On the whole, this list does present quite a kaleidoscopic picture pf the range of male singers. It would be interesting to note the presence of lyricist like G S Nepali or Music Directors like, Bulo C rani or Sardar Malik or even actors like Raj Kapoor in this list. Would it mean that there were not many known names in the field?
G S Nepali – Azad Hai Ham Aaj Se, Jailo Ke Taale Tod Do – Ahinsa – C Ramchandra – G S Nepali
Second Sunday in May presents an alphabetical list of actresses who did exceptional work as mothers, with just one film per person, along with the actor or actress they played a mother to… and then goes on to narrate a very depressing, but real, story of bitter war over property after Nirupa Roy and then her husband’s passing away.
Shyam: The Big Heart behind the Swashbuckling Hero – By Antara Nanda Mondal – Shyam – the screen idol of the forties with his irresistible charm, good looks, style and panache left behind a brief but redoubtable repertoire of films. Even 67 years after his untimely death, Indian cinema remembers this actor with awe and affection. Bimal Chadha, the nephew of Shyam, (eldest son of Shyam’s younger brother Harbans Chadha), and his family have lovingly treasured Shyam’s memories, photos, letters, handwritten cards, books and belongings.
Talat Mahmood: A Mesmeriser – DP Rangan pays a tribute to Talat Mahmood on his 20th death anniversary (24 February 1924 – 9 May 1998) by remembering his less heard songs.
Engagements With Shama is an interesting tale of relationship between shama and parwana (a flame and a moth) which then revolves around songs in which the flame waiting for the guests. Interestingly, the moth dones the role of a crazed lover.
Rhythms of Shankar Jaikishan – Legendary music composers Shankar Jaikishan created not only a mammoth repertoire of hit songs in Hindi film music, they also set many a style and precedent in the use of instruments to create sounds and rhythms. Anand Desai picks five songs from SJ’s ocean of music to exemplify their creativity in using classical Raags, Taals, acoustics, instruments and sounds to craft everlasting music:
G M Durrani would go down in the history of Hindi Film Music history as a singer who would have done well in the post-vintage era years, but for the sudden rise of the singers like Mohammad Rafi (in particular), Mukesh, Talat Mahmood and Manna Dey.
When we make this statement today, the statement stands out the test of period. But that is because we have advantage of the hindsight. Let us see how G M Durrani’s solo songs compare with the solo songs of the male singers of the Golden Era – Mohammad Rafi, Mukesh and Manna Dey – in the current year of Micro-Review.
Ab Kaun Hai Is Tute Hue Dil Ka Sahara– But Tarash – Ghulam Haider –
Tu Himmat Na Har Musafir – But Taraash – Ghulam Haider
Khel Nahi Gir Gir Ke Sambhalana, Rahi Dekh Sambhal Kar Chalna – Doli- Ghulam Mohammad – Majrooh Sultanpuri
Toota Hua Dil Le Ke Chale Apne Watan Se – Ek Roz – Shyam Sundar – Sarshar Salani
Ek Bewafa Ne Shish-e-Dil Chur Chur Kar Diya – Ek Roz – Shyam Sundar – Sarshar Salani
Hue Hai Qaid Muhabbat Ki Hukamrani Se – Heera – Husnlal Bhagatram – Shams Lakahanavi
I have not been able to locate the soft link to this song:
O Jaanewale Aane Ka Ikarar Kiye Jaa – Mitti – Lal Muhammad + Paignekar
Solo Songs of Surendra
Surendra did continue into the Golden years, but he is considered a vintage era actor-singer.
Ek Baar Phir Se Aaja, Dil Mein Mere Samaa Jaa – Elan – Naushad Ali – Jiya Sarhadi
Tera Jahaan Abaad Hai, Mera Jahan Barbaad Hai – Elan – Naushad Ali – Jiya Sarahadi
Kya Hai Naari Ki Shaan .. Duniya Ko Batlaunga Main – Manjhdhaar – Gyan Dutt – Shams Lakhanavi
Kyon Tu Mujh Se Rooth Gayi Aathon Pahar Dil Yahi Pukare – Manjhdhar – Gyna Dutt 0 Shams Lakhanavi
Solo Songs of K L Saigal
1947 has only one K L Saigal film – Parawana – which has 4 of his solo songs. However, the presence of only one K L Saigal film – and that to his last one- in the year, makes the year stand out as a vintage era year, as K L Saigal is one single icon that can be identified with the vintage era.
Jine Kaa Dhang Shikhaye Jaa, Kante Ke Nok Par Khada Muskaye Jaa – Parwana – Khursheed Anwar – D N Madhok
Tut Gaye Sab Sapne Mere.. Ye Do Naina Sawan Bhado Barse Sanj Savaere – Parwana – Khursheed Anwar – D N Madhok
Us Mast Nazar Pe Padi Jo Nazar, Kajre Ne Kaha Mat Dekho Idhar, Dekho Ji Kabhi Ulajh Na Jaana – Parwana – Khursheed Anwar – D N Madhok
Muhabbat Mein Kabhi Aisi Bhi Haalat Ho Jaati Hai….Tabiyat Aut Gabrati Hai Jab Pahlayi Jaati Hai – Parwana – Khursheed Anwar – D N Madhok
We will take up Micro-view of solo songs of Other Male Playback singers for the year 1947, in our next episode.
Welcome to May, 2018 edition of Carnival of Quality Management Articles and Blogs.
We have chosen – Process Cycle-time Improvement – as our base topic for discussion this month
The natural starting point is to get get a solid grasp of these three common time metrics.: Takt Time vs Cycle Time vs Lead Time – Takt time equals the time between starting to work on one unit and starting the next. Cycle time equals the average time it takes to finish one unit. Lead time equals the total time it takes from receiving an order to delivering an item.
Overproduction vs. Fast Improvement Cycles – Mark Rosenthal– if you want fast changes to last, you have to work speeding up the organization’s cycle time for testing improvement ideas. Part of this is going to involve making that activity an inherent and deliberate part of the daily work, not a special exception to daily work.
Part of that is going to be paying attention to how people are working on testing their ideas. The Improvement Kata and Coaching Kata are one way to learn how to deliberately structure this work so that learning takes place. Like any exponential curve, progress seems painfully slow at first. Don’t let that fool you. Be patient, do this right, and the organization will slingshot itself past where you would be with a liner approach.
Small changes applied smoothly and continuously become big changes very quickly.
Quality Digest Live presents the issue in this video:
These questions might not reveal everything you need to do in order to improve process cycle time but these do provide a useful starting point. There are lots of ways to improve processes. You can find out more by watching other videos in this series.
90-Day Cycle Handbook – Sandra Park and Sola Takahashi – The 90-Day Cycle has emerged as an invaluable method for rapidly developing innovative approaches to support practice improvement. Generally, 90-Day Cycles are a disciplined and structured form of inquiry designed to produce and test knowledge syntheses or prototyped processes or products in support of improvement work.
The 90-Day Cycle Handbook serves as a comprehensive guide to the purpose and methods of this disciplined and structured form of inquiry. This handbook is an introductory document that delineates the purpose and process for this method. It is sprinkled with helpful tips and illustrative examples from previous successful cycles.
The Power of a 90-Day Cycle – “Success doesn’t happen right away, it happens in increments of 90-day cycles.” -Danny Morel
In the conclusion, I would only add that any method or improvement initiative is useful only if it is a well-aligned component of a broader long-term strategy. Also, in order to succeed, these initiatives should not be implemented as stand-alone discrete additional activities, but must be integrated into the normal routine.
We will now turn to our regular sections:
For the present episode we have picked up Aileron Blog’s white paper Create Your Future The Peter Drucker Way @ Strategic Leadership » Whitepapers column of Management Matters Network…. Drucker’s teachings center on how to manager others as well as how to manage onself…Part of the report explores Drucker’s time-tested principles, including how leaders can continue to improve themselves, and their organizations, with an eye for the future.
Strategy and Tactics– It’s worth it to understand the difference because strategy can save us when tactics fail to deliver. This is true in our personal as well as our professional world. If a tactic fails, we should consider abandoning it. However, that doesn’t mean that there’s something wrong with our strategy. The tactics are more short-term, therefore disposable, but strategy is for the long haul. Focus on what’s really important and supportive of the strategy.
Avoid the Blame Game: Root Cause Analysis(RCA) can solve problems effectively – RCA, when fully utilized, can eliminate defects occurring in operations as well as defects inherited from suppliers, ultimately helping to maintain satisfied customers,
I look forward to your inputs / criticisms/ observations to enhance the utility of our Quality Management Blog Carnival.
Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.
Numerically, in terms of not only number of solo songs but also number of films or music directors, Mukesh seems to have slack year in so far as his career take-off stage is concerned. He did have three solos in “Tohafa’, and ‘Do Dil’ each, and one in Beete Din.
Arson Pe Sitara Hai Wo – Beete Din – A Dinkar Rao
Jiya Beimaan… Bas Mein Paraye Hai, Din-Din Dhale Jawani – Do Dil – Govind Ram – D N Madhok
Pyar Jata Ke Apna Bana Ke Wo Gaye Wo Gaye – Do Dil – Govind Ram – D N Madhok
Le Matki AAja Radha Ri, Ghar Se Kisi Bahane – Do Dil – Govind Ram – D N Madhok
Kahan Tak Jafa Husnwalon Ki sahate – Tohafaa – 1947- M A Rauf (Usmania) – Saquiba Lakhanavi
Ek Aisa Geet Sunao Tan Man Mein Aag Lagao – Tohfa – M A Rauf (Usmania) – Nazir Hyderabadi
Kisne Chheda Manka Taar – Tohfa – M A Rauf (Usmania) – Shanti Arora
We will take special note of
Shri Kamal Netra Stotram – Neel Kamal – with chorus – B Vasudev –
Solo Songs of Manna Dey
Manna Dey’s spread of number of films is relatively better. Ha has had fairly noticeable presence in Geet Govind.
Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) is considered as one of the most versatile and a highly talented playback singers of Hindi Film Music. In his school days, he was getting trained to become a wrestler. He even reached the finals of the All Bengal Wrestling Competition. But destiny has scripted a different career path for him. in 1942, he tagged along to Bombay with his paternal uncle, K C Dey and opened up gate way to a very long career of playback singing. He has given voice to 4000+songs in Hindi, Bangla, Bhojpuri, Awadhi, Punjabi, Assamese, Oriya, Gujarati, Konkani, Marathi, Kannad, Malayali, Sindhi etc. He has been associated with more than 102 music directors in Hindi films and had had sung duets with most of his contemporary singers.
It is said that his career got a real boost with Upar Gagan Vishal (Masahal, 1950). It got the further momentum to reach the escape velocity, by his two duets in Do Bigha Zameen (1953) under the baton of Salil Chaudhary. In the intervening years he had had excellent songs with Shankar Jaikishan (Aawaraa, 1951) too. He has recorded as many as 758 songs in the period off 1953 to 1969 – more than half of his entire Hind Film songs in an active career that spanned from 1942 to 1992.
There would be no dearth of his very poplar, as well as highly-quality-merited songs to run a long series of annual articles to commemorate his memory. However, in the spirit of bringing up of one page the songs that have faded up in the deep recess of memories, we will take up Manna Dey’s less heard or simply lost in the memory songs.
We begin our journey of remembering Manna Dey’s songs that have faded away from our memories with his maiden (duet) song from Tamanna (1942).
Jaago Aayee Usha Panchhi Boley – Tamanna (1942) – with Suraiya – K C Dey – S K Kalia
Suraiya, barely 13 years old in 1942 had already a hit song – Panchhi Jaa Pichche Raha Bachpan Mera (Sahrda, 1942) in her record book. Their simultaneous rendering of line @ 00.40 in the present song, blends Suraiya’s very adolescent voice with that of Manna Dey in very low octaves.
Gayi, Tu Gayi, Tyagmayi, Tu Gayi, Teri Amar Bhavna Amar Rahi – Ram Rajya (1943) – Sahnkar Rao Vyas – Ramesh Gupta
It is said that Prakash Bhatt, producer, and Shankar Rao vyas, music director, of the film, Ram Rajya, had come to K C Dey to sing the songs for the film. K C Dey did not sing for others, so the songs went to Manna Dey.
Bhula Bhatka Path Hara Man Sharan Tumhari Aaya, Kah Do He Gopal – Jwar Bhata (1944) – With Parul Ghosh – Anil Biswas – Narendra Sharma
“Jwar Bhata’ is the maiden film of Dilip Kumar. Manna Dey also gets into the orbit of the-then known music directors, like Anil Biswas, but is yet to get to sing for the main lead actors.
O Prem Diwani Sambhal Sambhal Kar Chalna – Kadamabari (1944) – Anil Biswas – Narendra Sharama
Anil Biswas seems to have commenced experimenting with Manna Dey’s voic, in line with his strategic intent to evolve a totally different modern style of music as compared to the theatrical style of the Vintage Era.
Kyun Jaane Apne Banten Hain Begaane -1 & 2 – Meena 1944 – with unidentified female singer – Hari Prasanna Das – Pandit Phani
The songs has very distinct Manna Dey’s now-well-known own singing style.
Ye Rang Birangi Dor Hai – Mazdoor (1945) – with Ammrbai Karnataki – H P Das – G S Nepali
Mannaa Dey has been made to revert to typical vintage era style of singing.
Hai Gagan Mein Badal Theare Hue – Vikramditya (1945) – With Rajkumari – Shankar Rao Vyas – Ramesh Gupta
The song had been quite popular in those days. The heavy bass of female singers of Vintage Era is so evident in Rajkuamri;s voice too, whereas we get to listen Manna Dey’s voice that we have known in 60s.
Ek Chakori Dev Se Apne – – Vikramditya (1945) – Shankar Rao Vyas – Ramesh Gupta
The association with Shankar Rao Vyas has now yielded Manna Dey position of the principal lead male playback singer. The film has 4 more Manna Dey solos and one group song which is a prayer.
The soft digital copies of these other songs are not available on net.
Priye Ek Baar Man Mandir Mein Tum Rum Zum Karati Aana – Mera Geet (1946) – with Geeta Roy – Shankar Rao Vyas – Ramesh Gupta
Ye Jag Matlab Ka Hai Dera Kyon Kahata Hai Mera Mera – Rupa (1946) – Govind Ram – Ram Murty
Manna Dey sings a religious-flavored ‘filler‘song in vintage style.
Ram Naam Se Man Ke Ho Jaat Hai Shudhdha Vichar – Valimiki (1946) – Shamkar Rao Vyas – Mahesh Gupta M A
Shankar Rao Vyas has used Manna Dey’s voice in background.
I have sourced soft links of following songs from ‘mannadey.weebly.com/’:
Har Ek Kadam Sochke – Bisvin Sadi (1945) – Pannalal Ghosh
Pardes Musafir Jata Hai, Utha Hai Abodana – Dil (1946) –[Manna Dey gets credit as Prabodh Dey] – Zafar Khursheed – Shams Lakhanavi
Allah Khata Kya Thi – – Dil (1946) – [Manna Dey gets credit as Prabodh Dey] – Zafar Khursheed – Shams Lakhnavi
Naino Ke Badal Baras Rahe – Insaf (1946) – H P Das – D N Madhok
O Duniya Jara Sun Le – Kamla (1946) – With Amirbai Karnataki – Gyan Dutt
The songs for which I could not locate YT or other soft links:
Raj Dwar Pe Baj Uthi Sahanai – Maha Kobi Kalidas (1944) – SreedharPalsekar – Ramesh Gupta
Din Aaye, Din Jaaye – Maha Kobi Kalidas (1944) – Sreedhar Palsekar – Ramesh Gupta
Kya Julm Kabhi Jeet Gaya.. Jeet Hamari Hai – Mazdoor (1945) – H P Das – G S Nepali
Paritranayam Asdhunam…Avtar Liya Jug Jug – Prabhu Ka Ghar (1945) – Khemchand Prakash – Pt. Indra
Tum Nath Ho Phir Main Anath Hun Kyon – Jug – Prabhu Ka Ghar (1945) – Bulo C Rani – Pt.Indra
Kyun Rooth Gayi Maa Dharti – Dharti (1946) – Bulo C Rani – Pt. Indra
Dil Churaney Ke Liye – Door Chalein (1946) – [Manna Dey gets credit as Prabodh Dey] – K C Dey
O Ji More Balamwa – Insaf (1946) – with Raj Kumarri
Aye Naujwan Veerat Ki Hai Kasauti Aaj – Mera Geet (1946) – Shankar Rao Vyas –Ramesh Gupta
In our established tradition of the ending each of our post with a relevant Mohammad Rafi song, I have located a Sonik-Omi composed duet with Manna Dey from an unreleased film. The song does not strictly belong to the period that we have chosen for the present post. :
Hamane Maana Ki Ham Hai
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
We commence our detailed journey for the year 1947 with Male Solo Songs.
As I start collecting the songs from HFGK on my scrapbook, it apparently appears that Male Solo Songs seem to have a smaller share than compared with Female Solo Songs. As I scan through the list, the need to look out for a YT link first becomes quite apparent. That not only will provide the opportunity to listen to the song, almost invariably for the first time, but also to decide how many playback singers will have to be accommodated in post to make each post of a reasonable size. Partly for that reason, I also propose to repeat songs that have been mentioned @ Memorable Songs of 1947 in this season.
I have chosen adopt the same sequence of presenting the playback singers as in the previous similar analyses, more for the sake of convenience of documentation.As far as feasible, we will also maintain classification of popular songs and Not-so-popular songs for each singer.
Solo Songs of Mohammed Rafi
Mohammad Rafi has a fairly respectable score of solo songs, a few of which easily qualify for being popular songs too. Song ‘Tohe Jaana Hansate Hansate, Hansate Hansate’(Shanti) apparently does not appear in HFGK. However, quite a few other sources have mentioned this song, so I have presented here, subject to the other sources being correct enough.
Mohammed Rafi’s Popular Songs
Jab Jab Baithe Baithe Dil Bhar Aaye Aur Lab Se Nikle Haye – Dak Bangla – Naresh Bhattacharya – D N Madhok
Duniya Mein Meri Aaj Andhera Hi Andhera – Do Bhai – S D Burman – Raja Mahendi Ali Khan
Wo Apni Yaad Dilane Ko – Jugnu – Feroz Nizami – Asghar Sarhadi
Humko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – C Ramchanndra – Moti B.A
Mohammed Rafi’s other songs, which could not measure up on the same level of popularity.
Meri Aankhon Ke Taare,…Ye Phool Suhaye Haath Piya – Aapki Sewa Mein – Datta Javdekar – Mahipal
Do Din Ginati Ke Umariya Beeti Jaaye Re – Do Dil – Govind Ram – D N Madhok
Das Na Jayen Tujhko Zulfien Kaaliyan – Malika – Alla Rakkhaa Queraishi – Tanveer Naqvi
The 6th episode has taken up the oft-discussed topic of ‘Measurement’, wherein in the Part 1, What Can Be Measured, deals with the definitive need for not ‘only measurement’, but for ‘also measurement’ too.
Business Sutra |6.2| Objective versus Subjective Reality
The western literature of modern management is rich with the subject of measurement management, covering contextual definitions, measurement technique , pros and cons etc.
We have chosen a very brief peek into this huge volume of information.
Difference Between Objective and Subjective would help lay the foundation.
Stacey Barr, a Performance Measurement Specialist, in her one of the articles, Are Your Performance Measures Objective or Subjective?, puts the difference across as: ‘Objectivity means that a measure is not biased or prejudiced by a person’s feelings or opinions or perceptions or mental filters. An objective measure is as close to fact as we can get. Objective measures are like kale and blueberries for our decision-making diet. Super nutritious….But when measures lack objectivity, we call them subjective. This includes hearsay, opinion, data from very small samples (like a sample of one!), data from ambiguously asked questions, data from hand-picked samples, and assumptions or guesses. Subjective measures are like hamburgers and ice-cream for our decision-making. Junk food.’
Therein lays the apparent dislike for the subjective measures.
There is also ample literature, covering different industries, that also discusses about bringing in objectivity in the subjective measures.
The debate still goes on, and in all likelihoods, will continue to go on as well.
So, we turn over to Segment 2 of the episode 6 wherein Devdutt Pattanaik takes up the subject of Objective versus Subjective Reality. It may please be observed from the words and tone of the opening lines that the present episode is in seamless continuum of the previous episode.
I get the conversation about not ‘only measurement’ but ‘also measurement’. But how do you propose that we do away with a large amount of the measurement that are that currently exists in the system? When we’re small organizations of 5 10 15 people, you can make the measurement more subjective, less objective, bringing the human element, human interaction, one-on-one communication etc. But when you’re dealing with large organizations, when you’re dealing with organizations that employ 50,000, 1 lakh to l lakh people then some part of that measurement does have to get systemized, because that is the only way to standardize. Because that is the only way you can measure at that scale.
Big or small, organizations are about people. Every organization is built on teams. It is a simple HR practice that a person should not have more than five or six people reporting to him. So, ultimately it is about five or six people teams that build up so large organizations. So what you have is a measurement of these five people by the boss. We also agree that 50% of these measurements will be objective – quantitative and that the rest of 50 % will be subjective, qualitative. We also agree that the leader will be biased no matter how many auditors you get in. This means that I have to work on him to strip him of bias, to bring in more integrity in his behavior. This also means that it is not just about measurement but it is also about investing in people such that his subjective call is good enough.
We generally say that too much of energy is being wasted on investing in people, so better invest on a system. A subjective measurement would want somebody to pay attention to human beings inside. The System – process is about removing this attention. Attention is about relationships, it is about people having integrity. But, I can’t guarantee integrity. I have a process and a system and a method it is not necessary to give attention and I will come to the truth.
I’m not even saying that. But look at this:
I have a large number of people, and
that the measurement is subjective.
Therefore, when you have a human being doing the measuring, that human being may come to the table with his or her own prejudices, and therefore, measuring the other person’s performance output through the lens of that prejudice. So maybe a system not only allows me to deal with a larger number of people be also to some extent standardizes the communication and therefore eliminates to some degree the prejudice that a human being may bring. I am not saying systems are perfect, because even human beings are not perfect.
Today the other culture is to replace human beings with systems. That seems to be the mindset, because objective measurement is all that I need. Subjectivity is being withdrawn, the need for attention required is being withdrawn. In other words, we need both – ‘also measurement’ and not ’only measurement’. That is the shift which I’m asking for.
That results in uncertainty..
That WILL result in uncertainty.
So, how do you get away from that uncertainty, because in an organizations everything is driven to a fair degree of certainty – what are you going to earn next quarter, what are you into our next year, how are people going to perform, do you have enough people on the bench? Everything is driven towards certainty.
We can measure only some things, but the universe is infinite. The measurement is finite. The possibilities are infinite but measurement will always be finite. Talk to the entrepreneurs. Did they create the business based on measurement? Usually they use the measurement to validate their gut feeling.
The gut feeling is Kama, the god of desire, the god of lust, the god of instinct. Then comes the god of death, Yama, the god of measurement. So the measurement comes second, gut comes first.. The second one validates the first one. Overreliance of Kama cannot work, he is irresponsible, and he holds the bow in his hand and keeps shooting the arrows of wishful thinking all over the places. You need to restrain him, So Yama holds in his hand a lasso to restrain him. Too much of restraint and death will happen; too much of Kama and there will be complete chaos. So the question is how do you balance between the two and that is where the human element is critical.
When we talk about systems and processes in the extremes, we seem to aim to do without human beings. That is a very dangerous thought to happen, because what are organizations for if not about people.
So, if the western school tends to believe more in striking maximum objectivity in the subjective measures, Indian Mythology seems more inclined in retaining the essential touch of human element in the full scale efforts to bring in the objectivity in measurement processes and systems. This is where the first episode also had ended – not ‘only measurement’ but ‘also measurement’.
In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 3rd segment of the 6th episode – What Are You Worth?, in our next episode.
Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.
The journey of Best Songs for TheYear @ SoY started rolling backwards from the initial phase of the Golden Era and has now reached well into the beginning of the end of Vintage Era. The journey has had milestones @ 1955, 1953, 1951, 1950, 1949 and 1948. We now move on the next milestone ‘Best songs of 1947: And the winners are?’
The overview article notes the year that was the best of the years and the worst of the years- in so far as an event in the history of our nation. The article further goes on to note that (in so far as Hndi Film Music is concerned) , “many Muslim music directors and actors chose to go to the other side or would move shortly – Ghulam Haider, Rafiq Ghazanavi, Firoz Nizami, Khursheed Anwar, Noorjehan etc. It was a sad year for another final departure – the greatest actor-singer ever KL Saigal passed away on 18 January 1947 at a young age of 43. But the year also saw the debut of Lata Mangeshkar as a ‘playback’ singer in Aap Ki Sewa Mein.”
At the stage of beginning of the Micro View of the Best Songs of 1947 @SoY, I have a mixed feeling. The first reaction is that this is a year where I am likely to come up with many more songs that I have never heard. On the other hand, when I read through the SoY overview article, I find many songs that are quite well-known too. Moreover, it would remain to be seen how many songs I can list form HFGK and how many of these songs would be available on YT.
With, this prologue, we begin our journey of Micro View of the Best Songs of 1947 @SoY, with excerpts from SoY over article::
Piya Milne Naveli Jaye Re in Jai Yatra, iunder the baton of Neenu Mazumdar
Meena Kumari – sings 6 solos and 2 duets – in Piya Ghar Aa Ja
Man Mohan Krishna – sings Tujhe Aap Bitana Hai Apna Jivan – in Andhon Ki Duniya, under Vasant Desai’s baton.
Anil Biswas uses Shamshad Begum for the first time in Bhookh
List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the title Memorable Songs of 1947, by adding the relevant link to YT file.
For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have their own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1947.
The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as
Best male playback singer
Best female playback singer
Best music director