Mangeshkar

3. Kahan Tak Hum Uthaye Gam – Arzoo – Anil Biswas – Lata Mangeshkar

4. Lagan More Man Ki – Babul – Naushad – Lata Mangeshkar

5. Man Mor Hua Matwala – Afsar – S D Burman – Suraiya

6. Nain Deewane Ik Nahin Mane – Afsar – S D Burman – Suraiya

7. Dhadke mera dil mujhko jawani Ram qasam na bhaaye – Babul – Naushad – Shamshad Begum

8. Sun Bairi Balam Kuchch Bol Ab Kya Hoga – Bawre Nain – Roshan – Raj Kumari

9. Ari Main To Prem Deewani – Jogan – Bulo C Rani – Geeta Roy

10. Mori Attariya Pe Kaga Bole – Aankhen – Madan Mohan – Meena Kapoor

As a matter of fact, even as Lata Mangeshkar corners a fairly significant score in this list, I still would not pick up any one of the songs from these as The Best Female Solo Song of 1950 or any singer as the Best Female Playback Singer of 1950 !! .

In my view, the tie truly represents the real scenario in so far as 1950 is concerned.

And now, My Favorite Male Solos for the Year 1950, (in no particular order) :

Mukesh – Preet laga ke maine ye phal paya – Aankhen – Raja Menhadi Ali Khan – Madan Mohan

Mukesh – Teri duniya mein dil lagta nahi – Bawre Nain – Kedar Sharma – Roshan

Mukesh – Mohabbat bhi jhoothi zamana bhi jhootha – Hamari Beti – Pt Faani – Snehal Bhatkar

Talat Mahmood – Ae dil mujhe aisi jagah le chal – Arzoo – Majrooh Sultanpuri – Anil Biswas

Talat Mahmood – Mera jeewan saathi bichhad gaya – Babul – Shakeel Badayuni – Naushad

Mohammad Rafi –Akele mein wo ghabraate to honge – Biwi – Wali Saheb – Sharmaji (Khayyam)

Chitalkar – Kadam Kadam Badhaye Ja, Khushi Ke Geet Gaye Jaa – Samadhi – Rajendra Krishna – C Ramchandra

Manna Dey – Upar gagan vishal –Mashal – Pradeep – SD Burman and Manna Dey

Krishna Dayal – Aa ja nigahon mein aa ja – Dahej – Shams Lakhanvi – Vasant Desai

Anil Biswas – Humein maar chala ye khayal ye gham – Arzoo – Majrooh Sultanpuri – Anil Biswas

G M Durrani – Ye Duniya Hai Bewafai Ki , Wafa Ka Raz Kya Jaane – Madhubala – Rajendra Krishna – Lachchiram

And the icing on the cake is this Non-Film Song, As per YT, created in 1950

Talat Mahamood – Mera Pyar Mujhe Lauta Do – Sajjan – V Balsara

SoY has presented its all-inclusive conclusive piece on Male Solos @ Best songs of 1950: Wrap Up 1 and “Other” Female Solos @ Best songs of 1950: Wrap Up 2

Continued………

The Micro View of The Best Songs of 1950 @ Songs of Yore – Triads and Triads +

Having covered Male – Female duets of Mukesh, Mohammad Rafi, Talat Mahmood, GM Durrani, Chitalkar and others, Male-Male / Female-Female duets, we continue with a very interesting variation in the form of Triads and Triads+, as part of our journey through the ‘Best songs of 1950: And the winners are?

Songs with more than two singers is also a fairly tested form in so far as Hindi Film songs go. We have quite a varied fare this year.

Mohammad Rafi + Geeta Roy + Paro + Chorus – Kabhi Ye Saath Na Choote Ye – Kisi Ki Yaad Mein

Mohammad Rafi + Shamshad Begum + Talat Mahmood + Chorus – Nadiya mein utha hai shor – Babul – Shakeel Badayuni – Naushad

Mohammad Rafi + G M Durrani + Mukesh + Chorus – Khabar Kisi Ko Nahin Woh Kidhar Dekhate Hain – Beqasoor – Ehsan Rizvi – Anil Biswas

Mohammad Rafi, Amirbai Karnataki, Geeta Dutt and (?) – Jab nain se nain mile umangein naach uthi man mein – Veer Babhruvaaha – Anjum Jaipuri – Chitragupta

Mukesh, Zohrabai Ambalevali and Geeta Roy – Ek Taraf Jal Raha Deepak – Preet ka Geet – Premi – Shyam Babu Pathak

Mukesh, Mohammad Rafi + Shamshad Begum – Ho kaale kaale baadal chhaye piya – Apni Chhaya – P L Santoshi – Hanuman Prasad

Mukesh + S D Batish, Shamshad Begum + Chorus – Jaao Sidharo He Raadha Ke Shyam – Arzoo – Jan Nissar Akhtar – Anil Biswas

Talat Mahmood + Surinder Kaur + G M Durrani(?) + Chorus– Puchch Rahe Ve Yaar Bibi Kaisi Hoti Hai – Shaadi Ki Raat – Sarshar Sailani – S Mohinder

GM Durrani, Suriaya, Ojha & othrs – Teri zaalim nigahon ne humko ghayal kiya – Nili – Surjit Sethi – S Mohinder

Khan Mstana, Mukesh and GM Durrani – Yah aaj ke Laila aur Majnu yun milkar – Pagle – Anjum Rehmani – BG Bhatkar (Snehal)

Khan Mastana, Talat Mahmood and Mukesh – Kyun shikwa karein kyun aah bharein – Pagle – Anjum Rehmani – BG Bhatkar (Snehal)

Surinder Kaur, Premlata, Asha Bhosle – Ambua ke ped suhaane kya kahein mose – Sabak DN Madhok – AR Qureshi

Continued…….