Carnival of Blogs on Golden Era of Hindi Film Music – September, 2019

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

अमिताभ बच्चनः ‘एंग्री यंग मैन’ से दादा साहेब फ़ाल्के पुरस्कार तक – Mihir Pandya recounts how Amitabh countered negative factors around him to create and created a dominant space for himself that has brought his career to this miles stone.

Why actor-producer Devika Rani was truly the First Lady of Indian cinemaAlaka Sahani – Actor, star, producer, studio boss. Devika Rani walked a path that few women in Indian cinema have managed to. As a new play on the pioneer gets ready to tour, a look back at her journey.

Devika Rani with Najam-ul-Hussain in Jawani Ki Hawa. (Photo: Wirsching Foundation)

We pick up other tributes and memories:

Asha Bhosle and the Five Elements that balance her struggles, and later her career: Earth (Ab Ke Baras Bhej Bhaiya Ko Paarti), Fire (Ye Kya Kar Dala Tune Dil Tera Ho Gaya), Water (Do Boonden Swan Ki, Ek Sagar Ki Chhip Mein Tapake ..), Air (Aage Bhi Jaane Na Tu..), Ether (Khaali Haath Shaam Aayi Thi ..)

Hans Jhakhar takes up two vital facets of the Ravi saga on SoY with Ravi and Asha Bhosle: A class combination and Shakeel Badayuni: Revitalising bond with Ravi

Khayyam and Asha Bhosle is the selection of Asha Bhosle’s songs composed by Khayyam. We have taken one song here to get the feel of the songs presented in the post:

Taaron Se Ankhiyaan Milaoon Main – Dhobi Doctor (1954) – Lyrics – Majrooh Sultanpuri

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di JudaaiTeesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Mukesh: A Different Romance in the Voice – Celebrating the uniqueness that was Mukesh – In this article, Monika Kar does not even attempt to list all of Mukesh’s songs that have made an impression, for there are way too many; it simply celebrates this singer for being who he was with sheer sincerity and goodness resonating in his voice.

वर्ल्ड गिटार डेः गिटार पर सुपरहिट धुन छेड़ने वाले वो सितारे जो गुमनामी में खो जाते हैं – Vandana profiles the unsung masters who played guitars in the Hindi film song and helped create some of the most popular songs.

The legendary actor Balraj Sahni as remembered by his sonAlaka Sahani – In a new biography of actor Balraj Sahni, son Parikshat recounts memories of his father’s off-screen life and the troubled yet loving relationship they shared.

The Maestros Called Laxmikant Pyarelal – The first song for which LP played together in the orchestra was a Marathi song – Tinhi sanja sakhya milaalya!! It was after that they became assistants to legendary composers like S D Burman and Kalyan ji Anand ji.

No, I Did Not Forget Noor Jehan’s Birthday! – For those who do not know about the series on this blog – or those who know but would like to look at it again – may please go to last year’s post, which includes links that will take you to prior Noor Jehan posts (including the post from 2015 that includes links to all the others going back to 2009).

Legendary Hindi film composer Usha Khanna shares her life’s journey through music at an event held on 21-9-2019 at Chowdiah Memorial Hall, Bengaluru, reports Shilpa Sebastian R

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

The Silent Tributes which became benchmarks in the Hindi film music and no they are not merely copied or inspired, they are tributes in the real sense. E.g.  Bimal Roy filmed a boy sitting on a buffalo while Sadhana sings O Sajana Barakha Bahar Aaye. Gulzar pays tribute Bimal Roy by depicting boy playing flute sitting on the buffalo while the sisters in Namkeen sing – Aaki chali baaki chali

September, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

A Paen on Piano, like Aap Ki Haseeb Rukh Pe Aaj Naya Noor Hain or Dheere Dheere Machal Aye Dil-e-Bequrar and so on.

Music composer Vanraj Bhatia claims to be penniless, struggles amid hearing and memory loss

Only 29 of 1,338 Indian silent films have survived. One man is doggedly telling the story of the era – Who knows what’s out there, says Virchand Dharamsey, the writer of the authoritative filmography of the Indian silent film period between 1895 and the 1930s.

Khaike Paan Banaras – Don – The Banaras Paan Effect –  Archana Chauhan notes that Tamil remake of ‘Don’, Billa (1980) has Rajnikant taking up the dance steps and the dress to match with that of Amitabh

‘Tawaifs’ of Awadh: The first women of Hindi cinemaShivani Bhasin  – These highly skilled courtesans sang, danced, wrote poetry, and were the purveyors of all that was considered good taste and high fashion.

Other cinemas, other cineastes: on Namrata Joshi’s Reel India is a very wide-ranging book, chronicling of magnificent obsessions – he obsessions of people who live outside the cinematic mainstream, but engage with films in myriad ways, not seeking monetary benefit but doing things because they are compelled to; because cinema is so central to who they are.

Window Romancing With Dev Anand – Amongst all his ways to win his lady love or sing a song, his most favourite style must have been window romancing. So many of his songs are around the doors, windows or balconies crooning soft lyrics in your ears. The takes a glimpse of few such songs and window romance with Dev Anand, e.g. Aise To Na Dekho Ke Hamse Nasha Ho Jaaye – Teen Deviyan (1965) – S D Burman – Majrooh Sultanpuri

The Romantic Rain Songs lists the rain songs of 1990s.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946  and have covered Suraiya , Shamshad Begum, Part 1 and  Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari, Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi, and other female singers, viz. Dilshad Begum, Kalyani Das,  Meena Kapoor, Neena ( Sitara Kanpuri), Beenapani Mukherjee, Susheela Rani, Jayshree,  Parul Ghosh, Shanta Apte, Saraswati Rane, Lalita Deulkar,  Anima Dasgupta, Shobha, Jyoti, Radharani, Iqbal Bano (Begum?), Snehprabha Pradhan, Baby Anu, Baby Mumtaz, Geeta Roy and Lata Mangeshkar. We have then concluded the Micro View of Female Solo Songs for 1946.

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:.

Ye Jhulfein Jadoo Sa Kar Rahi Hai, Tauba Tauba – Unreleased song – with Lata Mangeshkar

Abhi Kamseen Ho Nadaan Ho Jaane Jaana – Aaya Toofan (1964) – Laxmikant Pyarelal – Asad Bhopali

Shola Ulfat Ka Bhadaka De Mere Dil Mein Aag Laga De – Aurat (1967) – with Asha Bhosle – Ravi- Shakeel Badayuni

Jaane Kahan Gaye Tum.. Bechain Hai Nazare  – Aaja Sanam (1975) – Usha Khanna – M K Javed

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 – MY Top Female Solo Songs

When I look back at all the female solo songs for 1946, what I note is that all most each of the major female singers has at least one song that has almost chose itself for inclusion in this list.  In the same manner as I had cosen for the Male Solo Songs, I have confined my choice to the songs that I have rarely (in most case, for the first time) heard. I did not have any choice either, unlike the situation in the Male Solo Songs.

So, here are the songs that would call for TOP slot for the female solo songs for 1946, in the orderin which the singer has appeared in the detailed Micro View earlier.:

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

This is the only ‘popular’ song that has gatecrashed the filter of confining the choice from among the least heard songs for the present list..

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

The songs that have been sorted out by me belong to happiness mood. Shamshad Begum easily comes up as an exception.

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

We have fast-paced spaced composition that matches the mood of expectation of the protagonist with that just that shade of pleasure resurrected by Amirbai Karanataki

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

Zohrabai renders the unusual élan of the protagonist with full fidelity.

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

Mohanatara sounds so endearingly romantic in the mood of anticipation of soon-to-arrive beloved.

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

The song is set to a very soft rhythm and orchestration support. Rajkumari blends smoothly with her soft vocal rendering.

Hameeda Banu – Mor Bole Ho Oonche Mewadi Paravat Par Koi Mor Bole – Rajputani – Bulo C Rani – Pt. Indra

YT credits this song to Amirbai Karnataki. Be that as it may be, the song succeeds in creating the mood wherein we also look out for the sound of the peacock.

Zeenat Begum – Apano Se Shikayat Hai Na GairoN Se Gila Hai – Paraye Bas Mein – Vinod

Even as the song is set to a difficult-to-render rhythm, the song does not lose on melody.

Noorjehan – Raaz Khulata Nazar Nahi Aata – Hamjoli – Hafeez Khan – Anjum Pilibhiti

We get to listen a very different Noor Jehan here.

Khursheed – Hamari Gali Aana, Hamse AnkhiyaN Milana – Maharana Pratap – Ram Ganguli – Swami Ramanand

The composition is typical vintage era style.

Kanan Devi – Aaj Hui Hai Bhor Suhani Pahali Baar – Arabian Nights – Kamal Dasgupta – Faiyyaz Hashmi

Kanan Devi is at her usual charm in this song.

Naseem Akhtar – Man Pagle Swapna Dikhaye, Man Jhoothe Dip Jalaye – Keemat – Naushad Ali – Majrooh Sultanpuri

For a very high-pitched vocal cord call of the composition, the song retains melody.

Paro Devi – Tere Gam Se Mil Raha Hai, Mujhe Har Tarag Sahara – Dhanwan – Shanti Kumar – Behjad Lakhnavi

I have selected this song as it is quite a differently styled composition in a vintage era setting

Dilshad Begum – Bhar Layi Hun Jawani Saaagar Mein, Jannat Se Chal Kar Aayee Hun – Rehana – Qadir Faridi – Tufail Hoshiyarpuri

A very pleasant violin dominated prelude that sets the tone for the pleasant mood of the song.

Kalyani Das – Nazarein Bata Rahi Hai Tum Door Jaa Rahe Ho – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi

A typical vintage era style composition. Kalayni Das remains melodious even if sounding slightly nasal in the delivery of the lyrics.

Meena Kapoor –Kisi Se Meri Preet Lagi, Ab Kya Karoon – Aath Din – S D Burman – G S Nepali

The song rightly sets the high expectation from both, S D Burman and Meena Kapoor.

Neena (Sitara Kanpuri) – Kya Jaane Man Kya Kaheta Hai – Prithviraj-Samyukta – S K Pal – Josh Malihabadi

A difficult composition that sound very melodious.

Beenapani Mukherjee – Main To Karoon Pyar, Piya Door Se Bharmae – Safar – C Ramchandra – G S Nepali

C Ramchandra has composed a fast-paced song that Benapani Mukherjee negotiates comfortably with her heavy voice.

Jayshree – Chit Dole, Nit Dole, Subaho Sham Prabhuji – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

Jayshree quite smoothly negotiates the difficult variations that the composition demands. Vasant Desai has come up with very unlike-Vintage-era orchestration.

Parul Ghosh – Gun Gun…Bole Bhanwarawa, Hamari Bagiya Mein – Milan – Anil Biswas – P L Santoshi

The song has signature Anil Biswas touch, faithfully reproduced by Parul Ghosh.

Shanta Apte – Aaj Mori Naiya Kinare Lagi, Asha ki Bel Meri Phooli Phooli – Valmiki – Shankar Rao Vyas – Mahesh Gupta M A

For a vintage era style song, the soft rendering by Shanta Apte, that too with minimal music support, creates avery special charm while listening to the song.

Iqbal Bano (Begum?) – Ummeedo Par Jawani Aaj Laharai – Rehana – Qadir Faridi –

We feel the emotions of the elation that the song is meant to convey.

Geeta Roy – Chhin Mein Bajegi Bansuriya Preet Bhari – Milan – Anil Biswas – P L Santoshi

Lata Mangeshkar – Saawariya Oy Bansuriya Oy Bajay Gayo re – Subhadra – Vasant Desai – Pt. Indra

If I had to choose one song my very strong bias would lead my finger to Suraiya’s Man Leta Hai Angadai Jivan Pe Javani Chhai (Anmol Ghadi – NaushadTanvir Naqvi), for the obvious reason that it is has been one of my favourite Suaraiya song even before I ventured into this Micro View of Songs of 1946. And I have decided not do so when I started sorting out my choices for Male Solo Songs. So I will pass the choice of selecting my MY TOP female Solo Song for the year 1946.

We also note that SoY have awarded the Best Female Playback Singer to Noorjehan, and the best female solo is Jawan hai muhabbat haseen hai zamana

We will move to The Micro View of Best Songs of 1946 @ SoY – Duet Songs in our next episode…

P.S. : All the episodes of The Micro View of Best Songs of 1946 : Female Solo Songs  can be read / downloaded from one file, by clicking on the hyper link.

Carnival of Quality Management Articles and Blogs – September, 2019

Welcome to September, 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, Robotics, Augmented Reality and Simulation.

We will now take up fourth of the nine disruptive technologies of Industry 4.0 – Additive Manufacturing (AM).

Additive Manufacturing (AM) is an appropriate name to describe the technologies that build 3D objects by adding layer-upon-layer of material, whether the material is plastic, metal, concrete or one day…..human tissue.[1]

Common to AM technologies is the use of a computer, 3D modelling software (Computer Aided Design or CAD), machine equipment and layering material.  Once a CAD sketch is produced, the AM equipment reads in data from the CAD file and lays downs or adds successive layers of liquid, powder, sheet material or other, in a layer-upon-layer fashion to fabricate a 3D object.

The term AM encompasses many technologies including subsets like 3D Printing, Rapid Prototyping (RP), Direct Digital Manufacturing (DDM), layered manufacturing and additive fabrication.

AM application is limitless. Early use of AM in the form of Rapid Prototyping focused on preproduction visualization models. More recently, AM is being used to fabricate end-use products in aircraft, dental restorations, medical implants, automobiles, and even fashion products.

Some envision AM as a complement to foundational subtractive manufacturing (removing material like drilling out material) and to lesser degree forming (like forging). Regardless, AM may offer consumers and professionals alike, the accessibility to create, customize and/or repair product, and in the process, redefine current production technology.

Additive manufacturing makes it possible to create objects with complex geometries. Credit: MIT Sloan School of Management

Additive manufacturing first emerged in 1987 with stereolithography (SL), a process that solidifies thin layers of ultraviolet (UV) light‐sensitive liquid polymer using a laser. Since then, various other technologies have been invented such as fused deposition modelling (FDM), Selective Laser Sintering (SLS), PolyJet, Electron Beam Melting (EBM), etc.

Selecting the right additive manufacturing machine is vital to achieving the desired quality and lead time. However, the part is only as good as the design. A typical design process involves defining the design space, fixing the boundary conditions, applying loads, defining manufacturing constraints, running topology optimization, and analysing the optimized design to match the desired performance.

The primary hurdle for AM today is the fabrication and post-processing times which are not suitable for high-volume production. The fabrication lead time can be addressed by adding machines. However, the post-processing times are significant and increase with part complexity.[2]

In a TEDxYoungstown Additive Manufacturing, Brett Conner discusses 3D printing and additive manufacturing.

ANSYS Additive Manufacturing Simulation inside ANSYS Workbench 19.0 – Example 1 – The video shows the whole process to build a simulation model for Additive Manufacturing with ANSYS Workbench 19.0.


3D printing and additive manufacturing: one and the same? The experts say no. Though these two terms are often used synonymously, there are key differences between the two. While 3D printing is the motor behind additive manufacturing, additive manufacturing in and of itself is much more than just 3D printing. Additive manufacturing often involves product design, development of innovative technologies to create even greater manufacturing efficiency, enforcing quality assurance measures, and more![3]

America Makes and the American National Standards Institute (ANSI) joining forces to establish the Additive Manufacturing Standardization Collaborative (AMSC). The AMSC is a body comprised of the full array of interested stakeholders worldwide—including OEMs, government, academia, standards consortia—and aims to create a road-map assessment of the state of standards and standards gaps in AM.6 In early 2017, AMSC published its initial draft of this assessment—Standardization road map for additive manufacturing, version 1.0 (hereafter referred to as “the AMSC road map”).7 [4]

While AM brings valuable opportunities to the industry it also comes with a series of challenges for the engineers: the reliability of the mechanical properties of the final part still has some uncertainty and is not fully supported by standard engineering tools…. Comprehensive data collection, management, and traceability across multiple batch is required to address these challenges. This enables the correlation between the manufacturing process parameters and part performance, which can reveal the key influences in the variability of the process; in addition, collecting the process data can provide predictive part performance using statistical models. Finally, the data traceability can be used to calibrate and account for variation between two printing machines, to insure quality control.[5]

As manufacturing becomes more responsive, connected, quick and customizable, new and more flexible metrology techniques for machined, molded, cast and AM parts will become more important.[6]

We will now turn to our regular sections:

For the present episode we have picked up article, Abandon The Unproductive & Obsolete: A Surefire Way to Increase Productivity, Spark Innovation & Reduce Costs, by Editorial Staff,  on Decision Making column of Management Matters Network …. “If effective management of capital resources was Drucker’s first test for improving corporate productivity, systematic abandonment of the unproductive and obsolete was his first law of implementation.”

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

The full presentation of the Webinar can be viewed here.

    • Become a Better Quality Leader – Learn about the different levels of leadership that an organization needs to succeed, as well as four key ideas that will help you become a more effective manager and leader.

Mike Turner’s Full Interview – HERE

David Deacon’s Article – HERE

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

      • Beliefs and Expectations – We move forward and become like that which we think about. We behave not in accordance with the truth but with the truth as we perceive and believe it to be. Therefore, when you expect the best from yourself and others, you behave in ways that almost guarantee you are going to get it…However, the same seems to be true when you expect trouble. You set yourself up for trouble in numerous little ways and sure enough, trouble comes knocking at your door.

    • Customer-Focused Environment – Organizations must extend their definition of customers – The quality standards, issues and performance are goals people can rally around, unlike other goals like cost reduction or productivity improvement. The purpose of all work and all improvement effort is to better serve the customer. Just as some people are apt to translate quality too narrowly, so too may we consider customers in the same restrictive sense. One of the single most powerful revelations has been that customers are not only external but internal as well…The focus on internal customers and satisfying their needs toward improving external customer satisfaction has the potential to transform the organization from one of departmental boundaries and barriers into one of complementing rather than competing activities…The organization that is capable of multi-department, cross-functional teamwork on a daily basis is one where processes are seen as related parts of the total quality system. People working in such an environment better understand not only the organization’s mission, but their own role toward its accomplishment. Consequently, people are better able to fulfill their tasks and to improve on them.

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.

[1] What is Additive Manufacturing?

[2] Additive Manufacturing: The “Cool Factor” in Manufacturing

[3] 3D printing and additive manufacturing are not quite the same

[4] 3D opportunity for standards

[5] Big Data Management in Additive Manufacturing

[6] A new joint whitepaper from Autodesk and Faro examines smart metrology for additive manufacturing

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Other Singers – 4

That 1946 IS the vintage era year is corroborated by Geeta Roy (Dutt) and Lata Mangeshkar getting bracketed as ‘Other’ female singers.

Solo Songs of Geeta Roy

Several knowledgeable references have recorded Bhakta Prahlad as the maiden film for Geeta Roy as playback singer. Ironically, HFGK does not mention this in the records for both of her songs in the film.

Ab Jaani Re Pahchani Re – With Chorus – Bhakta Prahlad – Hanuman Prasad

YT records Kalyani Das as the co-singer in the song, whereas HFGK does not mention any specific singer other than the chorus, probably because Geeta Roy was given only two lines to sing in this song.

Suno Suno Binati Hamri Prabhu Ji Bhool Hui Mujhse Bhaari – Bhakta Prahlad – with Chorus- K C Varma –

In this case too, HFGK has credited the song to “Chorus’ only.

Tumhe Sajan Mane Tum Ruth Jaana – Milan – Anil Biswas – P L Santoshi

HFGK does not mention any singer.

Chhin Mein Bajegi Bansuriya Preet Bhari – Milan – Anil Biswas – P L Santoshi

HFGK does not mention any singer.

Solo Songs of Lata Mangeshkar

For the year 1946, Lata Mangeshkar appears in this list as an actor -singer, she is yet to sing as a playback singer. She is in the process of creating a small window that is to open floodgates of her dominance in the years to come.

Chidiya Bole Chun Chun Chun Mena Bole Hun Hun Hun – Jeevan Yatra –  Vasant Desai – Diwan Sharar

Pyare Bapu Tirange Ki Lelo Kasam = Sona Chandi – D C Dutt

Along with chorus there is a distinct male voice (A R Ojha, as per YT upload), but since HFGK mentions the song as a solo, I have listed it here.

Piya Ayega Gori Sudh Na Bisar – Subhadra – Vasant Desai – Pt. Sudarshan

Saawariya Oy Bansuriya Oy Bajay Gayo Re – Subhadra – Vasant Desai – Pt. Indra

Thus, ends our rather protracted micro view of solo songs of the female singers for 1946.  However, one will find several solo songs in HFGK that do not appear here. These are the songs that would essentially belong to the  singer not mentioned on the records or are the songs that dot yet have the YT links.

In our next episode I plan to sum up the Micro View of Solo Songs of Female Singers with  My Top Female Solo Songs for 1946.

Prakash N Shah – In Conversation With Urvish Kothari

In the “Saarthak Conversations’ series, Urvish Kothari presents the multifaceted public persona of Prakash N Shah, from Parakash Shah’s own retrospective perspective, in a book that is based on his interviews with the Prakash Shah.  Prakash N Shah is presently the founder-editor of a Gujarati fortnightly, Nireekshak, which essentially is a journal representing the liberal civil ideological thinking, and a respected columnist of Gujarati edition of Divya Bhaskar. Apart from the liberalist civil society strata, he is also read by those who are on the lookout for a fresh, incisive. angle on any current subject.  His articles cover a wide range of subjects such as politics, social and economic issues. The book serves to reveal the deep inside of the iceberg of the persona of Prakash N Shah, of which one sees only the tip in his writings.

We undertake a quick glance at the different facets of Prakash N Shah in his conversations with Urvish Kothari:

Prakash N Shah would call himself as someone who cherishes all the facets of life by understanding the joy of living. He does not fit into ant traditional definition of any party, or organization or any ‘ism’. His priority is to be a natural participant in the public activities that help shape the creation of a fair and just society. His reading habit has been inculcated into his personality from his childhood maternal side upbringing.

After completing his B.A., Prakash N Shah got to read The Hindu Way of Life (Dr. S Radhakrishnan), Hind Swaraj (Mahatma Gandhi) and Swadesh (Rabindranath Tagore). These helped build the base of his core thinking. Prakash Shah further elaborates that his understanding of Gandhiji matured after reading Ram Manohar Lohia and that of Marx matured after reading Jaiprakash Narayan. However, the conviction, expression and feelings in his thinking have remained his own.

When he was in the first year of M.A. Prakash Shah spoke in favour of direct action in a parliamentary democracy while participating in Mahadevbhai elocution competition. This was about a decade before he was to develop his ideology-shaping actual contacts in the public life. That also was the first indication of the way his own preferences and understanding – of the persona of those public figures – were to shape up in the years to come.

Prakash N Shah came into direct contact with Acharya Kripalani sometime in 1968-69, when Acharya had stayed at Ahmedabad. Prakash Shah was assigned duty to give company to Acharya Kripalani by reading books to him at Gujarat Vidyapith. It was then that Prakash Shah got ‘tuned’ with Acharya. While reading or listening, Acharya Kripalani may fall into deep thoughts and may not utter a word for a long period. But when he was in jubilant mood, he would intervene with a sweet injection of a Sindhi adage or folk song line or some subtle observation based on his own experiences. His love for his wife Sucheta Kriplani was more ethereal and deeper than what was appeared on the face. He had deep respect for Sardar Patel but would not hesitate to spell out his difference of opinions, without mincing the words.

During the Emergency (declared by Indira Gandhi during 1975-77), Prakash N Shah had had the longest imprisonment period, along with a few of other active members of the politically non-aligned organizations. One of main probable reasons for this imprisonment was his direct contact with Jaiprakash Narayan and with the Gujarat end of his movement. He spent most of his time with reading from the jail library. His writings mainly confined to his personal letters to his wife and his daughters. He had several occasions to hold intense discussions with other inmates who were from the RSS or the Sarvodaya movement. Thus, he could very closely observe these two ideological thought processes. When he was on a four-day parole, he had had first contact with Narendra Modi as one of the many callers on him. Ever since then, they have an arm’s distance relationship that is characterised by a critical eye on each other’s activities.

Prakash N Shah had had occasions to meet Lal Krishna Advani during a few years in 1990s. In one such meeting, L K Advani, in response to a question about the basic difference the thinking of Congress and that of BJP, stated that Congress and BJP have almost an identical approach in so far as the economic reforms are concerned, but BJP’s identity is in its ideology of Hindutva. It is but natural that such basic undercurrents of the thinking would put the independent-minded Prakash N Shah into the role of the opposition.

Jaiprakash Narayan was as radical-minded Dr. Rama Manohar Lohia However according Dr. Lohia, JP was ‘worn out’ once he had joined the Sarvodaya movement. Dr. Lohia also further believed that, however it was only JP who may be able to bring any change. In one of the public discourses, sometime in 1972/1973, Prakash N Shah has noted that, in his journey for the such of newer dimensions, from Congress to Socialist Party to Sarvodaya Movement, JP now seemed at the cusp of a new turn in his life.

These varied experiences and exposures seemed to have some effects on the ideology of Parakash N Shah. He started writing from his school days. Later on, he used to write articles on different subjects in journals associated with different ideologies, which now has culminated into his writings in Nireekshak, the fortnightly newsletter that he now edits. Between these two mileposts of his writings, his professional experiences got transcribed into wide choice of the subjects of his articles in Vishwamanav , then Gyangangotri series and then, as a journalist, in Gujarati newspapers of Indian Express group and Times of India group. This also helped shape Prakash N Shah‘s very unique style of writing.

Prakash N Shah had had occasions to establish a direct contact with the active politics as well during the whole process of Gujarat and Bihar (JP) movement [~January- March, 1974], the Janata Front in Gujarat [~June 1976], Emergency [~1975-1977] and the rise of Janata Party [~1977]. This was also the period of rise and development of responsible and recognizable civil society movement. Prakash N Shah and his like-minded colleagues fought the Ahmedabad Municipal Corporation elections in 1987 on this civil society platform. Based on these experiences, he has co-founded the Movement for Secular Democracy. The organization has been putting across its secular-veined memoranda on the events like Godhra [~2002] and post-Godhra issues to Human Rights Commission, Krishna Aiyar Commission and similar other current issues of national ethos.

As much debated, interesting and important as the public issues that Prakash N Shah has gone through in his life is his unique writing style. He easily coins terms that are usually not used in the present-day journalism or literature. Profusely interspersed with such ‘Prakash Shah’ian terms, his writing style also provides enough cause to the opponents of Prakash N Shah’s oppose the expression of his ideology as well. Even the fans of his writing style, too, do smart from their inner races while wading through such terms in his articles.

As Prakash N Shah enters the eighth decade of his eventful life, he talks about his dreams – then and now. He recalls that during his youth, he aspired to write a novel on Tolstoy, narrated form the point of view of the Countess. In the period of 1975 to 1990, when he was active in the JP Movement, he aspired to write a novel, based on the subject of Gandhiji starting his movement afresh with JP and Dr. Lohia as his follower-soldiers, as if Gandhiji wereand Nehru and Sardar Patel active in the government However, at the present juncture of his life he would like to put his thoughts, expressed in his varied oral discourses, in to an organized documented order. He dreams that the very basic understanding that would emerge from the retrospection of such writings may help the coming generation in addressing their issues, in whatsoever little way it could.

On the whole the conversations of Urvish Kothari does help the reader of the book to draw up a fairly meaningful picture of the multi-faceted personality of Prakash N Shah, a liberal, humanistic and plain-spoken civil rights torch-bearer, an independent minded ideologist and a lucid-and-flowing-styled unorthodox writer.

‘પ્રકાશ ન. શાહ’ [Prakash N. Shah – In conversations with Urvish Kothari]
Author: Urvish Kothari © July 2019
ISBN: 978-93-84076-37-5
Pages – 160, Listed sales price – Rs. 150/ –
Publisher: Saarthak Prakashan, Ahmedabad
Principal Distributor, Bookshelf, Ahmedabad

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Other Singers – 3

The part 1 and Part 2 of the Solo Songs of Other Female Singers for the year 1946 had captured the singers who are visible mostly in one or two films only.

The following set of solo songs is the penultimate tranche of female solo songs for the year 1946. The distribution pattern of the singers and their songs seem to follow the classic Long Tail pattern.

I have simply relied on the availability of the song on YT from among the ones or twos that could be sen scattered in the HFGK database. Barring a very few that I could take to like, documenting all other songs here appears more an exercise for the academic study, but certainly worth its while when you listen to the songs, at least once. And, if they do not sound palatable enough even then, that is the fault of our limited knowledge of the songs and the music of the vintage era.

Solo Songs of Shanta Apte

Shanta Apte was a well-known name in Marathi films. She has acted in a few Hindi films as well, where she rendered her own songs off-the-screen too.

Solah Singar Main Sajaungi – Panihari – S N Tripathi

Charon Aur Andhera, Beech Bhanwar Mein Dagmag Naiya – Subhadra – Vasant Desai – Moti B.A.

Aaj Mori Naiya Kinare Lagi, Asha ki Bel Meri Phooli Phooli – Valmiki – Shankar Rao Vyas – Mahesh Gupta M A

Saraswati Rane

Dekho Ri Sakhi PhooloN Se Phooli Dagariya – Valmiki – Shankar Rao Vyas – Mahesh Gupta, M A

Raag Dwesh Ko Chhod Ke Manwa Gyan Ki Jyoti Jaga Le – Valmiki – Shankar Rao Vyas – Mahesh Gupta, M A

Lalita Deulkar

O Rani….Rani Dheere Dheere Chalo Na Kamar Balkhay – – Valmiki – Shankar Rao Vyas – Mahesh Gupta, M A

Anima Dasgupta

Aankhon Ki Roshani Hai Dil Ki Yeh Chandani Hai – Arabian Nights – Kamal Dasgupta – Faiyaz


Jab Dard Ka Kissa Ham Duniya Ko Sunate Hai – Circus King – J Abhyankar, Nagesh Rao – M Rajiuddin


Kisi Ki Yaad Sataye Balam Kiski Yaad Satae – Saathi – Gulshan Sufi – Wali Sahab

Mumtaz Shanti

Ab Zuban Pe Taale Na Dalo – Dharati Ke Lal = Pt. Ravi Shankar –


Kya Saath Hamara Aur Inaka, Masroor Hao Woh – Laaj – Ramchandra Pal – Sagar Nizami

YT clip mentions Shamshad Begum as the singer. However the following song does show Radharani as the singer, and as she hereself has rendered her own song for the film, it would be safe to assume that singer is Radharani.

Chhayi Hui Hai Duniya Pe Abhi Raat Hai, So Ja – – Laaj – Ramchandra Pal – Sagar Nizami

Iqbal Bano

Ummeedo Par Jawani Aaj Laharai – Rehana – Qadir Faridi –

Snehprabha Pradhan

Sawan Ki Badariya Roti Hai Badariya – Salgirah – Bulo C Rani – Wali Sahab

Baby Anu

Chanda Mama Ne Amrood Churaya Re, Chori Chori Akele Hi Khaya Re – Phoolwari – Hansraj Behl – Pt. Indra

Baby Mumtaz (Madhubala)

Bhagwan Mere Gyan Ke Deepak Ko Jala De – Pujari – Hansraj Behl – Wali Sahab

We will conclude the Micro View of Solo Songs of Other Female Singers for the year 1946 with Solo Songs of Geeta Roy and Lata Mangeshkar in our next episode.

Fading Memories…. Unforgettable Songs : September, 2019

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1958 – 1959

September is the month of death anniversaries of Jaikishan (Dahyabhai Panchal) [4 November, 1929 – 12 September 1971) and Hasrat Jaipuri, a.k.a. Iqbal Hussian, [15 April, 1922 – 17 September, 1999].   Hasrat Jaipuri- Shailendra and Shankar-Jaikishan formed a seamless, one the most enduring, creative and profusely productive teams in the history of Hindi Film industry. Usually, the whole team would be associated with story of the film and would choose the who would compose situation for the given situation on the basis of who felt more comfortable with situation of the song.

However, there was a school of the then critics / journalists / writers who strongly accepted a thumb rule to identify the composer of a Shankar–Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions.

We have based our annual series of articles that bring the songs written by Hasrat Jaipuri and, in all possibilities, composed by (Shankar) Jaikishan. Like most of the SJ-composed songs, till, the passing away of Shailendra, most of the songs Hasrat Jaipuri wrote for (Shankar) Jaikishan were well-known then, but some may be receding from our memories as well. Till now we have covered such of (S)J-HJ songs from 1949 to 1954 and 1955 to 1957. Presently, we will take up songs from the films released in 1958 and 1959.


1958 has only two films wherein Shankar Jaikishan have composed the music. Here too, Hasrat Jaipuri’s share is even markedly smaller. And, it also so happens that these songs have been (only) Lata Mangeshkar. As such, within the scope of our article, we have picked up two of the total three songs from Baaghi Sipahi and, the only, one available from Yahudi.

Sharab-e-Ishq Ke Aage Maja Kya Kadwe Paani Ka….Muskurati Zindagi Ko Chhhod Ke Na Ja – Baaghi Sipahi (1958) – Lata Mangeshkar

Hasrat Jaipuri pens the song with his, by now known as unique style, of presenting a couplet in the prelude, to which Jaikishan supports with a very innovative orchestration piece. The song is set to quite a difficult tune, with varying rhythm.

Dil Laganewale Mat Sun Meri Kahani  Baaghi Sipahi (1958) – Lata Mangeshkar

On the screen, the song is shown being rendered by a professional courtesan singer, but the emotions of the song seem to reflect the state of the Madhubala’s heart. Lata Mangeshkar very soulfully renders the pathos of the song.

Aansoo Ki Aad Leke Teri Yaad Aayi – Yahudi (1958) – Lata Mangeshkar

This is the only song that Hasrat Jaipuri has penned in this film. It can also be said to be one of the least remembered song of the film. The song plays on a dholak-based rhythm and has a very mid-east-oriented interlude orchestration. Again, not a very easy-to-sing song.


1959 has Shankar-Jaikishan’s the then normal average number of films – seven – in the year, and each one had almost all songs that are well remembered even today. The proportion of Hasrat Jaipuri’s songs is again a very balance one and we have a fairly wider base of choice of songs that have been rendered by singers other than other than Lata Mangeshkar. Our catch is so wide and big that we had to drop quite a few songs that were, and are, more remembered.

Ban Ke Panchhi Gaaye Pyar Ka Tarana… Mil Jaaye Agar Aaj Koi Saathi Mastana – Anadi (1959)  –  Lata Mangeshkar and  chorus

Here we have very light and playful song, with matching vivacious tune, interlude orchestration,  lyrics and Lata Mangeshkar’s lilting rendering to Nutan’s very near-to-perfection lip-synching on the screen.

Hasrat Jaipuri has also written a very romantic Mukesh – Lata Mangeshkar duet – Wo Chand Kila Wo Taare Hanse – in the film.

Jaoon Kahan Bata Aye Dil Duniya Badi Hai Sangdil – Chhoti Bahen(1959) – Mukesh

If one looks at the song from the perspective of singer-songwriter and music director (Respectively Mukesh, Hasrat Jaipuri and Shankar Jaikishan), then song fits into the very well-known, sweet, pattern of a pathos song. The unusual part is that Raheman sings the song, somewhat, in penance for his grey-shade character in the film.

O Kali Anaar Ki Na Itna Satao– Chhoti Bahen (1959) – Manna Dey, Asha Bhosle

Here we have a non-normal combination of Manna Dey and Asha Bhosle singing a duet for Shankar Jaikishan, made rarer by it being filmed on Raheman and Shyama on the screen, whose characters were to turn grayish later in the film.

Mein Rangeela Pyaar Ka Rahi Door Meri Manzil – Chhoti Bahen (1959)  – Subir Sen, Lata Mangeshkar

Shankar Jaikishan boldly experiments using Subir Sen’s voice for a playfully romantic song, that too for Mahemood on the screen.

Kahan Hai Kahan Hai Kanhaiya – Kanhaiya (1959) – Lata Mangeshkar

Here too Hasrat Jaipuri gets two songs to write, both being played back by Lata Mangeshkar. The present song is a classic-Hindi-Film-pathos song whereas the other one – O Kanhaiya O Kanhaiya – is a very romantic dream-sequence song, with a Shankar Jaikishan’s signature extended prelude. Both the songs have used ensemble of flutes very creatively in the main orchestration as well as in the counter-melody orchestration.

Dekh Aasmaan Mein Chand Muskaye – Shararat (1959) -(Kishore, Geeta Dutt

The song has a rare Shankar Jaikishan- Geeta Dutt combination. Shankar Jaikishan has used their very fond waltz tune, as well as has creatively inserted innovation in the song composition – this time that of switching over to dholak rhythm in the beginning of the stanza before ending the with the original western rhythm instruments.

Tune Mera Dil Liya, Teri BaatoN Ne Jadu Kiya, Haye Na Jane Kya Kar Diya, Ye Tere Pyar Ki Jeet Hai – Shararat (1959) – Kishore Kumar, Geeta Dutt

Shankar Jaikishan has brought up the memory of vintage Geeta Dutt in this song.

Dekha Babu Chhed Ka Maza Mitha Mitha Dard De Gaya – Shararat (1959) – Lata Mangeshkar

The song is a the then popular genre – a street song wherein the performer echoes the feelings of the silent protagonist.

Tera Jalva Jisne Dekha Woh Tera Ho Gaya – Ujala (1959) – Lata Mangeshkar

We have to toss for the choice of selecting the songs – the present one or Ho Mora Nadaan Balma – for a detailed video view today. Both are a very romantic mischief-oriented dholak-rhythm based signature (Shankar)Jaikishan dance songs. Well, the coin has ruled in favor of the present song.

We now have natural choices for Mohammad Rafi songs, which also seamlessly syncs with our tradition of ending each episode with relevant Rafi song(s).

She Ne Khela He Se Aaj Cricket Match, Ek Nazar Mein Dil Bechara Ho Gaya LBW – Love Marriage (1959) –  Mohammad Rafi, chorus

Here we have a song which is played on a cricket ground, uses a cricketing dress code for (only) Dev Anand and  some well-known cricket terms – to in fact play the then popular genre of pre-courtship eve-teasing.

Lo KhuN Se KhuN Juda Hua – Main Nashe Mein Hoon (1959) – Mohammad Rafi

Hasrat Jaipuri – (Shankar)Jaikishan have several excellent Mohammad Rafi scores in their account. The present song – being a background song – adds to the wide range of such songs.

Our journey of Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan continues…..

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 – Other Singers – 2

In the second part of Solo Songs of the Other Female Singers, we have fairly reasonable number of songs per singer, even after discounting the availability of the YT links. Two otf these singers are playback singers and have songs in more than one film, and two are actress-singers and have song for only ne film.

Solo Songs of Beenapani Mukherjee

Beenapani Mukherjee had 5 solos in ‘Durban’ (Muisc: Gulshan Sufi),  one in Rangbhoomi (Music: Premnath), but none of the songs seems to have a digital version available on net. As a result, I had to, reluctanatly, move her solo songs to the ‘Other Female Singers’.

Main To Karoon Pyar, Piya Door Se Bharmae – Safar – C Ramchandra – G S Nepali

Ghar Ki Shobha Hai Santan,,,,Kaisi Daulat Kya Sanmaan – Santan – Ramchandra Pal – Anjum Pilibhiti

Solo Songs of Shusheela Rani

Sushila Rani is in the classic vintage era role of actor-singer here. She, being the leading lady of the film, has 5 solo songs in ‘Gavalan’, but digital links for only two songs seem to be available on net.

Fariyad Karein Kisse, Kismat Ne Rulaya Hai – Gvalan – Hansraj Behl – Pt. Indra

Gulnar Joban Rar Machae, Galiyan Man, O Galiyan Man – Gvalan – Hansraj Behl – Pt. Indra

Solo Songs of Jayshree

Jayshree is the lead actress in the film Dr. Kotnis Ki Amar Kahani, and as such also sings her own songs in the film.

Nai Dulhan….Main Hun Nanhi Nai Dulhan – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

Chit Dole, Nit Dole, Subaho Sham Prabhuji – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

Hans Hans Ke, Hans Hans Ke Aai Ho, Phool Khile Ped Hile   – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar  – with chorus

Dekho Mauj Bahar, Jag Mein Rutu Matwali Aai – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

Chal Aa…Gulami Nahi Tu Josh Mein Aa, Ye Desh Hai Tera – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

HFGK notes that the lyrics and tune of this song is based on famous Chinese war song ‘Chilai’

Solo Songs of Parul Ghosh

Gun Gun…Bole Bhanwarawa, Hamari Bagiya Mein – Milan – Anil Biswas – P L Santoshi

Suhani Beriya Beeti Jae, Akele Baith Jiya Ghabaray – Milan – Anil Biswas – P L Santoshi

Main Kiski Laaj NibahuN aur Kaise Laaj NibhauN – Milan – Anil Biswas – Arzoo Lakhanavi

Jisane Bana Di Bansuri, Geet Usi Ke Gae Jaa – Milan – Anil Biswas –Arzoo Lakhanavi

Hum Ko KyoN Dushman Samajate Ho – Nai Maa – Hanuman Prasad – Ramesh Gupta

Morey Nayano Ko He Sakhi, Roz KyoN Ek Sapana Aae – Nai Maa – Hanuman Prasad – Ramesh Gupta

In the next, and the penultimate  part of Solo Songs of Other Fenale Singers, we will have solo songs of Shanta Apte, Saraswati Rane, Lalita Deulkar, Anima Dasgupta, Shobha, Jyoti, Mumtaz Shanti, Radharani, Iqbal Bano,  Snehprabha Pradhan, Baby Anu and Baby Mumtaz.

Manna Dey and Contemporary Lead Actors – 4

We have covered Manna Dey’s songs with main stream lead actors Dilip Kumar, Dev Anand, Raj Kapoor, Ashok Kumar, Balraj Sahni, David Abraham, Bharat Bhushan and Kishore Kumar, Shammi Kapoor and Guru Dutt in the present series till now.

Our journey of Manna Dey’s songs for mainstream lead actors is till rests in the last few years of the decade of ‘50s. These are the years wherein most of the second-generation top male stars were struggling to search the key to the door of success in the Hindi films. We have enough number of Manna Dey’s songs for just two male actors for one post.

With Raj Kumar

Raj Kumar began his career as the typical lead actor but is known more to us for his unconventional lead roles, several of these being the anti-hero type, as well. One such game-changing role that he played was that of the husband of Nargis, in the role of Radha as the lead character in Mother India (1957).

Chundariya Katati Jaye Re, Umariya Ghatai Jaaye Re – Mother India (1957) – Naushad – Shakeel Badayuni

Technically, the song plays in the background, but is the unmistakable feeling of turbulence that Shamu (Raj Kumar) undergoes in his struggles on and off-the field.

The song not only occupies an iconic status in Manna Dey’s repertoire but is also rated as one of the best songs of Naushad, too.

Dil Ko Baandha Zulf Ki Zanjeer Se, Hosh Lute Husn Ki Tasir Se – Zindagi (1964) – Shankar Jaikishan – Hasrat Jaipur

We now have a very unconventional Shankar Jaikishan composition, in the form of a recital.

Janak Janak Tori Baaje Payaliya – Mere Huzoor (1968) – Shankar Jaikishan – Hasrat Jaipuri

Raj Kaumar was as his one the best in the unconventional lead role in this film. Shankar Jaikishan have very expectedly chosen Manna Dey for the classical based song.

Har Taraf Yahi Afsane Hai, Ham Teri Ankhon Ke Deewane Hai – Hindustan Ki Kasam (1974) – Madan Mohan – Kaifi Azmi

It is Madan Mohan who has chosen Manna Dey to vent the on-screen Raj Kumar’s emotional thoughts.

Here we take up one song out of chronological turn for its highly uncoventainal but so much creative use of Manna Dey’s voice.

Hum Dil Ka Kanwal Dege Jisko – Zindagi (1964) – Lata Mangeshkar and chorus – Shankar Jaikishan – Shailendra

Mannaa Dey just sings one line of the mukhda as part of the rehearsal of the dance sequence, that obviously is choreographed by Raj Kumar on the screen.

With Rajendra Kumar

Before Rajendra Kumar was acknowledged as ‘Jubilee’ Kumar in the industry, several voices have been tried for the playback of his songs on the screen. We have Manna Dey’s Rajendra Kumar songs from this initial period when Rajendra Kumar was still struggling to get his feet in the quicksand of success in the Hindi film industry, with two exceptions – the first exception has a link with the unconventional aspect of the song that we just heard from Zindagi (1964) and the other one will underscore the exception of the rule.

Muskura Laadle Muskura – Zindagi (1964) – Shankar Jaikishan – Shailendra

Knowing well Shankar’s marked preference for Manna Dey, one may not feel very surprised by this exceptional us e of Manna Dey as Rajendra Kumar’s playback, but how would Rajendra Kumar have agreed to the decision does remain a question.

Tere Naina Talash Kare Jise – Talaash (1969) – S D Burman – Majrooh Sultanpuri

If S D Burman has easily opted for Mohammad Rafi for a text-book romantic duet dance song, he would have equally easily chosen Manna Dey for this classical-based dance song.

We now comeback to the period of Rajendra Kumar’s struggle for survival the highly uncertain terrains of Hindi film industry.

Mere Jivan Mein Kiran Banke Bikharanewale, Bolo Tum Kaun HoTalaq (1958) – with Lata Mangeshkar – C Ramchandra – Pradeep

The song is filmed as the then very popular genre of someone else (mostly street song dancers) venting the feelings of the key protagonists. In the present instance too, the song is lip-synched by a rural couple, but we are left in no doubt that these are indeed the feelings of the lead pair Rajendra Kumar and Kamini Kadam on the screen.

Manna Dey so easily molds into the melody of the song and the intimacy of the feelings of the lyrics, whether it is the alaap in the pre-lude or interludes or seamless synching with Lata Mangeshkar in the body of the song.

O Babu O Memsaab Kya Rakha Is Taqarar Mein, Zara To Aankhen Dekho Mila Ke Bada Maza Hai Pyar Mein – Talaq (1958) – C Ramchandra – Pradeep

This time C Ramchandra has opted for Manna Dey to playback directly for Rajendra Kuamr, in a very light-mood duet.

Bigul Baz Raha Azaadi Ke Naaro Ka – Talaq (1958) – C Ramchandra – Pradeep

Manna Dey’s choice for a patriotic fervor song would have been a foregone conclusion. As we closely listen to the lower-scale opening lines as well as the regular mukhada of the song, we do seem to feel that, if the song would not have to scale very high notes, as it does later on, the composition has been so composed that C Ramchandra possibly would have sung the song himself,as he indeed did for Paigam (1959) song Daulat Ne Aaj Paseene Ko Laat Hai Maari.

Yeh Hawa Yeh Nadi Ka Kinaara, Chand Taaron Ka Rangeen Ishara – Ghar Sansar (1958) – With Asha Bhosle – Ravi – Majrooh Sultanpuri

Ravi has also depended on Manna Dey for playback to Rajendra Kumar. Since Mohammad Rafi’s voice has been used for playback to Johnny Walker, the choice of Manna Dey also can easily be taken as result of the highly probable success formula of Rajendra Kumar-Manna Dey in the cases of romantic duets.

Bole Ye Dil Ka Ishara Aankho Ne Mil Ke Pukara – Santan (1959) – With Lata Mangeshkar – Dattaram – Hasrat Jaipuri

Dattaram has opted for Mukesh (Dil Ne Use Maan Liya – Happy and sad versions) for a simple romantic solo, but has easily chosen Manna Dey for the romantically peppy duet.

Na Jaane Kahaan Tum The, Na Jaane Kahan Hum The, Jaadu Ye Dekho Hum Tum Mile HainZindagi aur Khwaab (1961) – With Suman Kalyanpur – Dattaram – Pradeep

Here too Dattaram seems to have opted for a highly probable chances of success, as he has done for Mukesh for a pathos songKabhi Kisi Ki Khushiyan Koi Lute Na


Mere Ghar Se Pyar Ki Palki Chali Gayi – Palkee (1967) – with Mohammad Rafi, Suman Kalyanpur – Naushad – Shakeel Badayuni

Technically, it is Mohammad Rafi who plays back for Rajendra Kumar in this triad. However, the very strong linkage of Manna Dey in the song, one of those rae Naushad – Manna Dey combination tempts me to include the song here.


Normally we do not include non-Hindi films songs on our column, but the very exceptional nature of the songs again tempts me to include them here.

Mahendi Rang Lagyo was a the then trend-setter film for the Gujarati screen. Roping in Rajendra Kumar and Usha Kiran form Hindi films was a very bold move at that time. It did succeed so well, too.

Mahendi To Vavi Malve Ne Eno Rang Gayo Gujarat Re – Mahendi Rang Lagyo (1960) – with Lata Mangeshkar – Avinash Vyas

(Approximate translation of the opening lyrics in English – Henna (lawsonia alba), planted in Malwa has blossomed to its full color in Gujarat)

If Avinash Vyas has deftly used Manna Dey to play back for Rajendra Kumar in this duet for an intimately emotional, romantic, soft expression of the budding love, he has fallen back on Maohammad Rafi for Nain Chackchur Chhe, Man Aatur Chhe (Eyes are intoxicated, Heart is Eager)

Dard Eka Ja Chhe Ke Hun Bedard Thato Jaun Chhun – Mahendi Rang Lagyo (1960) – Avinash Vyas

(Approximate translation of the opening lyrics in English – The only grief I have is that I have become grief-less. Don’t ask me if I anymore belong to someone.)

If the song would have been composed for a Hindi film, it would definitely have been a front-row ever song in the heart-broken pathos songs.

In the final conclusion, Manna Dey’s songs for Rajendra Kumar may count far less in numbers, but the quality, and the then popularity, does leave us wondering what was still missing to push Manna Dey to become the voice of the popular male lead……..

Our search for the elusive answer is still on…..