Carnival of Blogs on Golden Era of Hindi Film Music – July 2019

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

This month we have multiple posts  / articles celebrating 50 years of maiden human landing on the moon.

    • Moon Songs, Part 1: Ten songs addressed to the moon is celebration of the 50 years of first human landing on the moon, with a stipulation that each song must be explicitly addressed to the moon, and that that ‘naming’ must happen in the first two lines of the song.
    • Google Doogle in celebration

In the doodle video, Michael Collins, 88, describes the first sight of the Moon up close as “a magnificent spectacle.”

And now we pick up tributes and memories:

Anil Biswas – The Patriarch Of Hindi Film Music – Compared to fellow composer-singers like Pankaj Mullick, S.D.Burman and Hemant Kumar, Anil Biswas remains less celebrated in this category too. The present tribade to Anil Biswas on his birthday on 7th July celebrates the singer of his composer-singer music persona.

[N.B. We recall a SoY article Remembering Anil Biswas, The Singer.]

Bharat Vyas: Lyricist Extraordinaire in Hindi comprehensively span the career of Bharat Vyas.

A Poet of the People: The Life of Legendary Lyricist Anand BakshiKhalid Mohamed remembers a man not quite acknowledged as legend in his life time.

When Music Connects – Tera Mujhse Hai – Aa Gale Lag Jaa is tribute to R D Burman on his birthday on 27th June.

My Favourites: RD Burman is a post on a man whose talent far outstripped his due.

The German who changed Hindi cinemaUday Bhatia –  An exhibition held at Chennai from 19th July pays tribute to Bombay Talkies cinematographer Josef Wirsching… His work on ‘Mahal’ and ‘Pakeezah’ influenced a generation of cinematographers.

(from left) Kamal Amrohi, Josef Wirsching, Meena Kumari and assistant cameramen while shooting in Kashmir for Kamal Pictures’ production ‘Dil Apna Aur Preet Parai’ (1959).

You can also see the photographs online, on the Wirsching Archive website, The Wirsching Archive “The most extensive and well maintained private photographic collection depicting the birth of Indian Cinema”.

Devika Rani and others in a publicity still for the Bombay Talkies production ‘Jawani Ki Hawa’ (1935).

Here are a few more related articles:


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

Mehfil celebrates 2nd Anniversary! by selecting song son the theme of songs that celebrate family relations.

July, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960. This in continuation to the series wherein  we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

And, now commence the posts on other subjects.

The cosmopolitism of Indian CinemaKalyani Sethuraman – Indian cinema represents India’s cosmopolitan and cultural mores. At the same time, it connects us to the wider world.

The ‘Intezar’ Songs, which must have word ‘intezar’ in the first 10 words of the song.

Ek bangala bane nyara is a post that recollects songs about a family’s eternal quest for THE home.

Part III concludes the series, The Classical Music Giants contribute to Hindi Cinema – with post-‘7os film songs rendered by classical singers.

Which is the Highest Grossing Indian Film of All Time?Suparana Thombare

(Photo: The Quint)

Following the overview article, Best songs of 1946: And the winners are?. , we had taken up micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1. Last month. We have covered Part II  of solo songs of Shamshad Begum and also those of  Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari.

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:.

Kab Tak Uthaye Ye Gam Intezar Ka– Naquab (1955) – with Lata Mangeshkar – Pt. Govindram – Prem Dhawan

Soyi Hamare Sapno Ki Rani – Aadhi Raat (1957) – with Geeta Dutt – Avinash Vyas – Bharat Vyas

Ham Pe Dil Aaya To Bolo Kya Karoge – Do Ustaad (1959) – with Asha Bhosle, Shamshad Begum – O P Nayyar – Qamar Jalalabadi

Thod Thodi Gori Hai Thodi Thodi Kaali Hai – Superman (1960) – with Geeta Dutt – Sardar Malik – Prem Dhawan

Bottle Se Ek Baat Chali Hai – Ghar (1978) – With Asha Bhosle – R D Burman – Gulzar

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 – Mohantara Talpade, Rajkumari

Solo Songs of Mohantara Talpade

Mohantara Talpade was a well-recognised playback voice in mid’40s.  Year 1946 has a very respectable number of her solo songs. She has been chosen as the playback singer by a wide range of music directors in this year, which does impart an inherent variety to her songs.

Mere Man Mein Jaga Pyar, Mera Naach Utha Sansar – Amar Raj – Feroz Nizami – Pandit Phani

Rooth Gaye Mose Manmohan Ab Sawan Ko Kya KaruN – Dharti- Bulo C Rani – Pandit Indra

Yeh Kisne Bajai Murli – Duniya Naach Uthi – Gokul – Sudhir Phadke – Qamar Jalalabadi

(Credited as Mohantara Ajnkya, with a male voice and chorus)

Aai Piya Milan Ki Bahar, KaruN PhooloN Se Apna Singaar – Kuldeep – Sushant Banerjee – Nawa Naqvi

Hawa Chale Sany Sany, Kaua Kare Kany Kany – Phoolwari – Hansraj Behl – Pandit Indra

The tune is parody of  Ghata  Ghanghor Ghor Mor Machae Shor (Taansen, 1943)

Vyakul Hai Panghat Pe Radha Bechari Sanz Bhai.. – Pujari – Hansraj Behl – Wali Sahab

Jai Ambe… Jai Chandike Kultarini – Rajputani – BulO C Rani – Pandit Indra

Solo Songs of Raajkumari

Rajkumari has a fairly respectable solo song – both quantitatively and qualitatively. There must be quite some more solo songs which either do not  get formally credited to her(because of the the inadequate authenticated information) or the songs that do not have soft – YT-links.

Tum Le Lo ….Batue Bhai – Chamakati Bijli – Vasant Kumar Nayadu – Sarswati Kumar ‘Deepak’

HFGK is silent about the singer and the lyricist

Nainan Mein Koi Chhaye KyoN, Baras Rahe Dono – Insaaf – H P Das – D N Madhok

Mere Dil Mein Koi Na aae, Hae Re – Insaaf – H P Das – D N Madhok

Duniya, GariboN Ki Duniya, Badi Hai Suhani – Insaaf – H P Das – D N Madhok

Main Sajan Ke Man Mein, MaiN Ek Chand Man Mein Chhipai Baithi Hun – Maharani Minal Devi – Saraswati Devi –

Some comments on the YT claim that song is actually by Amirbai Karnataki . Correspondingly Mere Maina Madhubaina, Tu Kahana Sajana Se Sapno Mein Aye Na ought to have been credited to Rajkumar instead of Amirbai Karanatki as is seen now @ HFGK.

Sajan Aao, Man Ki Nagariya Basao – Rupa – Pt. Govind Ram – Rammurti

PhooloN Ko Chhed Kar Cheed Kar Vaade Sada Chali Gai – Shah-e-Misar- Shanti Kumar – Rupbani

HFGK is silent about the singer.

Tan Pinjare Mein Man Ka Panchhi, Chatak-Chata Kar Bole – Toofan Queen – Chitragupta, M A – Shyam Hindi

We will take up Micro View of Solo Songs of Hamida Bano and Zeenat Begum for the year 1946 n our next episode.

Carnival of Quality Management Articles and Blogs – July, 2019

Welcome to July 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, Cloud computing and Robotics.

We will now take up fourth of the nine disruptive technologies of Industry 4.0 – Augmented Reality (AR).

Augmented reality (AR)[1] is a type of interactive, reality-based display environment that takes the capabilities of computer-generated display, sound, text and effects to enhance the user’s real-world experience.

A view of the physical real-world environment with superimposed computer-generated images, thus changing the perception of reality, is the AR.[2]

AR apps typically connect digital animation to a special ‘marker’, or with the help of GPS in phones pinpoint the location. Augmentation is happening in real time and within the context of the environment, for example, overlaying scores to a live feed sport event.

There are 4 types of augmented reality today:

  • Markerless AR – A.k.a. location-based or position-based augmented reality, that utilizes a GPS, a compass, a gyroscope, and an accelerometer to provide data based on user’s location. This data then determines what AR content you find or get in a certain area. With the availability of smartphones this type of AR typically produces maps and directions, nearby businesses info. Applications include events and information, business ads pop-ups, navigation support.

  • Marker-based AR – Some also call it to image recognition, as it requires a special visual object and a camera to scan it. It may be anything, from a printed QR code to special signs. The AR device also calculates the position and orientation of a marker to position the content, in some cases. Thus, a marker initiates digital animations for users to view, and so images in a magazine may turn into 3D models.

  • Projection-based AR – Projecting synthetic light to physical surfaces, and in some cases allows to interact with it. These are the holograms we have all seen in sci-fi movies like Star Wars. It detects user interaction with a projection by its alterations.

  • Superimposition-based AR – Replaces the original view with an augmented, fully or partially. Object recognition plays a key role, without it the whole concept is simply impossible. We’ve all seen the example of superimposed augmented reality in IKEA Catalog app, that allows users to place virtual items of their furniture catalog in their rooms.

Some Industrial Applications[3]

  • Introducing AR to industrial markets will likely change how many jobs are performed. Technicians in the field will be able to receive live support from remote staff, who can indicate markings, point out issues, superimpose models over items like vehicle engines and the like, and more..
  • Industries in the design and creative spaces will likely be some of the markets most positively impacted by the introduction of augmented reality.
  • AR allows companies to develop training that’s consistent for each employee and enables the employee to develop competence and confidence in their role.

Industry 4.0 by Immersion: Augmented Reality & Connected Factory for Sunna Design – Sunna Design, a company created in 2011, conceives and produces autonomous solar lighting solutions for emerging countries. Immersion, by providing an augmented reality tool with the collaborative solution Shariiing, allowed Sunna Design to reduce costs and generate value through its connected factory of the future.

Augmented Reality Training Demonstration – by Scope AR using the Epson Moverio BT-100 – Described by a visitor to Epson’s I/ITSEC 2012 booth as “…the most practical application of augmented reality that I’ve ever seen,” this video demonstrates how Epson partner ScopeAR ( modified the Epson Moverio BT-100 to be used for self-guided training. By adding a camera to the Moverio platform and taking advantage of its transparent display, trainees are allowed hands-free opportunities to learn.

The following articles provide a detailed view of applications of AR in the fields of quality assurance and inspection:

How Augmented Reality is Improving Quality Assurance Measures for Manufacturers briefly describes a couple of applications developed by Light Guided Systems, designed to streamline and simplify complex manual assembly, inspection, part kitting, sequencing and training processes, while establishing a new baseline for quality.

Accelerate the quality assurance process with Augmented Reality – Ypsomed is the leading developer and manufacturer of pens, auto-injectors and pump systems for administration of liquid medication. Ypsomed was the first industry partner of Swisscom to test the new 5G mobile communications generation in ongoing production. ..As part of the pilot project, Ypsomed has digitalised its production processes for injection pens across the entire value chain. Open Web Technology was approached to support Ypsomed to reach the targeted digitisation with the help of Augmented Reality (AR).

These two videos provide the visual summary for what AR can do for quality-related functions:

Augmented Reality Software System for Quality Inspection – CAQ AG – The augmented reality technology permits the real-time supplementation of the user’s field of vision with additional computer-generated information and superimposed virtual objects.

Augmented Reality for Quality Inspection – ESA – This is a prototype demo for an Augmented Reality application for tablet that was developed in collaboration between the European Space Agency (PA&S Division), The Open University and Perey Consulting, in the context of ARPASS Research Project. The object under inspection is an IoT-enabled satellite mockup that communicates with the AR application using standard a IoT Protocol (MQTT). The demo app simulates circuit boards and wire harness configuration control as well as step-by-step guidance for maintenance and repair operations.

We will now turn to our regular sections:

For the present episode we have picked up article,  Help people understand “why” before you tell them “what” or “how” , by Kepler Knott on Competitive Strategy column of Management Matters Network …. If you believe that ideas rule the world and that stories – your story for your company, product or service, for example – are the best way to convey those ideas, then it pays to really think about your story and how you tell it. You’ve got to make it matter to your audience… Learn to tell the story behind your work and why it involves and impacts all the people involved….

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

  • Augmented and Virtual Reality in the Workplace – This episode dives into augmented reality (AR) and virtual reality (VR)—what they are, how they’re used on shop floors, and some organizations implementing these advanced technologies.

Additional reading : Sunil Kaushik’s full case study

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

  • Trust – In any situation, your influence is enormous if you are trusted. But if you are not trusted, it doesn’t matter what your title is or how much authority you are supposed to have, your influence is virtually zero….You build trust by keeping your word, doing what you say you will do, when you say you will do it…If you make a mistake, you don’t cover it up or try to make it look like someone else’s fault, even if it’s going to make you look bad. And when you make decisions, you make them after thoughtfully considering alternatives and consequences… When you are worthy of that trust, you feel accountable to use your influence responsibly.
  • Metamorphosis – All meaningful and lasting change starts on the inside and then works its way out. In other words, a total transformation….Essentially, what you think and truly believe turns into behavior. The late Lou Tice, founder of the Pacific Institute, stressed the use of affirmations and visualizations as an excellent way to change your internal pictures and make sure that your new behavior lasts to make your transformation complete. They help you create your reality from the inside out, which is the absolute best way (maybe the only way) to do it.

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]  Augmented Reality (AR)

[2] What is Augmented Reality (AR) and How does it work

[3] Augmented Reality In Business: How AR May Change The Way We Work

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

Zohrabai Ambalewali was the very classic product of vntage era style sininging. For the music lovers brought up ‘60s and post’60s style of sining, Zohrabai’s sining may require some conscious efforts to imbibe the style.But  once doen, it is would be a very pleasant experience to listen to her songs.

Sari Duniya Ko Bhulaya, Mere Balam Harjaai – Devar – Gulshan Sufi –

Kis Baat Pe Tule Ho, Ruthe Ho MeharbaaN – Gwalan -Hansraj Behl – Pandit Indra

Naihar Mein Nathni Gir Gayi, Kaise JauN Sasural – Gwalan -Hansraj Behl – Pandit Indra

Toot Gaya Meri Mata Ka Sapna Toot Gaya – Hum Ek Hain – Husnlal Bhagatram – P L Santoshi

Sapno Mein Aanewale GaliyoN Mein Aa Ek Baar – Hum Ek Hain – Husnlal Bhagatram – P L Santoshi

Jiyo Mere Jee Mein Gujar Karane Wale – Jeewan Yatra – Vasant Desai -Diwan Shankar

Zindagi Ek Safar Hai, Safar Kijiye – Jeewan Yatra – Vasant Desai -Diwan Shankar

Kunwar Thane Mujhro Kar Kar Ke Haari, Hari Ho Hatheela – Rajputani – Bulo C Rani – Pandit Indra

AankhoN Se Bahe Jaate Hai Armaan Hamare – Saathi – Gulshan Sufi – Wali Sahab

NahiN Chirag-e-Mohabbat Jalaye Jaate HaiN – Sohni Mahiwal – Lal Mohammad – Munshi Dil

AnaroN Ke Baag Mein Chhup Chhup Ke Aana, Pardesi Bhul Na Jaana – Sohni Mahiwal – Lal Mohammad – Swami Ramanand

Koi AankhoN Mein Aa Ke Sama Gaya – Sohni Mahiwal – Lal Mohammad – Swami Ramanand

Teri Sohni Pukar Kare Mahiwal Dekh – Sohni Mahiwal – Lal Mohammad – Swami Ramanand

We will take up Solo Songs of Mohantara Talpade, and those of Rajkumari in our next episode.

Fading Memories…. Unforgettable Songs: July, 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

Our purpose is to revisit Mohammad Rafi’s solo songs across the start point of his career till the end. We have been able to cover Mohammad Rafi’s association with around 90 music directors in these first three periods. Presently, we take up the first two years of 4th Five-Year Period 1959-1963. While looking for the first solo song with music director for each of the five years of this Five-Year Period, I have also listed some of the very popular or not-so-popular but quite remarkable songs for the music directors who have already appeared in the past three Five-Year Periods. Most of these songs we remember so well that just three words of the first line of the song is enough for us to create the whole song in our minds. There are some which you love to listen again and re-enjoy the beauty of the song, as I did.

With every passing year, the list of the solo songs with the music directors who already have appeared in the previous periods is swelling up. So even at the cost of digressing from the titled-course of the post, we will take the tour of the very-well known and not-so-known but very-good-to-listen-again songs. The sequence is – name of music director, the film and (the song). I have included here only those films which had one or more songs to take note of, to my liking, of course.

I have followed the name of the films in the alphabetical order while listing the songs in this post.


Noteworthy songs for the year were –

Chitragupta – Barkha (Sur Badle Badle Kaise ) / N Dutta – Dhool Ka Phool (Tu Hindu Banega) / Shankar Jaikishan – Chhoti Bahen (Main Rickshawwala), Love Marriage (Kahan Jaa Rahe The), Shararat (Ajab Hai Dastan) / Vasant Desai – Goonj Uthi Shenai (Kahe Do Koi Na Kare) / S D Burman – Insaan Jaag Utha (Dekho Re Dekho Ajuba), Kagaz Ke Phool (Dekhi Zamane Ki Yaari) / Hans Raj Behl – Sawan (Dekho Bina Sawan),

1959 has (technically) seven (but effectively six) music directors who had the maiden solo song for Mohammad Rafi.  Of these six music directors, two music directors did achieve commercial acknowledgement from the industry.

Kalyanji Virji Shah commenced his career as independent music director in 1958 with ‘Samrat Chandra Gupt’. The film had three Rafi/ Lata duets, but the solo song(s) with Mohammad Rafi came up only in 1959, for two films – Bedard Zamana Kaya Jaane and Ghar Ghar Ki Baat.

Bedard Zamana Kya Jaane – Bedard Zamana Kya Jaane – Lyrics: Bharat Vyas

Mohammad Rafi gets to sing the background song, which is a title song as well.

Uparwale Ne Jaldi Mein Likh Di Meri Taqdeer – Ghar Ghar Ki Baat – Lyrics: Gulshan Bawra

This is a song in a totally different mood.

Kalyanji – Anandji

After having worked solo in some more films like P B No. 999, Chandra Sena etc. Kalyanji Virji Shah teamed up with his younger brother Anandji. The brother duo gradually created their own style of compositions and went on to record many successes, including some of the iconic songs.

Suno Bhai Aankade Ka Dhandha Ek Din Teji  – Satta Bazar – Lyrics: Gulshan Bawra

This is classic Jhonny Walker song.

Usha Khanna

Usha Khanna is another debutant for the year 1959 who scaled peaks in her first foray. She did have a very long active career, which may not fall within the textbook definition of ‘success’ in the Hindi film industry, but she was certainly successful in creating her own space, in an otherwise male dominated domain.

The debut film is Dil Deke Dekho, for which she lined up a slew of Moahhamd Rafi songs, filmed  on Shammi Kapoor. The title song Dil Deke Dekho and other quite popular Bolo Bolo Kuchh To Bolo, Hum Aur Tum Ye Sama and a back-to-back pair of songs Megha Re Bole Chhanan Chhanan- Bade Hai Dil Ke Kale

Rahi Mil Gaye Raho Mein – Dil Deke Dekho – Lyrics: Majrooh Sultanpuri

Usha Khanna very deftly handles an OPNayyar-styled lilting tune, customized to the theatrics of Shammi Kapoor. Usha Khanna’s musical insight can be seen very well in the prelude of the song, wherein Rafi’s alaap is blended with whistling.

Gajanan Karnad

From very sketchy information that I could collect, Gajanan Karnad was an ace violinist and is known as the most-used support violinist fir Hindi film songs recordings. A more strenuous Google search provides a few links to his violin recordings.

Ye Sach Hai Ae Jahanwalo Hamein Jeena Nahi Aaya – Kal Hamara Hai –– Shailendra

There is one more Asha Bhosle mujhra recorded composed by Gajanan Karnad – Irada Katl Ka Hai (Aise Na Dekho Rasiya) – which has several, very distinct accompaniment of tabla

The present song would be a major find for Hind film song fans, in general, and those of Mohammad Rafi, in particular.

The other songs of the film have been composed by Chitragupt.

Bipin Dutta (Datt ?)

Bipin Dutta, and Babul, who have also been assistants to Madan Mohan, have independently paired too, to give some outstanding songs. Bipin Dutta seems to have forayed individually too. Other films to his individual credit are – Diamond King (1961) and Baaghi Shahazada (1964).

Ye Bambai Shahar Ka Bada Naam Hai – Kya Ye Bambai Hai – Lyrics:  Noor Devasi

A Johnny Walker styled song that is filmed on Maruti, who, along with Nishi plays the lead role in the film.

This mundane trivia has, very rightly, any importance today Joy is to relish the half-a-century back Mumbai and the lyrics that highlight Mumbai USPs!

Nirmal Kumar

Hardly any information is available about this music director or the fllm – Lal Nishan.

Teri Nazar Ki Chhabi Ne Khola Dil Ka Tala – Lal Nishan – Lyrics: Anand Baxi

The song has shades of Naam Bade Darshan Khote, in the basic tune and interlude orchestration..


Here is one more totally obscure name!

Duniya Chala Chali Ka…Do Din Ki Zindagi Hai Is Par Na Phool Pyare – Zimbo Ki Beti –Lyrics: Preetam Dahelvi

Hindi film industry had some very typical fad for certain names – Sindabad, Zimbo etc. are a few such names which were used to make films like ‘Son of ..’ Duaghter of .. ‘ ‘..In town etc.

Mohammad Rafi sings a text-book background song in right earnest.


Some well-known and some still-good-to-listen solo songs of Mohammad Rafi for the year 1960 –

S D Burman – Bombai Ka Babu (Saathi Na Koi Manzil), Kala Bazar (Uparwala Jaan Ke, Khoya Khoya Chand) / Roshan – Babar (Tum Ek Baar Muhabbat Ka), Barsaat Ki Raat (Maine Shayad Pahele Tumhe, Jindagi Bhar Nahi, Mayoos To Hoon) / Ravi – Chaudhvin Ka Chand (Chaudhvin Ka Chand), Ghunghat (Haaye Re Insaan Ki) / Kalyanji Anandji – Chhalia (Gali Gali Sita Roye) / Shankar Jaikishan – Dil Apna Aur Preet Parai (Jaane Kahan Gayi), Ek Phool Char Kante (Tirchhi Nazar Se Na Dekh) / Usha Khanna – Ham Hindustani (Ham Jab Chale To) / Naushad – Kohinoor (Madhuban Mein Radhika), Mughal-e-Azam (Zindabad..Ae Mohabbat Zindabad) / S N Tripathi – Lal Quilla (Lagata Nahi Dil Mera, Na Kisi Ki Ankha Ka) / Chitragupt – Patang (Ye Duniya Patang),

1960 seems to yield only three music directors that fit our basic selection criteria of composing the solo song for Mohammad Rafi for the first time. G S Kohli is a noteworthy name in these three music directors.

G S (Gurusharan Singh) Kohli

A very able tabla-player and music arranger, G S Kohli worked as assistant to O P Nayyar for almost his whole career, even when he had started composing music for films independently. He belongs that class of assistants who could not evolve their own distinctive styles. These music directors could shine for a few songs but could never make their own permanent space, even in the 2nd or 3rd rows.

Pyar Ki Rah Dikha Duniya Ko Roke Jo Nafrat Ki Andhi – Lambe Haath – Lyrics: Anjaan

The song shows all the talent that GS Kohli possessed as music composer. The film has a couple of more Rafi, light-mood, solo songs – Are Bus Mein Nazar Takraai and Sone Jaise Pyar Ko Samaj Liya Tambaa, that would vouch for his versatility as well.

Ramlal Heera Panna

In all probabilities, he is same famous flute and shehnai plyer who once worked with Ram Ganguly in Prthivi thaters. As destiny of Hindi films’ ways are, he kept struggling with C grade mythological films.

Aaj Yahan Kyun Andhkaar..Tera Mera Amar Pyar Hai – Maya Machhindar – Lyrics: Pt. Madhur

Mohammad Rafi gets his usual background song.

T G (Thiruchirappalli Govindarajulu) Ligappa

T G Ligappa was a noted music director who scored music for Tamil, Kannada and Telugu films.

Chhod Chale.. Ram Ayodhya Chhod Chale – Ramayan –Lyrics: Saraswati Kumar ‘Deepak’

This film appears to be the remake of Tamil film. Mohammad Rafi gets to once more sing a background song.

Before we end today’s episode, I am not able to resist temptation to present a recitation song from Barsat Ki Raat (1960).

Kya Gham Jo Andheri Hai Raatein, Kuchh Shamm-e-Tamanna Sath To Hai

I am sure you will be able to feel the shadow of other famous song by Roshan / Sahir combination!

We will continue with the first solo song of Mohammad Rafi for music director(s) for the other three years – 1961, 1962 and 1963 – of the 4th Five-Year Period of 1959 to 1963 in our December 2019 episode.

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 – Female Solo Songs – Amirbai Karnataki

Amirbai Karnataki also records a sizable quantitative performance for the year 1946. There are quite a few songs which do find mention in her name in HFGK, but the most painstaking YT up-loaders have not been able to manage to get the song that can be uploaded onto YT. I have not included such songs here.

Piya Milane Ko Jaanewali Samhal Samhal Ke Chal – Dev Kanya – Shyam Sundar

Nyay Yahi Hai Tumhara, Prem Ke Devata – Dulha – Gyan Dutt – B R Sharma

Jab Aanewale Aayenge, Ham Khub Unhein Kalpayenge – Dulha – Gyan Dutt – B R Sharma

Sab Kahene Ke Baatein Thi, Jo Pyar Ki Baatein Thi – Dulha – Gyan Dutt – B R Sharma

Dar Pe Tere Ik Dukh Se Bhare Dil Ne Pukara – Kamla – Gyan Dutt

Do Dil Ko Ek Dil Milakar Banana Yaad Hai – Kamla – Gyan Dutt

Koi Prano Ke Taar Zanaka Gaya Re – Kamla – Gyan Dutt

Vada Wafa Ka Karke Kisi Ne Bhula Diya – Kamla – Gyan Dutt

Kaanto Se Chhedate Hai Mere Jigar Ke Chhale – Keemat – Naushad Ali – Majrooh Sultanpuri

Man Dol Raha Hai, Man Dol Raha Hai – Keemat – Naushad Ali – Majrooh Sultanpuri

Phunk Do Bhagwan Aa Ke Apana JahaN – Keemat – Naushad Ali – Majrooh Sultanpuri

O Lakh Karo Chaturai Balam Main Hath Na Aaungi – Magadhraj – Bulo C Rani – Pandit Indra

HFGK does not mention the singer, but she does sound like Ameerbai to the uploader of the song, to which I concur.

Mere Maina Madhubaina, Tu Kahana Sajana Se Sapno Mein Aye Na – Maharani Minal Devi – Saraswati Devi –

YT mentions Rajkumari as singer for this song.

Aa AnkhoN Mein Aa, PalkoN Mein Aa, Aa Ke Chhup Jaa – Nargis – Husnlal-Bhagatram – Qamar Jalalabadi

Main Kaise KahuN Tute Hue Dil Ki Kahani – Nargis – Husnlal-Bhagatram – Qamar Jalalabadi

Roti AankhoN Mein Teri Yaad Aati Hai – Nargis – Husnlal-Bhagatram – Qamar Jalalabadi –

Bairan NeendiyaN KyoN Nahi Aaye, Door Khadi Muskae – Pujari – Hansraj Behl – Wali Sahab

We will take up Solo Songs of Zohrabai Ambalewali for 1946 in our next episode.

Manna Dey and Contemporary Lead Actors – 2

In the First Part of the present series, we have listened to the songs that Manna Dey played back for Dev Anand, Raj Kapoor and Ashok Kumar.

By the turn of decade of ’40, Manna Dey was well-recognized for classical-based songs. The trend continued in 1951 and 1952. He made more in roads into the big banner films like RK’s Aawara (1951), which was to set up a very special, strong bond with the music directors, Shanker Jaikishan, and in turn with Raj Kapoor. After having tried his hands with music composition, first assistants to music directors like S D Burman or H P Das in ‘40s, in the initial years of ‘50s, he also tried his hand with music direction when he worked with Khemchand Prakash for Shree Ganesh Janma (1951) and Vishwamitra (1952).Then in 1953 came Do Bigha Zameen, which unmistakably shot his fame as a (singer) star. So, he, very wisely, did give up pursuit of music direction and decided to concentrate on his singing career.

With Balraj Sahni

Balraj Sahni had made a noteworthy entry with his role in K A Abbas’s in Dharati Ke Lal (1946). His ideological leanings and histrionic commitment made him the ideal fit for the role of a poor farmer for Do Beegha Zameen. Salil Chaudhary used Manna Dey for two songs – Hariyala Sawan Dhol Bajata Aaya and Dharati Kahe Pukar Ke – which not only made Manna Dey a very widely-known name across the country, that also established Manna Dey’s association with Balraj Sahni.

Balraj Sahni was not the material for lead male actor in the traditional Hindi movie fold, but he had several films to follow wherein he played the lead role of (sort of ) anti-hero. The first such film was Seema (1955) where Shanker Jaikishan found an ideal fit in Manna Dey, to playback for Balraj Sahni for a choir-tune-based song Tu Pyar Ka Sagar Hai, Teri Ek Boond Ke Pyaase Ham (Lyrics: Shailendra)


It was Mohammad Rafi who was a parallel ‘seventh’ choice, for Kahan Jaa Raha Hai.

In 1957, Balraj Sahni was the co-lead actor for a Russian joint venture film ‘Pardesi’.  The film was based on XV century Russian traveler Afanasy Nikitin’s travelogue ‘A journey beyond three seas’. Anil Biswas has used Manna Dey’s voice as playback for several Balraj Sahni enacted songs in this film.

Phir Milenge Jaanewale Ae Yaar, Dasvidaniya – Pardesi (1957) – Anil Biswas

For  a song that has an undertone of pathos, but is sung boldly, Manna Dey’s voice seems to be the obvious choice.

Tujh Mein Ram Mujh Mein Ram Sab Mein Raam Samaya – Pardesi (1957) – Anil Biswas – Prem Dhawan

In line with the basic social egalitarianism of the film, the song is used to spread this message.

1961 had two Balraj Sahni films, for which music director was Salil Chaudhary.

Of these two films, Kabuliwala is considered to be a classic.

Ay Mere Pyare Watan  Ay Mere Bichhade Chaman Tujh Pe Dil Qurban– Kabuliwala (1961) – Salil Chaudhary – Prem Dhawan

The song is in fact filmed on Wazeer Mohammed Khan, but it is Balraj Sahni who is in the center of the song

Wazir Mohammed Khan is the actor who had acted in the first Hindi talkie film Alam Ara (1931) as well as its remake in 1956 and in 1973.

[Note: Akji(SoY) adds in his comment that WM Khan has the credit of singing the very first song of Hindi films, De de Khuda ke naam par for Alam Ara

The other film, Sapan Suhane (1961) was as obscure as Kabuliwala was famous.

O Gori Aaja Gadi Wich Baith Ja – Sapan Suhane 1961 – with Lata Mangeshkar –  Salil Chaudhary – Shailendra

Here is the song, which is truly of a romantic mood, though set in rustic settings.

Dil Kaheta Hai Zara To Dam Lelo, Dagar Kaheti Hai Ke Chalte Chalo – Sapan Suhane 1961 –  Salil Chaudhary – Shailendra

Here is another very playful song that embodies the philosophy of a life on the move.

The film had a third Manna Dey song, a triumvirate – Naam Mera Nimmo Mukam Ludhiana – wherein Manna Dey plays back for Master Bhagwan.

Balraj Sahni has sung a few more songs as the lead male actor, but these were played back by other singers like Mohammad Rafi (Sone Ki Chidiya) or Subir Sen (Kathputli). So we move on to two songs wherein Balraj Sahni is in the lead character role and Manna Dey chips in for the play back. Both songs were composed by Ravi.

Ae Meri Zohara Zabeen Tujhe Malum Nahi – Waqt (1965) – Ravi – Sahir Ludhyanvi

This is the song which remains one of the front-ranking-ever Manna Dey songs.

Tujhe Suraj Kahoon Ya Chanda – Ek Phool Do Maali (1969) – Ravi – Prem Dhawan

The song can be considered to suit Manna Dey like a ‘t’. from any angle you look, and Manna Dey has made the best of the ideal opportunity.

With David Abraham

I think everyone will justly conclude that we are going to talk about Boot Polish’ (1954), where technically David Abraham is in once-in-a-life-time  supporting role of John Chacha, who mentors two young urchins away from the streets to the life of pride and self-respect.

Lapak Japak Tu Aa Re Badaria, Sar Ki Kheti Sukh Rahi Hai – Boot Polish (1953) – Shanker Jaikishan – Shailendra

Shanker Jaikishan – Shailendra have come up with a winner of a song that is to blaze the future genre of classical-based-songs-for-comedy-situations.


Raj Kapoor was a great perfectionist when it came to making of his films. Shri Arunkumar Desmukh recounts a very interesting story in relation to this song. We get to know to what length Raj Kapoor would go to enliven the situation that has germinated in his mind.

O Raat Gayi, Raat Gayi Phir Din Aata Hai Isi Tarah Aate Jaate Hi Sara Jivan Kat Jata Hai – Boot Polish (1954) – With Asha Bhosle – Shanker Jaikishan – Saraswati Kumar Deepak

The song is classic depiction of hope in the face of gloom.

Song also has a mundane historical value of being the first duet of Manna Dey and Asha Bosle.

Thehar Jara O Jaaneale O Babu Mister Gore Kale… Kab Se Baithe Aas Lagaye Ham Matwale Paliswale – Boot Polish (1954) – With Asha Bhosle and Madhubala Zaveri – Shanker Jaishan –  Shailendra

Manna Dey comes up with vigor of full joy as he opens the song and then continues the mentoring with an encouraging lively tone as he opens the interlude.


Once again, Mohammad Rafi comes up the ‘seventh’ choice to replicate the voice of an elderly person in Nanhe Munne Bachche Teri Mutthi Mein Kya Hai

With Bharat Bhushan

It is very difficult to associate Bharat Bhushan with Manna Dey in the playback, since almost of the successful songs that Bharat Bhushan got to sing on the screen invariably has Mohammad Rafi for playback. However, the subject of ‘Basant Bahar’ (1956) revolves around a singer who is blessed with a classically-oriented voice, which makes Manna Dey as the very natural choice for the music directors Shanker Jaikishan.

Sur Naa Saje Kya Gaun Mein, Bhay Bhanjana Vandana Sun Hamari, or a classic competition song. Ketaki Gulab Juhi Champak Ban Phoole, are indeed best in the class songs. Perhaps, this would be classic tale where greater the height of immediate success seems to have undesirable long term effect.

The film does have one of the most melodious duets to the credit of Manna Dey – Nain Miley Chain Kahan, Dil Hai Wahin Tu Hai Jahan – where Manna Dey matches Lata Mangeshkar’s natural melody on a chord-to-chord basis.

In Rani Rupmati (1957), a historical film, Bharat Bhushan played the lead role. One of the very popular song from this film – Aa Laut Kar Aaja Mere Meet – had Mukesh as playback singer. In a classical competition duet – Baat Chalat Nayi Chunari Rang Daali – Mohammad Rafi plays back for Bharat Bhushan. There are three more duets Phool Bagiya Mein Bulbul Bole, O Raat Andheree Dar Lage Rasiya and Jhananan Jhan Jhan Baje Payaliya, where too Mohammad Rafi is chosen as play back of Bharat Bhushan. However, S N Tripathi once again falls back upon a high-octaved poignant feeling song Ud Jaa Ud Jaa Bhanwar Maya Kamal Ka Aaj Bandhan Tod Ke.

Manna Dey again plays back to Bharat Bhushan in Kavi Kalidas (1959). Choice of Manna Dey seems directly linked to his now strong association with classical based songs.

Jai Saraswati – Kavi Kalidas (1959) – Music: S N Tripathi; Lyrics: Bharat Vyas

Here is the prayer to the Goddess of Education (Maa Saraswati).

Naye Naye Rango Se Likhati Dharati Nayi Kahani – Kavi Kalidas (1959) – Music: S N Tripathi; Lyrics: Bharat Vyas

This is the romantic poetry that describes the beauty of nature as it operates through the changing colors of the earth in different seasons.

O Ashadh Ke Pahele Badal – Kavi Kalidas (1959) – With Lata Mangeshkar – Music: S N Tripathi; Lyrics: Bharat Vyas

This is a poignant request to The Clouds to carry his message to his beloved.


S N Tripathi has fallen back on the ‘seventh’ choice Mahammad Rafi for a simple romantic duet Un Par Kaun Kareji Vishwas

Bharat Bhushan once again played a devotional role in Angulimal (1961) that naturally prompts music director Anil Biswas to use Manna Dey for a background song filmed on the main protagonist – Aye Manav Tu Mukh Se Bol Bhudhdham Sharanam Gachhami (Lyrics: Bharat Vyas)

Bharat Bhushan’s association with Manna Dey also should record one of the most famous classical-comedy genre song Phool Dendava Na Maaro of Dooj Ka Chand (1964) (Music: Roshan; Lyrics – Sahir Ludhyanvi). Dooj Ka Chand is produced ny Bharat Bhushan. The song is filmed on Agha.


The songs filmed on Bharat Bhushan himself – Sun Ae Mahajabeen Mujhe Tum Se Pyar Nahin, Chand Takta Hai Idhar and Mahefil Se Uth Jaanewalo have been rendered by Mohammad Rafi.

If Manna Dey was the classical playback singer choice for Basant Bahar, he too was THE choice for the romantic male lead of Chori Chori (1956), and a ‘seventh’ but quite an important choice for Shree 420 (1955) for Shanker Jaikishan. Each of the songs of these films were game changers and should have set any other singer right on the seventh heaven. Manna Dey did scale seven heavens, but as the niche playback singer only.

We will continue with Manna Dey’s journey with actors, who initially had Manna Dey as their play back, but their path to the first row seats of the commercial success of the cinema was travelled riding on the playback of other singers

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Shamshad Begum [2]

We listened to Part [1] of Solo Songs of Shamshad Begum for the year 1946 in the previous episode. It may be noted there a few films wherein we have YT link  for only one song, but quite a few songs from these films still do not have corresponding audio / video links available.

Aankh Mein Aansoo Lab Par Aahein, Dil Mein Dard Basaya Hai – Rangbhoomi – Premnath –

Kitne Bedard Hai Bedard Jamane Wale – Rasili – Hanuman Prasad – Gafil Harnalvi

Duniya Ki Bhi Sun Lo Bhagwan Tumhi Ho – Saathi – Gulshan Sufi – Wali Sahab

O Pardesi Raja Aa Aa Aa Aa Pardesi – Saathi  – Gulshan Sufi – Wali Sahab

Sahara Ki Hawao, Jao Unhe Jaa Kar Meri Fariyad Sunao – Sassi Punnu – Pt. Govind Ram – Ishwar Chandra Kapoor

Tumne Aag Laga Di Man Mein – Sassi Punnu – Pt. Govind Ram – Ishwar Chandra Kapoor

Ik Tera Sahara…Dil Tod Ke Duniya Ne – Shama – Ghulam Haider – Ehsan Rizvi + Shamim (Part 1)

YuN Khun Garibo Ka Bahati Hai Khudai – Shama – Ghulam Haider – Ehsan Rizvi (Part 2)

Ham GariboN ka Bhi Pura Kabhi Arman Kar De – Shama – Ghulam Haider – Shams Lakhanavi

Uljhan Dil Ki Kya Sulaze – Shama – Ghulam Haider – Ehsan Rizvi –

HFGK mentions that some of the songs of Shama were recorded in Suraiya’s voice as cover version. However, we have not been able to locate audio /video links of these versions.

Balam Harjai Re, Tere Bina Neend Na Aayi Re – Sona Chandi – Tufail Faruqi – Wali Sahab

We will take up Solo Songs of Amirbai Karnataki for the year 1946 in the next episode.