For the current episode most of the songs that I have presented are by and large quite new to me. However, as I was listening to these songs, the inherent charm of each song was so appealing that I have chosen to share them here.  It so happens that the plate has become full enough with songs chosen with two filters only. As a result, I propose to continue with the usual pattern of songs selection form the next episode of June, 2016.

We will first take up a few of the songs of 1940s. These songs have been forwarded by Sumantbhai (Dadu) from his great treasure trove collection.

As much as the music director and lyricist of the first song are known names, the singer and the song are as much unknown.

Aankhon Mein Aa Gaye Ho – Sasural (1941) – Brijmala – Gyan Dutt – D N Madhok

The next one is twin version female-female duet.

Aaj Hans Hans Ke Do Do Baatein– Main Kya Karoon (1945) – Sauraiya, Hamida  Bano  – Neenu Majumdar – D N Madhok

Its twin version is in slow-paced rhythm

The next one is based on a traditional Baul folk music of Bengal. But that apart, one obvious reason why I have picked up this song is that it is Chitalkar singing a S D Burman composition.

Ek Nai Kali Ssasural Chali – Eight Days (1946) – Chitalkar, Meena Kapoor – S D Burman – G S Nepali

In the second batch of songs I have collected Shamshad Begum songs from music directors other than O P Nayyar, Naushad, C Ramchandra,  Husnlal Bhagatram or S D Burman. As was noted in a tribute to her on her 97th birth anniversary in  Shamshad Begum’s songs by OP Nayyar , these music directors would account for a very large proportion of her total songs. So let us see how her songs with other music directors ring different, even if these may not have tested the commercial success.

Ek Kali Naazon Ki Pali – Khazanchi (1941) – Ghulam Haider

In the history of Hindi Film music, Khazanchi is considered to be a milestone when rhythm got the prominence in a film song composition.  This song is lip-synched by a very young, ebullient, Manorama, who went on to specialise in vampish character roles in the next couple of decades. Note a very large radio, akin to what is a very modern music system of the present days, over which the song which is recorded for a live broadcast, is enjoyed and appreciated. This particular genre of songs being recorded for All India Radio continued to deliver some of the most memorable film songs till end of 1960s.

Sasural Mein Tu Hogi Akeli – Mirza Sahiban (1957) – Shardul Kwatra

A typical Punjabi folk song associated with the marriage ceremonies. Bride’s friends enliven the gloom of the bride, who (traditionally) is saddened by the thought of her paternal home  …

Chali Pee Ko Milan Banthan Ke Dulhan – Ziddi (1948) – Khemchand Prakash – Prem Dhawan

Farewell to the bride was considered an integral part of the Indian marriage ceremonies. The actual scene always used to be very poignant. So, when a scene is enacted in dance song, the spectators move into those very feelings.

O Dilwaalo Ho Dil Hai Deewaana – Tikadambaz (1959) – B N Bali

A carefree court dancer enacting a playful dance in the court..

Aan Milo Balma – Hulchul (1951) – Sajjad Hussain – Kumar Barabankhvi

A village bellet… do notice very innovative orchestration…

Mere Dil Mein Aaiye – Dholak (1951) – Shyam Sundar – Aziz Kashmiri

The belle is at full charms to her (apparently) undecided love….

Paapi Duniya Se Door – Rail Ka Dibba (1953) – Ghulam Mohmmad – Shakeel Badayuni

An ebullient beginning of the morning chores..

Dil Na Lagana Dil Ka Lagana – Miss Mala (1954) – Chitragupt – Raja Mahendi Ali Khan

Shamshad Begum was so comfortable in creating the scenic effect with her singing style. We do not have a supporting video for this clip, but can very visualize a viviacious dance number being enacted by Vyjaintimala.

Na Jaan Re Na Jaan Re – Biraj Bahu (1954) – Salil Choudhary – Prem Dhawan

An excellent Mujra, set in an otherwise a Bengali social milieu. Pran also seems to have got free reins to resort to his later on well-known style of throwing rings of cigarette smoke to express his subtle glee in a given situation.

Off-the-Track:

Ham Haal-e- Dil Sunayenge, Suniye Ke Na Suniye – Madhumati (1958) – Mubarak Begum – Salil Chaudhary

Even as we do get some very memorable songs, the very popularity of such songs possibly turned out to be disadvantageous to the playback singers as their getting ‘branded’ for such genres took them away from the mainstream songs. This particular song can be taken as a classic case. Such an outstanding song on its own, got chopped at the editing table.

Dhadke Rah Rah Ke Dil Bawra – Naata 1955 – With S Balbir, Lata Mangeshkar, Mohammed Rafi – S Mohinder – Tanveer Nakhvi

By now, Lata Mangeshkar has taken over the role of playback for the heroine…

Pyar Jata Ke Lalchaye – Hum Bhi Insaan Hai (1959) – Hemant Kumar – Shailendra

When it comes to enacting earthy Punjabi feel of the tune, Shamshad Begum was the obvious choice

Kehte Hai Jisko Ishq – Aaj Aur Kal 1963 – with Usha Mangeshkar – Ravi – Sahir Ludhyanvi

It now seems to Shamshad Begum is seen as ‘also-ran’ playback singer, even when the music director, lyricist or the film production house have a very respectable brand value. Quawalli, even as a very popular genre in the films, was generally rendered by not so well-known faces on the screen. As a result, even if the song did attain high popularity, the playback singer could not gain substantial long-term benefit.

I have been concurrently working on “Songs of 1949”. My search landed me on a Mohammed Rafi – Shiv Dayal (S D) Batish duet, composed Ghulam Haider for Kaneez (1949).

Har Aish Hai, Duniya Mein Ameeron Ko Aaram Nahin Milta

Under the curtains of a lighter toned satire, the lyricist Hazrat Lakh has taken quite targeted pot-shots at the rich strata of the society.

If you have such songs to share, you are most heartily welcome…..