November 2016 – The world is too small? or Is it?

Carnival of Blogs on Golden Era of Hindi Film Music – November 2016

Welcome to November, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1^st October (1906) –

Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music

The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa) – The iconic Jaane kya tune kahi in Guru Dutt’s Pyaasa (1957) is a masterpiece in the world of music and cinematic technique. Anand Desai and Antara Nanda Mondal dig into the finer nuances of this classic song, unspooling its various artistic and creative layers – composition, rendition, camera work, performances, orchestration and more. Here is its Bengali version – Mono Dilo Na Bandhu

The Incomparable Music Of S D Burman Transcends Generations – What makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his? Antara Nanda Mondal seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.

Aankh Jhukakar Baithnewaale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle)

10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.

Carnival of Quality Management Articles and Blogs – November, 2016

Welcome to November, 2016 edition of Carnival of Quality Management Articles and Blogs.

We have already taken up the following topics for the familiarisation of different elements of new version of ISO 9001-

December, 2015: the changes in the Revision of ISO 9001 (:2015)
January, 2016: Process Approach in 9001:2015
February, 2016: Risk-Based Thinking in 9001:2015
March, 2016: Risk-Based Thinking – a general perspective
April, 2016: Context of the Organization in ISO 9001: 2015
May, 2016: The Relevant Interested Parties
June, 2016: Leadership and Commitment.
July, 2016 : ‘Leadership’ in the Other ISO Management Standards
August,2016 : Change Management
September, 2016 : Organizational Knowledge
October, 2016 : Control of Human Errors

For the present episode we will take an overview of Auditing.

training-internal-audit

Transition to ISO 9001:2015. What will the auditor ask? – Generally, when something changes, that will be what the auditor is going to focus on; the vindictive auditor will try and catch you out, to show they know more than you, and make themselves look good. The professional auditor will focus on the continual improvement approach and appreciate that management systems change and improve over time.

What Is Auditing? – An audit can apply to an entire organization or might be specific to a function, process, or production step. Find more information in the video, The How and Why of Auditing wherein auditing expert and ASQ fellow Dennis Arter shares tips and advice for auditors and auditees.

The Positives and Pitfalls of Auditing Checklists – Every auditing course you go on, every book you read about auditing, and every standard that’s been written essentially all say the same thing – if you audit you should use a checklist! Now that’s all good and fine, but there are some things to be aware of. The article goes on to explain the good and some of the pitfalls of checklists and then recommends some ways to address them.

Audits that See Below the Surface Evaluate Internal Controls – Peter Chatel draws up a very speaking line that can enable to evaluate the effectiveness of the internal controls in place, that include among other things:
• Defined responsibilities, accountabilities, authority and authorization
• Separation of Duties
• Policies, Programs and Procedures
• Personnel Experience and Development
• Protective Measures
• Internal Verification
• Documentation

Explaining E-Audits: A Method for Remotely Conducting Audits – Auditing expert Shauna Wilson explains how organizations can use e-auditing to remotely audit. Learn how this approach can lead to more efficient audits and what factors organizations must consider when implementing e-audits.

We have collected a few from slew of videos on the subject:

How to survive an ISO Audit

Quality Audit Preparation

What Not to Say during an ISO Audit Part 1 | Part 2 | Part 3

We will now take up a few ISO 9001:2015-centric articles and videos.

The Most Important Audit Questions for ISO 9001:2015 – By Craig Cochran, Project Manager, Georgia Manufacturing Extension Partnership (GaMEP) at Georgia Tech – ISO 9001:2015 includes a lot of new requirements that have never been part of most audits. In order to expedite your thinking, these are what I believe to be the most important audit questions for ISO 9001:2015.

ISO 9001:2015 – The great leap forward for auditors! – It brings new challenges for auditors to apply their competencies and also brings great opportunity to accomplish their audits.

Objective Auditing Meets ISO 9001:2015 – How auditors can help organizations understand context and risk – Inderjit Arora – Auditors must also understand how the context of an organization relates to quality management principles. If they do, then they will look for conformities in the management system to ISO 9001:2015 requirements. If during this audit they do find nonconformities based on requirements,

Auditing to ISO 9001:2015 – This presentation has spelt out what is required to be audited w.r.t. ISO 9001: 2015.

How the Auditors View ISO 9001-2015

Internal Auditing, an important type of audit, is seen to be in a different perspective, particularly in view of the structural changes in ISO 9001: 2015.

The Internal Auditing of Management Systems – Graham W Parker – Providing evidence for and confirmation of the confidence that operations are consistent, under control. Effective and efficient, is the primary role of auditing – by looking to the evidences to the contrary.

Preparing for ISO 9001: 2015 using your QMS – Part 5: Internal Audits – The subsection 9.2.2 goes on to be more detailed. Instead of “an audit program shall be planned, taking into consideration the status and importance…”, the new text includes, in part, “…the organization shall: a) plan, establish, implement and maintain an audit program(s)…which shall take into consideration the quality objectives, the importance of the processes concerned, customer feedback, changes impacting on the organization…”. The results of previous audits are also to be considered per the current requirement.

Five Main Steps in ISO 9001 Internal Audit – If used properly, the Internal Audit, instead of being a “necessary evil,” can be one of the biggest contributors toward process improvement in the QMS.

And here are a few video clips related to internal auditing:

Understanding ISO 9001:2015: Internal audits

Meet the Internal Auditor

When I Say Internal Auditor, You Think

Internal Audit – Mastering ISO 9001:2015

7 Deadly Internal Audit Sins

Internal Auditing – A Love Story

How to Succeed as an Internal Auditor

Internal Auditing: A Career for Today, A Career for Tomorrow

Before we end our present discussion, here is one poser – Why Would you Want to be an Auditor?

For the concluding episode in this series, in December, 2016, we will take up The Road beyond ISO 9001:2015.

We will now turn to our regular sections: mr-pareto-head

ASQ CEO, Bill Troy in his ASQ’s Influential Voice has an interesting article as well: Interview With The Creator of Mr. Pareto Head, which is an absorbing interview with Mike Crossen, the creator of the Mr. Pareto Head comic strip. How a hard-core engineer finds humor in quality and how Mr. Pareto Head came to be has many other lessons for professional as well as personal lives. Meet “Mr. Pareto Head”

We now watch two of the latest ASQ TV episode:

Around the World on a Bicycle, with Quality: While some of us only dream about quitting our jobs and traveling around the world, Sunil Kaushik did it. Kaushik, a Six Sigma trainer and consultant based in India, left his job to cycle the globe and teach quality along the way.
Gemba Walks Improve Process, Communication, and Culture: Eileen Serrano, Business Optimization Expert, Roche, describes the process her organization went through to establish daily Gemba Walks and how its culture has changed for the better.
Quality Memes: In social media lingo, a “meme” is a photo, video or idea that becomes extremely popular online. What better way to promote World Quality Month this November than to share quality-themed “memes”?
World Quality Month: Quality is about reliability, improvement and …fun? That’s right! During World Quality Month in November, meet a quality cartoonist and a man who’s sharing quality tools while cycling around the globe. Plus, learn how you can use social media to make quality jobs, tools and concepts accessible to the community beyond quality professionals. Sunil Kaushik’s Travel Blog: www.trainntrot.com World Quality Month Website: www.worldqualitymonth.org

Jim L. Smith’s Jim’s Gems for the month of October, 2016:

Leadership’s Five Key Practices: All quality professionals must practice leadership skills to add value – In order to demonstrate these skills, look for opportunities that surround you every day. Do not wait for someone to ‘call your name.’ Be aware of what’s happening in your organization, raise your hand, and seize those opportunities. Start small but think big. After all, you have much to gain and little to lose.
Make IT Happen: You have to get yourself going, sort through all the noise and complexity, roll up your sleeves, get your hands dirty, and make it happen!

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.

Fading Memories…. Unforgettable Songs: November, 2016

surinder-kaur While listening to the Songs of 1949, I had opportunity to listen to the solo songs of Surinder Kaur in great detail. I did get to listen to her duets with Mukesh, but as it appears, had missed the duet with Mohammad Rafi. The surreal appeal of her voice simply lingered on in my mind.. Hence, I sought more details. Cineplot.com and Wikipedia provide us fairly comprehensive details about her background. We come to know that this is the month of her birth (25^th November, 1929).

And that made the choice for the content of our November, 2016 episode very simple – Solo Songs of Surinder Kaur from Hindi Films.

The list of songs that I could lay hands on span the period of 1948 to 1952 only. I have no idea how much these songs had become popular those days and why did she had to retreat to singing Punjabi songs only. Losing on more songs must surely mean a big enough loss to the wealth of Hindi Film music, but the songs that we already have are more than enough to make up the quantitative value.

I have chosen only one solo song per film here, and that choice is what my ears have liked. All other songs are available on YT, so those who wish to go beyond the ones here simply have to search for the film and the songs will appear easily enough.

So here we go….

Akhiyan Mila Ke Akhiyan, Roye Din Ratiyan – Nadiya Ke Paar (1948) – C Ramchandra – Moti B.A.

This is the only solo song in the film and that has gone to Surinder Kaur. What a break that should be! And she has certainly lived up to the demands as well.

Ek Nazar Woh Yaad Hai Unki, Jisne Dil Par Vaar Kiya – Nao (1948) – Gyan Dutt – D N Madhok

I have no idea whether Nao came first or it passed Nadiya Ke Paar first, but the as we cross Nadiya Ke Paar with the Nao, we get the bounty of three solos and a duet of Surinder Kaur.

The song is composed to the inherent Punjabi fair, but Surinder Kaur’s chords have certain appeal beyond the composition.

Kitne Door Hai Huzoor, Kaise Mulaquat Ho – Pyar Ki Jeet (1948) – Husnlal Bhagatram – Qamar Jalalabadi

A dholak-based rhythm again, but Surinder Kaur comes in different colours in the delivery of the songs…

Badnam Na Ho Jaaye Mohabatt Ka Afsana – Shaheed (1948) – Ghulam Haider – Raja Mahendi Ali Khan

This can be called as perhaps her most ever-known song. Shaheed was certainly a film that by its very nature of the story was heavily tilted towards the character of the hero. Therefore, it was no small achievement that Kamini Kaushal had underplayed to the hilt her role of the beloved one who remains in the shadow, but comes out with equal theatrical score at the end. That makes the responsibility if the lead female playback singer quite daunting. That Surinder Kaur was chosen for all the three solos means that the music director had invested great trust in her voice. She has risen to the best of the vintage era playback standards.

Aye Chand Tere Saath To Rehate Hai Sitare – Dada (1949) – Shaukat Hussain Dehalvi (a.k.a. Nashad) – Rafiq Ajmeri

The films had two other duets with Mukesh and one with Shamshad Begum. Surinder Kaur continues her standard that she had set in Shaheed.

Ummeedo Par Udasi Chhaa Gayi, Kya Tum Na Aaoge – Kaneez- Ghulam Haider – Harishchandra ‘Akhtar’

Ghulam Haider reposes the faith and Surinder Kaur rises so well to the challenge in a song that exudes pathos.

Dil Ke Maalik Sun, Mera Dil Toot Gaya Hai – Rooplekha (1949) – Sajjad Hussain – Khumar Barabankvi

For the purposes of records, HFGK mentions Khan Masatana as the music director for all songs of the film but one. For us it is to relish the sheer melody of Surinder Kaur’s voice in so lower octaves at a very slow spaced rhythm.

Ye Lakhon Hasaratein…Ab Jiyen Batao Kiske Liye – Sanwaria (1949) – C Ramchandra – P L Santoshi

C Ramchandra also has chosen to allot one solo song to Surinder Kaur – Shamshad Begum has two other solos whereas Lalita Deulkar has one. Surinder Kaur so easily sounds like Shamshad Begum, with a heavier tone. Well, that is what it sounds to me. Whatever that may be, the song stands so well on its own merits too.

Chanda Re Main Teri Gawahi Lene Aayi – Singaar (1949) – Khursheed Anwar – D N Madhok

There are two more solos and a duet with Suraiya also to Surinder Kaur’s account in this film. She has played back for Madhubala in the film. In the present case, the song is set to a very soft style, befitting the mood of the scene in the film. Singing with the minimal support of the rhythm, Surinder Kaur succeeds in enacting the mood.

Tum Sang Akhiyan Mila Ke… Neha Laga Ke, Main Haar Gayi…- Sunehare Din (1949) – Gyan Dutt – D N Madhok

Gyan Dutt has not only given once again a lion’s share in the film’s songs, he seems to have gone to further experiment as well. If this song is playful, listen to

Thandi Thandi Hawa Jo Aaye – a song so full of pathos and Surinder Kaur enlivening every possible nuance of the emotion.

Daga Baaz Kaun Bharosa Tera – Khamosh Sipahi (1950) – Hansraj Behl – D N Modhok

This time it is Hansraj Behl who takes the Surinder Kaur to very low octaves and creates the deep pathos from the emotionally-charged heaviness of her voice…

The film has one more solo to Surinder Kaur’s account and a duet each with Mohammad Rafi and Geeta Roy respectively.

More Nain Baware, Chham Chham Neer Bahaye – Sabak (1950) – A R Qureshi – D N Modhok

Heroine is physically so far away from her beloved that the she has no one to share the tears rolling down from eyes.…

For the records, Sabak has highest number of songs to Surinder Kaur in any one film – three solos, three duets with Mohammad Rafi and a chorus in duet with Asha Bhosle.

‘Shaadi Ki Raat’ (1950 has one duet with Talat Mahmood, which is so light in mood.

Duniya Se Nyaari Teri Sasural Hai, Ghar Mein Na Aata Hai Na Ghee Hai Na Dal Hai – Badi Bahu (1951) – Anil Biswas – ??

Here is a typical pre-marriage ceremony song where bride’s friends get together and tease her while playing satirical songs about her in-laws-to-be. Most of India has similar tradition, but Hindi films have standardized it to the traditional Punjabi culture. That is perhaps reason why Anil Biswas has chosen Surinder Kaur for the song.

Majhdhar Mein Kashti Doob Gayi – Buzdil (1951) – S D Burman – Kaifi Azmi

S D Burman creates Shamshad Begum-like effect with Surinder Kaur…

Main Mubarakbaad Dene Aayi Hun – Aandhiyan (1952) – Ustad Ali Akbar Khan – Pandit Narendra Sharma

For an essentially high-pitched-voice female singer, one obvious song form is a Mujhara. Surinder Kaur’s repertoire is, too, now complete.

To end, there is a very peculiar piece in Aandhiyan. Surinder Kaur’s voice has also been used for a male musician who has a feminine voice who is in the process of setting up the scale for the performance.

In order to end our episode with a Mohammad Rafi song, I have chosen the first film in which Mohammad Rafi and Surinder Kaur had a duet. The composition is set to quite lilting rhythm:

Tum Jo Ho Jao Hamre Hum Ho Jae Tumhare.. Kabhi Chandani Raton Mein – Rooplekha (1949) – Khan Mastana – Khumar Barabankvi

Surinder Kaur has had left behind a very rich legacy of her Punjabi songs also.

surinderkaur-a

We pay our humble tribute to Surinder Kaur on her ensuing birth day by promising that we will come back to her duets at appropriate occasions.

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

The Micro View of the Best Songs of 1949 @ SoY – MY Top Music Director(s)

The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).

Naushad had huge contribution in the huge success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later.

Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe

Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film –

Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham

Here is the such first maiden final scene

Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history.

Ek Teer Chala Dil Pe Laga

Husnlal Bhagatram, who too appear quite prominently in Male Solos, Female Solos or even Duets lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year.

Tum Mujhko Bhul Jao Ab Hum Na Mil Sakenge

Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats.

Balam Tujhe Mera Salam

However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.

Gyan Dutt has Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.

Javani Ke Din Hai Yeh

S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam.

Hum Kisko Sunaye Haal Ke Duniya Paise Ki

Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).

In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.

1949 had so many other than Lata Mangeshkar – Mohammad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.

In the ultimate analysis that will remain the sole importance of the year 1949 in the history of Hind Film Music – a threshold that provided the escape velocity to Lata Mangeshkar and Mohammad Rafi even when many other singers were so strong on their spheres.

SoY has presented a very comprehensive summary of all the discussions @ Best songs of 1949: Final Wrap Up 5. The detailed analysis leads to the conclusion that the Best Music director of 1949 goes to Naushad.

P.S.

I have compiled a meta write-up of my micro-view of the songs of 1949, in pdf form. Here is the link:

https://drive.google.com/open?id=0B_GJ0xhT0LUuamJWTlRoQUJiVUE

The Micro View of the Best Songs of 1949 @ SoY – MY Top Duet Songs

I always have had a special inclination towards the duet songs. 1949 is the year which had a fairly large catch of the duets to listen to and quite a few have been in the all time favorites of not only my choice but probably of all listeners in general as well. As a result, I have moved along and have generously presented My Top choice duets.

Male – Female Duets

It is no surprise that Male Female duets dominate the overall choice among variants of the duets. However, the domination of duets of Mohammad Rafi and Mukesh is my limitation of taste and choice. In other words, these are the songs that I have been listening to far more frequently than the others. So my choice does reflect that bias.

Mohammad Rafi + Lata Mangeshkar – Yun To Aapas Mein Bigadate Hain, Khafa Hote Hain – Andaz – Naushad – Majrooh Sultanpuri
Mohammad Rafi + Lata Mangeshkar – Mil Mil Ke Gayenge Ho Ho Dil Yahan – Dulari – Naushad – Sakeel Badayuni
Mohammad Rafi + Lata Mangeshkar – Jara Tumne Dekha To Pyaar Aa Gaya – Jaltarag – Husnlal Bhagatram – Kaif Irfani
Mohammad Rafi + Lata Mangeshkar – Sajan Ki Oat Le Ke, Hathon Mein Hath De Ke – Zevrat – Hansraj Behl – Habib Sarhadi
Mohammad Rafi + Lata Mangeshkar – Aye Dil Na Mujhe Yaad Dila, Baaten Purani – Sawan Aya Re – Khemchand Prakash – Bharat Vyas
Mukesh + Lata Mangeshkar – Chhod Gaye Balam Mujhe Haye Akela Chhd Gaye – Barsaat – Shanker Jaikishan – Hasrat Jaipuri
Mukesh + Lata Mangeshkar – Yeh Duniya Hai…. Yahan Dil Ka Lagana Kisko Aata Hai – Shair – Ghulam Mohammad – Shakeel Badayuni
Mukesh + Shamshad Begum–Tu Mahalo Mein Rahanewali, Main Kutiya Mein Rahanewala – Shabnam – S D Burman – Qamar Jalalabadi
Mukesh + Shamshad Begum – Maine Dekhi Jag Ki Reet, Sab Jhuthe Ho Gaye – Sunehare Din – Gyan Dutt – D N Madhok
Mukesh + Suraiya – Badra Ki Chhaon Tale Nanhi Nanhi Bundiya – Lekh – Krishna Dayal – Raghupat Roy
Mukesh + Geeta Roy – Kismat Mein Bichchadana Tha, Hui Kyon Unse Mulaqaat Re – Shabnam – S D Burman – Qamar Jalaabadi
Chitalkar + Shamshad Begum – Mere Piya Gaye Rangoon Kiya Hai Wahan Se Telephoon – Patanga – C Ramchandra – Rajendra Krishna
Karan Diwan + Lata Mangeshkar – Duniya Hamare Pyaar Ki Yuhin Jawan Rahe, Main Bhi Wahan Rahun Jahan Sajan Mera Rahe – Lahore – ShyamSundar – Rajendra Krishna
Shyam + Suraiya – Tu Mera Chand Main Teri Chandani, Main Tera Raag Tu Meri Raagini – Dillagi– Naushad – Shakeel Badayuni
Shankar Dasgupta + Suraiya – Chahe Kitani Kathin Dagar Ho, Hum Kadam Badhayenge Jaayenge – Jeet – Anil Bishwas – Prem Dhawan

Other Duets

The Female – Female duets and the solitary triad + song are more or less automatic choices, at least by application of their overall populariover all these years.

Lata Mangeshkar + Shamshad Begum – Dar Na Mohabbat Kar Le – Andaz – Naushad – Majrooh Sultanpuri
Lata Mangeshkar + Premlata – Chup Chup Khade Ho Zaroor Koi Baat Hai – Badi Behan – Husnlal Bhagatram – Qamar Jalalabadi
Johrabai Ambalewali + Rajkumari – Choon Chhoon Ghunghariya Baje, Ye Raat Phir Na Aayegi, Jawani Beet Jayegi – Mahal– Khemchand Prakash – Nakshab Jarachavi
Mohammad Rafi, G M Durrani, Lata Mangeshkar – Lara Lappa Lara Lappa Lai Rakhava– Ek Thi Ladki –– Vinod – Aziz Kashmiri

The choice of selecting The Best from these has worked out to be more difficult than I had imagined. So I propose a work around solution. I have picked up one duet each from those of Mohammad Rafi, Mukesh and from the others.

Mohammad Rafi + Lata Mangeshkar – Jara Tumne Dekha To Pyaar Aa Gaya – Jaltarag – Husnlal Bhagatram – Kaif Irfani
Mukesh + Shamshad Begum – Maine Dekhi Jag Ki Reet, Sab Jhuthe Ho Gaye – Sunehare Din – Gyan Dutt – D N Madhok
Karan Diwan + Lata Mangeshkar – Duniya Hamare Pyaar Ki Yuhin Jawan Rahe, Main Bhi Wahan Rahun Jahan Sajan Mera Rahe – Lahore – ShyamSundar – Rajendra Krishna

We will conclude The Micro View of the Best Songs of 1949 @ SoY in our next episode.

The Micro View of the Best Songs of 1949 @ SoY – Duets – Male-Male Duet Songs AND Triads & Triads+

Male-Male Duet Songs

While remaining an essential variant of the duets, male-male duets has neither been a popular format nor been an easy one to compose. In that respect 1949 has perhaps a very unique distinction of having a male-male and a female-female duet version in the same film.

Duniya Walo Mujhe Batao Kya Hai Sachcha Pyar – Balam 1949 – Mohammad Rafi with S D Batish – Husnlal Bhagatram – Qamar Jalalabadi

We have already taken note of the Female- Female Duet version of Lata Mangeshkar and Suraiya

Quite unusually, we have one more duet of Mohammad Rafi and S D Batish this year.

Har Aish Hai Duniya Mein Ameeron Ki – Kaneez – Mohammad Rafi, S D Batish – Ghulam Haider – Hasrat Lakhanavi

1949 has another distinction too in that it has two duets of Mohammad Rafi and Mukesh in the same year.

Jale Jalanewale Humko Jaise Mombatti – Chilman – Mohammed Rafi and Mukesh – Hanuman Prasad – P L Santoshi

Baat To Kuchch Bhi Nahin, Dil Hai Ke Bhar Aaya – Thes – Mohammad Rafi, Mukesh – Snehal (V G Bhatkar) – Kidar Sharma

Here are two more male-male duet songs for which the internet has not been to establish a digital link.

Dil Ki Basti Ajib Basti Hai – Bhool Bhulaiya – A R Ojha, Bhola – Bulo C Rani – Pandit Indra

Teri Juruva Lagegi Bholi,Ho Raja – Shoharat – Mohammad Rafi, Khan Mastana – Aziz (Hindavi) – Gulshan Jaman

Triads, Triads+

1949 has quite a large selection of triads or triad+ songs. It is generally seen that at least one of such songs also turns out to be a chart-buster. 1949 is no exception in this aspect.

Chhala De Teri Nishani Teri Maherbani– Bazaar – Mohammad Rafi, Satish Batra, Shamshad Begum – Shyam Sundar – Qamar Jalalabadi

Sharmane Haseeno Ko Aaya Hai Shabab Unka – Bholi – S D Batish, Chandu Shivdasani, Shamshad Begum – Govind Ram – Ishwar Chandra Kapoor

(Soft link to the song has not been able to link it to the audio file.)

Haseeno Ki Adaye Bhi.. Yah Bhloi Suratwale – Char Din – Mohammad Rafi, S D Batsih, Rajkumari – Shyam Sundar – Shakeel Badayuni

This song has another version too.

Haseeno Ki Adaye Bhi .. Yah Bholi Suratwale – Char Din – Iqbal, Johrabai Ambalewali, Lata Mangeshkar – Shyam Sundar – Shakeel Badayuni

Lara Lappa Lara Lappa Lai Rakhava- Ek Thi Ladki – Mohammad Rafi, G M Durrani, Lata Mangeshkar – Vinod – Aziz Kashmiri

Hum Chale Door, Hum Chale Door, Dil Hua Choor.. Haiya Ho – Ek Thi Ladki – Mohammad Rafi, Satish Batra, Lata Mangeshkar, one unidentified singer – Vinod – Aziz Kashmiri

Namasteji (2) Hamara Tumara Jeevan Beete Hansate Hansate Ji – Naach – Mohammad Rafi, Johrabai Ambalewali, Shamshad Begum – Husnalal Bhagatram – Nazim Panipati

Lab Pe Fariyaad Hai, Dil Barbaad Hai – Naach – Mohammad Rafi, Geeta Roy, Lata Mangeshkar – Husnlal Bhagatram – Mulkraj Bhakari

Kyun Karata Maan Jawani Ka, Tu Ek Bulbula – Naach – Mohammad Rafi, Geeta Roy, Lata Mangeshkar – Husnlal Bhagatram – Mulkraj Bhakari

Namamste (4) Pahale To Ho Gai Namaste – Patanga- Chitalkar, Mohammad Rafi, Mohantara, Shamshad Begum – C Ramchandra – Rajendra Krishna

Mere Ghar Aage Hai Do Do Galiya – Rimjhim –Kishore Kumar, Shamshad Begum – Khemchand Prakash – P L Santoshi

Mere Paas Aao Mere Bhole Sajanji – Roshni – Chitalkar, Mohammad Rafi, Lata Mangeshkar, Shamshad Begum – C Ramchandra – P L Santoshi

Kaliyon Mein Jawani Aayee Kaliyan Lagi Phoolane,Chikbam, Chikbam, Chikbam – Roshni – Mohammad Rafi, Chitalkar, Sshamshad Begum – C Ramchandra – P L Santoshi

Hum Mast Dilon Ko Lekar Chali Masti Mein Chali Motor – Sunehare Din – Khan Mastana, GM Durrani, Shamshad Begum, Kalayani – Gyan Dutt – Shekhar M A