The Micro View of Best Songs of 1947 : Male Solo Songs – Other Male Singers

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

Rafiq Ahmad – Apna Ghar Pahechan Bande..- Amar Asha – Shanti Kumar –

S D Batish – Aashiyan Apna Luta Apni Nazar Ke Samane – Arsi – Lachchiram / Shyam Sundar- Sarshar Sailani

Raj Kapoor – O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – S D Burman  – Y N Joshi

There is a duet version of the song in the film, in which Geeta Roy accompanies Raj Kapoor.

I have not been able to locate the soft link for this song:

Raj Kapoor – Piya Milane Naveli Jaaye Re – Jail Yatra – Ninu Mazumdar – Rammurty

Shyam Sundar –Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Shyam Sundar – Muhobbat Ki Na Khana Mithai Na Khana Muhobbat Ki Mithai – Dil Ki Rani (1947)  – Lyrics: (?)

Shyam Sundar – Sar Phod Phod Ke Mar Jaana Kisi Se Dil Na Lagana – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Ninu Mazumdar – Duniya Saari Jail Re Jiski Oonchi Diwarein – Jail Yatra – Ninu Mazumdar – Sajjan

Krishan Chandra Goel – Vrindavan Ki Kunj Galin Mein Lathile Dhen Charae – Krishna Sudama – Shyam Babu Pathak –

Hemant Kumar- Ishare Ishare Mein Duniya Badal Li – Manamani – Kamal Dasgupta –

Bulo C Rani – Kal Chalate Chalate Unse Mulaqat Ho Hayi – Mulaqat – Khemchand Prakash – Qamar Jalalabadi

Amar – Bhool Ja ….Aye Wo Batein Bhool Jaa – Natak – Naushad Ali – Majrooh Sultanpuri

R P Sharma – Aye Bewafa Zamane Ham Se Daga Na Karana – Renuka – Sardar Malik – Qamar Jalalabadi

Malik Sardar – Sunati Nahi Duniya Kabhi Fariyad Kisi Ki – Renuka – Sardar Malik – Qamar Jalalabadi

Rati Kumar Vyas – He He He Mulak Kathiawad Dharti Par Dujo Nahi – Woh Zamana – Bulo C Rani – Pandit Indra

We will take up MY Top Male Solo Songs for 1947 in our next episode.

Carnival of Blogs on Golden Era of Hindi Film Music – May, 2018

Welcome to May 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our May, 2018 episode with two very different subjects – The Heat of Summer and 114th Birthday of K L Saigal (which was in fact in April)

Heat and dust and cinema  – Uday Bhatia / Jai Arjun Singh  recollect memorable scenes from films old and new that show the Indian summer in all its uncompromising glory.

K L Saigal’s 114th birthday – Created by guest artist Vidhya Nagarajan, here is the   Doodle that celebrates Saigal’s illustrious career with a portrait of the singer doing what he does best.

Early concepts of the Doodle below:

And, now, we take up the tributes in May, 2018:

Director Arjun Hingorani dies at 92 – The filmmaker had directed Dharmendra’s debut film, ‘Dil Bhi Tera Hum Bhi Tere’, and collaborated with the actor several times.

Balraj Sahni would turn ‘Jailor to Prisoner in Sixty Minutes!’ while shooting for Hulchul (1951).

Noted lyricist, poet, politician Balkavi Bairagi dies in MP (13 May, 2018). His short Hindi Film lyricist career took roots in 1966 film Gogola. His songs had a very natural earthy flavor. Along with Talat – Mubarak Begum duet – Jara Kahe Do Fizzaon Se – another duet of Minu Purushottam and Usha Mangeshkar – Dekho Dekho Balma Pyara – was also very popular in those days.

The most Popular Mothers Of Bollywood is a tribute to mothers on the silver screen on Mothers’ Day.

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.

Raat Aur Din’ is a fitting swansong for Nargis’s wide-ranging talent –  Satyen Bose’s much-delayed movie features Nargis in the dual role of a demure housewife and her bold alter ego.

Sebastian D’Souza: The Master of Counter MelodiesDr Padmanabh Joshi – The “parallel tune for a song” technique, known as a Counter-Melody, created with violin, cello, piano, Spanish guitar or an organ was introduced in Shankar-Jaikishan’s music by a musician – a violinist from Goa – Sebastian D’Souza.

My Favourites by Prem Dhawan – Prem Dhawan was a multi-talented personality. He was basically a poet and a choreographer, but also a lyricist, a good dancer and a competent music director too.

Greatness in the shadow of the giants: Bulo C Rani is a tribute to Bulo C Rani on his 25th death anniversary (6 May 1920 – 24 May 1993)

May, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Manna Dey to remember his less heard songs from 1943 to 1946..

Manna Dey: A Rare Voice That Excelled In All Music GenresAntara Nanda Mondal – Manna Dey’s expertise in complex classical renditions helped him excel in a variety of genres of Hindi film music and modern “adhunik” songs, creating everlasting songs.

And, now the posts on other subjects:

Funny Songs on Biwi/Shaadi in Hindi Films  showing how life changes after marriage, or how they are fed up with their wife, etc –

Male Voices, Female Feelings where the song, picturised on the heroine, is actually a male solo, with the male voice expressing the woman’s emotions e.g. Subah na aayi shaam na aayiCha Cha Cha (1964) / Singer: Mohammed Rafi / Music: Iqbal Qureshi / Lyrics: Neeraj

‘Twinkling Stars’ in Hindi Film Songs enlists songs with word ‘Sitara’, or its other forms in it.

The path, the traveller, the journey and the destination captures all the romance and diverse emotions of raah, musafir, safar and manzil in Hindi film songs.

Copy Cat Songs Of Bollywood Part 1 and (Part 2)  which are copied or respectfully say Inspired from International 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.

Ten of my favourite Khwaab/Sapna songs that talk about dreams, Dreams in which the beloved features, dreams about a rosy future alongside the love of one’s life.

A Story of Broken Dreams has listed songs that actually describe broken dreams

Chand Kabhi Tha Bahon Mein – Sapan Suhane (1961) Sabita Bannerji / Salil Choudhari – Shailendra

Toot Gaya Hai Sapna – Nishani (1942) Naseem Akhtar / Pandit Amarnath – Aziz Kashmiri

Sapane Toot Gaye – Daak Babu (1954) Asha Bhosle / Dhaniram – Prem Dhawan

Naam Gum Jaayega is about people like Michael Caine, Manna Dey or Harivanshray Bachchan changing their names,

Dance and drama: Vyjayanthimala is at her sinuous best in ‘Nagin’ – The 1954 popular classic has some brilliant Hemant Kumar tunes, which have been performed to perfection by the gifted actor and dancer.

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:

We have commenced Micro View of Best songs of 1947: And the winners are? with male solo songs of Mohammad Rafi, Mukesh, Manna Dey, G M Durrani, Surendra and K L Saigal.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Paigam Kayamat Ka Katil Ne De Diya, Sajde Mein Sar Jhuka Ke Mere Dil Me Le Liya  – Kshitij (1974)  – with Preeti Sagar,Krishna Kalle,Manna Dey –  Sharda – Bal Kavi Bairagi

Phool Sa Chahera Chand Si Rangat Chal Qayamat Kya Kahie – Raat Aur Din (1967 ) – Shanker Jaikishan – Hasrat Jaipuri

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

The Micro View of Best Songs of 1947 : Male Solo Songs – G M Durrani / Surendra / K L Saigal

Solo Songs of G M Durrani

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.

Carnival of Quality Management Articles and Blogs – May, 2018

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:

How to calculate Cycle Time provides the basic insight into different ways of calculating the cycle time.

Cycle time reduction is the strategy of lowering the time it takes to perform a process in order to improve productivity. In addition, cycle time reduction often improves quality.

Process Cycle Time Reduction  is about ‘Why measure and seek to reduce cycle time?’ and   ‘Methods to investigate and reduce cycle time.’ 

Process Cycle Time Reduction by Bjørn Andersen is a back-to-basics look at removing bottlenecks

Improve Process Cycle Time:

  • What steps can we take out?
  • What steps can we do in parallel?
  • Can we improve hand-offs?
  • Are there any air gaps?
  • Is there information starvation?
  • Are there any skill bottlenecks?
  • Is there any duplication?

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 HandbookSandra 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.

We now watch one of the latest ASQ TV  episodes:

Jim L. Smith’s Jim’s Gems postings for April, 2018 are:

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.

The Micro View of Best Songs of 1947 : Male Solo Songs – Mukesh / Manna Dey


Solo Songs of Mukesh

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.

Suno Suno Hey Nar Naari Yeh Katha Purani Hai Aage Badho – Sudhir Phadke – Amar Varma

Jhan Jhan Jhan Jhan Payaliya Baaje – Geet Govind – Gyan Dutt – Pt. Indra

Kadam Kadam Pe Dhokha Bhai, Samhal Ke Pano Uthana – Seedha Rasta – S K Pal – Amar Varma

The songs for which I have not been able to locate the soft links:

  • Jug Jug Ke Avtar Bhar DharatiKa Diya Utar – Part 1 & Part 2 – Geet Govind – Gyan Dutt – Pt. Indra
  • Ham Kya Jaane Teri Maaya Tujhe Koi Samajh Na Paya – Geet Govind – Gyan Dutt – Balam
  • Chhod De Likhana Lekh Vidhata, Chood De Likhana Lekh – Kaun Hamara – Bulo C Rani – Pt. Indra
  • Naina Besabari Mora Darshan Bina Maane Na – Gaon – Khemchand Prakash – D N Madhok

We will take up Solo Songs of K L Saigal and G M Durrani for the year 1947 in our next episode.

Fading Memories…. Unforgettable Songs: May, 2018

Manna Dey – Chale Jaa Rahein Hai….:1942 – 1946

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.

The film has two more solos of Manna Dey – Ajab Vidhi Ka Lekh Kisi Se Padha Na Jaye and Dur Dur Nagariya Teri.

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 ‘’:

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:

  • Yeh Prem Ki Reet – Kavita (1944) – Shankar Rao Vyas – Ramesh Gupta
  • 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.

The Micro View of Best Songs of 1947 : Male Solo Songs – Mohammad Rafi

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

Chali Sajan Ghar Jaye, Aaj Dulhaniya Kesh Sanvare – Shaadi Se Pehle – Paigankar / Karnad – Mukhram Sharma

Prem Ki Naiyya Dol Rahi Hai – Utho Jago – Ajij Khan + Ibrahim  – ?

Jeevan Hai Anmol Musafir, Jeevan Hai Anmol – Shanti- B S Thakur – Shakeel Badayuni

Tohe Jaana Hansate Hansate, Hansate Hansate Jaana,  Rote Rote Aaya Moorakh – Shanti – B S Thakur – Shakeel Badayuni

We will take up Micro View of Solo Songs of Mukesh and Manna Dey next.

Business Sutra |6.2| Objective versus Subjective Reality

Business Sutra |6| Measurements

We have covered five episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

The 1st episode presented to us the most visible form of the business – the corporation: its meaning, its purpose and its action perspective. In the 2nd episode Devdutt Pattanaik discusses Leadership: Role of the leader, Context of the leader and Leadership in different business cycles. The 3rd episode relates to the Business Ethics and Morals:  business ethics and dilemmas, relationship between owner and the organization  and The Right (Dharma) – the Ramayana way and the Mahabharata way. The 4th episode deals with Conflicts, of the Board and the CEO and that of the means vs. ends. The 5th episode takes unto the realm of Education, wherein Part 1 covered the basics of education to the (potential) leaders in Ram’s Education, Part 2 addressed the Knowledge Transfer to Next Gen and Part 3 dealt with the issue of student motivation.

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:

  1. I have a large number of people, and
  2. 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.

                                                             Kama and Yama

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 Micro View of Best Songs of 1947 : Setting The Stage

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::

Musical landmarks:

  • C Ramchandra’s Ana Meri Jaan Sunday Ke Sunday sets the bos office rining, even now.
  • Naushad continues his success run with Dard, Elaan and Natak.
  • M S Subbulaxmi incarnates Meera on celluloid
  • Kursheed Anwar creates some of the career-best songs of K L Saigal and Suraiya in K L Siagal’s last film Parwana

Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –

Pt. Amarnath, Husnlal, Bhagatram

Mirza Sahiban – The only film in which these three brothers composed music together.

Aa Ja Tujhe Afsana Judai Ka Sunaayein – Noorjehan
Saamne Gali Mein Mera Ghar Hai – Zohrabai Ambalewali

Khemchand Prakash


O Roothe Huye Bhagwan Tumko Kaise Manaaun – Amirbai Karnataki

Nissar Bazmi


Yahan Badla Wafa Ka Bewafai Ke Siwa Kya Hai – Mohammad Rafi & Noorjehan

S D Burman

Do Bhai

Mera Sundar Sapna Beet Gaya – Geeta Roy

Debut, fact file and trivia

Lata Mangeshkar – in Aap Ki Sewa Mein, as playback singer –  Paa Lagun Kar Jori Re, Sham Mose Na Khelo Hori Re

M S Subulaxmi – in Meera

Meerabai was also released in the same year, in which Sitara Kanpuri was the playback singer.

Shakeel Badayuni and Naushad, as lyricist-music director team, in Dard

       Uma Devi – Afsana Likh Rahi Hun

Rajendra Krishna – as a as lyricist – Gori Ghunghat Ke Pat Khol Do – Janata; He also debuted as a screenplay writer to oin this year.

Ghulam Mohammad – as an independent music director – in Tiger Queen and Doli

Ram Prasad Sharma – father of Pyarelal of LP duo – in Nayi Baat

Snehal Bhatkar in Neelakamal under pseudonym of B Vasudev

Sulocana Kadam and Krishna Goyal – as singers – in Krishna Sudama

Mohammad Rafi – in a cameo appearance in Wo Apni Yaad Dilane Ko – in Jugnu

Mohammad Raf- Lata Mangeshkar – maiden duet – Chalo Ho Gayi Taiyaarin Shhadi Se Pehle

Raj Kapoor sings his own song – O Duniya Ke Rahanewalo Bolo Kahn Gay Chitchor  – Dil Ki Awaz – under S D Burman’s baton, and

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 duets
Best music director

                                are concerned for the year 1947.

All the posts that will appear on this subject here have been tagged as Songs of 1947 @ SoY.

We will take Solo Songs of Male Playback Singers in our next episode.