Female- Female Duets present an opportunity to listen to many of the voices that we listened to in the female solo songs, with a different prospective of – in terms of the subjects as well as style of singing these types of songs.
Far More number of songs that we could locate on HFGK do not have YT links established till now.
Popular Female-Female Duet
Zohrabai Ambalewali, Shamshad Begum – Udan Khatole Pe Ud Jaoon, Tere Haath Na AauN – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Other Female-Female Duets
Hamida Banu, Krishna Ganguly – Ik Chand WahaN Ik Chand YahaN Jiya NA Lage Mora – Amar Raj – Feroz Nizami – Ishwar Chandra Kapoor
Amirbai Karanataki, Zohrabai Ambalewali – Meri Aai Hai Teen BhabhiyaN – Haum Ek Hain = Husnlal Bhagatram – P L Santoshi
Zeenat Begum, Hameeda Bano – Alla Duhai Hai … Ye Duniya Garibo Ki Kyun Jeene NahiN Deti – Nek Parveen – Feroz Nizami – Wahid Qureshi
Mohantara Talpade, Hameeda Bano – Oonchi Haveli Bana Do Munimji, Hawli Ko Sheeshe Laga Do Muimji – Phoolwari – Hansraj Behl – Pt. Indra
Shanta Apte, Lata Mangeshkar – Main Khili Khili Phoolwari Kya….. Chand Haath Mein Aaya – Subhadra – Vasant Desai – Moti B A
Male-Male Duet Song
I have been able to locate only one male-male duet from HFGK for the year 1946.
S D Burman, S L Puri – Baabu.. Re Dil Ko Bachan, Tere Dil Ko Bachana – Eight Dyas- S D Burman –
Except one song, all other songs are more in the genre of chorus songs this year, where no one singer plays a major role in the song.
Beenapani Mukherjee, Lalita Deulkar, Mangala Tipnis, Chorus – Apni Gori Ki Nagari Mein Jaana – Eight Days – S D Burman – Qamar Jalalabadi
Chorus – Utho Ke Hamein Waqt Ki Gardish Ne Pukara – Neecha Nagar – Pt. Ravi Shankar
Chorus – Ham Rookenge Nahin – Neecha Nagar – Pt. Ravi Shankar
Chorus – Aao SahelioN BannI Ko Mahendi Lagao – Nek Parveen – Feroz Nizami – Waid Quereshi
We will take up the concluding part of the Duet Songs of 1946 in our next episode.
We also poignantly take note of passing away of Viju Khote –
Remembering Kaalia – Following the success of Sholay, Viju Khote became a regular in Hindi films. Viju Khote is also remembered for his stint on TV, with Zabaan Sambhal Ke. He passed away on 30-9-2019, at the age of 77, due to multiple organ failure in his Mumbai home.
We pick up other tributes and memories:
SD Burman: ‘The Courage of His Convictions’ – Moti Lalwani –
Establishes Geeta Dutt As a Frontline Singer – The first song to be recorded by Geeta for Do Bhai (1947) was ‘Humein chhod piya kis des gaye’. Everyone liked it and Dada was allowed a free hand to decide. Do Bhai had nine songs, out of which Dada made her sing six of the eight female songs. The other two were sung by Paro Devi, and the ninth song was sung by Mohammed Rafi.
Pioneer in Composing Tune First – S D Burman believed that for the song’s popularity, it was necessary to have a good tune, based on which the songwriter could always fill-in the words to suit the tune.
Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1 explores the talent and work of Hemant Kumar and Part 2 explores some of his compositions of merit and his opus as a music director in Hindi films.- His music spelt class and showcased quality. His deep, resonant, sonorous and haunting voice cast a spell on his listeners. Vasanti Limaye pays a tribute to Hemant Kumar, singer and composer.
“Maajhi Naiya Dhoondhe Kinara” – Yunus Parvez was a familiar face in Hindi cinema over three decades from 1970s to 1990s. In stark contrast to his screen image, Yunus Parvez was a highly educated and extremely intelligent personality who was also active for a short period in the field of politics.
Tumhare Bin Guzare Hai – Atmaram (1979) – Shankar Jaikishan – Vishweshar Sharma
Luska Luska Luska Lui Lui Sa….Tu Mera Copyright, Main Tera Copyright – Shararat (1959) – Shankar Jaikishan – Shailendra
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 first part of the Duets of Other Male Singers has opened up a window to look at a wider cross-section of male sigers than what could be heard at Solo songs of the male singers.The pattern continues in this part as well – along with most of the unheard singers, we get a couple of known names, but all songs remain unhead ones only.
K S Ragi + Shamshad Begum – Beet Gaya Din Rah Takat Man Hara – Namumkin – Ayub Khan – A. Karim
Feroze Nizami + Naseem Akhtar – Haye Zalim Tune Pi Hi Nahi – Nek Parvin – Firoz Nizami – Wahid Qureshi
Firoz Dastoor, Amirbai Karnataki – Naino Ki Nagari Mein Aa Ke Chale Janaa Na Kar Ke Bahana – Pujari – Hansraj Behl – Wali Sahab
Unknown male singer – identified as Khan Mastana in YT link- & Shamshad Begum – O Sajni Saawan Ki Kaali Ghatayein Dil Ko Tadpayein To Kya Karun – Panditji – Khan Aziz
A R Oza, Amirbai Karnataki – Patanga Chala Hai Dipak Ki Aur, Man Mein Le Kar Prem Ki Aasha – Pujari – Hansrah Behl – Wali Sahab
We will now take up fourth of the nine disruptive technologies of Industry 4.0 – Industrial Internet of Things IIoT)
The industrial internet of things (IIoT) is the use of smart sensors and actuators to enhance manufacturing and industrial processes. The driving philosophy behind IIoT is that smart machines are not only better than humans at capturing and analyzing data in real time, they are better at communicating important information that can be used to drive business decisions faster and more accurately.
IIoT holds great potential for quality control, sustainable and green practices, supply chain traceability and overall supply chain efficiency. In an industrial setting, IIoT is key to processes such as predictive maintenance (PdM), enhanced field service, energy management and asset tracking.
Each industrial IoT ecosystem consists of:
Intelligent assets that can sense, communicate and store information about themselves;
Public and/or private data communications infrastructure
Analytics and applications that generate business information from raw data; and
While the word “industrial” may call to mind warehouses, shipyards and factory floors, IIoT technologies hold a lot of promise for a diverse range of industries, including agriculture, healthcare, financial services, retail and advertising.
Here are a few examples of current and upcoming IIoT technologies and concepts:
Digital twins – The practice of creating a computer model of an object such as a machine or a human organ or a process like weather. By studying the behaviour of the twin, it is possible to understand and predict the behaviour of the real-world counterpart and address problems before they occur.
Electronic logging device (ELD) – Onboard sensors that monitor speed, driving time, and how often individual drivers use their brakes, helping to conserve fuel, improve driver safety and reduce idle resources. If the driver makes a dangerous manoeuvre or is at the wheel for too long, the driver is alerted and the dispatcher is notified. This technology can replace the paper logs that drivers were once required to fill out every day.
Intelligent edge – The place at which data is generated, analysed, interpreted and addressed. Using the intelligent edge means that analysis can be conducted more quickly and that the likelihood that the data will be intercepted or otherwise breached is significantly decreased.
Predictive maintenance – A system that involves a machine or component with sensors that collect and transmit data and then analyse that data and store it in a database. This database then provides points of comparison for events as they occur. The system eliminates unnecessary maintenance and increases the likelihood of avoiding failure.
Radio-frequency identification (RFID) – A system that involves tags and readers, like a smarter version of barcode technology. Readers identify RFID tags using radio waves, meaning the tags can be read by multiple readers at once and over a longer distance than traditional UPCs. RFID tags make it possible to easily track and monitor the things on which they are attached.
The advent of the IIoT is a once-in-a-lifetime business disruption—one that requires new capabilities and will provide incredible opportunities.
To truly leverage its new direct customer relationship and make the full transition to an IIoT-enabled, customer-centric and service-orientated organisation, a manufacturing business must fundamentally transform its strategy and organisational culture.
Technology of Smart Sensors, Robotics & Automation, Augmented/Virtual reality, Big Data Analytics, Cloud Integration, Software applications, Mobile, Low power Hardware devices and Scalability of IPv6-3.4X 10^38 IP address, etc.is a major driver for the Industrial Internet.
Customer Behavior: The edge that IIoT gives to enterprises over their competitor helps them achieve better customer satisfaction and retention through value addition.
Macro-Economic Drivers: Government policies like Industry 4.0, Smart Factories, Make In India, Make In China 2025 & Smart Cities, Japan’s Industrial Value Chain Initiative Foum, Support of Green initiatives, Rising Energy & crude oil prices, Favorable FDI policies, Policies by regulatory bodies, etc. works totally in favour of the IIoT evolution.
Introduction to the Industrial Internet of Things (IIoT) – Head of the Institute of Manufacturing (IfM)’s Distributed Information and Automation Laboratory (DIAL), Professor Duncan McFarlane, is a pioneer of the internet of things (IoT) and was part of the research team that coined the term “internet of things” 20 years ago. In this webinar Professor McFarlane provides an introduction to the IoT and the IIoT and the opportunities and challenges facing industry.
IIoT currently is focusing on either managing or affecting the quality of the products via improved asset performance management, process-oriented analytics, or smart manufacturing environments which are placed to make excessive gains in bringing down the operating costs and better upliftment.
It’s all about the analytics when discussing the impact Big Data and IoT will have on manufacturing quality. In fact, the biggest payback of Big Data and IoT from an ROI perspective ties directly into advanced analytics. The fact of the matter remains that IT – like you – must do more with less resources. Having a holistic quality management system in place will help your company set the stage for IT to deliver the analytical tools necessary to yield actionable insights. To benefit the value chain, insights from data collected via IoT must be actionable – and more importantly, automated.
In 9 ways the IoT is Redefining Manufacturing, Brian Buntz succinctly enumerates examples of companies who are implementing or benefiting from IoT capabilities. Each example shows how IoT is reshaping or redefining industry practices. One example of particular interest is Proactive Quality Assurance, enabled by placement of sensing and measuring devices in critical areas throughout the supply chain and production process…With IoT, the ability to monitor and analyze process and product quality at critical points in the supply chain and production processes, and detect when sub-standard materials are introduced or product attributes deviate from specifications promises significant cost reductions.
The question being asked by every organization with awareness and understanding of IoT today is how will we capture, process and derive meaningful intelligence from this stream? This is reasonable as there will be significant volume looping back but this is not big data per se since it is not unstructured–quite the opposite. The incoming stream is by design and is therefore structured originally by us, the OEM. The real question is how do we take the stream and drive accurate and meaningful outcome in the form of improvement?
The answer is to approach the IoT with the mindset that it will supercharge the quality management system by tightening the closed-loop approach so that engineering is more closely connected with the rest of the value-chain than ever before. Improvement action or CAPA as we know it today becomes the vehicle for designing for quality based on the new channel of intelligence.
We will now turn to our regular sections:
For the present episode we have picked up article, Peter F. Drucker On Doing The Right Thing by William Cohen, Ph.D. on Decision Making column of Management Matters Network …. “Drucker felt that managers should incorporate the ethics of responsibility enunciated by the physician Hippocrates, which in turn is validated by the test of seeing in the mirror, into their personal philosophy and professional lives.”
We now watch ASQ TV, wherein we look at a few recent videos:
Winning the Race to Quality 4.0—Part 2 – In this episode, Dave Ryeson, Associate Director of Boston Consulting Group, describes the keys for success with Quality 4.0. These findings are based on the Winning the Race to Quality 4.0 research conducted by ASQ, BCG, and DGQ.
Stick-to-itiveness – The ability to demonstrate persistence or perseverance – Charles Monroe “Sparky” Schulz became widely regarded as one of the most influential cartoonists of all time! But he had faced an all-round. lack of success in school and whose work was repeatedly rejected. He created the “Peanuts” comic strip and Charlie Brown was the little cartoon character whose kite would never fly and who would never succeed in kicking a football. Sparky had stick-to-itiveness. He never gave up.
Effective quality auditors are catalysts for change – It’s rare that managers, or even most quality auditors, discuss how closely tied the findings of manufacturing audits are to the long-term ability of their companies to compete in this highly competitive market…To be truly effective, quality auditors must throw off their perceived notions of how their information is being used. Instead, they must see it as a way to revolutionize how their companies can compete in a global economy. There is no turning back from this challenge.
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.
The standard, in its most common form, is defined as norm, convention, requirements. In essence, these are mutually agreed way(s) of doing something. As such, the standards would cover any activity under the sun, provided the concerned interested parties agree to a way of doing that thing.
Fundamental standards – which concern terminology, conventions, signs and symbols, etc.;
Test methods and analysis standards – which measure characteristics such as temperature and chemical composition;
Specification standards – which define characteristics of a product (product standards), or a service (service activities standards) and their performance thresholds such as fitness for use, interface and interoperability, health and safety, environmental protection, etc.;
Organization standards – which describe the functions and relationships of a company, as well as elements such as quality management and assurance, maintenance, value analysis, logistics, project or system management, production management, etc.
For the subject of today’s article, we have confined our discussions to the technical standards, in general, and Management System Certification (MSC) standards published by ISO, in particular. We have also consciously stayed away from explaining the subject specific terminology, since we intend to address the article to non-ISO–MSC- standards practicing people as well.
The trigger for compiling the cartoons on ISO MSC is the World Standards Day – Each year on 14 October, the members of the IEC, ISO and ITU celebrate World Standards Day, which is a means of paying tribute to the collaborative efforts of thousands of experts worldwide who develop the voluntary technical agreements that are published as International Standards.
Every year a very relevant theme is selected around which the celebrations of Day are planned. The theme for World Standards Day 2019 is Video standards create a global stage – The video compression algorithms standardized in collaboration by IEC, ISO and ITU have been honored with two Primetime Emmy Awards, recognizing that these standards are central to industry’s ability to meet rising demand for video, one of the most bandwidth-intensive applications running over global networks.
International Standards meet industry demand for powerful compression capabilities. They also enable smooth transitions to the next generation of video compression technology, helping industry to maximize return on each wave of investment.
Having standards recognized and respected all over the world means that video encoded on one device can be decoded by another, regardless of the device being used. This introduces economies of scale that help to grow the market, giving innovators the confidence to invest in new video applications and services.
To create the innovations of today and tomorrow we have to work together, but first we need to understand each other. To exchange knowledge, to make things compatible, ISO standards are the solid base, the common language that humanity can rely on. (EN, ES, FR, DA subtitles)
ISO has published around 22812 International Standards on wide ranging industries and subjects.
With so much of the background information, we will now gradually switch over to our core topic.
Cartoon, being a medium to communicate in a humorously graphical art form, this tool is now very systematically and highly professionally is used to promote and popularize ISO standards .
One of the cartoonists who do such graphics for ISO, Cartoonist Alexane. Rosa, tells: “With a little imagination and humour, the human dimension of technical standards can usually be communicated through cartoons and colourful graphics.”
The cartoon graphics are also very effectively used as training aids for easily explaining the contents of the standard as well as an aid-de-memory for maintain that understanding for a longer time.
These graphical curation-oriented tools are also used to convey the practical benefits of implementing the ISO standards in the organization.
The following graphic is used to covey the concept – “New standards become new ideas”. It graphically conveys what is textually conveyed as “Once we have found new ways of doing things, we incorporate them in our Quality Systems. ISO 9001 was the foundation, now we start to build the house.’
And now we take up the cartons that inherently have a satire embedded into the message it conveys. The message may be a soft satire or a pithy punch, but in the ultimate analysis, it tells ISO-MSC practicing professionals what to-do and, generally, what not-to-do.
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Here a famous fable of an elephant and five blind man is used as a metaphor. This picture is used to convey that different people will look at the standard in their own -subjective-way. It is also used convey that different people in an organization will have different perceptions of risks and opportunities that organization needs to address at any given time.
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As is the general prevailing practice, every country has its own standard, and some times several industries, and several organizations in an industry will have their own standards.
One major intent of the way the international standards are written is to present the content of the standard in as easy as possible manner to understand, leave the minimum possible room for too many possible alternative interpretations. But, by the time that gets explained and / or and implemented by The Experts, it becomes more and more garbled.
The most telling satirist commentary comes from the Dilbert (which incidentally is a subject that can be taken up for an independent, full-scale, discussion). The following strips are self-explained punches:
As the years of implementation of the standard build on, the practice of application of the core principals of the standard become more cliched, which then (so unfortunately) gets demonstrated as the ‘Philosophy of BIG corporations’.
The organizations associated with practice of implementing, auditing or certifying the management system standards must keep questioning about the outcomes of application of management systems – . “Is certification benefiting the operation of business operators?” “Isn’t certification processes obstructing the real ISO mission? …In other words, unless it is a system to improve and create sustained success for your business, management system is worthless.
This positive attitude, performance oriented and people centric guideline sparked the revised design of new structure of the ISO standards to come up for revision or being published first time after 2012. The new High Level Structure now seeks to make the standards proactive, responsive and wider-eyed than was the case of the standards designed before.
As we reach the celebrations of Deepawali, I take this opportunity to wish a bon voyage to the ISO MSC fraternity in their search for the sustained success of the organization by implementing the standards in their true spirit….
 Dare to dream BIG: Standards empower innovators
Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1953
Shankar Jaikishan worked as a perfect team, in professional harmony, and as excellent friends. Their synthesis with Shailendra and Hasrat Jaipuri, their permanent lyricists, created a creative team par excellence was an added bonus. The association of composers Shankar-Jaikishan with lyricists Shailendra and Hasrat Jaipuri, went on to give massive downpour of hits, melodies and innovations, year in and year out. One cannot help marveling about how this fabulous foursome could keep their personal and professional bonds in tact over so many years in the challenging and notoriously fickle milieu of Hindi Film Music. The quartet forged a creative partnership which brooked no real parallel. The unique, prolific and successful bonding between the two Masters of Music with two wizards of words remains a golden chapter in the annals of Hindi film music.
October is the month of Shankar’s birthday (25 October 1922 — 26 April 1987). Our today’s episode is dedicated to his memory. To commemorate the Shankar’s birthdays, we commenced the series on Shankar (Jaikishan) and Shailendra’s songs last year. We covered the years from 1949 to1953 last year. 1953 was the first quantitative peak for the SJ duo. They did seven films, 55 songs in that year. We had covered three of them – Aah, Aas and Boot Polish – in the last episode.
As the title suggests this being a woman-oriented film, all songs are created for the female lead of the film. Apparently, the film draws inspiration from the famous Western mythical story of Samson and Delailah.
Dard-E-Jigar Thehar Zara…Dum To Mujhe Lene De – Lata Mangeshkar
This seems to be a copy book situation wherein the heroine melodiously weeps her sorrows. Soft strokes of piano, at the very opening of the prelude music, are the tell-tale SJ orchestration style. From the SJ’s standards, the composition is set to a difficult tune.
Dard-E-Ulfat Chupaon Kahan, Dil Ki Duniya BasauN KahaN – Lata Mangeshkar
The heroine dances to her joy of falling into love. Use of harmonium in small bursts adds to the magic of the composition.
Ye Duniya Banai Hai Kis Berahem Ne – Lata Mangeshkar
The song is filmed on the second leading lady of the story. For the records, we note that knowledgeable blog writers identify the singer on the screen as Purnima Razi.
Naya Ghar (1953)
The film has three Lata Mangeshkar solos written by Shailendra. We have picked one solo here, to accompany a very-well known Talat Mahmood solo song.
Jawan Hai Jahan Jhoom Uthi Har Nazar, Main Hoon Ke Hai Zindagi Zahar – Lata Mangeshkar
Unlike a SJ composition song is set to a difficult tune and has far less than usual orchestration support in the counter melody. The song changes the tempo of the rhythm subtly during the second and the last stanza.
Unhein Tu Bhool Ja Aye Dil, Tadapane Se Kya Haasil -Talat Mahmood
The song opens to a very exquisite musical prelude and build on one of the Talat Mahmood all-time classic.
Shankar Jaikishan has used Talat Mahmood for Dev Anand’s playback voice in this film. The three Talat songs – Andhe Jahan Ke Andhe Raaste, Tujhe Apne Paas Bulati Hai Teri Duniya and Hai Sabse Madhur Woh Geet – instantly got etched into the All-Time Best of Talat Mahmood songs. Hasrat Jaipuri wrote only song, a Hemant Kumar- Lata Mangeshkar duet – Yaad Kiya Dil Ne Kaha Ho Tum – for the film, which also has been an all-time hit. The other two Lata Mangeshkar songs were thus destined to remain in the shadow of the brightly shining glory of these four songs, even though each of them remains a very special Lata Mangeshkar songs.
Kisi Ne Apna Banake Mujhko Muskurana Shikha Diya– Lata Mangeshkar
We have a playful, fully pleasant mood song, set to a very lilting fast-paced tune., which opens with flute-dominated prelude. Interlude music is dominated by very innovative use of violins. Shailendra is also as his poetical best when he says : the dreams that could not be seen at nights have indeed materialized in the day.
Mitti Se Khelte Ho Baar Baar Kis Liye – Lata Mangeshkar
Shailendra has used the metaphor of broken toys for the shattered dreams of life, to which Shankar Jaikishan has provided a very heavy, and yet so unobtrusive, countermelody support of violin ensemble orchestra to create the mood of pensive pathos.
The film is a Dilip Kumar – Nalini Jaywant starrer, which did not do well during the first run. However, during the later on re-runs, it always got a wide support from the fans of its songs.
Hum To Hai Kathputhli Kaath Ke Hey Ram – Hemant Kumar
Shankar Jaikishan has so effectively used Hemant Kumar’s soothing voice in this song that lays down the basic philosophy of life for the distressed-from-life ones.
Sapnon Ki Suhani Duniya Ko Aankhon Mein Basana Mushkil Hai – Talat Mahmood
When Naushad had successfully switched over to Mohammad Rafi as Dilip Kumar’s playback voice (Deedar, 1951), Shankar Jaikishan rekindles soft magic of Talat Mahmood for Dilip Kumar.
Jab Jab Phool Khile …. Dekha Akela Hamein Gher Lita Gham Ne – Talat Mahmood, Lata Mangeshkar
Shankar Jaikishan and Shailendra team up to create a Talat-Lata duet that can be as good as a Talat-Lata duet that can ever be.
Gulshan Mein Jal Raha Hai Ulfat Ka Ashiyana – Mohamamd Rafi
This happens to be also a snippet with which the film ends.
So too ends our episode with a Mohammad Rafi song.
As may be observed from listening to the songs that seem to recede form our memories, Shankar Jaikishan’s most outstanding work of the 1950s was not as awarded as their relatively less qualitative work of 1960s. We will keep exploring this phenomenon in our future episodes.
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.
As we move along this series it appears that most of the second generation frontline heroes were tried with most of the leading male singers of the mid-50s, before each of them settled for Mohammad Rafi ( barring a few exceptions)as their playback voice, once they succeeded by the advent of 60s. – or they succeeded when they settled for Mohammad Rafi as their playback voice.
With Prem Nath
Prem Nath has played the lead role in many films in 50s before graduating to more successful character roles. We can trace Manna Dey’s association – the indirect one- with Prem Nath’s lead roles too getting converted to direct play back relationship with Prem Nath’s character roles, starting with Ek Ag Dahakata Raag Hai Jawani (Naujawan (1951 – S D Burman, Sahir LudhyanviI), which is the credit title song.
Naseeb Hoga Mera Maherabaan Kabhi Na Kabhi – 40 days (1959) – With Asha Bhosle – Baabul – Kaifi Azmi
Manna Dey can be considered in a supporting role in this duet, in which the heroine, Shakeela, seems to be on the hunt to search for the hero, Prem Nath.
Phir Tumhari Yaad Aayi Aye Sanam – Rustam Sohrab (1963) – With Mohammad Rafi – Sajjad Hussain – Qamar Jalalabadi
Here too soldier singers apparently express their own emotions, but their General (Prem Nath) lives each word in his own sweet memories.
The duet is documented as one of the best male-male duets in the history of Hindi film music. Rustam Sohrab is also the last film of Sajjad Hussain, rated as one of the most outstanding and path-breaking music directors of the Hindi Film industry.
Naa Chahoon Sona Chandi Na Chahoon Heera Moti Ye Mere Kis Kaam Ke – Bobby (1973) – with Shailendra Singh and Lata Mageshkar – Laxmikant Pyarelal – Vithalbhai Patel
The song was as much a raze as was the character of Jack Braganza, a poor, but self-respecting Goan fisherman, played by Prem Nath on the screen.
In Raj Kapoor’s well-known style, the songs is used as an end-piece as well –
Khul Gayee Padhadi Gulabi Ho Gaya Budhdha Sharabi – Aap Beeti (1978) – with Kishore Kumar – Laxmikant Pyarelal – Anand Bakshi
This is a very light-framed duet, with Kishore Kumar and Manna Dey in their signature jovial moods.
With Pradeep Kumar(a.k.a. Shital Batabyal)
Pradeep Kumar debuted in Hindi films with Anandmath (1952) and then soon had blockbuster successes in Anarkali (1953) and Nagin (1954). He had Hemant Kumar (Anand Math, Nagin) and Talat Mahmood (Anand Math) for his playback. It was only in Raaj Hath, that Manna Dey appeared for the first time in Pradeep Kumar’s career. Even here the songs filmed on Pradeep Kumar had Mukesh – Ye Vaada Karo Chand Ke Samne– and Mohammad Rafi – Aye Bahar Ban Ke Lubha Kar Chakle Gaye – as playback singers. However, the Manna Dey song remains so important landmark in Manna Dey’s career, that we need to take the note of that song here.
The song is filmed as background song in the film.
It was S D Burman, in Miss India (1957) who chose to use Manna Dey as Pradeep Kumar’s direct lead playback for Pradeep Kumar – and even that can be considered as an exception in S D Burman – Manna Dey professional relationship as music director -singer combination.
Jaoon Main Kahan.. Ye Zamin Ye Jahan Chhod Ke – Miss India (1957) – with Lata Mangeshkar – S D Baurman – Rajendra Krishna
Manna Dey opens the songs with a one-line Hey,,Hey in gay abandon of a spoilt wealthy youth, before pitching in @5.19 with a boisterous Ye Bheegi Bheegi Raatein Ye Ghumad Ghuamd Barsatein
Maalik Ne Haath Diye Kahe Do Do Diye – Miss India (1957) – With Asha Bhosle – S D Burman – Rajendra Krishna
Here Manna Dey comes in to present an inspirational message.
Mehnat Se Mat Dar Bande Himmat Se Kaam Le – Batwara (1961) – with S Balbir – S Madan – Majrooh Sultanpuri
Even as clad in expensive-looking pant-shirt, Pradeep Kumar gets attracted to the charm of labour and joins the team @ 3.48 with Aage Badha Himmat Se Kadam Ek Baat Mard Banke
Ye Din Hai Din Hai Khushi Ke Aaja Re Aaja Mere Saathi Zindagi Ke – Jab Se Tumhe Dekha Hai (1963) – with Suman Kalyanpur – Dattaram – Shailendra
Dattaram has chosen Manna Dey to playback for Pradeep Kumar in this pure romantic song. This is in the same year when game-changer successful film in Praadeep Kumar’s career– Taj Mahall – was to hit the screen, wherein it was Mohammad Rafi who was THE playback voice.
With Sunil Dutt(a.k.a. Balraj Dutt)
Sunil Dutt debuted with Railway Platform (1955) – playback Mohammad Rafi – and then had Manna Dey for playback in an obscure film Kismet Ka Khel (1956), then some more prominent films Sadhna (1958, Mohammad Rafi as playback), Post Box No 999 (Hemant Kumar and Manna Dey), Insaan Jaag Utha (Mohammad Rafi) and so on. However, all the songs where Sunil Dutt and Manna Dey have – either directly or indirectly – have teamed up, have etched a clear imprint in the annals of Hindi film music.
Keh Do Ji Keh Do Chhupao Na Pyar – Kismet Ka Khel (1956) – with Lata Mangeshkar – Shankar Jaikishan – Hasrat Jaipuri
Shankar Jaikishan have chosen to bank upon Manna Dey to render this playfully romantic duet.
Mere Dil Mein Hai Ek Baat Kaise Bataun Kya Hai – Post Box No. 999 (1958) – with Lata Mangeshkar – Kalyanji Veerji Shah – P L Santoshi
Kalyanji Veerji Shah has chosen Manna Dey for this pure romantic duet and Hemant Kumar for a pensive romanticc duet – Neend Na Mujko Aaye – as playback voices for Sunil Dutt.
This a background song, which directly reflects the thoughts of the character enacted by Sunil Dutt.
We will end our present episode too with a marching, farewell to the soldiers on way to the war, song from Usne Kaha Tha (1960). That song is also a landmark song of Manna Dey’s career, would hardly need a mention.
Jaanewale Sipahi Se Poochho Woh Kahan Jaa Raha Hai – Usne Kaha Tha (1960 – Salil Chowdhury – Maqdoom Mohiuddin
We now take up the third leg – The Duets – of ‘Best songs of 1946: And the winners are?’. As per our Micro View Practice, we will cover this leg of the Micro View journey in three stages – Male-Female Duets, Male- Male Duets and Female-Female Duets.
As per our accepted practice, we have listed male-female duets by focusing on male singer. Also, the such male singer -wise male-female duets are listed in the descending order of number of songs that we could unequivocally locate from HFGK We have recorded duet songs for those male singers with whom we are normally conversant. Other male singers have been placed under ‘other male-female duets.
The Male Female Duets
The male female duets have been accorded almost equal respect as that accorded to male or female solo songs. Many of the male female duets have been accepted as the benchmark milestones as are some male or female solo songs have been accepted as the benchmark milestones in the Hindi Film Music.
For the sake of maintaining consistency of presentation w.r.t. the Micro View of Best Songs for XXXX @ SoY serieses in the past, I have grouped the male-female duets w.r.t. the male singer in focus. My back of the envelope notes quickly separated duets of what can be termed as more known male singers could easily be separated out from the whole population of male-female duets. However, it is the ‘other male-female duets’ that weigh quanitatively higher in numbers. In so far as previous familiairity is concerned, the number os such songs for me personally is a very small fraction of all the songs listed herein.
I have arranged the male singer-wise male-female songs in the descending order of number of songs for the number of male-female duets for the particular male singer.
Duets of Mohammad Rafi
Even as Mohammad Rafi does not have, quantitatively, so large number of duets for 1946, it should not be surprising that we have opportunity to listen to these songs for the first time because of our now established practice of Micro view listening to the songs of the vintage era years.
Gae Ja .. Bhul Ja Apne Geet Purane – Ghunghat – With Nirmala Devi -Shankar Rao Vyas – Ramesh Gupta
HFGK does not mention names of the singers.
Rukhi Sukhi Main Kha Luhgi Paas Bula Lo Mere Raja – Insaaf – with Hamida Bano – H P Das – D N Madhok
Khud Samaz Lo Ke Iltaza Kya Hai – Rangbhoomi – with Shamshad Begum – Premnath – Arzoo Lakhanavi
Ye Nayan KyuN Sharma Rahe Hai – Rasili – With Shamshad Begum – Hanuman Prasad – Gafil Haranyanvi
Watan Ki Amanat Meri Zindagi Hai – Rupa – with Shamshad Begum – Govind Ram –
Baithe Hai Tere Dar Par Kuchh Kar Ke Uthenge – Sona Chandi – With Shamshad Begum – Tufail Faruqui – Wali Sahab
Man Ki Suni Nagariya Suhani Bani – Sona Chandi – With Amirbai Karnataki – Tufail Faruqui – Khawar JamaN
Duets of G M Durrani
Mohammad Rafi considered G M Durrani as his role model in his early career. Here, G M Durrani’s duet songs indicate why so.