In the next couple of episodes, we ill take up micro-view of solo songs of those female singers who have got one, or at best two, films in in 1946. Even from these very limited number of songs, the actual number of songs that we would get to listen to has further reduced, because the digital versions of these songs do not seem to be available on net.
Solo Songs of Dilshad Begum
Sajan Sang Na Chalo – Kahan Gaye – Lachhiram Tomar
Singer is not identified in the HFGK.
Duniyawalon Nadaron Ki Madad Karo – Rehana – Qadir Faridi – Tufail Hoshiyarpuri
Bhar Layi Hun Jawani Saaagar Mein, Jannat Se Chal Kar Aayee Hun – Rehana – Qadir Faridi – Tufail Hoshiyarpuri
Ada Ada Teri Mast-e-Sharab Ho Rahi Hai – Rehana – Qadir Faridi – Aziz Kashmiri
Solo Songs of Kalyani Das
Chand Paas Hai, Raat Andgeri Kyun – Bindiya – Kamal Dasgupta – Pt. Madhur
Badal Garaj Garaj Ke Paigam Suna De – Bindiya – Kamal Dasgupta – Pt. Madhur
Jeevan Saragam Pe Gae Ja Geet Suhane – Bindiya – Kamal Dasgupta Pt. Ram Murti
Nazarein Bata Rahi Hai Tum Door Jaa Rahe Ho – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi
Rone Ka Rog Lag Gaya, Tadape Hansi Hansi Mein Hum, Lut Gaye Gaye Khel Mein Mit Gaye Ham Dillagi Mein – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi
Solo Songs of Meena Kapoor
This the debut year for Meena Kapoor, in the film Eight Days. We have one more solo form ‘Door Chalen’ (Music: K C Dey), but the digital copy does not seem to be available.
Kisi Se Meri Preet Lagi, Ab Kya Karoon – Aath Din – S D Burman – G S Nepali
Solo Songs of Neena
Neena was the lead actress against Prithvi Raj Kapoor in this film – a name that I hear from the first time, because of my very limited knowledge of the films and songs of this era of the Hindi film songs.
Bigadi Meri Bana De, Man Ko Daranewale – Prithviraj-Samyukta – S K Pal – Josh Malihabadi
Kya Jaane Man Kya Kaheta Hai – Prithviraj-Samyukta – S K Pal – Josh Malihabadi
YT shows Sitara Kanpuri as the singer.
Sundar Sapna Ban Ke Aali Nayanan Mein Kaun Samaya – Prithviraj-Samyukta – S K Pal – Akhtar Ul Imaan
We will take up Micro View of some more Other Female Singers – like Beenapani Mukherjee, Shushila Rani, Jayshree, Parul Ghosh, Geeta Roy – for the year 1946 in our next episode.
Ten Songs That Force Us to Think About the True Meaning of Azadi, to make Indians think hard about what freedom and independence really ought to mean—an end to injustice and exploitation, communal divisions, the oppression of women, wars brought upon the people by corrupt or inept leaders—and which celebrate the ideals of solidarity.
Gauhar Jaan – Great Singing Pioneer and Tragic Prototype – But there are many things that Gauhar Jaan could never have predicted, including the fact that her voice would be heard via technology that far surpassed the once seemingly miraculous sound recordings in which she had played the part of India’s greatest singing pioneer.
Why a typical Bollywood hero is Gandhian on the streets, but sings lustfully in the sheets– Sanjay Suri – In every Bollywood film, songs express the desires that the heroes sacrifice or reject in the actual story. In a properly conservative society, ‘one doesn’t say these things’ that express desire. And so, they get said, and shown, in song. The hero is Gandhian when he speaks, flirtatious when he sings. Casting a romantic Gandhi would, of course, need extraordinary measures – an excerpt from ‘A Gandhian Affair: India’s curious portrayal of love in cinema’ by Sanjay Suri
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:.
Seedhe Saade Insaano Ka Is Duniya Mein Kaam Nahi – Tu Nahi Aur Sahi (1960) Ravi – Asad Bhopali
Sarfaroshi Ki Tamanna Ab Hamare Dil Mein Hai – Shaheed Bhagat Singh (1963) – Husnlal Bhagatram –
Nain Mila Ke Pyar Jata Ke Aag Laga Di – Mera Bhai Mera Dushman (1967) – With Jagjit Kaur – Khayyam – Kaifi Azmi
Apni Aadat Hai Sab Ko Salaam Karana – Pyar Deewana (1972) – Lala Sattar – Asad Bhopali
Simti Hui Ye Ghadiyan, Phir Se Na Bikhar Jaaye – Chambal Ki Kasam (1979) – with Lata Mangeshkar – Khayyam – Sahir Ludhyanvi
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.
To those who have fair knowledge of the history of the vintage era of Hind Films, Naseem Akhtar was not an unknown name. I do not have sufficient knowledge about her career. For the year 1946, we not only have some of the then then known solo songs of Naseem Akhtar from ‘Keemat’ and Shajehan but also from three other films which add to the bonus of getting to know the voice of Naseem Akhtar.
Chand Ko Gale Lagaye Badarwa – Keemat – Naushad Ali – Majrooh Sultanpuri
Hamse Khush Hai Zamana – Keemat – Naushad Ali – Majrooh Sultanpuri
Jeeta Hai Va Marata Hai Koi, Tune Na Jana, Aye Bhulanewale – Keemat – Naushad Ali – Majrooh Sultanpuri
Man Pagle Swapna Dikhaye, Man Jhoothe Dip Jalaye – Keemat – Naushad Ali – Majrooh Sultanpuri
Bolo Bolo Ji Bhagwan, Kaisi Rachai Tune Maya – Maa Baap Ki Laaj – Alla Rakha Quraishi
Prabhuji Mujhe Aasra Hai Tumhara – – Maa Baap Ki Laaj – Alla Rakha Quraishi
Barbad Na Kar De Kahi Bedard Zamana, Allah Bachana – Shahjehan – Naushad Ali – Khumar Barabanqvi
Aag Lagi Hai Dil Mein Wah Pyari, Gaane Lagi Umange Saari – Shahjehan – Naushad Ali – Majrooh Sultanpuri
Mujhe Loot Liya Re…..Bhole Sanam Ne – Sohni Mahiwal – Lal Mohammad – Swami Ramanand
HFGK does not mention singer for this song.
Duniya Se Mitaye Mujhe Ya Dil Se Bhulae – Wamiq Azra – A R Quraishi – Tanvir
Aa Tera Intezar Hai Tera Intezar – Wamiq Azra – A R Quraishi – Tanvir
Solo Songs of Paro Devi
1946 is the debut year of Paro Devi, with S D Burman’s debut film Shikari. One songs from this film does not seem to have a soft YT link available. The other film ‘Dhanwan’ also may have more than one song which is documeneted on YT.
Tere Gam Se Mil Raha Hai, Mujhe Har Tarag Sahara – Dhanwan – Shanti Kumar – Behjad Lakhnavi
Jab Ghar Mein Lagi Aag, Sabhi Banshi Bajae – Shikari – S D Burman – G S Nepali
HFGK records tow versions of this song, one solo and one with chorus. The clip that is presented here includes both these versions.
Chhupo Chhupo O Daranewalo – Shikari – S D Burman – G S Nepali
We will take up Micro View of Solo Songs of Dilshad Begum and Kalyani Das for the year 1946 in the next episode.
We will now take up fourth of the nine disruptive technologies of Industry 4.0 – Simulation.
The simulation hypothesis is the idea that reality is a digital simulation. Technological advances will inevitably produce automated artificial superintelligence that will, in turn, create simulations to better understand the universe. This opens the door for the idea that superintelligence already exists and created simulations now occupied by humans. At first blush the notion that reality is pure simulacra seems preposterous, but the hypothesis springs from decades of scientific research and is taken seriously by academics, scientists, and entrepreneurs like Stephen Hawking and Elon Musk.
Techopedia defines Simulation as ‘any research or development project where researchers or developers create a model of some authentic phenomenon. Many aspects of the natural world can be transformed into mathematical models, and using simulation allows IT systems to mimic the outcomes that happen in the natural world.’
The word “simulation” is sometimes also defined as “the imitation of the operation of a real-world process or system over time.”… Imitating a real-world process or system allows experts to study the process or system they are interested in within a controlled, repeatable environment… Since commissioning of new manufacturing facilities, production lines, and processes is often costly and capital-intensive, applying simulation methods to manufacturing can yield enormous benefits.
The most important objective of simulation in manufacturing is the understanding of the change to the whole system because of some local changes. It is easy to understand the difference made by changes in the local system, but it is very difficult or impossible to assess the impact of this change in the overall system.
For example –
ANDRITZ AUTOMATION Scada in P&P Balematic with INLINE Simulation tool, helps in testing the functional behavior of a machine is against the application design prior to manufacturing.
The first step on the 4.0 factory path is simulation. 3D inspection, integral in the Smart Factory, should be simulated, providing greater productivity, efficiency and smarter part programming –
Because when metrologists program offline inspection tasks on complete simulated twins of their actual environment and equipment, the actual physical equipment is free to continue measuring and monitoring.
Because when inspection programs have been simulated and virtually tested, they are error and collision-free when applied to the manufacturing process.
Because, an offline simulation program can work directly with native or neutral CAD files and automatically interpret Geometric dimensioning and tolerancing (GD&T).
One can find several research papers dealing with subject of use of simulation in the quality management. Since these papers require very specific access approvals, we have picked up two representative papers here for the illustrative purpose–
An Application of Computer Simulation to Quality Control in Manufacturing – The company was using a standard skip lot procedure with a single sampling by attributes plan at the initiation of this study. An analysis of the situation revealed that the complex skip lot procedure was inappropriate and that the use of multi-stage attribute sampling plans could improve inspector productivity by lowering the average sample number per lot undergoing inspection. To demonstrate these proposals to management, a computer simulation model was developed which simulated the system in use by the company and a variety of other possible systems. Based on the simulation results, the management decided to implement a system employing uniform skipping between lot inspections and multi-stage attribute sampling plans. The system resulted in marked improvements in operating performance as measured by six month’s actual results.
Simulation in Quality Management – An Approach to Improve Inspection Planning – Production is a multi-step process involving many different articles produced in different jobs by various machining stations. Quality inspection has to be integrated in the production sequence in order to ensure the conformance of the products. The interactions between manufacturing processes and inspections are very complex since three aspects (quality, cost, and time) should all be considered at the same time while determining the suitable inspection strategy. Therefore, a simulation approach was introduced to solve this problem.
We will now turn to our regular sections:
For the present episode we have picked up article, The “Curiosity” Disconnect Between Executives and Employees, by Editorial Staff , on Innovation & Entrepreneurship column of Management Matters Network …. “Most of the breakthrough discoveries and remarkable inventions throughout history, from flints for starting a fire to self-driving cars, have something in common: They are the result of curiosity.”
We now watch ASQ TV, wherein we look at a few recent videos:
Resilience means being able to cope with situations in spite of setbacks or barriers. Essentially, resilience refers to our ability to recover from adversity….This quality of resiliency, or the ability to suffer loss and recover from devastation, has a lot to do with our overall feelings of self-worth. It also has a lot to do with our belief about whether our life is largely controlled by us, or by forces outside our self…There are four major cornerstones to learning resilience. First, avoid feeling that you’re a victim. Second, accept that change is constant so it’s part of life so there’s no escaping it. Third, avoid seeing obstacles as being insurmountable. Forth, focus on the positive.
Persistence Pays Dividends – Many experts say that most people try eight, nine, or ten ways to make a change, and when they don’t get the desired outcome, they give up! …What most people miss is that the key to success is to decide what’s most important to them and then take considerable action, each day, to make it better, even when it doesn’t appear that progress is being made.
I look forward to receiving 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.
Khursheed’s presence is in only one film in 1946, but that still provides enough evidence of her versatility. Ram Ganguly’s composition present a mix of typical vitage era styles of orchestarion and singing, which suits Khursheed’s vocal cords.
Ban Mein Kali Koyal Boli Mere Man Ki Duniya Doli – Maharana Pratap – Ram Ganguli – Swami Ramanand
Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji)
Shailendra (a.k.a. Shankardas Kesarilal) – B: 30-8-1923 / D: 14-12-1966 – was as much a poet as he was a lyricist. His film songs were easy to sing, easier to understand and even easier to make sense. Most of us remember Shailendra as Shalendra-Hasrat twin and an important angle of Shankar-Jaikishan – Shailndra- Hasrat quadrilateral, Shailendra has very actively paired with several other music directors. Quantitatively, bulk of his 800 songs are composed by Shankar Jaikishan, followed by a fairly large numbers of songs composed by S D Burman and Salil Chaudhary. However, Shailendra’s work with ‘other music directors’ does form a very important ingredient of the whole. For example:
Sabhi Kuchh Lutakar Hue Hum Tumhare is the sole Hindi song in the Bengali film, Indrani (1958, Music: Nachiketa Ghosh)
Today we will listen to the reprehensive songs from the basket of soulful Shailendra with melodious Hemant Kumar. We have also combined Shailendra’s songs composed by Ravi and the his one-only song with Kalyanji Anandji. We have stitched the warp of Shailendra’s songs by these three music directors with a common weft of one Song Man Dole Mera Tan Dole (Nagin, 1954), which was composed by Hemant Kumar, set to music by Ravi, as assistant of Hemant Kumar, for which the been (pungi) was played by Kalyanji (Anandji) Virji Shah on clavioline.
Shailendra with Hemant Kumar
Hemant Kumar (a.k.a. Hemant Kumar Mukherjee) – B: 20-6-1920 – D: 26-9-1989 – commenced his career in Hindi Films, as a singer first, with Irada (1944) song Aaram Se Jo Raaten Kaate, (Lyrics: Aziz Kashmiri), under the baton of Pt. Amarnath and as a music director in Filmistan’s Anand Math (1952).
As sweet as any coincidence can be, Shailendra penned the majority of the songs for this film. Shailendra and Hemant Kumar teamed up for two more films (Chand and Hum Bhi Insaan Hai, both 1959) and one song for Masoom (1960) in the roles of lyricist and music director respectively.
Naino Mein Saawan, Man Mere Phagun, Palchhin Jale Aur Jalaye Yaad Aye Bachpan, Yaad Aaye Re – Anand Math (1952) – Geeta Dutt
Geeta Bali reminisces the memory of her journey from her parent’s home to the present times in the Math. The pathos of the lyrics are so well captured in Geeta Dutt’s soft tone. The composition of the song also reflects the different moods of the song at different stages.
Kaise Rokoge Aise Toofan Ko – Anand Math (1952) – Talat Mahmood, Geeta Dutt
On one hand, Geeta Bali successfully attempts to divert attention of the British soldier by carefully modulated initial recital of first set of lyrics, while also challenging her love, Pradipkumar, with the carefree rendition of her part of the song. However, palpable tension, on both counts, is evident in Pradeep Kumar’s response. Geeta Dutt and Talat Mahmmod have captured the mood the song in totality.
We have here a one of the few rare Lata- Suman duets. Hemant Kumar dexterously presents a fast-paced dance song.
Hai Re Kismat Ka Andher Hai Re Banate Der Lage Na Bigadate – Hum Bhi Insaan Hai (1959) – Hemant Kumar
The opening notes of flute is picked up by Hemant Kumar to express the despair of dark phase of the life.
Oonch Neech Ke Bhed Bhula Ke Gale Milo Saare Insaan – Hum Bhi Insaan Hai (1959) – Hemant Kumar
A bhajan composition that has appropriately Shailendra has used to weave in the socialistic thinking.
Phulva Band Mahake Dekho Laheke DaaliDaali – Hum Bhi Insaan Hai (1959) – Geeta Dutt, Suman Kalyanpur
Hemant Kumar resurrects pure melody from Shailendra’s wonderful description of the nature, from the eyes of two young friends. Geeta Dutt and Suman Kalyanpur fully blend each other’s individual style into the melody of the duet.
Pyaar Jatake Lalchaaye Mora – Hum Bhi Insaan Hai (1959) – Shamshad Begum
Without any benefit of the video, one is left in no doubt about the gay mood the singer – on and off the screen.
Nani Teri Morni Ko MorLe Gaye – Masoom (1960) – Ranu Mukherjee
Shailendra comes up with gem of child song by using the first line of folk song. Hemant Kumar also has done an out-of-box trick by using the voice of Ranu Mukherjee, who is his the then very young, daughter.
Shailendra With Ravi
In 1952, Ravi (a.k.a. Ravi Shankar Sharma) – B: 3 March 1926 – D: 7 March 2012 – was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi assisted Hemant Kumar till Nagin 1954, before he ventured on to his own.
Shailendra and Ravi had four films together, all of them being pre-Chaudhvi Ka Chand (1960). Ravi then went onto work more with Shakeel Badayuni or Sahir Ludhyanavi or Rajendra Krishna, depending upon the film’s production house’s own preference.
As compared to a very distinctive style of O P Nayyar, Ravi lent the essential variety to Asha Bhosle’s style of singing, thereby enabling her to establish her position in the playback singing As compared to field.
Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Hemant Kumar, Lata Mangeshkar
Ravi has so aptly chosen Hemant Kumar for a male playback voice for a song which so evocatively passionate, for expressing the emotions with a restraint when the the couple share each other’s views outside the public glare.
Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Lata Mangeshkar
A classic twin version which recollects those happy moments when the circumstances have taken an unhappy turn.
Tose Laage Naina Saiyaan Ho To Se Lage Naiana – Nai Rahen (1959) – Mohammad Rafi, Asha Bhosle
Romantic songs cast in semi-classical mode is also very oft-used genre in Hindi films. Ravi uses his simplicity wand to present the song.
Kaun Jaane Re Baba Duniya Mein Preet Parayi – Jawani Ki Hawa (1959) – Mohammad Rafi, Asha Bhosle, Geeta Dutt
Ravi deftly does justice to the street-performance genre song here. Getta Dutt, very sparingly ever used by Ravi, sings for the younger of the girl members of the performance troupe.
Shailendra with Kalyanji (Anandji)
In a very rare occurrence, a lyricist writes songs for a senior music director as well as for two of his erstwhile juniors, in two different cases. Shailendra has done this in this case of Hemant Kumar, Ravi and Kalyanji(Anandji) as well as in case of S D Burman, Jaidev and R D burman. Shailendra himself has penned songs for two such pairs, more than once – Shankar Jaikishan and Dattaram, S N Tripathi and Chitragupt.
Ja Ja Na Chhed Maan Bhi Ja – Satta Bazar (1959) – Mohammad Rafi, Suman Kalyanpur
Shailendra, incidentally, has penned, only one song in this film.
As it happens, the last few songs in the post have Mohammad Rafi as the singer. So we will take up one more song, this time composed by Hemant Kumar, to traditionally our posts with Mohamad Rafi song
Pyaari Bole Bulbul Padosan Bole Kauwa – Hum Bhi Insaan Hai (1959) – i
An absolutely carefree mood song. You don’t get many such song from Hemant Kumar’s stable.
We will continue our quest of Shailendra with other music director in this series in our next episode, next year.
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.
 A tickling trivia on the making of Man Dole, Mera Tan Dole –
Noor Jehan has had a dream run in 1946, which was to turn out to be the penultimate year of her active career from (the then) Bombay. 1946 has thre fims of Noor Jehan, each one had a different music director, and hence a very different style. Most of us have known Noor Jehan of ‘Anmol Ghadi’. So, Noor Jehan of ‘Dil’, presented by Zafar Khursheed, and of ‘Hamjoli’ by Hafeez Khan would a treat to listen to.
Popular solo songs
Aaja Meri Barabaad Muhabbat Ke Sahare – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Mere Bachpan Ke Saathi Mujhe Bhul Na Jana – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Jawan Hai Muhabbat HasiN Hai Zamana – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Kya Mil Gaya Bhagwan Tumhein Dil Ko Dukha Ke – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Other solo songs
Aye Hawa Jaa Jaa Jaa Piya Ke Ghar Jaa, KyuN Chalati Hai – Dil – Zafar Khursheed – Raajiuddin
De Ke Mujhe Wah Dard-e-Jigar, Bhul Gaye Kya Bhul Gaye – Dil – Zafar Khursheed – Raajiuddin
Baba Mere Chhoot Gaye, Chain Mujhe NahiN Aae – Dil – Zafar Khursheed – Arsh
Phoolo Mein Nazar Ye Kaun Aaya, Kaun Aaya – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Ye Desh Hamara Pyara, Hindostan Hai Hamara – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Raaz Khulata Nazar Nahi Aata – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Bhagwan Bhagwan Kab Tak Teri Duniya Mein Ye Andher Rahega – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Dukh Dard Se Jahan Mein Koi Azad NahiN Hai – Hamjoli – Hafeez Khan – Anjum Pilibhiti
In the next epiosde, we will take Solo Songs of Khursheed and of Kanan Devi, for the yaer 1946, for a Micro Review.
Our search for Manna Dey’s songs for the lead actor has basically reached the period of second half the decade of ‘50s. From what we have seen till now, it appears that it is not incorrect to infer that his songs that have attained fame have rooted deeper his image of niche singer and his romantic songs for the lead player still hunt for a permanent association that can turn out to be game changer for his career.
With Kishore Kumar
There was a period in Kishore Kumar career where he was so active as working as the main lead actor for the films that he has accepted some of his songs on the screen played back by Mohammad Rafi, and as we shall presently see, by Manna Dey. In each of this case, the song would invariably be a one-off case in that film, all other songs being enacted and sung by Kishore Kumar himself. That would, normally, mean that the music director has some or other valid reason for opting for the other playback singer. However, presently, we have no intention to look out for such reasons. We will be content with listing such songs within the scope of our present series.
Din Albele Pyar Ka Mausam, Chanchal Man Mein Toofan – Begunah (1957) – with Lata Mangeshkar – Shanker Jaikishan – Hasrat Jaipuri
Here we have an ideal romantic duet, once again Shanker Jaikishan choosing to use Manna Dey for such a lovely song. The song did become famous and is quite known even today. But, being filmed on Kishor Kumar, its fate as catalyst for Manna Dey being set as a lead actor’s principal voice does not help the cause. That Begunah was banned within just a few days of hitting the screen further aggravated the case.
Pahele Murgi Ke Pahele Anda Zara Soch Ke Batana – Krorepati (1961) – Shanker Jaikishan – Shailendra
Manna Dey matches Kishore Kumar’s comedy theatrics on the screen. The song is filmed as satirist comedy on the establishment. However, because of the presence of Kishore Kumar as the actor, the song does not fall into the cast of so called comedy genre that Jhonny Walker and Mahemood brought on the screen.
Ho Gayi Shaam Dil Badnam Leta Jaaye Tera Naam – Naughty Boy (1962) – With Asha Bhosle – S D Burman – Shailendra
Here too Manna Dey sounds so natural to Kishore Kumar’s acting. The song is a party song whereat Kishore Kumar resorts to his comedy acting while remaining very faithful to the romance in the lyrics of the song.
Alakh Niranajan – Haaye Mera Dil (1968) – Usha Khanna
One of those non-descript comedy songs that Manna Dey would get after getting type cast for comedy genre songs.
‘Haaye Mera Dil’ has one more Manna Dey song – a duet with Usha Khanna – Jaaneman Jaaneman Tum Din Raat Mere Saath Ho – which is filmed a club song.
With Shammi Kapoor
Shammi Kapoor’s acting career is normally divided into pre-Tumsa nahi Dekha and post-Tumsa Nahi Dekha films. If Talat Mahmood had a lion’s share for the playback songs for the former part, it was Mohammad Rafi who sang to Shammi Kapoor’s style in the latter part. We have two films which can be considered as twilight zone between these two phases.
Tangewaali (1955) has a duet with Geeta Dutt – Tina Tan Ta Tina Kisi Ne Dil Hai (Music: Salil Chaudhari; Lyrics- Prem Dhawan) – which Shammi Kapoor ought to have lip-synched on the screen, like a genuine tonga Rafi solo cast on a punjabi folk tune, and two duets – A Rafi-Lata duet and a Tonga-genre Hemant-Lata duet. Unfortunately, we do not have a digital link.for this Manna Dey- Geeta Dutt duet.
The second film Ujala (1959) was an idealistic socialist theme film. The two songs of the film probably would easily fit in for Manna Dey’s voice, particularly when Shankar Jaikishan have composed the music.
Ab Kahan Jaaye Dil Ye Bata Aye Zameen, Ab Kisi Ko Kise Pe Bharosa Nahi – Lyrics: Shailendra
This again a choir-Church tune and after the success of a similar song – Tu Pyar Ka Sagar Hai, Teri Ek Boond Ke Pyaase Ham (Seema 1955), choice of Manna Dey to playback for Shammi Kapoor is quite obvious. This song also went to get respect and fame.
Suraj Jara Aa Paas Aa, Aaj Sapnon Ki Roti Pakayenge Ham – Lyrics: Shailendra
The song is deeply stepped into a socialist moulid, and with Shankar Jaikishan having successfully executed O Raat Gayi (Boot Polish, 1954) and Dil Ka Haal Sune Dilwala (Shree 420, 1955) with Manna Dey it is again obvious that Shankar Jaikishna would repeat Manna Dey for this song, whoever would be the actor..
And it was not the sheer momentum that would have led Shankar Jaikishan to opt for two romantic, peppy duets with Manna Dey, when they had set one Mukesh – Lata duet and a Rafi-Mukeshi duet in Mukesh and Rafi’s voice respectively for Shammi Kapoor in this film.
Jumta Mausam Mast Mahina, Chand Si Gori Ek Hasina, Ya Allah Ya Allah Dil Le Gayi– – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri
An excellent off-the-sets outdoor song, that is as much playful as is romantic. Manna Dey sings the song with a caressingly smooth ease.
Chham Chham Lo Suno Chham Chham, O Suno Chham Chham – With Lata Mangeshkar – Lyrics: Shailendra
Here we have a typical Shankar Jaikishan folk-dance composition, based on a fast dholak-rhythm with a violin-ensemble orchestration. Manna Dey enters at the beginning of the 1st stanza on a very happy, positive note synching melody of the tune with the delivery of the song..
By the time Wallah Kya Baat Hai (1962) was released on the screen, Shammi Kappoor’s happy-go-lucky image formula had tasted great success @ Tumsa Nahi Dekha. Wallah Kya Baat Hai (1962) songs had naturally that Shammi-halo at the core of Shammi’s on-screen songs. Roshan suddenly opts to use Manna Dey for Shammi Kapoor in twin-version song – Katon Ke Saaye Men Phulo Ka Ghar Hai – Vallah Kya Baat Hai (1962) – Roshan – Prem Dhawan
However, there is one more unusual exceptional song that Manna Dey has indirectly played back for Guru Dutt. The song is Jinhe Naaz Hai Hind Par Woh Kahan Hai, which is recorded as a cover version for the officially filmed Mohammad Rafi classic in Pyaasa (1957)..
At present, we do not have any knowledge as to why this cover version will have been recorded. We have only the end result with us.
We draw curtains to our journey of Manna Dey’s songs for the lead actors, to await the opening bell for the next episode wherein we will continue with our search for Manna Dey’s songs with the second-generation lead actors like Raj Kumar, Rajendra Kumar, Sunil Dutt, Manoj Kumar etc.
Hamida Bano is also a member of Hindi Film World’s Lahore club, who had to remain contended with an ‘also ran’ tag in her career. One can see many more of the songs to her crdit in HFGK for 1946, but YT links to all these songs have not yet been established.
Man Mora Kagaz Kora Kora, Sandesh Likh Dijo – Dharti – Bulo C Rani – Pt. Indra
Phool Kali KyoN Maari, Sajan Mori Oonchi Atari – Dharti – Bulo C Rani – Pt. Indra
Apni Duniya Mita Ke Kisaki Duniya Basa Chale – Magadhraj – Bulo C Rani – Pt. Indra
Mor Bole Ho Oonche Mewadi Paravat Par Koi Mor Bole – Rajputani – Bulo C Rani – Pt. Indra
YT uploader has credited the song to Zohrabai Ambalewali
Solo Songs of Zeenat Begum
For the year, Zeenat Begum we see her as a sole elad singer in one film, Jhumke along with a major alternative female playback singer in other films. That simply shows her important place in the Hindi film music at that time as well as the versatility of her voice.. The qualitative aspect of her siniging is well reflected in the quantitative aspect as well.
Pardesi Re Pardesi Re Kahe Chhoda Mera Des Sawan Aaya – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar
Dil Dard Ka Mara Bechara, Badanm Bhi Hai Mashhoor Bhi Hai – Jeewan Yatra – Vasant Desai – Diwan Sharar
Aye Raat Siyah Raat Choopi Raat Bata De – Jeewan Yatra – Vasant Desai – Diwan Sharar
Usne Dekha Maine Dekha Ab Duniya Dekhanewali Hai – Jhumke – Amar Nath –