Carnival of Blogs on Golden Era of Hindi Film Music, June 2019

Welcome to June 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will open the present post with the birthday celebration of SoY –  Songs of Yore completes nine years by sharing some exceptional songs the author came across in the year that was. Here is the one for the quick view –

Diwana Kah Ke Logon Ne Aksar Mujhe Bulaya HaiMajboor (1964) – Mahendra Kapoor and Lata Mangeshkar – Kalyanji-Anandji – Anand Bakhshi,

Google Doodle on 87th birthday of Amrish Puri

Memories of Mogambo: Little-Known Stories About the Legendary Amrish Puri – by Ananya Barua – From a lecherous villain to a sphinx-faced guardian of morality, Amrish Puri’s ability to intimidate remains unmatched in Bollywood. But did you know that the talented thespian once worked as an insurance agent?

And now we pick up tributes and memories:

Girish Karnad –

    • The untold story of Girish Karnad – Girish Karnad did not create a spectacle out of his death. He had scripted it that way. …This was not totally unexpected. It was in keeping with Karnad’s unsentimental public persona, and a certain rational, pragmatic pursuance of life, all through its eight decades.
(Photo: India Today Group/Getty Images)
    • Girish Karnad, the Renaissance man of Indian culture, dies at 81Salil Tripathi – A playwright, actor, aesthete and classicist, Karnad delved into tradition to understand and explain modernity – The characters Karnad played were progressive, not radical; some of those characters were morally flawed and compromised. Life was not about absolutes; Karnad understood that as human condition. But his commitment to integrity was absolute.
    • Storyteller With A Cause – Girish Karnad – While Girish Karnard’s capability as an actor is well acknowledged, he also emerged as a very impactful storyteller through his art of combining underlined message with an alluring storyline and simultaneously writing award winning books too. Kalpana Swamy recounts one such unusual work of his is 1992 multiple awards winning film Cheluvi, starring Sonali Kulkarni

Actress-singer Ruma Guha Thakurta passes away on 3rd June,2019 at age of 84. After making her silver screen debut with Hindi film Jwar Bhata in 1944, Ruma Guha Thakurta, a niece of filmmaker Satyajit Ray, went on to star in Bengali movies. Apart from acting, Ruma was a popular playback singer too.

70 years of Shankar-JaikishnanRajgopal Nidamboor – Melody was S-J’s complete existence…The power of their melodies evokes a distinctive feeling, replete with that perpetual velvety touch…There is that innate sense of transcendent particle running through their compositions.

Ilaiyaraaja: Music is more like a spiritual seeking that takes one to unknown levelsS Subhakeerthana – Ilaiyaraaja, who turns 76, gets talking about his early years as a music director and why his tunes have a unique space in the hearts of both commoners and connoisseurs.

Ten of my favourite Rajendra Krishan songs are presented to mark the birth centenary of the lyricist.

Remembering a Forgotten Singer! – Lalita Deulkar – Her voice had the typical tone of vintage era and it was eloquent. Her Hindi pronunciation was also good, if we consider her pure Marathi background and that she had not taken much formal training in music. Her voice could express any emotion very easily and very effectively. If she had continued her singing career, we would have got more opportunities to listen to her songs of different genres.

Hemant Kumar’s duets with ‘other’ singers is a tribute to mark 99th birth anniversary of the music director -singer – While Lata Mangeshkar personified melody and sweetness with Hemant Kumar, the ‘other’ singers brought their own unique verve and joy, and combining with his deep melodious voice created a different kind of charming effect. Illustrative songs from this list:

Ye Mast Nazar Shokh Ada Kiske Liye Hai – Bandi (1957) – with Geeta Dutt – Hemant Kumar – Prem Dhawan

Ye  Pyar Bhara Dil Hai Mohabbat Ka Khazana  – Yahudi Ki Beti (1956) – with Asha Bhosle – Kamal Mitra – Kaifi Azmi

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

The Super Hits and the Forgotten Gems: 50 Years of Bappi Lahiri – One tends to overlook the many achievements of the composer Bappi Lahiri, overshadowed as they have been by his ‘Tathaiyya, tathaiyya’ brand of cacophony, his infamous penchant for gold jewellery and his heavily accented Bengali voice. Shantanu Ray Chaudhuri revisits the top 5 bona fide hits (of the many of Bappi Lahiri’s illustrious career) and 5 of the best songs that people have forgotten he had composed.

“Mai Jaan Gayi Tujhe Saiyan”- Kammo, whose first name is Kamarjehan . She got her first chance as solo dancer in Sindabd The Sailor (1952) song Jis Roz Se Hamne Tera Deedar Kiya (Music: Chitragupta- Lyrics: Shyam Hindi). She went on to work for over 60 films in her two decades long career.

RIP, Queen Harish (the World-Famous Rajasthani Folk Artist and “Dancing, Whirling Desert Drag Queen” Who Also Posted Comments on This Blog Close to Twelve Years Ago)He was an enhancer of life; investing his heart and soul into every move,” says writer and historian William Dalrymple, who loved watching Queen Harish perform.

June, 2019 episode of Fading Memories, Unforgettable Songs takes up. Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana.  This in continuation to the previous article in 2018 wherein we had covered Dattaram’s songs from 1957 to 1959

And, now commence the posts on other subjects.

The Navketan Ladies – If Dev Anand portrayed characters were mostly those on the fringes of urban society, intrinsically decent, but flawed, morally grey, human, the leading ladies of Navketan were fully fleshed-out characters; they might be the keepers of his characters’ conscience or the beacon of hope, but they got to live finely nuanced lives on screen. Nearly all the heroines in his films were strong, independent women.

The Classical Music Giants contribute to Hindi Cinema – Part I deals with the composers, who originally were related to classical music as a popular instrumentalists or classical vocalist and Part II looks at the contribution of classical vocalists to Hindi films, as a playback singer.

Ten of my favourite tree songs lists the songs with two primary conditions – the tree should be named in the first two lines, and, one song from one species of the tree only. Here are a couple of illustrative songs:

We had covered first and second part of the three-part dissertation  Chorus Songs in the Hindi Films of Yore. The third part concludes the three-part thesis on chorus songs with the Golden Decade of the 1950s.

Ab Ke Burmans Sawan Mein – The Burmonsoon Songs – Sudheer Kulkarni recollects monsoon songs of SD-RD father son duo.

Flashback series:

    • why you should watch Basu Chatterjee’s Sara Akash – Because it helped bring in a New Wave. And shows a glimpse of what the “Middle Cinema” could have looked like, for bringing formal inventiveness to a story that could have been made into a sweet little tele-drama, because it’s an adaptation of an important Hindi novel – and for a look at the inner life of a young man who has no idea what he wants, for Mani Kaul as an actor – playing almost a dialogue-less role of the elder brother.
    • Reasons to watch the anti-war film Aman (apart from the Bertrand Russell cameo) – Because it’s one of the oddest films of its time, combining surface gloss with a serious, compassionate look at the horrors of nuclear war, For a (possible) glimpse of the teenage Naseeruddin Shah – one of the extras walking alongside a large funeral procession at the end, if only one could spot him!

The continuing story of Kamini Kaushal  Uday Bhatia The 92-year-old actor appears in a small part in ‘Kabir Singh’

Bicycles and Bollywood Songs – Part 1 and Part 2Aditi Thakur relives the delights of bicycle rides in Hindi film songs, like, Kaise Bheege Bheege – Apna Ghar (1960) – Mohammad Rafi, Suman Kalyanpur – Ravi – Prem Dhawan

Following the overview article, Best songs of 1946: And the winners are?. , we have also rolled out The Micro View of Best Songs of 1946, beginning with Male Solo songs. Having covered Mohammad Rafi, Mukesh, Manna Dey, G M Durrani and Ashok Kumar till now, presently we have taken up solo songs of K L Saigal and then wound up the micro view of male solo songs with MY top Male solo songs. Best Songs of 1946 – Wrap up 1 has gone on to select K L Saigal as the Best Male Singers for 1946 for his three songs Gham diye mustaqil/ Jab dil hi toot gaya/ Ae dil-e-beqaraar jhoom.  I have collected all the posts for Male solo songs @ Male Solo Songs  for ease of reading and downloading.We have then commenced micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1.

To end the present post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

More Raja Ho.. Le Chal Nadiya Ke Par – Nadiya Ke Par (1948) – C Ramchandra –

Masoom Chehra Ye Qatil Adayein Ke Bemot Mare Gaye Ham Bechare – Dil Tera Diwane (1962) – With Lata Mangeshkar -Shankar Jaikishan – Hasrat Jaipuri

Mere Junglee Kabutar – Ek Kali Muskayi (1968) Madan Mohan – Rajendra Krishna

Iss Vishal Dharati Par Chahe Rahein Kahin Ham Sathi – Love in Canada (1979) – with Hemant Kumar  – Hemant Kumar – Yogesh

Congress Ko Vote Do – NFS – Shankar Jaikishan – Kazi Saleem

This song was recorded for All India Congress Committee, New Delhi.

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.

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Shamshad Begum [1]

Apart from the quantitative dominance of Shamshad Begum, the quality of her voice is also so different than what we have normally heard in the later years.

Popular solo song

Jab Usne Gheshu Bikharaye Badal Aaya Jhoom Ke – Shahejehan – Naushad – Majrooh Sultanpuri

Other Solo Songs

Sarwan O Sarwan Badhae Ja Tu Karwan, Chalae Ja Tu Karwan – Bairam Khan – Ghulam Haider – Wali Sahab

YT upload mentions Khan Mastana also as co-singer in the song, but we have followed the records of HFGK.

Tum Kis Liye Aate Nahi, Kya Ham Tumhein Bhaate Nahi – Bairam Khan – Ghulam Haider –   B R Sharma

Ye Chanadani Raato Mein Chhip Chhip Ke Mulaqaten – Bairam Khan – Ghulam Haider –Hayat Amrohi

Jab Chand Jawaan Hoga, Phir Chandani Raato Mein Jannat Ka Samna Hoga – Bairam Khan – Ghulam Haider –Wali Sahab

YT upload mentions Getta Dutt also as co-singer in the song, but we have followed the records of HFGK.

Asqon Pe Khatam Hua Mere Gam Ka Fasana – Bairam Khan – Ghulam Haider –Wali Sahab

Kyo Door Hua Mujhse Meri AAnkho Ka Taara – Bhakta Prahlad – Hanuman Prasad –

Aankho Mein Aansoo Ko Piye Jaa Rahi Hu Main – Chehra – M A Mukhtar – Ishwar Chandra Kapoor

Aaj Mere Ghar Aayenge, Wo Aaj mere Ghar Aayenge – Dev Kanya – Shyam Sundar –

Kismat Mein Likha Ho Jo Use Kaun Mitae – Dev Kanya – Shyam Sundar –

Zamak Zamak Liye Teg Tamak More Baanke – 1857 – Sajjad Hussain –

We will continue with the concluding part of Solo Songs of Shamshad Begum for the year 1946 in the next episode.

Carnival of Quality Management Articles and Blogs – June 2019

Welcome to June 2019 edition of Carnival of Quality Management Articles and Blogs.

Our core subject of Quality Management – Road Ahead to Digital Transformation during the year 2019, we have covered The Basics of Digitization, Digitalization and Digital Transformation, The foundation of the Digital Quality Management, Quality 4.0 and Industry 4.0 technologies Big Data Analytics and Cloud computing.

We will now take up third of the nine disruptive technologies of Industry 4.0 – Robotics.

Robotics is a branch of engineering that involves the conception, design, manufacture, and operation of robots. This field overlaps with electronics, computer science, artificial intelligence, mechatronics, nanotechnology and bioengineering. Today, robotics is a rapidly growing field, as technological advances continue; researching, designing, and building new robots serve various practical purposes, whether domestically, commercially, or militarily. Many robots are built to do jobs that are hazardous to people.[1]

Industry 4.0 enables a model that’s built on a new paradigm for automation: one that taps the power of software to orchestrate the actions needed…. With performance, task data collection and introspection built into the design – not as an add-on or layer that sits on top of the design – manufacturers no longer will find themselves drowning in a sea of data. Instead companies will have a powerful way of making sense of the data, and more importantly, deriving value from that data. In the race to build the digital factory, manufacturers will find robots the perfect physical and cognitive partner.[2]

Thus the robots do not merely automate the work they also work autonomously, i.e. from working at the fixed station, now they move the work as well. The autonomous robots can independently navigate in a dynamic environment thanks to their sensor systems and security algorithms without interfering with the infrastructure of production facilities. This enables them to operate safely side by side with humans.[3]

These types of collaborative robots are also known as cobots. For example, Welding is a discipline that typically requires advanced training and extensive safety precautions; robots can eliminate the need for trained professionals while minimizing the risk of an accident on the job….[4]

Cobots now serve as colleagues to many workers. Humans are able to get out of “3D jobs” – jobs that are dangerous, dirty, or dull. People can now focus on more financially and mentally-rewarding tasks. No prior programming experience required! Collaborative robots are capable of cranking up production levels, but they also are able to add value to existing jobs. This lets humans once again find passion and amass knowledge about what they produce.[5]

Asides is a more vivid example of (not-so-distant) future Industry 4.0-enabled using cobots alongside the human beings[6]:

The following figure depicts the growth curve of Robots and industry 4.0[7]

Robotics is penetrating the field of quality management fast enough, in applications where movement of parts accurately on the test beds is involved or where inspection is carried out by human eye by replacing or supporting it with machine vision.

Implementing or integrating an automated quality inspection system can be a daunting task. To justify the cost, the system must be highly accurate, provide analytical insight, and allow the operator to communicate with and control the system. These are the Three Tiers of Quality Inspection.

We have listed a few representative articles that gives us the overview of the subject:

Here are a few video clips, too –

Robotic Inspection: The Future of Flexible Manufacturing – This is the first robot-integrated inspection system that digitizes and simplifies quality control while improving cycle times. It consists of a 3D white-light scanning sensor mounted to the arm of an ABB robot, relying on the agility of the robot to provide the precise movements necessary for the sensors to access most areas of both simple and complex parts from the optimum angle.

Robotic 3D Scanning System for Manufacturing Quality Control – ARIS Technology developed this automated robotic 3D scanning solution to utilize the versatile and compact FANUC LR Mate 200iD robot for manufacturing quality control. The system performs complex 3D inspection of parts in four simple and easy steps.

We will now turn to our regular sections:

For the present episode we have picked up article, The Key to Powerful Leadership Presence, by Marshal Goldsmith on Things Manager Should Know column of Management Matters Network …. It is the capacity to be fully present. …True leaders are present for a task, for a conversation, for the moment, for an opportunity. Present for their larger purpose in the world.

We now watch ASQ TV, wherein we look at a few recent videos:

      • Effective 21st Century Quality Leadership – Mike Turner, Managing Partner, Oakland Consulting, discusses the business challenges of the 21st century, and how quality professionals should respond in order to meet them. He focuses on three key areas: accelerate change, reduce costs and protect reputation. He would like to see development of effective leadership model rather than the leaders, be it at strategic level or team /local level or at any level… People should be proud of what they do.

Jim L. Smith’s Jim’s Gems posting for June 2019 is:

    • Importance of Psychology – Many managers seem to think they can forget it and run their business by numbers alone…Malcolm S. Forbes, the late American entrepreneur most prominently known as the publisher of Forbes magazine, once said “There are those of us who think that the psychology of man, each and together, has more impact on markets, business, services, construction, and the entire fabric of an economy than all the more measurable statistical indices.”… The best evidence tells us that quality, productivity, and customer service are the results of beliefs, attitudes and expectations as much, or more, than the good skills and systems. It is the people working within the organization who really define your organizational culture, and psychology lies at the very foundation of your people.
    • For a Robust Quality Environment There Has to Be Teamwork – Teamwork, however, is much more than a few isolated teams. James Cash (JC) Penney said “the best teamwork comes from people working independently toward one goal in unison.”.. It is important to recognize that teams are not an end to themselves. Teams are a vehicle to take an organization toward the goal of true teamwork and a robust quality environment. As Andrew Carnegie said, “Teamwork is the ability to work together toward a common vision. The ability to direct individual accomplishments toward organizational objectives. It is the fuel that allows common people to attain uncommon results.”

I look forward to receive your inputs / suggestions that can further enrich our discussions on the subject of Digitalization in the Quality Management

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

[1] Robotics

[2] The role of robots in Industry 4.0

[3] The autonomous way to Industry 4.0 – Mobile Robots: the backbone of the factory of the future

[4] The rise of robots in Industry 4.0

[5] Cobots empowering humans in manufacturing

[6] Examples of Industry 4.0 technology we are watching

[7] Robots and industry 4.0

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Suraiya

Having completed the Male Solo Songs section of Songs of 1946 of the Best songs of 1946: And the winners are?, we now move over to the Female Solo Songs.

The female solo songs are likely to outnumber male solo songs by a very wide margin, this year too. We will also more number of female singers and (by and large) more solo songs per singer.This is also the year that will see Nurjehan in her full flow. Geeta Roy (Dutt), one of the leading female singers of decade of 50s of the Golden Era has debuted this year. Another Golden Era Great, Lata Mangeshkar is in the role of singing her own songs this year, and that to not on a significant scale.

There are a few songs that I have listened often enough, form my early listening days of 60s till now. But there are far more many songs that I got to listen for the first time.

Solo Songs of Suraiya

For the year 1946, Suraiya has solo songs spread over 4 films and 4 different music music directors. She plays against two vintage era stalwarts this year, Noor Jehan and K L Saigal, and she is just 17 years old.

Popular solo songs

Man Leta Hai Angadai Jivan Pe Javani Chhai – Anmol Ghadi – NaushadTanvir Naqvi

Socha Tha Kya Kya, Kya Ho Gaya – Anmol Ghadi – NaushadTanvir Naqvi

Other solo songs

Main Dil … Mein Dard Basa Laai, Naino Se Nain Mila Aai – Anmol Ghadi – Naushad – Tanvir Naqvi

Gam-e-Aashiyana Sataega Kab Tak – 1857 – Sajjad Hussain – Mohan Sinh

Meri Ho Gayi Unse Bat, Main Unki Hoon – 1857 – Sajjad Hussain –Shevan RIzvi

Ummido Ka Taara Kismat Se Kuchh Der Chamak Kar Toot Gaya – 1857 – Sajjad Hussain – Anjum Pilibhiti

Gulshan Pe Hai Bahar, Koyal Ki Hai Pukar – Jag Biti – Ghulam Haider

Bigadi Hui Taqdeer Nahi Banai Jaati – Jag Biti – Ghulam Haider

Ham Hai Dukhiya Is Duniya Mein, Sukh Mein Hai Sansar – Jag Biti – Ghulam Haider

Ham Ko Bhool Na Jaana O Pardesiya – Jag Biti – Ghulam Haider

Khayyam Hai Allahwala Matwala Allaahoo – Omar Khaiyyam– Lal Mohammad – Dr. Safdar ‘Aah’

YT links are not available for the following songs:

    • Ae Sufi Allah Wale, Husn Aaya Le Kar Pyale – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’
    • Jal Ke Kuchh Kaheta Hai Hamse Aashiyana Zindagi – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’
    • Bedard Zara Sun Le Garibon Ki Kahani – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’

We will take up Solo Songs of Shamshad Begum for the year 1946 over next two episodes.

Business Sutra | Concluding the series

Business Sutra |10| Finale : The Indian Way of Doing Business

We have covered all 10 episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

Business Sutra | Concluding the series

We had referred to Devdutt Pattnaik’s TED talk – The Indian approach to business: Devdutt Pattanaik at TEDxGateway 2013 –  in our curtain raiser article to this series. The talk discusses the background of the way an Indian does business in terms of a set of beliefs that would lead to set of corresponding behaviors that would get reflects in his or her way of doing business. Devdutt Pattanaik calls this as his 3B model.

The Indian scriptures have not one promised land but three promised lands –

The first promised land is called Swarga- the paradise = where lives a cow called Kamadehnu which is an-wish fulfilling cow,  ask for anything and the cow will give it to you. There is a tree called Kalpvruksha. You may stand under the tree ask for anything and you will get it. There is a jewel called Chintaman. Hold it in your hand, ask for anything and you will get it without any effort. In management language this is called availability of infinite return with no investment. This is how a paradise ought to be. The king of this land is  called Indra. He is a prosperous king, he sits on elephants and he is happy and powerful. But savages always keep his kingdom under siege. There are always wars happening. If a king performs a Yagya, or goes to a war,  Indra gets insecure and immediately steals the horses of that king. If an asura is born he runs to his father with a request to kill that asura.   If a Rishi starts doing Tapasya, he goes to the apsara department and sends a  Ramba or an Urvashi to entice the Rishi and break his tapasya. He has everything , and yet he is insecure.

The second promised land s Kailash, a Mount Kailash. It is a mountain of stone, covered with snow. Here hunger is outgrown, it is destroyed. Look carefully at  this popular street image of Mount Kailasha. In the front, you can see a bull, Nandi, and opposite to that is Parvati’s lion. The bull is not quivering in fear of a predator. On top of Karthikeya there is a peacock and we see a peacock’s food, a snake untwirled around the neck of Shiva. The snake’s food, a rat, is under the feet of Ganesha, We have here a several sets of a predator and a prey, but nobody is afraid, because hunger has been destroyed. As there is no hunger there is no need, there is no desire, there is no want and therefore Shiva is always at peace. But of course, the goddess won’t let him live in peace. As a woman, she keeps saying that you are not hungry, but what about other  people hunger, what about my children’s hunger.

That brings us to the third promised land which is Vaikunth, the land of Lord Vishnu. Vishnu is reclining on a serpent and is surrounded by affluence and abundance. But their prosperity is accompanied with peace. What is different over here is that it is a happy playground it is not a battleground. Here other people’s hunger is taken care of. Vishnu participates with the world, he engages with the world. If needed, he descends on to the earth and does various roles – the incarnations.

So we have three promised lands which are based on three different beliefs, the subjective truths – your truth and my truth. To understand the belief that underlies these promised lands we have to understand the difference between animal hunger and human hunger.  The human hunger is different from animal hunger in three ways. First quantitative- hungry for today’s food, but also hungry for tomorrow’s food and food the day after tomorrow and the food after ten years, the food after when I retire, the food for my children and ten generations from now. So I will keep saving, and hoarding to insure myself The second type of human hunger is qualitatively different. We are not just hungry for food we are also hungry for status, for power, for property. Animals have territory but they can’t bequeath territories to the next generations. The third, and the most critical difference is human imagination. We also have empathy. I can feel, both, your quantitative and qualitative hunger. That’s what makes humans unique That is what underlies these three promised lands.

Indra believes that my hunger matters first, Shiva believes I can outgrow my hunger and Vishnu says your hunger matters first. The question is which hunger matters first –  your hunger or my hunger. That of the shareholder or of the employees or those of the customers or of the vendors or of the politicians or of the regulators, or of the society or of the environment. Whose hunger matters first.

In reality, there is no THE clear answer. We say your hunger only matters if you satisfy my hunger or if after I have satisfied my hunger only then your hunger matters. This is how most people are designed. But what is celebrated in the mythology is the idea of satisfying your hunger so that I can outgrow my hunger. Therefore, you have temples for Vishnu and Shiva, but not for Indra. In fact. they are two sides of the same coin. By satisfying your hunger. The cynic will say outgrowing hunger is theoretical, it cannot happen in practice. It meant for people who wear orange robes not for business suits. The second cynic feels that if I am going to focus on your hunger then it is a recipe for exploitation because the moment they focus on other people’s hunger, the other is prone to be exploited. So it also may not work. That brings us to the third cynic, who believes that there is only one reality and that is my hunger matters first. We are taught repeatedly this is the only reality in the animal kingdom, but not necessarily in the human Kingdom. We do have the capability of outgrowing our hunger and focusing on other people’s hunger,

That brings me to my 3B model. If you believe that my hunger matters first, you will create a battleground and there will be prosperity but no peace. If you believe your hunger matters first then there is a possibility of creating a playground, where there  is prosperity with peace. When you choose your belief you create your promised land – it can be swarg, where your hunger matters first or  it can be Kailash where there is no hunger or it can be Vaikunth where everyone’s hunger is satisfied and my hunger is outgrown.

To sum up:

The Indian way of doing business—as apparent in Indian mythology, but no longer seen in practice— accommodates subjectivity and diversity, and offers an inclusive, more empathetic way of achieving success. Great value is placed on darshan, that is, on how we see the world and our relationship with Lakshmi, the goddess of wealth.

If we believe that wealth needs to be chased, the workplace becomes a rana-bhoomi—a battleground of investors, regulators, employers, employees, vendors, competitors and customers; if we believe that wealth needs to be attracted, the workplace becomes a rang-bhoomi—a playground where everyone is happy.

Our belief, therefore in tun, our behavior, decides which is our Promised land.

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.

P.S. :

All episodes of the present series are also collated in one file asDevdutt Pattanaik’s TV serial: Business Sutrafor ease of reading and download.

This series was published in Gujarati too under the title દેવદત્ત પટ્ટનાઈકનું ‘બિઝનેસ સૂત્ર’. All episodes have been collated in one file for ease of reading / downloading the series.

The Micro View of Best Songs of 1946 @ SoY – Male Solo Songs – MY Top Male Solo Songs

For the year 1946, the songs that were previously known to me are too few and too obvious. So, listening to them once again is certainly a mtter of pleasure. Interestingly, it was equally a pleasurable experience to almost first-time, listen to the other songs. As a result, I have taken up to list My Top Male Solo Songs for 1946 from among these songs.I have limited my listing  to ne song for each male singer.

Mohammad Rafi – Rahe To Kaise Rahe Dil Pe Ikhtiyaar Mujhe – Room No. 9 – Rasheed Atre – Nakhshab Jarachavi

In this quawwali-styled song, we get to listen Rafi in his natural elements.

Mukesh – Kiyo Ja Pyar…Na Himmat Haar, Kabhi Inkar Kabhi Iqarar – Rajputani – Bulo C Rani- Pandit Indra

Quintessentially vintage era styled prelude music follows by Mukesh in a tone that we have known in ‘50s –‘60s.

Mannaa Dey recorded as P Dey – Dil Churane Ke Liye Koi AA Raha Hai– Door Chalein – K C Dey

Manna Dey is unsually so soft, and so sweet, even  ithe lower scales.

S D Burman – Ummid Bhara Panchhi, Ya Khoj Raha Sajani – Eight Days – S D Burman –  G S Nepali

This is the only exception here, since this is one of the most heard of S D Burman’s song.

G M Durrani – Woh Nazaron Mein Samaye Jaa rahe Hai – Saathi – Gulshan Sufi – Wali Sahab

GM Durrani sings to a typical vintage era style,

Ashok Kumar – Laj Bhare In Nainan Mein Sakhi – Uttara Abhimanyu – S N Tripathi

Ashok Kumar fully resonates the feelings of the song. –

Surendra – Wo Paheli Mulaqat Hi Bas Pyar Ban Gayi – 1857 – Sajjad Hussain – Pt. Ankur

Surendra sings a lilting ghazal it its natural sweet form.

Khan Masatana (?) – Zindagi Zindagi Zindagi Koi Supana Nahi ZindagiDr. Kotnis Ki Amar Kahani –- Vasant Desai – Diwan Sharar

A vivacious composition that is further enlivened by livelier chorus as interlude orchestration.

K L Saigal – Hare Bhare Baag Ke Phoolo Pe Riza Khayyam – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’

A quintessential KL Saigal, comes out in true romantic mood in the song..

Best Songs of 1946 – Wrap up 1 has gone on to select K L Saigal as the Best Male Singers for 1946 for his three songs Gham diye mustaqil/ Jab dil hi toot gaya/ Ae dil-e-beqaraar jhoom.

I have collected all the posts for Male solo songs @ Male Solo Songs  for ease of reading and downloading.

In our next episode(s), we will take up Micro View of Female Solo Songs of 1946.

Fading Memories…. Unforgettable Songs: June, 2019

Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana

Picture – courtesy: Mustafa Kamaal Sikander

Dattaram (a.k.a. Dattaram Wadkar) had very early initiation into the music His first music teacher was Pandari Nageshwar, from whom he learnt to play tabla. Subsequently, he worked for Sajjaad Hussain for a few months, before he chanced to meet Shankar  in a gym. With Shankar’s help, he secured a job at Prithvi Theatres. He became part of the trio that used to play the background music during the interval in the stage shows – the other two being Ram Ganguly on sitaar and Ramlal on shehnai. Dattaram became famous as a tabla player, and a special rhythm that he used to play became to be known as ‘dattu tthekaa’. (a percussion rhythm played on tabla).

Dattaram assisted Ram Ganguly in Raj Kapoor’s Aag (1948) and then onwards assisted Shankar-Jaikishan in Barsaat (1949). Dattaram continued to assist Shankar-Jaikishan in a majority of films, all the way up to ‘Dhoop Chhaon’ in 1977. He was part of the core RK music team of Shankar-Jaikishan, Shailendra, Hasrat Jaipuri, and Mukesh, besides himself.

In 1957, Dattaram made his mark as an independent music director with the RK film ‘Ab Dilli Door Nahin’. In his career as a composer, he created music for just about 21 films from 1957 to 1971.  He is the one of those unfortunate composers, who did not succeed on the commercial parameters, even when his songs did become quite popular. In the initial phase even help from Raj Kapoor also could not turn the tables on his side.

In a series of tribute articles, we had listened to Dattaram’s songs from 1957 to 1959 in June,2018 episode of our present platform. We will listen to some of his known, and not so known, songs for the years 1960 and 1961.  These songs epitomize the irony of Dattaram’s career – the success of his songs was not strong enough to provide the escape velocity required for the long term success as an independent music director.

Kala Aadmi (1960)

Many of us may not remember the film, but Mukesh solo from the  film, Dil Dhundhata Hai Sahere Sahere, will ring instant recall.

The other songs from are also very good to listen to.

Aankh Mila Kar Vaar Karoongi Roko – Suman Kalyanpur – Lyrics: Hasrat Jaipuri

Dattaram has so skillfully used Suman Kalyanpur for a ‘typical’ club song. The song is filmed on Minu Mumtaz and others.

Ankhiyaan Milaa Ke Toone Mujhko Hi Jeet Liyaa  – Lata Mangeshkar – Lyrics: Hasrat Jaipuri

This is a ‘party’ song, filmed on the film’s lead lady, Shayama, hence Dattaram brings in Lata Mangeshkar to playback the song. Prelude and interlude orchestration has strong shadow of Shankar Jaikishan style, but Dattu tthekkka’s distinct presence establishes the song as THE Dattaram composition.

Shriman Satyawadi (1960)

Dattaram once again takes up the musical baton for a film in which Raj Kapoor is lead actor, after Parvarish in 1958. As against his use of Manna Dey as the lead playback singer in Paravarish (except Ansoo Bhari Hai Ye Jeevan Ki Rahein), Dattaram has deployed Mukesh as Raj Kapoor’s lead playback singer in this film. The songs – Haal-e-Dil Hamara Jaane Na Ye Jamana and Ae Dil Dekhe Hai Hamne Bade Bade Sangdil – are copybook Mukesh-Raj Kapoor songs, and as can be expected had become quite popular.

Rut Albeli Mast Samaan, Saath Haseen Har Baat Jawaan – Mukesh – Lyrics: Gulzar Dinvi

Song is filmed as a Tonga /Victoria song, however, Dattaram has not resorted to the typical ‘tonga’ based rhythm.  Dattu Thekka also been used very innovatively in the song.

Ek Baat Kahoon Wallah Ye Husn Subhan Allah – Mahendra Kapoor, Suman Kalyanpur, Mukesh – Lyrics: Gulzar Dinvi

Dattaram has experimented with Mahendra Kapoor as playback voice of Mehmood in the song. The song is an additional evidence of Dattaram’s range of capability, to be able to so easily handle a variety of song genres during his career.

We find PreSong Dances on YT, wherein we find Dattaram experimenting with different western dance tunes.  Each piece has been created with a different set of rhythms and corresponding instruments. E.g.@3.36, we get to listen one of the most popular dance tune, wherein Dattaram has freely experimented with the use of rhythm and main composition instruments.

Dark street (1961)

Dattaram now seems to get trapped into waling up the dark street of B/C grade films for sustenance, which, typically, does not help his career.

Ajab Hain Is Duniya Ke Raaz, Jo Bhi Mile Wo MaskebaazGeeta Dutt – Lyrics-Gulshan Bawra

Use of Geeta Dutt for club dance is perhaps too late, since she was no more in the prime singer list by this time. However, B/C grade film constraints of tighter budgets further aggravate competition with big-budget, big-banner films for the time slots of the top-rung singer, So the music director has to make best of what is available. In most of similar cases, the song does work out as good, but not good enough to be commercially successful.

Itne Bade Jahaan Mein Apna Bhi Koi Hota – Suman Kalyanpur – Lyrics: Indeevar

The song falls into a classic slot of all-female twin song genre. Both versions have been able to carve out quite distinct identity as individual songs, while complementing as twin songs of a happy and a sad mood.

Version 1

Version  2

First Love (1961)

We have one more film that has been lost in the obscurity, but its songs remain live even today.

Mujhe Mil Gayi Hai Mohabbat Ki Manzil, Koi Poochh Le Yeh Mere Hamsafar SeMukesh, Lyrics-Gulshan Bawra

Dattaram once again comes up with a winning Mukesh-song formula.

Maano Ya Na Maano Meri Zindagi Ki Bahaar Ho – Suman Kalyanpur, Mukesh – Lyrics-Gulshan Baawra

Dattaram seems to have preferred to err on the safer side and have selected a typical Mukesh-duet-song formula

We must also take note of one the most known Suman Kalyanpur songs, which was recorded in this film.

Beete Hue Din Kuchh  Aise Hi Hai, Yaad Aate Hi Dil Machal Jaaye – Suman Kalyanpur – Lyrics: Gulshan Bawra

Dattaram uses Suman Kalyanpur’s voice to create a feeling of deep pathos. The song also epitomizes irony of fate – the song is considered to be a class creation that was well-received by the mass, but  not its music director.

Zindagi Aur Khwaab (1961)

The competitive compulsion on Dattaram – to work in B/C grade, unknown banner films – seems to work as blessing in disguise as he gets chance to work with a wide range of lyricists. However, even this does not help in breaking the jinx to his career.

Phool Bagiya Mein Bhanwre Aaye, Akeli Chameli GhabraayeMubarak Begam – Lyrics : Pradeep

Dattaram gets to work on a mujra song here. He has been able to use Mubarak Begam well enough in the song.

Kidhar Main Jaaun Samajh Naa Paaun…Kabhi Kisi Ki Khushiyaan Koi Loote Naa – Mukesh – Lyrics: Pradeep

Once again Dattaram comes up with a trump of a Mukesh-pathos song. The song also is proof of Dattaram’s capability of handling different genres of songs – this is a ‘piano’ song.


The film also has a very popular Manna Dey – Suman Kalyanpur duet – Na Jaane Kahaan Tum The Na Jaane Kahaan Ham The, Jaadu Ye Dekho Ham Tum Mile Hain.

In the chance meeting of this film, Meena Kumari was already a star, Manna Dey and Suman Kalyanpur were well –respected but remained the second-best choice.  Dattaram has been struggling to come out of the down-hill path. Rajendra Kumar may be considered as perhaps the most-limited talent artist in the picture frame of the song, but was so lucky that he went to become golden-jubilee-kumar and retained stardom for a fairly long stretch of time.

Kateele Kateele Nasheele Nasheele Kaise Jhonke Aaye, Hawaa Ke kaise Jhonke Aaye – Suman Kalyanpur – Lyrics: Shailendra

Here we have Salil Chaudhari-styled, vivacious, fast paced, high-pitched song, that is orchestrated on SJ style.

We will now take up one Mohammad Rafi song from each of these films to end our episode with Mohammad Rafi song. Each of the song is of a different type, created for a different situation.

Beema Life Beema Policy! Babu Insurance Kara Lo, Mister Insurance Kara Lo – Kaala Aadmi (1960) – Lyrics: Hasrat Jaipuri

One does not need to be told that the song is filmed on Jhonny Walker.

Rang Rangeeli Bottle Ka Dekho Jadoo – Shriman Satywadi (1960) – Lyrics: Gulzar Dinvi

This time it is Mehmood who lip syncs Rafi on the screen.

Mujhe Jag Di Bana De Malika – Dark street (1961) – With Suman Kalyanpur – Lyrics: ?

We have a bhangra song, that has distinct use of Dattu Ttheka.

O Dekho Aayi Bahrein Layi, Woh Dekho Aayi Hai Senorita – First Love (1961) – With Suman Kalyanpur – Lyrics: Gulshan Bawra

This looks like a picnic song, which also was a very oft-used genre in Hindi film songs in 60’s.

Mera Bandar Chala Hai Sasuraal, Dekho Zara Latka. Hoy Betaa Ji Ke Laal Laal GaalZindagi aur khwaab (1961) – With Kamal Barot – Lyrics:Pradeep

The songs is one more addition to Dattaram’s range of different genres – A Street song, based on folk music- and different playback singers – Kamal Barot.

We will continue our exploration tour of Dattaram’s music direction in the future episode(s), too.

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 1946 @ SoY – Male Solo Songs – Solo Songs of Vintage Era Male Singers (3)

This 3rd part of the Solo Songs of Vintage Era Male Singers for the year deals exclusively with K L Saigal’s solo songs.

Solo Songs of K L Saigal

We see presence of two KL Saigal ilms in 1946.  This makes 1946 as truly a year of fag end of the dusk of the vintage era, where Sun of vintage era – K L Saaigal – almost on the brink of sunset, still shines enough to pale the nacent rsing stars of the golden era like Mohammad Rafi, Mukesh or Manna Dey.

Apart form this mundane fact, what makes our Micro View more interesting is the fact that we het to listen some much-less-heard K L Saigal songs alongwith some of those songs which are still  as known as any of the peak golden era male singer songs.

K L Saigal’s Popular Songs

These songs are known and liked today as much they were liked then.

Gham Diye Mustquil Kitna Nazuk Hai Dil  – Shahjehan – Naushad Ali – Majrooh Sultanpuri

Jab Dil Hi Toot Gaya Ham Jee Ki Kya Karenge  – Shahjehan – Naushad Ali – Majrooh Sultanpuri

Ae Dil-e-Beqarar Jhoom….– Shahjehan – Naushad Ali – Khumar Barabanqvi

Chah Barbaad Karegi Hamein Maloom Na Tha – – Shahjehan – Naushad Ali – Majrooh Sultanpuri

K L Saigal’s Other Songs

As compared to the earlier songs, these songs can be identified as less-heard songs of K L Saigal. Perhaps, that is why, listening to these songs turns out to be an extra degree of pleasurable experience.

Alla Hoo….Khayyam Hai Allah Wala Matwala  – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’

Hare Bhare Baag Ke Phoolo Pe Riza Khayyam –  Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’

Insaan! Kyo Rota Hai Insaan – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’

Mere Sapno Ki Raani Ruhi Ruhi …. – Shahjehan – Naushad Ali – Majrooh Sultanpuri

Kar Lijiye Chal Kar Meri Zannat Ke Nazare – Shahjehan – Naushad Ali – Majrooh Sultanpuri

In the next episode, we will conclude Micro View of Male Solo Songs for 1946 with My Top Male Solo Songs.

Manna Dey and Contemporary Lead Actors – 1

Hindi Film World celebrates centenary birth year of Manna Dey. In a series of articles that I have planned to run in 2019 and 2020, I have tried to present songs from different angles, wherein focus is not on what is considered Manna Dey’s core niche areas, like classical songs, comedy songs etc.

We would confine our horizon of discussions to end decade of 70’s.

Satyajit Ray had once mentioned that listeners would be “more shocked than surprised if they were made to hear a voice outside a coveted set of six singers”. Maybe six was just an empirical number he had in mind, but throughout his career, Manna Dey certainly was not one of the six when the requirement was singing for the lead actor. He was always the seventh, in the role of a specialist.[1]

Manna Dey (a.k.a Prabodh Chandra Dey – B: 1st May, 1919 /\ D: 24th October, 2013) was groomed into the classical singing, with extra eye for perfection, experimentation and complete dedication. He was so much singer to the core, that he might probably never have explicitly thought of shaping his career path on the more worldly success matrix.

He has recorded songs of types and hues in around 16 languages. His classical songs are remembered fondly by critics as well as the common listeners. His comedy songs earned so high a respect that he got typecast for these songs. In fact, every type of song genre that he touched, led to typecast him for that genre. However, as the destiny may have chosen not to bestow Manna Dey with the coveted ‘commercial’ recognition of That Hero’s Voice even he had string of exceptionally successful songs for the leading male actor of the film. Many of his sings in this category for so called B category films earned fame, that turned out to be not enough to earn long term success to the heroes of these films, was also not that longer.

In our today’s article we will try to remember his songs for the lead male actors of different times. Our aim is not seeking any ‘whys’, but to collect Manna Dey’s representative songs from the perspective of the contemporary lead actors on one-page.

As is well-known Manna Dey commenced his Hindi film song career with a duet, Jaago Aayee Usha Panchhi Boley  with Suraiya for Tamanna in 1942. The song has been filmed on a beggar and his young assistant. Manna Dey played back for the beggar. His first song thus was a ‘beggar’ genre song. His second song was for film Ram Rajya (1943), a ‘bhajan’ genre song. However the wait for films which had strong social content and also had one of the three of Great Trinity of the lead male actors of Indian Cinema as the upcoming stars.

With Dilip Kumar

Manna Dey and Dilip Kumar have got together in Dilip Kumar’s debut film Jwar Bahata (1944). Manna Dey gets to sings Bhula Bhatka Path Hara Main Sharan Tumhari Aaya, Kah Do He Gopal, for which Anil Biswas composed music. The song is set to Bengal’s folk baul style, which the medicants used for their compositions. Dilip Kumar was the male lead, but the only song that he would have sang – Sham Ki Bela Panchhi Akela –  on the screen was played back by Arun Kumar Mukherjee. Manna Dey has never played back for Dilip Kumar. Closest these titans can have been said to come is in Insaan Ka Insaan Se Ho Bhaichara, Yahi Paigam Hamara (Paigam, 1956; Music: C Ramchandra) which rolls  around Dilip Kumar as the key protagonist and Manna Dey sings in the background.

With Dev Anand

It was as far as back as in 1947 that Manna Dey got to play back for Dev Anand, who was the lead actor for Aage Badho. HFGK credits the duet, Sawan Ki Ghatao Dheere Dheere Aana – (Music: Sudhir Phadake, Lyrics: Amar Varma) to Manna Dey and Khursheed, for Dev Anand and Khursheed respectively on the screen.


Even at the cost of being repetitive, it should be noted that the opinions are sharply divided along the loyalty lines in so far as credit for the male singer goes. Several other net-resources and many of Rafi’s keen listeners credit the male part of the song to Mohammad Rafi.

Manna Dey played back for Dev Anand again next year in Hum Bhi Insaan Hai (Music: H P Das, Assistant – Manna Dey; Lyrics: G S Nepali) . Ham Tere Hai Hamko Na Thukarana O Bharat Ke Bhagwan Chale Aana– is in the form of a prayer that Dev Anand, possibly as a teacher in the school or a children home type of institution. sings to the children.

Part 1 and Part 2 of the song, O Ghar Ghar Ke Diye Bujhakar Bane Hue Dhanwan , has idealist tone.

Dev Ananad and Manna Dey have, then, combined in Amar Deep (1958; Muisc C Ramchandra; Lyrics: Rajinder Krishna) triad dance song Is JahaN Ka Pyar Jutha. The first stanza focuses on Johnny Walker for whom, naturally, Mohammad Rafi has provided the playback. Dev Ananad commences second stanza @ 3.47 with a hearty alaap of Manna Dey to dancingly sing Ab Kahan Wo Pahele Jaise Dilbari Ke Rang ….


Amar Deep had a twin version duet Dekh Hamein Awaaz Na Dena, filmed on the lead pair Dev Anand and Vyjayantimala, which has Mohammad Rafi playback singing for Dev Anand. The film had one more obscure solo – Lene Ko Taiyar Nahi, Dene Ko Taiyar Nahi – which is also filmed on Dev Anand and played back by Mohammad Rafi

Hereafter, Manna Dey got to play back for Dev Anand only when S D Burman chose to offer some specific songs like Tak Dhum Tak Dhum Baje (Bombai Ka Babu,1960), Sanj Dhali Dil KI Lagi Thak Chali Pukar Ke (Kala Bazaar,1960; with Asha Bhosle); Chand Aur Mein Aur Tu, Aye Kash Chalate Milke – with Asha Bhosle-,  Hamdam Se Mile Ham Dam Se Gaye and Ab Kise Pata Kal Ho Na Ho (Manzeel, 1960) etc.

Manna Dey did sing genuinely romantic songs for the hero in these songs, even if he was that ‘seventh’ choice.

Dev Anand – Manna Dey were brought together, once again. for one of the all time classics Chale Jaa Rahein Hai Kinare Kinare (Kinare Kinare, 1964; Lyrics: Nyay Sharma) by Jaidev.

With Raj Kapoor

Manna Dey was called on to sing for Raj Kapoor in Aawara (1951) in the classic two-song part dream sequence Tere Bina Aag Ye Chandani ….. Ghar Aaya Mera Pardesi. Since then, Shanker Jaikishan have so profusely used Manna Dey’s voice for Raj Kapoor in RK films as well as other films that Manna Dey-Raj Kapoor- Shankar Jaikishan relationship can be dealt only as set of full-fledged articles.

Manna Dey’s voice has also been used quite extensively  for Raj Kapoor by other music directors as well.

I have selected two songs to present the glimpse of the relationship –

Duniya Ne To Mujhko Chhod Diya, Khub Kiya Are Khub Kiya – Sharda (1957) – C Ramchandra – Rajendra Krishna

Has Kar Hassa Masti Mein Ga, Kal Hoga Kya Hoga Ky Bhul Jaa – Bahurupiya (Shelved) (1964) – Shanker Jaikishan – Shailendra

Manna Dey’s playback singing relationship with the Trimurti of Indian Films – Dilip Kumar, Dev Anand and Raj Kapoor – has so far followed the Manna Dey’s career in the chronological sequence. So, we will follow the similar pattern to explore his playback singing relationship with other mainstream male lead players.

With Ashok Kumar

Manna Dey’s first major association with Ashok Kumar was for the film Mashaal (1950) where he was assisting S D Burman. Upar Gagan Vishal for that film is considered to be the game changer for S D Burman as well as Manna Dey. However, it is not filmed on Ashok Kumar’s lips in the film.

During ‘50s, Ashok Kumar did maintain the status of a lead male actor, but generally not as the romantic hero. This probably created an ideal platform for Manna Dey’s playback singing relationship with Ashok Kumar. Manna Dey sings two songs for Ashok Kumar in Savera (1958, Music – Shailesh Mukherjee; Lyrics – Shailendra). The first one, a duet with Lata Mangeshkar, Chuuppa Chuppi .. Aagad Baagad Jae Re, is light-mood duet, addressed mainly to the children in the film.

The other one, A solo filmed on Ashok Kumar, Jeevan Ke Raaste Hazar – is a background song.

It was in the same year that Ashok Kumar lip-synced Manna Dey in Baabu Samjo Ishare (Chalati Ka Naam Gaadi, with Kishore Kumar; Music – S D Burman; Lyrics;ajrooh Sultanpuri), wherein Manna Dey matched notes by notes Kishore Kumar’s theatrics.

Ashok Kumar – Manna Dey got together for Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), a comic-situation oriented classical-based song.

in 1963, S D Burman used Manna Dey as playback singer for Ashok Kumar in Meri Surat Teri Aankein for an Ahir Bhairav benchmark Hindi film song, Poochho Na Kaise Maine Rain Bitayi (Lyrics – Shailendra). However parallel use of Mohammad Rafi for a playful semi-classical Naache Man Mora Tikra Dheegi Dheegi succinctly epitomizes the entire career of Manna Dey – respected on high pedestal, but not preferred normally, exceptions accepted.

Anurodh (1977) also has a twin Manna Dey – Ashok Kumar song Tum Besahaara Ho To (Music: Laxmikant Pyarelal; Lyrics: Anand Baxi). The first version is a happy version, where Ashok Kumar playfully sings the message to the children.

Second version is more in the form of a prayer, that also provides strong vibes to the main protagonist, Vinod Mehra as well.

We will continue our Manna Dey memoirs and take up Manna Dey’s songs for the ‘next-gen’ lead actors who entered Hindi Cinema in ‘50s.

[1] On Manna Dey’s 100th Birth Anniversary, a Look Back at His Journey