Welcome to April 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
2019 marks the birth centenary of some of classic Hindi cinema’s greatest in the field of music. Music director Naushad was born a hundred years ago; lyricists Kaifi Azmi and Rajendra Krishan were born a hundred years ago; and two of Hindi cinema’s most popular playback singers—Manna Dey and Shamshad Begum—were also born in 1919, less than a month apart.
The unforgettable voice of Shamshad Begum: Birth centenary special – 14 April 2019 marks the birth centenary of one of India’s most durable and outstanding singing voices — Shamshad Begum.
Ten of my favourite Shamshad Begum solos is tribute to her to commemorate her birth centenary, of which I have picked three of the post-1950 songs-
K L Saigal – The Modern Tansen – Saigal was so perfect in his singing that musicians, composers and singers around him called him Shiva’s Bhrm Naad. During a recording or a song recital it is usually the musicians who set their instruments first to give the scale and the singer would match that scale. But in case of Saigal, it was the other way round. Tanpura and other instruments were set after Saigal sang a scale.
Director Ravindra Dave, who was ‘Ravinbhai’ in Hindi films and ‘Bapa’ for Gujarati cinema – A tribute to the multi-faceted filmmaker on his birth centenary – Hiren B Dave – Ravindra Dave’s Hindi films between the early 1950s and the late ’60s include Nagina (1951), Agra Road (1957), Post Box 999 (1958), Satta Bazaar (1959), Dulha Dulhan (1964) and Raaz (1967). His films had numerous hits songs and were largely popular with audiences. His contributions extend to Gujarati cinema, which he revived with the blockbuster Jesal Toral in 1971. Dave also had an interest in carpentry – he would make chairs for domestic use – and was an amateur painter and sculptor too.
Some Nice Film and Dance References to the last Nawab of Awadh, Wajid Ali Shah (plus some other things) – Raj Kapoor has personified Nawab of Awadh for the song Kate Na Kate Raina for Mera Naam Joker
Jeetendra – The Jack Of All Trades – From becoming Sandhya’s body double in Navrang (1959) at the age of 17 to doing a lead role in Mother (1999) at the age of 57, Jeetendra has come a long way. In between he travelled a distance of almost 200 films.
Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:
- Ameeta – A Forgotten Actress
- The Story Behind the Song “Dum Maro Dum”
- Story Behind the Song “Yeh Aankhen Uff You Maa”
- Jeetendra – The First Dancing Star of Bollywood
- Story Behind the song Hotho Mein Aisi Baat
- The Iconic Cinema Halls of India
- ANAND BAKSHI – Kuch To Log Kahenge
- Jagdeep – When Pt Jawahar Lal Nehru Appreciated hi…
- S N TripathI – A Forgotten Music Director
- Actor Singer Songs of Bollywood
Flashback series for the current moth informs why these films need to be watched again. We shall record these reasons in brief here:
- language, education and a great romantic pairing in Gunga Jumna represents Dilip Kumar’s crowning achievement as a multi-tasker and how it influenced Hindi films (and stars) to come
- why you should watch Guru Dutt’s Mr and Mrs 55 because it’s Guru Dutt Lite (but points the way forward to his more personal work), for the sharp writing, the general air of zaniness… and RK Laxman, for Madhubala and for the subtle movement between a happy-go-lucky tone and a more cautionary one.
The legend of Baiju Bawra: Was there ever a musician who could melt marble with his singular voice? – Malini Nair – There’s more to the mystery than what was immortalised on screen – the early history of Hindustani music, largely an oral tradition, is a mishmash of legends, anecdotes and miracles.
April, 2019 episode of Fading Memories, Unforgettable Songs takes up. Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957. This in continuation to the previous articles in 2017 and 2018 respectively wherein we had covered Hasrat Jaipuri’s songs for music directors beyond Shanker Jaikishan for 1950 to 1953 and from 1953 to 1955 respectively.
And, now commence the posts on other subjects with a SoY celebration of The Unified Theory of Fools on 1st April.
Stage Performances at College or School Festivals – The songs are either of chhed chhad type or rarely announce the love, the performer has, for his or her love interest. In all, majority of such songs are of celebration, songs with happy mood, etc. Rarely we do come across a melancholic song Here is one illustrative song_
B A, M A, Ph D – Adhikar (1954) – Asha Bhosle & Chorus – Avinash Vyas – Prem Dhawan
Before size matters- When Hindi film songs were extra-long and all the better for it – Devarsi Ghosh – The one with a lengthy prelude and numerous antaras that exercised the imagination of music composers, lyricists and filmmakers? … That time when Bollywood tunes stretched on for seven minutes and more, and no one complained… the eight-and-a-half minute Tum Jo Mil Gaye Ho from Chetan Anand’s Hanste Zakhm (1973) incorporates the sounds of rain, thunder and waves. Similarly, in Piya ToSe Naina Laage Re (Guide, 1965) Rosie (Waheeda Rehman) also signals her changing equation with the world. After four antaras and multiple costume changes, Rosie is a star hounded by fans.
व्याकरण, उच्चारण और उत्पीड़न (Grammar, Pronunciation and Persecution) – is an excellent treatise on the subject of deliberate or natural abuse of either grammar or pronunciation in the Hindi film songs. The songs presented in the post range from subtle to hitting-on-the face impact of such errors. Here is one illustration to enhance the point under discussion – Suno bairi balam sach bol re ‘ib’ kya hoga by Rajkumari from Bawre Nain (1950), lyrics Kedar Sharma, music Roshan – We don’t know whether Kedar Sharma meant to use ‘ib’ for ‘ab’ consciously, but it does enhance Geeta Bali’s impishness. HFGK writes it as ‘अब’ kya hoga. ‘Ib’ might have gone unnoticed.
In the Song Sketch series we have :
Ghar Aaja Ghir Aaye – Chhote Nawab – Clouded Craving – Lata Mangeshkar –Shailednra – R D Burman
Hothon Pe Beeti Baat Aayi Hai – Angoor – Moonlit Fib – Asha Bhosle – Gulzar – R D Burman
Ye Dil Deewana Hai Dil Toh Deewana Hai – Ishq Par Zor Nahi – Doting Ditty – Lata Mangeshkar, Mohammad Rafi – Anand Baxi – S D Burman
Hothon Se Chhoo Lo Tum – Prem Geet – Psalm Of Love – Jagjit Singh – Indeevar – Jagjit Singh
Lasting Music Pieces in Films – Some of the finest music in films becomes emblazoned in the audience’s mind as any of the images. HQ Chowdhury, author of the recently republished Incomparable Sachin Dev Burman looks at a few of these lasting music pieces in cinema in the western world that have stood the test of time and are now part of film folklore. E.g.
Theme music is that of Dr. No.
the Lawrence Music – Theme music of Lawrence of Arabia
[I plan to commence our corresponding The Micro View of Best Songs this blog from the next month.]
Before we formally take up the end of the episode, we have a two-part post Mohd. Rafi & Manna Dey Songs- Part 1 and Part 2 dealing in details with the songs that Mohammad Rafi and Manna Dey have rendered together. I have picked two illustrative songs:
Dildaar Milenge Kahin Na Kahin – Vatan Se Door (1968); – Lala Sattar – Farooq Qaiser .
Mehfil Mein Shama Chamki – Gunahon Ka Devta (1967) – Shankar Jaikishan – Hasrat Jaipuri.
Now we post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.
Mere Sapno Ki Raani.. Tu Hi Tu Hi Mere Sapno Ki Raani – Shajehan (1946) – K L Saigal is the lead singer and Rafi joins in a chorus – Naushad – Majrooh Sultanpuri
Duniya Ki Nazar Hai Buri Zulfein Na Sawara Karo – Agre Road (1957) – With Geeta Dutt – Roshnan – Prem Dhawan
Main Jaan Gayi Tujhe Saiyan – With Shamshad Begum – Howrah Bridge (1958) – O P Nayyar – Hasrat Jaipuri
Jhin Chak Jhin Chak | Mohammed Rafi, Shamshad Begum – Lal Quilla (1961) – S N Tripathi – Bharat Vyas
I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.