The Micro View of Best Songs of 1947 : Female Solo Songs – Shamshad Begum

The solo songs of Shamshad Begum also have fairly large foot print in 1947. Here again, I have heard a very few songs earlier. Shamshad Begum solo songs that I listened here for the the first time are likeable enough. However, to a person who is initiated to the Hindi Film Music in ‘60s, these would need more repetitive hearing to appreciate the nuances of the songs.

The basis of classifying a song as ‘popular’ mainly rests on the fact of that I did listen to these songs on the radio in ‘60s – which was my sole contact with Hindi Film Songs in those days. The classification of ‘popular’ and ‘other’ (solo songs) categories, thus, necessarily reflect this limitation of my personal imbalanced knowledge.  ‘Jumka Gira Re’ finds the place under ‘popular’ category because I have heard the song several times in the recent started-to-listening- on-net years, as the song invariably comes for any discussion when the relative recent Mera Saya version comes up for any discussion. Both versions relate to the periods of totally different song composition styles, and hence not within the bounds of comparison on any count.

The songs for which I have not been able to locate the YT or digital liks also works out to so many that if YT links were indeed available, we would need to have split the solo songs of Shamshad Begum over two posts.

Popular solo songs

Ham Dard Ka Afasana Duniya Ko Suna Denge – Dard – Naushad Ali – Shakeel Badayuni

Ye Afsana Nahi Zalim Mere Dil Ki Haqeeqat Hai – Dard – Naushad Ali – Shakeel Badayuni

Jhumka Gira Re Baraili Ke Bazar Mein – Dekhojee – Tufail Faruqee – Wali Sahab

Other Solo Songs

Ga Kuchch Bawari Ga – But Tarash – Ghulam Haider –

Ay Falak Tu Hai Satane Ke Liye – But Tarash – Ghulam Haider –

Ay Falak Kab Tak Satata Jaega – But Tarash – Ghulam Haider –

Jisne Jalaya Ashiyaan Usko Salam Ho – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Na Sata Na Sata Bairi Sapne Na Sata – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Baalam Mohe La De Saajan Mohe La De Chunariya Hari – Dekhojee – Tufail Faruqee – Wali Sahab

Bansuriya Haye Toot Gayi Man Ki Wo Jo Geet Nahi Haye The Maine – Dekhojee- Tufail Faruqee – Wali Sahab

O Rasiya Tune Kahe Ko Nain Milaye – Dekhojee- Sabir Hussain – Wali Sahab

Anagana Bole Kaag Re Ujjada Man Ka Baag Re– Doli- Ghulam Muhammad –  Nazim Panipati

Tera Man Kahe Dole Main Jaan Gayee – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Kisi Deepak Ki Dhun Mein Bechara Jalata Hai Patanga Pyara – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Man Bhooli Kathayen Yad Na Kar, Phir Sawan  Ke Din Aayenge – Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Ghat Par Ik Matka Ik Matki Dono Pyase Jaate Hai – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Chanda Ki Chandani Na Suhae To Kya Karein – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Panchhi Bhool Gaya Wo Gaana Bhhool Gaya Azad Hawaein – Ek Kadam – Prakash Nath Sharma – Avtar Visharad

O Raja Re Mohe Apni Bana Le Re – Leela – C Ramchandra – Qamar Jalalabadi

[Note: I had included this song under Solo Songs of Geeta Roy as well, because some references credit the song to her. However, HFGK has credited the song to Shamshad Begum.]

Zule Hiya Nache Naiya….Aaye Piya Ho Aaye Piya – Naiya – Anil Biswas

Hamein Jinse Pyar Unse Main Kya Kahun, Kya Kahun – Pahela Pyar – Premnath – Balam

Haye Re Ghir Ke Badal Aaye Jiya Ghabaraye – Pahela Pyar – Premnath – Ishwar Chandra Kapoor

Yeh Duniya Muhabbat Nibahana Na Jaane – Pati Seva – Gulshan Sufi – Wahid Quraishi

Do Nayano Ke Oat Mein More Pritam Ka Dera – Shikarpuri – Muhamad Shafi- A Shah Aziz

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

  • Chhail Chhabili Masat Hawaein – Bhanwar – Khan Mastana –
  • Dukh Dard Ki Maari Hun – Bhanwar – Khan Mastana –
  • Mithi Mithi Loriya – Bhanwar – Khan Mastana –
  • Banka Chhaila Motorwa Uday Liye Jaay, Jiya Dol Raha – Bhookh – Anil Biswas – Dr. Safdar Aah
  • Balam Pardesiya Sajan Pardesiya – Dekhojee – Sabir Hussain – Wali Sahab
  • Ab Phir Se Phir Phir Se Yaad Aaye Kyun – Ek Kadam – Prakash Nath Sharma
  • Ek Kadam Aur Ek Kadam – Ek Kadam – Prakash Nath Sharma
  • Khelo Ji, Khelo Khelo Khelo Babu Ji O Raja – Intezar Ke Baad – Khan Aziz – Gafil Harnalvi
  • Nazariyon Se Dil Bhar Doongi Chhoone Nahin Dongi Shareer – Pahela Pyar – Premnath –
  • Balam
  • Maine Likh Likh Chiththhiyan  Dali Sajan Ko Han Han Balam Ko – Pati Seva – Gulshan Sufi – Wahid Quraishi
  • Beech Bhanwar Mori Naiya …Chhod Balam Pardes Ab Ghar Aa Jaa – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’
  • Tere Bagair Phir Koi Baat Meri Bani Nahi – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’

We will take up Micro View of Solo Songs of Rajkumari for the year 1947 in our next episode.

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

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

The month of June is the month of anniversary of one of our most frequently visited blogs – Songs of Yore. SoY has completed 8 years this June.  True to the spirit and now the tradition, the 8th Anniversary post has presented songs that are not only not heard of but have very interesting stories to go along with.

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

Suraiya: The Last Nightingale of Bollywood – While paying the tribute to her on 89th birthday (15th June, 1929), D P Rangan has traced her biography and presented 20 of her less-heard songs.

Shyama- Sun Sun Sun Zalima – An early song where Shyama first made an impact is the second version of the main love duet, ‘Tu Mera Chand Main Teri Chandni’, from A.R. Kardar’s Dillagi (1949) starring Suraiya and Shyam. The original version was filmed on the stars, but this version on Shyama voiced by Geeta Dutt is less known.

Remembering Legendary Composer Vasant Desai, born as Atmaram Desai on 9th June 1912, known popularly by his nickname, Vasant Desai. His compositions in Hindi and Marathi films had their share of popularity. He has composed background scores for very unique films, like Yaadein (1964) and Achanak (1974), over and above many others like Zalzala (1952), Ferry (1954), Kabhi Andhera Kabhi Uajala (1958).

Nutan- An Actress Par Excellence – 4 June 1936 / 21 February 1991 – Nutan’s mother, and a leading actress of her times, Shobhana Samarth launched her in Hamari Beti (1950), and the rest, as is said, is history. Nutan had a song in her own voice in the film too

Tujhe Kaisa Dulha Bhaye Re Banki Dulhaniya – Hamari Beti (1950) – Snehal Bhatkar – Pt. Phani

Snehal Bhatkar – A Tribute – was born as Vasudev Bhatkar on 17th July 1919, and passed away on 29th May, 2007 in Mumbai.

[Note: We had also published a ‘Fading Memory..Unforgotten Songs’episode,  Snehal Bhatkar – Hamaari Yaad Aayegi, last year.]

Rajendra Krishan-The Lyricist who gave us many Immortal Songs – born on June 6, 1919 to Parvati and Jagannath Duggal in Jalalpur Jattan of Gujarat district (now in Pakistan), Rajendra Krishna was an equal among the great contemporary stalwarts. He gave lyrics to a wide variety of songs, ranging from Ghazals to Bhajans, Geets to Nazms with great flair. His songs are simple, inventive and full of meaning.

May, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Dattaram, wherein we had remembered his songs from Ab Dilli Door Nahi, Paravarish, Qaide No. 911 and Santan.

And, now the posts on other subjects:

What’s the Good Word? – On 31st May 2018, for the 11th year running, Indian kids dominated the annual championships of the Scripps National Spelling Bee championship. The winner was Karthik Nemmani.  Taking the cue from this event, the post goes on enlist songs to do with words and spellings –

For Dev Anand,flirtation was an innocent pastime – Author has picked up these narratives from Dev Anand’s autobiography Romancing with Life before presenting 10 Romantic Songs of Dev Ananad.

How SD Burman missed out on a Filmfare Award for his greatest soundtrack ‘Guide’Anirudha Bhattacharjee  &  Balaji Vittal – Edited excerpts from a new biography, S.D. Burman: The Prince-Musician, of the celebrated music composer reveal the background maneuvering that denied ‘Guide’ its glory.

‘Every Song Has a Story’: In Conversation with Anirudha Bhattacharjee and Balaji Vittal with Antara Nanda Mondal on the occasion of S.D. Burman: The Prince-Musician. The writer duo talk about how their adoration for music maestros SD Burman and RD Burman, their love for music and their curiosity behind the making of those evergreen songs led them to write biographies of their idols – their challenges, discoveries, the journey and more.

The Greats: Nargis and The Many Moods of Nargis are the two key posts penned to document the author’s new found adoration of Nargis. Additionally, there are reviews of her films Lajwanti (1958), Raat aur Din (1967) and Barsaat (1949) till now in June, 2018.

Bombay in songs which are unheard and un-posted.

Bandits, Indian Style’ recalls the songs from movies that revolved around the Indian style dacoits. Each of the film mentioned herein also has documented the name of the actor who played the role of the dacoit too.

The Popularity Of Bollywood Songs is captured here in one song from each decade, starting with ‘30s.

Romantic, sad, a stage performance, a Mujra, and club Songs of ‘Dil Lagana’ in nearly all sorts of songs that have been presented in this post.

I Compose I Sing – ‘Aaj jaane ki zid na karo amazes not only for its unbeatably high number of people rendering it, but also in the fact that every single person who has sung it has stuck to the same original tune made in 1973.’ On that note of composition of the song, the article goes on to list a few instances of artists who sang for themselves.

Ten of my favourite dream sequence songs is a follow up post to the last month’s Ten of my favourite Khwaab/Sapna songs. And then we have Ten of my favourite ‘dreamt’ songs are the songs that are actually dreamt. People fall asleep and, in their dreams, a song plays out.

Actions Speak Louder Than Words – The idea of charming the snakes is Indian. The modus operandi of this process to charm involves swaying the snake repeatedly to hypnotize the creature. If that works, the phrase “actions speak louder than words” will find endorsement. The instrument used for the job is called been, which is a generic name, the specific one being pungi. Kalyanji (Anandji) Shah decided to play an early French synthesizer called clavioline to simulate the pungi’s sounds, initially in Naag Panchmi (1953, Music: Chitragupt, Lyrics: G S Nepali). The key song here was the Asha Bhosle-rendered O Naag Kaheen Ja Basiyo Re”.

Hindi songs with Sapera (Been) Dhun – The first Sapera based Hindi films was ‘Sapera’ in 1939. We have not been able to get a song from it with the Been dhun.

The dancing girl, the king and the nation begins with a narrative review of Amrapali (1966) and Vyjayantimala’s enactment of eponymous heroine who is a performer, dancing for the pleasure of others as well as for self-expression. The post then goes on to introduce Ruth Vanita’s book Dancing with Nation.  The book examines the cultural importance of the Hindi-film courtesan (a word used to cover such designations as nartaki, devdasi and tawaif – all terms with subtle differences in meaning, which have experienced semantic shifts over time).

We have commenced Micro View of Best songs of 1947: And the winners are? with male solo songs of Other Male Singers and concluded micro review of male solo songs with MY Top Male Solo Songs. We have then continued with micro view of female solo songs, wherein till now we have covered solo songs of Suraiya and Geeta Roy.

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.

Tune Teri Nazar Ne Kafir Bana Diya – Fariyad (1964) – With Mubarak Begum – Snehal Bhatkar – Kedar Sharma

Gori Kar Le Tu Aaj Singar – Inasaniyat (1955) – C Ramchandra – Rajinder Krishna

Dilbar Dilbar Hayya Habi O Dilbar – Aao Pyar Karein (1964)  – Usha Khanna – Rajender Krishna

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 : Female Solo Songs – Geeta Roy

Barring a few well-known song, personally for me, the songs that I heard here, during this micro review, are the ones that I had heard for the first time. This simply means that most of songs that I had heard were of Geeta Dutt, and not those of Geeta Roy. And I always believed I have had many Geeta Roy/Dutt songs!

The number of Geeta Roy’s solo songs for 1947 too add up to our hypothesis that the year is an open-field for transition-vintage era singers,  Many of the songs presented here have not been credited to Geeta Roy in HFGK, but the knowledgeable up-loaders have credited them to Geeta Roy. And as we listen to the songs, we would concur too, save the song appearing at the end of this post.

The numbers also merit spanning our micro-analysis over two posts, but I have accommodated them in one post only, risking the lengthier than normal post..

Popular solo songs

Yaad Karoge Yaad Karoge Ik Din Ham Ko Yaad Karoge – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Mera Sundar Sapna Beet Gaya Main Prem Mein Sab Kuchch Haar Gayi – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Other Solo Songs

Aankh Mein Kyon Ashq, Lab Pe Rahe Haye Kyon – Bhookh – Anil Biswas – Dr. Safdar ‘Aah’

Is Jag Mein Garibon Ka Nahi Koi Thikana – Bhookh – Anil Biswas – Dr. Safdar ‘Aah’

Bigadi Hui Taqdeer Meri Aa Ke Bana De – Dil Ki Rani – S D Burman – ?

Kyun Balam Ham Se Rooth Gaye Kyun Lage Naina Chhooda Gaye – Dil Ki Rani – S D Burman – Y N Joshi

Aayenge Aayenge Aayenge Mere Man Ke Basaiya Ayenge Re – Dil Ki Rani – S D Burman

Mere Piya To Gaye Pardes Re Haye Vasant Ritu Kyon Aayee – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Hamein Chhod Piya Kis Desh Gaye, Piya Laut Ke Aana Bhool Gaye – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Gulshan Mein Aayee Bahar, Ho Rasiya Loot Sake  To Loot – Kaun Pardesi – Ali Hussain Muradabadi – Muztar Bahzadi

Daman Ko Haath Se Chooda Kar Chale Gaye – Qasam – Sajjad Hussain – Anjum Pilibhiti

Aye Dil Bata Kisko Karoon Pyar – Qasam – Sajjad Hussain – Anjum Pilibhiti

Ya Rab Hamari Aah Mein Itana Asar Nahi – Qasam – Sajjad Hussain – Hameed Hyderabadi

Woh Jisko Meeta Baithe Woh Unki Hi Duniya Thi – Qasam – Sajjad Hussain – Hameed Hyderabadi

Suna Ja Koi Geet Aye Dil Suna Ja – Qasam – Sajjad Hussain – Hameed Hyderabadi

O Shyam Meera Ke Girdhari Ab To Darshan Do – Mere Bhagwan – with Chorus  – Sajjad Hussain – Shewan Rizvi

Mujhe Bawari Bawari Log Kahe Main Geet Piya Ke Gaati Hun – Mere Bhagwan – Sajjad Hussain – Shewan Rizvi

Main Hun Phoolon Ki Raani, Kanton Mein Rahanewali – Paheli Pahechan – Bulo C Rani – Pandit Indra

Nai Baharein Aayee Tum Hi Naa Aaye – Rasta – Zafar Khursheed –

Aayi Nazar Andhere Mein Roshani Mujhe – Raasta – Zafar Khursheed – Arsh Haidari

Dukhiyon Pe Hai Dukh Dard Ka – Sagar Tarang – Piyami – Pandit Indra

Woh Dil Gaya Woh Dil Ke Sahare Gaye – Tohfa – M A Rauf (Usmania) – Rafiq Gazanavi

The song for which I could not find the YT / soft link:

Hans Hans Ke …. – Utho Jago – Aziz Khan, Ibrahim – ?

Special Note:

O Raja Re Mohe Apni Bana Le Re – Leela – C Ramchandra – Qamar Jalalabadi

[HFGK credits this song to Shamshad Begum, however many of the internet references credit the song to Geeta Roy(!¡). Whatever may the truth, the voice does sound more like Geeta Roy to me. So what can be the correct status?]

We will take up Micro-Analysis of solo songs of Shamshad Begum for the year 1947 in our next episode.

Carnival of Quality Management Articles and Blogs – June, 2018

Welcome to June, 2018 edition of Carnival of Quality Management Articles and Blogs.

A few days back I was reading the article Should Organizational Cuture Form Part of Your Quality Management System?. As I was reading through the article, I thought up of choosing Organizational Culture as our base topic for discussion this month.

The information that comes in a Google Search is simply overwhelming. I have selected a few articles here.

MSS 1000 defines organizational culture as group shared values and perceptions of acceptable and unacceptable behaviours.

NOTE 1: Culture is a socially driven phenomenon where people conform to norms to gain the acceptance of the group and resulting benefits.

NOTE 2: Culture cannot be directly imposed by the leaders of an organization – it establishes over time through the influence of a combination of leadership communication, example and compliance with the implemented management system. Behaviours that are encouraged or enforced over time influence and create the culture.

NOTE 3: A positive culture values justice, responsible questioning and equitably satisfying stakeholder needs and expectations.

What is organizational culture – Torben Rick broadly identifies it as

  • Culture is how organizations do things
  • The values and behaviors that contribute to the unique social and psychological environment of an organization
  • Organizational culture defines a jointly shared description of an organization from within
  • Organizational culture is the sum of values and rituals which serve as “glue” to integrate the members of the organization
  • Organizational culture is a system of shared assumptions, values, and beliefs, which governs how people behave in organizations
  • Organizational culture is civilization in the workplace
  • Organizational culture refers to the philosophies, attitudes, beliefs, behaviors and practices that define an organization
  • Culture is the organization’s immune system
  • It over simplifies the situation in large organizations to assume there is only one culture … and it’s risky for new leaders to ignore the sub-cultures

At its worst, corporate culture can be a drag on productivity and performance. At its best, it is an emotional energizer….Corporate culture is like an iceberg, with most of its weight and bulk below the surface. Don’t leave the organizational iceberg unattended!

And let’s not forget that the culture of any organization is shaped by leadership.

“The best definition of the word culture (workplaces included) that I’ve heard is that it’s how people behave when nobody is watching.”
— Gwyn Morgan

Michael D. Watkins, in his article ‘What Is Organizational Culture? And Why Should We Care?’, narrates perspectives that provide the kind of holistic, nuanced view of organizational culture that is needed by leaders in order to truly understand their organizations — and to have any hope of changing them for the better.

10 Principles of Organizational Culture by Jon Katzenbach, Carolin Oelschlegel, and James Thomas :

Three dimensions of corporate culture affect its alignment: symbolic reminders (artifacts that are entirely visible), keystone behaviors (recurring acts that trigger other behaviors and that are both visible and invisible), and mind-sets (attitudes and beliefs that are widely shared but exclusively invisible). Of these, behaviors are the most powerful determinant of real change. What people actually do matters more, than what they say or believe. And so to obtain more positive influences from your cultural situation, you should start working on changing the most critical behaviors — the mind-sets will follow. Over time, altered behavior patterns and habits can produce better results.

Culture eats process for breakfast.”

If you don’t work as hard on creating new culture, a culture supported by systems, structure, skills and style—your culture will eat your process.

— Unknown

Here are a few representative articles on impact of organizational culture on the effectiveness of the management systems:

We will now turn to our regular sections:

For the present episode we have picked up Bruce Rosenstein’s article ‘How To Be An Employee The Peter Drucker Way’ @ Competitive Strategy column of Management Matters Network….“There are many skills you might learn to be an employee, many abilities that are required. But fundamentally the one quality demanded of you will not be skill, knowledge, or talent, but character.”…The author presents similar selected quotes from that 1952 article of Peter Drucker, all of which remain as relevant today as they were in 1952.

We now watch one of the latest ASQ TV  episodes:

  • The Hidden FactoryIn this episode, learn about the concept of the hidden factory and how it can affect any organization regardless of industry. And discover how it can create misleading metrics that cause productivity to outrun quality.

Jim L. Smith’s Jim’s Gems posting for May, 2018 is:

  • Solving Difficult Problems – Dr. Peter Carruthers, one-time head of theoretical physics at Los Alamos National Laboratory, said that our unconscious is an important factor in solving problems….This means that while you certainly need to collect all the information possible, at some point it’s important to back off, relax, and trust that creative, productive mental work will continue even if you’re not aware of it. Sometimes “letting off the gas pedal”, leaves space for creative juices to flow….People who won’t relax their dependence on concrete, countable information often just can’t see possibilities that don’t fit into what they already know.

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 : Female Solo Songs – Suraiya

Having completed the Male Solo Songs section of Songs of 1947 of the Best songs of 1947: And the winners are?, we now move over to the Female Solo Songs.

One pattern that emerges quite apparently is that most of the leading playback singers have solos songs that quantitatively would need at least two posts each. But that would make the total number of posts on Female Solo Songs run a couple of months. That would make the coverage period for female solo songs a bit too long., So, in many cases we may have bear longer post with higher than normal number of songs per post.

Apart from this mundane issue, the year would present to us a real feel of vintage era music composition and song rendition styles. There can not be better manifestation of this than the presence of three vintage era ‘greats’ – Noor Jehan, Khursheed and Kanan Devi – in the female solo songs this year.

Also, my back-of-the-envelop rough work of compling the list, with the help of HFGK, shows that I have previously heard a miniscule share of the all the songs that may be available on YT.

Solo Songs of Suraiya

For the year 1947, Suraiya has 19 solo songs, spread over 5 films and 4 music directors.

Popular solo songs

Jab Tumhi Nahin Apne Duniya Begani Hai – Parwana – Khursheed Anwar – D N Madhok

Paapi Papiha Re Pi Pi Ma Bol Bairi Pi Pi Na Bol – Parwana – Khursheed Anwar – D N Madhok

Mere Mundere Na Bol Ja Kaga Kaga Ja – Parwana – Khursheed Anwar – D N Madhok

Kale Kale Aaye Badarwa, Aao Sajan Mere Aao – Natak – Naushad Ali – Shakeel Badayuni

Other solo songs

Aison Se Na Jee Lagae Koi, Ret Ke Ghar Na Banae Koi – Dak Bangala – Naresh Bhattacharya – D N Madhok

Jiya Bhar Aaya More Nain Bhar Aaye – Dak Bangala – Naresh Bhattacharya – D N Madhok

Ho Ho Chandani Raat Hai, Aise Mein Aa Jao– Dak Bangala – Naresh Bhattacharya – D N Madhok

Dil Dhadake Aankh Mori Phadake, Chale Jana Na Jee Bichhad Ke – Dard – Naushad Ali – Shakeel Badayuni

Bahar Khatm Hui…Chale Dil Ki Duniya Barbad Karke – Dard – Naushad Ali – Shakeel Badayuni

Ham The Tumhare Tum The Hamare Hae Wo Bhi Jamana Yaad Karo  – Dard – Naushad Ali – Shakeel Badayuni

Bich Bhanwar Mein Aan Phasa Hai, Dil Ka Safinaa Shah-e-Madina– Dard – Naushad Ali – Shakeel Badayuni

Din Din Joban Dhalata Jaye, Din Din Dhale Jawani – Do Dil – Govind Ram – D N Madhok

Chanda Ki Chandani Mein Hae Rama, Jiya Mora Dol Gaya– Do Dil – Govind Ram – D N Madhok

Phir Nain Baware Bhar Bhar Aaye Hae Bhar Bhar Aaye – Do Dil – Govind Ram – D N Madhok

Phir Hamaein Koi Yaad Aaye Phir Lab Pe Hai Haye Haye – Do Dil – Govind Ram – D N Madhok

Dil Le Ke Chale To Nahin Jaoge Rajaji O Rajaji – Natak – Naushad Ali – Khumar Barabankavi

Jab Se Chale Gaye Hai Woh Zindagi Zindagi Nahi – Natak – Naushad Ali – Khumar Barabankavi

Apna Jinhe Banaya Thukara Ke Woh Sidhare– Natak – Naushad Ali – Shakeel Badayuni

Taaron Bhari Raat O Sajan Taaron Bhari Raat – Natak – Naushad Ali – Shakeel Badayuni

Aaja Balama Rain Andheri Dar Lage, Dukhiya Jiya Pukare – Parwana – Khursheed Anwar – D N Madhok

We will take up Solo Songs of Geeta Roy for 1947 in  our next episode.

Fading Memories…. Unforgettable Songs: June, 2018

Dattaram – Ab Dilli Door Nahin??

Dattaram (Lakshman Wadkar) –   [?-?-1929  /8-6-2007] belongs to the illustrious Goa Club of Arrangers  of Hindi Film Music. It was their association at gym that had attracted Shankar’s (of SJ duo) attention to Dattaram’s tabla-playing prowess. As would the dice of chances roll, that association got transformed into a very long relationship when Shankar Jaikishan got the breakthrough as music directors. Dattaram is said to have assisted Sajjad Hussain for about three months before joining SJ team

Dattaram did get fairly good commercial appreciation for the songs that he composed, and the songs that he has composed have etched their space in the history of HFM, But the success was not enough to provide escape velocity to propel him into the big league. Even as he graduated as an independent music director, he continued to assist Shanker – Jaikishan – more than 50 films in this capacity – till he decided to hang his gloves. He has done 19 films as independent music director.

His very atypical style of playing tabla was called Dattaram Theka (bit). Couple of the most known examples that comes to my mind, at the sheer speed of reflex action, are bits of dholak in Masti Bhara Hai Sama (Parvarish) or duff in Mera Naam Raju Gharana Anaam (Jis Desh Mein Ganga Behti Hai). Dattaram remains the important member of the Golden Years’ Music Director Club who would compose simple but hummable tunes.

Even as we will consciously pick up two relatively less heard songs from his films in this annual series on Dattaram, we shall also take note of the songs that have been quite popular too.

Ab DIlli Door Nahin (1957) was Dattaram’s maiden film, made under RK Films banner, had almost all actors who were not well-known names and additionally did not have Raj Kapoor in the cast, its subject that was very idealist, In other words, it was not a ‘mass’ film. Chun Chun Kar Ke Aayi Chidiya and Ye Chaman Hamara Apna Hai had set the cash registers ringing even then.

Jiyo Lal Mere Tum Lakho  Baras – Ab Dilli Door Nahin (1957) – Lata Mangeshkar – Hasrat Jaipuri

This is the first ever song, set to Japtal in Bahiravi, Dattaram recorded as an independent music director. As recorded by other knowledgeable bloggers have noted, the song is picturized on Meena Fernandes, with Master Romi, a very young Vijaya Chaudhary and Motilal also visible in the picturisation.

Mata O Mata Agar Tum Aaj Hoti – Ab Dilli Door Nahin (1957) – Sudha Malhotra 0 Shailendra

Sudha Malhotra’s voice truly reflects the childlike vocal chords of an adolescent protagonist.

Parvarish (1958) had two songs Aansoo Bhari Hai Jivan Ki Raahein (Mukesh) and Masti Bhara Hai Sama (Manna Dey, Lata Mangeshkar) which were popular enough to have provided the push to Dattaram  that could have leap frogged into the big league. But the fate seemed to have different ideas.

Jhoome Re…Ho Meri God Mein Taare Jhoome – Parvarish (1958) – Asha Bhosle – Hasrat Jaipuri

There would be many who would consider Lalita Pawar playing kind mother as an abnormal event in Hindi Films, but she lip-synching when she switched to character roles is too quite rare.

Jaane Kaisa Jaadu Kiya Re Bedardi Balam – Parvarish (1958) – Sudha Malhotra, Asha Bhosle – Hasrat Jaipuri

Dattaram, who had used Sudha Malhotra for a song on the child or Asha Bhosle for a song by a mother, now uses both the singers for mujhra dance. Raj Kapoor plays the table player on the screen.

Beliya Beliya Beliya Beliya Bheegi Si Bahoron Mein, Tumne Isharon Mein, Dil Mera Le Liya,,,,,Femiya Femiya Femiya Femiya Dekho Ji Hazaron Mein TumneIsharon Mein, Dil Mera Dil Mera Le Liya – Parvarish (1958) – Manna Dey, Lata Mangeshkar – Hasrat Jaipuri

Of all the Dattaram’s Manna Dey- Lata Mangeshkar duets that appear in this post, this probably is the only one that may remain the grey area of Very Popular to Not So Popular Songs. It is so light, so very fast and yet quite a hummable tune, set to very distinct theka not only in the rhythm but also in the orchestration.

For the records, other knowledgeable bloggers have identified the actress with Raj Kapoor on the dance floor as Jennifer Murray.

Quaidi No. 911 too had at least two songs that were quite popular – Mithi Mithi Baaton Se Bachana Jara – happy version and a sad version – (Lata Mangeshkar) and Pyar Bhari Ye Ghataye (Manna Dey, Lata Mangeshkar):

Ye Khile Khile Taare Hamare Hai Ishare… Aaja Re Aaja…Aa Bhi Jaa – Quaidi No, 911 (1959) – Mehmood, Lata Mangeshkar – Hasrat Jaipuri

Dattaram presents a club song in Lata Mangeshkar’s voice !

Tune Mera Maine Tera Dil Le Liya …Do Nain Mila Ke Haaye Re Diwana Bana Diya – Quadi No. 911 – Lata Mangeshkar – Hasrat Jaipuri

Here Dattaram has deftly experimented with street song .

Year 1959 had another film – Santaan – under Dattaram’s belt. Here too he has given a Manna Dey, Lata Mangeshkar duet Boley Ye Dil Ka Ishara and a happy and a sad twin version song, Dil Ne Use Maan Liya, Jiska Andaz Naya in Mukesh’s voice.

Kehta Hai Pyar Mera O Mere Ladle – Santaan (1959) – a twin cradle-song in Hemant Kumar’s and Lata Mangeshkar’s voices – Hasrat Jaipuri

We have one more song to add to the variety of situations that Dattaram could so deftly handle.

Chhoti Si Dulhaniya Ki Shaadi, Pyari Si Dulhaniya Ki Shadi – Santaan (1959) – Lata Mangeshkar – Hasrat Jaipuri

This is a party song that is based on theme of a marriage song. Note the use of harmonium / accordion’s small stroke at the very beginning. This is used with a slight variation across the songs.

We will end today’s post with two Mohammad Rafi songs composed by Dattaram. First one is not-so-unknown duet with Manna Dey and the second one is an unknown solo. Both songs further validate Dattaram’s virtuosity in handling vastly different situations.

Mama O Mama … Gharwale Khaye Chakkar, Aisa Hai Apana Chakkar, Chakkar Mein Tum Nahin Aana – Parwarish (1958) – Hasrat Jaipuri

The song moves at almost the breathless pace….and if Raj Kapoor and Mehmood are very comfortable with dancing at that pace, Dattaram has been as comfortable in retaining the melody of his theka too. Records indicate that this song had stood 21st in Binaca Geetmala in 1958

Murakh Bande..Jeenewale Khushi Ke Liye Jiye Jaa, Apne Aansu Tu Hans Ke Piye Jaa – Santaan (1959) – Hasrat Jaipuri

The available clip essentially is an audio clip. But that does not leave any doubt that the song is a ‘background’ genre song.

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 – MY Top Male Solo Songs

As can be expected, there are more songs that I had not heard than the songs that I had heard less. The songs that I have heard quite often are far too less. Under the circumstances, there are chances that I may have selected a song here over otherwise a meritorious song. With that bias accepted, here is MY choice of the Male solo Songs for 1948:

Mohammad Rafi – Humko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – C Ramchanndra – Moti B.A

Mukesh – Arson Pe Sitara Hai Wo – Beete Din – A Dinkar Rao

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

G M Durrani – Ek Bewafa Ne Shish-e-Dil Chur Chur Kar Diya – Ek Roz – Shyam Sundar – Sarshar Salani

Surendra – Kyon Tu Mujh Se Rooth Gayi Aathon Pahar Dil Yahi Pukare – Manjhdhar – Gyna Dutt- Shams Lakhanavi

K L Saigal – Tut Gaye Sab Sapne Mere.. Ye Do Naina Sawan Bhado Barse Sanj Savaere – Parwana – Khursheed Anwar – D N Madhok

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

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

Of these, the one I like the most is K L Saigal’s Tut Gaye Sab Sapne Mere.. Ye Do Naina Sawan Bhado Barse Sanj Savaere

We will move on Female Solo Songs of 1947 in our next episode.

An Update on 26-06-2018:

SoY has published Best songs of 1947: Wrap Up 1 that sums the diverse discussions that had taken place on and off the blog. SoY award for best male singer for 1947 has been awarded to K L Saigal, and the song cosen is Ae phool hans ke baagh mein kaliyan khilaye ja. Mohammad Rafi gets a special award for the jandmark song Humko Tumhara Hi Aashara and Mukesh gets special mention for his overall excellence in the year.

All posts relating to The Micro View of Best Songs of 1947 –  Male Solo Songs  can be accessed by the link herein.

Business Sutra |6.3| What are you Worth?

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, dealt with the definitive need for not ‘only measurement’, but for ‘also measurement’ too and Part 2 dealt with mutual importance and dependence of Objective versus Subjective Reality.

Business Sutra |6.3| What are you Worth?

Having thought about what can be measured and, then, having understood the merits of subjective and objective measures & measurements, the next logical question that would come up would be

The answer will be different at personal or professional individual and at individual or collective organizational level.

Normally, most successful people, or organizations, resist ‘being satisfied’, because:

The term Red Queen, picked up from the character Red Queen of Alice in Wonderland has since been used in scientific circles to describe an evolutionary concept, namely that evolutionary change in one species could prompt change in another co-dependent species if it wants to avoid extinction. In other words the species have to run (evolve) in order to remain in the same place (simply avoid extinction).

However, the world today has become rampant with very rapid changes. As a result, the phrase Red Queen Race is also used in general parlance to describe any situation where entities have to make huge efforts to remain in the same state.

Incidentally, too much of the Red Queen Race consumerism has given rise to new movement, called Postconsumer Movement, which essentially asks the question – “Do I have #EnoughStuff for now?” = very vividly exemplified by:

In so far as the subject of satisfactory organizational performance, the huge amount of highly researched modern management literature is more or less unanimous on one aspect – the effectiveness of organizational performance is always w.r.t. its objectives for a given long term direction at a given point of time.

So, at this stage, we would leave the choice of what to read when on that subject to the reader… and move on to Segment 3 of the episode 6 wherein Devdutt Pattanaik takes up the subject of What is Your Worth?, in continuation to the discourse in the previous episode.  

How do you measure happiness?

First let’s define happiness. It is LSD, i.e. Lakshmi Saraswati and Durga.  Laxmi represents material wealth, Saraswati represents intellectual wealth and Durga represents emotional wealth.. What you can measure is L. S is partially measurable and D is not measurable at all. So happiness is a combination of some things that can be measured, which is wealth; something that can partially be measured, which is intellect or knowledge, like a training program or your qualification that you’ve got. But what cannot be measured is the emotional quotient. How do you measure who needs attention who doesn’t need attention? And, sometimes happiness is a function of how much attention you get.

So, you have to recognize that happiness is a combination of measurable and not measurable. Also, it is what I consider how much money is good enough for me and how much money is good enough for you.

I was just going to bring that up. Even there is this subjective element of how much wealth is enough?

You get a crore, two crows five crores, ten crores. Let us find out what is the right measurement for all CEOs. Everybody will say that the measuring scale for me is different from the measuring scale for you because I am different than you are.. In essence every human being is unique. Everybody has their own unique measurement scale. That is what Ganesha was trying to tell us.

One day Indra wanted to measure how great he was. He wanted proof,  he wanted to show the world how great he was. That means he wanted something tangible and objective. So he called Vishwakarma, his architect and told him to build a palace for him. Vishwakarama built a palace of gold for him. Indra the looked at it and said it is good but not good enough for me. Please build another palace which will measure my true worth. So, Vishwakarma builds another palace. This time he builds a palace of jewels laden with diamonds and pearls. Indra looks at this great palace and says well this is also good but not good enough for me. In both cases he is saying that what you have measured is not quite right. I measure it very differently. I want something grander.

Vishwakarma gets exasperated and goes to Vishnu. Vishnu comes to Indra in the form of a little boy and says, I have heard that you have built a great palace. I want to see these great palaces. Indra takes the boy to show his palace of gold and also the one made of jewels. While showing the palaces, Indra says that these are good palaces but they are not as good as I am. The boy looks at these two palaces and says, ‘Well they are very good ones, but they are not as good as the palaces of the other Indras I have met.

A comparison is now being drawn, a reference point is being asked for.

Who are these other Indras?

The boy replies, ‘Oh, you thought you were the only Indra. There are as many Indras in this world as there are grains of sand in a beach. Each one assumes that he is great and each one has built a palace of his own. So I have seen palaces which are bigger than yours, the palaces which are smaller than yours and each one is aspiring for the next palace. The scale is of infinity and your ambition is infinite, your self-imagination is infinite. You can never measure infinity.

So, in what context are we trying to measure all the daily things that we end up measuring.

Every measurement depends on a reference point. Your reference point and my reference point may be very different. People try to come up with objective realities, like the maidservant can make do with no holidays but the CEO needs the weekend off.

Which measurement is okay?

This segment thus only reemphasizes that every measure is relative. I judge that from my perspective, you do it your perspective or he does it from his perspective. In other words, decide your point of reference, your measure, your measurement method and your measurement indicator. Measure the performance on that scale and decide whether the performance was good enough. Even when you set benchmarks, ensure that these benchmarks are in line with your reference point. At the end, be happy or otherwise with your performance purely from your perspective. You have to create that level of objectivity in your subjectivity where you can be sure of your happiness or otherwise.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 1st segment – Nature is destroyed when culture is created of the 7th episode The Environment, 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.