Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

First, the major events in December 2019:

Shriram Lagoo (1927-2019): Acting legend and rationalist leaves behind a rich and complex legacyDamini Kulkarni – The legend of the stage and the screen died in Pune at the age of 92 on 17-12-2019

We also take an opportunity to revisit – The Legend of Dr Shriram Lagoo | Tabassum Talkies

A boy called Yusuf – What would Dilip Kumar, who turned 97 on 11-12-2019, say on the identity debate today?

Ten of my favourite Naushad Songs is a tribute to the memory of Naushad who was born on 25 December 1919.

Dharmendra and Sharmila Tagore: Exploring the silver screen journey of two beautiful stars – The two share their birthdays besides having shared a wonderful on-screen chemistry.

Happy Birthday Dharmendra and Sharmila Tagore! – Here are films featuring the pair – Subhash K Jha recounts, Anupama (1966), Devar (1966), Satyakam (1969), Yakeen (1969), Mere Hamdam Mere Dost (1968), Chupke Chupke (1975), Ek Mahal Ho Sapno Ka (1975), Sunny (1984)  as the 8 films the duo have done together.

Also read:

We pick up other tributes and memories:

Shailendra — the Leftist poet and Dalit genius whose lyrics define beauty of simplicity – 14 December marks the 53rd death anniversary of the artist who died at the young age of 43. Regardless of his fame, Shailendra fundamentally remained a “people’s poet” .

From Hindi film music to raga-based symphonies, the remarkable journey of Anthony GonsalvesNaresh Fernandes – The renowned musician, whose fifth death anniversary is on January 18, merged the Western classical music of his Goan heritage with Hindustani melodies. (Reposting of an Jan 18, 2017 article)

Geeta Dutt – The Artist and Her Art – Geeta Dutt identified artistic “inspiration as the cause of divine fires in the creator, fires which result in his frenzied seeking after artistic perfection”. Sounak Gupta pays tribute to the artist and her art that went way beyond the limits of technique.

The Legends: Geeta Dutt presents a bare handful of songs that showcase Geeta Roy/Dutt’s immense talent,, with as many of the music directors she worked with as possible. A small representative sample form the list –

I have added Kareeb Aao Na Tadapao – Love Marriage (1959) – Shankar Jaikishan – Shailendra to the list.

The Legends: Geeta Dutt – Part 2 lists Geeta Dutt’s duets with as many singers as can be possible. Let us recall a few rarely heard duets form this list:

Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1  – 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. In Part II, the author explores some of his compositions of merit and his opus as a music director in Hindi films.

Hemant Kumar and Geeta Dutt rehearse with Rahul Dev Burman, then the youngest music director in 1961 (Pic: SMM Ausaja)[1]
Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In our series Manna Dey and his contemporary lead actors, the December 2019 episode remembers his songs with Sanjeev Kumar and Rajesh Khanna. 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, Raaj Kumar and Rajendra Kumar, Prem Nath, Pradeep Kumar and Sunil Dutt; with Dharmendra, Shashi Kapoor, Manoj Kumar, Pran and Joy Mukherjee till now.

[N.B. – All seven episodes of the series ‘Manna Dey and His Contemporary Lead Actors’ can be viewed / downloaded as one file by clicking on the hyperlink.]

In a series on Ravi, SoY has two more articles: Ravi’s ‘other’ female playback singer: Lata Mangeshkar and Ravi’s many-splendoured genius with the ‘other’ singers

Bollywood stars who died penniless – The list includes such stars as Chandra Mohan, Mater Bhagwan, Bharat Bhushan, A K Hangal, Sulochana (Ruby Myers), Cukoo (Moray), Achala Sachdev, Vimi, Nalini Jaywant, Meena Kumari, Parveen Babi. Of course, the list can run into several pages

“Yeh Chaman Hamara Apna Hai” – Sulochna Latkar who recently turned 90 in July stays away from the limelight in the Prabhadevi area which is near Mumbai’s famous Siddhi Vinayak Temple. Film ‘Ab Dilli Door Nahin’s famous song ‘Ye Chaman Hamara Apna Hai …’ was picturised on Sulochna and Master Romi.

December, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1961

This was followed up by the third part of the years 1962 & 1963 of the 4th Five Year Period of Mohammad Rafi’s maiden solo song with a music director

[N.B. – All three episodes of the 4th Five Year Period of Mohammad Rafi’s First solo with a Music director : 1959 – 1963 can be downloaded as one file by clicking on the link.

We will now take up the articles on other subjects:

Shades of The Moon in the songs wherein direct help from the moon is sought for different tasks, e.g. Chandrama Ja Unse Keh De – Bharat Milap (1965) – Lata Mangeshkar & Mahendra Kapoor / Vasant Desai – Bharat Vyas  | Chanda Ja Chanda Ja Re Ja – Man Mauji (1964) Lata Mangeshkar / Madan Mohan – Rajendra Krishan

Short review – F-Rated: Being a Woman Filmmaker in India is a wide-ranging publication, by   Nandita Dutta, that tells individual stories while also probing cinematic tropes, trends and viewer demographics. The book comprises of interviews with and profiles of important Indian filmmakers, from veterans Aparna Sen and Mira Nair to Alankrita Srivastava and Nandita Das. In the process, the book presents the preferred themes and working styles of these artists, about the challenges they face as they balance profession with home life or the demands of parenthood – or cope with extra scrutiny, condescension and even sexual harassment.

Ten of my favourite ‘recording studio’ songs on radio, for albums, and so on, in which the ‘singer’ (the actor or actress lip-syncing to the song) is shown singing in a recording studio. Here are a few of the less heard songs from this list –

In the third concluding article, Best songs of 1946: Wrap Up 3, of the on-going series of Best songs of 1946: And the winners are?, Aawaz de kahan hai – Surendra and Noorjehan (Anmol Ghadi, Naushad), and Ek yaad kisi ki yaad rahi – GM Durrani and Shamshad Begum (Shama, Ghulam Haider) have been adjudged joint winners in the duets category.

[N.B. : All the episodes of The Micro View of Best Songs of 1946: Duets can be read / downloaded from one file, by clicking on the hyper link.]

In the final wrap-up article, Best songs of 1946: Final Wrap Up 4, the SoY Award for the Best Music Director of 1946 goes to Naushad.  And, special mention is made of Ghulam Haider and Hansraj Bahal for their outstanding music in the year.

[N.B. – All the episodes of The Micro View of Best Songs of 1946 can be read / downloaded from one file, by clicking on the hyper link.

We end the 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:.

Lagi Hai Aag Dil Mein – Hulchul (1951) – with Lata Mangeshkar – Mohammad Safi – Khumar Barabanqvi

Main Bhi Jawan Hu Tu Bhi Jawan – Do Dulhe (1955) – with Geeta Dutt – B S Kalla  – Pt. Indra

Zara Si Baat Pyar Ki Zubaan Se Nikal Gayi – Salaam Memsaab (1961) – with Suman Kalyanpur  – Ravi – Asad Bhopali

Sudh Bisar Gayee Aaj – Sangeet Samrat Tansen (1962) – with Manna Dey – S N Tripathi – Shailendra

Ghar Tum Bhula Na Doge, Sapne Yeh Sach Hoge – Yakeen (1969) – Shankar Jaikishan – Hasrat Jaipuri [and its Lata Mangeshkar twin version]

Till we met again in 2020, here is wishing all a great, eventful and fruitful 2020.

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.

[1] Additional reference: Geeta Dutt with newer generation of composers @ end of the article

P.S. – All episodes of Carnival of Blogs on Golden Era of Hindi Film Music  for 2019 can be viewed / downloaded as a single file by clicking on the hyper link.

Categories
Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – December 2019

Welcome to December 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, Simulation, Additive Manufacturing, Industrial Internet of Things  and Horizontal and Vertical System Integration.

We will now take up last of the nine disruptive technologies of Industry 4.0 –– Cybersecurity.

Cybersecurity is the practice of protecting systems, networks, and programs from digital attacks. These cyberattacks are usually aimed at accessing, changing, or destroying sensitive information; extorting money from users; or interrupting normal business processes…A successful cybersecurity approach has multiple layers of protection spread across the computers, networks, programs, or data that one intends to keep safe. In an organization, the people, processes, and technology must all complement one another to create an effective defense from cyber-attacks.[1]

Cybersecurity in Industry 4.0 has an immediate effect on CPS, the Internet of Things (IoT) and the Internet of Services (IoS).

Industry 4.0 and its connection with Internet and Information and Communication Technologies. (Source: Germany Trade & Invest. 2013)-

Each brings its own range of threats, vulnerabilities and possible challenges/safeguards with regard to cybersecurity. Below, a number of these are outlined:

Cybersecurity must therefore be thought of as a protective mechanism, but also, especially, as a basic requirement in order for business to continue.[2] That is where the quality management core principles come into the play and so-called traditional quality people need to learn these new concepts so as to help build good practices, work groups and reference architectures.

The seven steps of a cyber-attack, which can lead to dire consequences. To prepare oneself against such an attack and to reduce the attack vector, one should design a six-step approach.

The three-pillar approach to cyber security consists of people, process, and data and information.

The first pillar is people. People are an easy target to pick the bite of the phishing bait, Through frequent exposure and regular training, your organization will develop a culture of cyber security awareness. The second of the three pillars is process. The process pillar is made up of multiple parts: management systems, governance, policies and procedures and managing third parties. All of these parts must be addressed for the process pillar to be effective.

When all is said and done about Industry 4.0 or Quality 4.0 in these sets of episodes, the message that very clearly seems to come out is that Quality 4.0 Takes More Than Technology – To effectively implement Quality 4.0—the technological as well as the non-technological aspects—companies should take a structured approach that includes the following elements:

    • Prioritize pain points to address first on the basis of potential to unlock value and reduce risk;
    • Identify, test and scale up use cases. Begin implementation with proof-of-concept (PoC) pilots that focus on high-value use cases.;
    • Develop a vision and road-m which articulates how Quality 4.0 promotes the company’s overall business strategy and how it contributes to creating a sustainable competitive advantage.
    • Establish technology and data enablers of Quality 4.0, including the IoT infrastructure and data architecture;
    • Build the required skills – whether by upskilling or retraining the current workforce or by recruiting digital specialists;
    • Manage the changes across the enterprise, including the implementation of a comprehensive digital strategy;
    • Foster a quality culture through an across-the-organization involvement in the necessary changes to the context in which people work, addressing topics such as metrics and incentives, role mandates, and organizational structures.

We will now turn to our regular sections:

For the present episode we have picked up article, Digitizing Culture: Are You Doing It Wrong? on Insights and Analysis From Gallup column of Management Matters Network ….

      • It’s crucial for companies to create an effective digital workplace culture
      • Digital culture is even harder to get right than in-person culture
      • Culture tools are only as good as the way they’re used

We also have one more article  that deals with the process of (digital) transformation – Thawing the frozen middle – As businesses put trillions of dollars into digital transformations, they need a plan to ensure that middle management is helping make the most of the investment… Transformation failures are not caused by one person or one single issue. By understanding the psyche of the middle management layer, CEOs can identify the levers that will work and unlock the benefits of transformation. It’s a matter of focusing on human capital and valuing the skills that their people have and can develop. They can then redeploy their creative, resilient, upskilled people to tackle more problems and create more value. Technology fundamentally changes the role of middle managers, but it simultaneously makes them even more important.

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

    • Cybersecurity in Retail – What is cybersecurity? Learn what it is, why it’s important and how it can make or break your business.
    • Protect Your Organization From Cyber Attacks – Dave Nelson, Founder, Pratum, offers practical suggestions to protect your organization from cyber-attacks. Nelson suggests using gap analysis and process mapping to make sure you have adequate security and, in case of an attack, have sound processes in place to mitigate the damage.

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

    • Excuses – It’s a safe bet that everyone has used excuses to avoid doing something or to delay the inevitable… It is much easier to give in to the excuses. However, when you do give in all you’re left with is regret…Rather than take the easier path by using the excuses, it is more difficult to do those things you know you’re capable of doing. From that difficulty, however, comes the golden experience of the life you were meant to experience… All you have to lose are those excuses and a lot of regret but there is so much more to be gained.
    • Growth – In some way, personal growth is almost always uncomfortable. However, refusing to grow is often, in the long run, much more uncomfortable… To grow, it requires that we admit where we’re weak and then work to strengthen those aspects of our life – personal and professional… Whatever is going on in our life this very moment offers valuable opportunities for us to grow stronger, more effective, and more positively directed toward real fulfillment…. Embrace these opportunities even though they may seem a little uncomfortable… And as we grow, the positive possibilities will grow even more superlative in our world.

This brings us to the end of our journeys to the Carnival of Blogs on Quality Management for the year 2019. Till we meet to resume our journey in 2020, with a fresh look on the fundamentals, I wish you all a great year-end that provides a strong jumping board to more challenging, more fulfilling and more satisfying 2020.

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

[1] What Is Cybersecurity?

[2] Cybersecurity in Industry 4.0

P.S. – All episodes of Quality Blog Carnival 2019 edition can be viewed / downloaded in a unified file by clicking the hyper link.

Categories
In my view Music from films

Mohammad Rafi’s First Solo Song With The Music Director : 1962 – 1963

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered

For the 4th Five Year period of 1959 to 1963, we have heard Mohammad Rafi’s maiden solo songs for the years 1959-1960 and 1961 this year. Presently, we take up the last two years – 1962 and 1963 – of the 4th Five-Year Period.

As the journey progresses into the ‘60s, we a see trend of more songs under the category of ‘popular songs for the year’ than compared to the ‘first-solo’ one. If there is a systematic study of new music directors coming in in a given year, then such a conclusion can be corroborated. Till then, we will take this as an untested hypothesis.

1962

For the year 1962, we have 64 solo songs of Mohammad Rafi.

We will first take up the songs that had become popular for the year:

Roshan – Aarti (Ab Kya Misaal DooN), Vallah Kya Baat Hai (Gam-e-Hasi Se Bagana Hota) | Ravi –  Apna Banake Dekho (Raaz-e-Dil Unse Chuupaya Na Gaya); Bombay Ka Chor (Hai Bahar-e-Baag-e-Duniya Chand Roz); China Town (Baar Bar Dekho); Raakhi (Bandha Hua Ek Ek Dhaage Mein Bhai Behan Ka Pyar, Ya Meri Manzil Bata Ya Zindgi Ko Chheen Le)| Shankar Jaikishan – Asli Naqli (Chheda Mere Dil Ne Tarana, Gori Zara Has De Tu, Ek Putal Banaunga, Kal Ki Daulat Aaj Ki Duniya); Dil Tera Diwana (Dhadakane Lagata Hai Mera Dil, Nazar Bachake Chale Gaye Ho); Professor ( Ae Gulbadan, Khuli Palak Mein Zootha Gussa)  } S D Burman – Baat Ek Raat Ki (Akela HuN Main); | O P Nayyar – Ek Musafir Ek Haseena (Hum Ko Tumhare Ishq Ne, Mujhe Dekh Kar Aapka Muskurana); | N Dutta – Gyara Hazar LadkiyaN (Dil Ki Tamanna Thi, Mere Maheboob Mere Saath Chalana Hoge Tujhe) | Chitragupt –  MaiN Chup Rahungi (Main Kaun HuN , Khush Raho Aele Chaman); Main Shaadi Karane Chala (Koi Bura Kahe Ya Kahe Bhala Main Shaadi Karane Chala); | Babul – Naqli Nawab (Chheda Jo Dil Ka Tarana, Tum Puchhate Ho Ishq Bhala Hai Ke Nahi) | Naushad – Son of India (Zindagi Aaj Mere Naam Se)

For the year, we have only two music directors composing maiden solo song for Mohammad Rafi. One of these is from the South remake genre and the other one belongs to ‘Only-One Rafi-song’ club..

S M Subbaiah Naidu

S M Subbiah Naidu, a.k.a SMS, (15 March 1914 – 26 May 1979) was a South Indian composer, conductor, and orchestrator. He was one of the oldest music directors. He was a favourite music director M G Ramchandran.

Sona Re Bhaiya Sona Re – Humein Bhi Jeene Do– Lyrics: Saraswati Kumar Deepak

The film is remake of Tamil film, featuring M G Ramchandran and B Saroja Devi

YT link for the song is not yet available.

Sudarshan

From All the available records, Sudarshan has composed music for only this film – Mall Road.

Jaam Chal Ne Ko Hai Sab Ahel-e- Nazar Baithe Hai – Mall Road –Dabalish

A well-composed ‘drunkard’ song that freely deploys Mohammad Rafi’s theatrics to full use.

Padhe Likhe Kuch Khak Nahin Par Naam Hai Mister Y – Mall Road –Lyrics: Dabalish

Lyrics and composition indicates that song must have been filmed on a comedy artist of the film.

Are Bus Mein Nazar Takrai – Mall Road – Lyrics: Dabalish

The composition is alin to some of the O P Nayyar compositions. Nonetheless the song comes out a worth-listening-to song.

1963

We see 102 solo songs of Mohammad Rafi in 1963. Even the songs that had become popular is also relatively a larger proportion both in number of songs as well as the range of music directors Interestingly it is Ravi who takes a lion’s share in these song this year. On a closer look, we also can observe that there are more of background songs in this list.

Ravi – Aaj Aur Kal (Itni Haseen Itni Jawan Raat, Ye Wadiyan Ye Fizayein Bula Rahi Hai Tumhe); Bharosa (Ye Juke Juke Naina, Is Bhari Duniya Mein); Gehra Daag (Aaj Udata Hua Ek Panchhi, Bhagwan Ek Qasoor Ki); Kaun Apna Kaun Paraya (Kaun Apana Kaun Paraya, Zara Sun Haseena-e-Naznin);  Mulzim (Deewana Kah Ke Mujhe Aaj Pukariye, Sang Sang Rahenge Tumhare); Nartaki (Zindagi Ke Safar Mein Akele The Hum); Pyar Kiya To Darna Kya (Jan-e-Bahaar Husn Tera Lajwab Hai, Zindagi Kya Hai Gam Ka Dariya Hai); UstadoN Ke Ustad (Sau Bar Janam Lenge); Ye Raaste Hai Pyar Ke (Tum Jis Pe Nazar Dalo, Koi Mujhse Puchhe Ke Tum Mere Kya Ho)  | Kalyanji Anandji – Bluff Master (Govinda Ala Re); Phool Bane Angare (Watan Pe Jo Fida hoga) | Shankar Jaikishan – Dil Ek Mandir (Yaad Na Jaaye Beete Dino Ki); Humrahi (Dil Tu Bheega, Ye Ansoo Mere Dil Ki Zubaan Hai); | Dattaram – Jab Se Tumhe Dekha Hai (Hum Aap Ki Mahefil Mein Bhule Se Chale Aaye) | Jaidev – Kinare Kinare (Teri Tasveer Bhi Tujh Jaisi Haseen Hai); Mujhe Jeene Do (Ab Koi Gulshan Na Ujade) | N Dutta – Mere Armaan Mere Sapne (Duniya Mein Aaya Hai To, Tera Aana Bhi Dhokha Tha) | Naushad – Mere Maheboob (Mere Maheboob Tujhe, Ae Husn Jara Jaag Tujhe Ishq Jagaye, Tumse Izahar-e-Haal Kar Baithe) | S D Burman –  Meri Surat Teri Ankhen (Nache Man Mora Magan Tikra Dheegi Dhegi); Tere Ghar Ke Samne (Dil Ka Bhanwar Kare Pukar, Tu Kahan Ye Bata, Sun Le Tu Dil Sada) | OP Nayyar – Phir Wohi Dil Laya Hun (Banda Parawar Tham Lo Jigar, Anchal Mein Saja Lena KaliyaN, LakhoN Hai Naigahon Mein) | Ramlal – Sehra (Taqdeer Ka Fasana) | Roshan – Taj Mahal (Jo Baat Tujh Mein Hai)

We have a highly interesting mix of music directors this year to compose the first solo for Mohammad Rafi – two pairs, of which one could not rise to their promise and the other scaled Evesrtian peak, and the third on one is the most respected classical music personality.

Sapan (Sengupta) Jagmohan (Bakshi)

Even though these two individually came to Bombay (as it was then known) in early ‘50s, their first released music directed film could come up in 1963 only. Fairly reasonable acceptance of Begaana songs did not bring their next assignment soon enough – which in fact was Zimbo Finds a Son (1966). Later, they did spark in BR Ishara’s films (Main To Har Mod Pe Tujhko Dunga Sada – Mukesh – Chetna), Sapan Jagmohan have also gone down the history of Hindi Film Music as highly talented, well-remembered, but not successful music directors.

Phir Wo Bhoolisi Yaad Aayi Hai – Begaana – Lyrics: Shailendra

Like several other maiden associations that Mohammad Rafi had with the upcoming music directors, presently he lends that extra yard to the launch of high-profile set-up of the music director’s career.

Pt. Ravishankar

Pt. Ravishankar’s association with Hindi film music direction dates back to 1946 with Chetan Anand’s Neecha Nagar’ and K A Abbas’s ‘Dharati Ke Lal’. He then had another extremely well received score for Hrishikesh Mukherjee’s Anuradha (1960). After Go Daan (1963), wherein we have two Mohammad Rafi songs, he worked for Gulzar’s Meera (1979).

Holi Khelat Nandlal Biraj Mein – Go Daan – Lyrics: Anjaan

Strictly not an exclusively a Mohammad Rafi solo, the song brings out Mohammad Rafi at his one of  the very best.

Pipava Ke Patwa Sareekhe Dole Manwa – Go Daan – Lyrics: Anjaan

We have one more gutsy folk song.  Rafi lives up the joy of protagonist’s return to his native village for a well-earned leave.

Interestingly, both these songs were lip-synced by Mehmood on the screen.

Laxmikant (Shantaram Kudalkar: 1937–1998) Pyarelal (Ramprasad Sharma: 1940- )

Laxmikant Pyarelal started their career with many B and C grade films, even when they had their first of the seven Filmfare awards for Dosti (1964) Their music did shine out in these films.  They grew from strength to strength with every film, to record scores for 635 films in their 35-year career. Their score for Mohammad Rafi songs is a hefty 388 songs, which is the highest for Mohammad Rafi’s songs with any music director.

Roshan Tumhi Se Duniya Ronak Tumhi Jahan Ki – Parasmani – Lyrics: Indeevar

Parasmani, a mythological film, is listed as the maiden film for which LP duo composed music as an independent team.

Ustad Zakir Hussain has played tabla for the song.

The present song can be considered a high benchmark, against which LP’s all other Mohammad Rafi solo songs can be evaluated.

In fact, in my personal opinion, LP have never been able to breach this landmark in their career, even as they have some very successful Mohammed Rafi solos, except, perhaps Jaanewale Jara Mud Ke Dekho Mujhe and Chahunga Main Tujhe Saanj Savere (Dosti, 1964).

Dharam Ki Khaatir Bik Gaya Raja – Harshchandra Taramati – Lyrics:  Pradeep

LP use Mohammad Rafi’s vocal strength in this background song.

We continue our journey of Mohammad Rafi’s first solo song with a music director next year with the 5th Five-Year Period of 1964-1969

All three episodes of the 4th Five Year Period of Mohammad Rafi’s First solo with a Music director : 1959 – 1963 can be downloaded as one file by clicking on the link.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1961

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered

We have heard Mohammad Rafi’s maiden solo song with a music director for the first part of 1959-1960 of the 4th Five Year period in July, 2017.

Presently, we will take up the second part – 1961  – for the 4th Five Year period. The films appear herein in the alphabetical order of their names.

In our earlier articles we used to take due note of the popular, and not-popular-but-remarkable songs for the years under review for those music directors who have already appeared in the previous Five-Year periods. We have continued with that practice.

As may be expected, in the decade of 60s, we find more songs that went on to become popular, sometimes far more than the more meritorious songs from the same film. Relative longevity was seen to be shortening up. However, this possibly outcome of the changing taste of Hindi Films – as more films went color from B&W format, the element of art in the film was becoming more a special genre, filmmaking had better technical back-end support. Now, films, in general, were the commercial films – set to a few stereotypes and their variations. In so far as the Hindi film music was concerned, ‘60s saw the beginning of the ebb, from the high highs that were scaled till now.

1961

Mohammad Rafi has 71 solo song in 1961.

First, we will note the popular songs for the year for those music directors who have appeared in the previous years.

Shankar Jaikishan –  Aas Ka Panchhi (Char Dino Ki Chhuti Hai); Boy Friend (Dheere Chal .. Ay Bheegi Hawa, Mujhe Apna Yaar Bana Lo, Salam Aap Ki Meethi Nazar Ko); Jab Pyar Kisi Se Hota Hai (Jab Pyar Kisi Se Hota Hai, Teri Zulfon Se Zudai); Junglee (Chahe Koi Mujhe Jaunglee Kahe, Aiya Ya Karoon Main Kya Suku, Ehsan Tera Hoga Mujh Par); Sasural (Teri Pyari Pyari Surat Ko, Wallah Yar Lut Gaye Hum) |  Chitragupt – Bada Admi (Akhiyan Sang Akhiyan Lage, Agar Dil Kisi Se Lagay Na Hota)   |Salil Chowdhury – Chhaya (Yaa Kehde Ham Insaan Nahi); Kabuliwala (O Saba Kahena Mere Didar Ko); Maya (Koi Sone Ke Dilwala, Sanam Tu Chal Diya Rasta Mere Bina, Zindagi Hai Kya Meri Jaan) | Naushad – Ganga Jamuna (Nain Lad Jai Hai)  | Ravi – Gharana (Husnwale Tera Jawab Nahi); Nazarana (Baazi Kisine Pyar Ki) | Jaidev – Hum Dono (Main Zindagi Ka Saath Nibhata, Kabhi Khud Pe Kabhi Haalat Pe) | Madan Mohan – Sanjog (Do Ghoont Maine Pee) | Ghulam Mohammad – Shama (Woh Sadagi Kahe Ise Diwangi Kahe) | Khayyam – Shola Aur Shabnam (Jane Ky Dhundhati Raheti Hai) |

We now take a closer look at Mohamad Rafi’s first solo song with a music director for the year 1961. This year, we have three very talented, but not commercially successful music directors, one who succeeded by defying the Hindi Film ‘normal’ of ‘assistants do not succeed’ and two music directors for the South remakes.

In order to err on the safer side, we have included all the solos of the film wherein Mohammad Rafi and a music director have their first solo song.

S Madan

Not accepted well in Hindi Films, S Madan earned big fame in Punjabi films. Many of his songs in Punjabi films have been plagiarized in Hindi films. He assisted Vinod in the early part of his career.

Ye Kaisi Deewaar Hai Duniya – Batwara – Lyrics: Majroojh Sultanpuri

The background song epitomizes the division between two brothers.

P Nageswara Rao

Nageshwara Rao was well-known name in Telugu films.

Narayan Ki Isi Murti Se Hoga Govinda – Bhagwan Balaji –Lyrics: Sarswati Kumar Deepak

It seems every remake – dubbed version- of South Indian religious films has at least one song by Mohammad Rafi.

Rahul Dev Burman

When Rahul Dev Burman (27 June 1939 – 4 January 1994) debuted as an independent music director, the Golden Era of Hindi Film music was at its high-sun point. The ecosystem was extremely competitive with high-quality-but-very-popular individual styles of the music directors who had entered the scene in the late second half of the ‘40s./ early first half of ‘50s.R D Burman easily transformed himself from the understudy of his father, S D Burman, into an independent music director, by developing his own distinct style of compositions. Along with Laxmikant Pyarelal, he very effectively carried the baton form the second generation of music directors to the third generation.

Aam Chum Taam Chum – Chhote Nawab – Lyrics: Shailendra

Produced by Mehmood, the film revolved around a mentally under-developed character of Memood. The song epitomizes physically fully-grown-up, but mentally childlike personality of the lead male character, Choote Nawab – The Child Ruler.

Ilaahi Tu Sun Le Hamaali Dua – Chhote Nawab – Lyrics: Shailendra

R D Burman creates a very mature tune in the very first film. Along with all other playful songs, the present song and Lata Mangeshkar’s Ghar Aaja Ghir Aaye demonstrate the depth of versatility of R D Burman’s musical range.

C Arjun

C Arjun assisted Bulo C Rani in his early career. C Arjun’s first Hind film Road No. 303 (1960) had a couple of Mohammad Rafi duets. His Punar Milan (1964) Mohammad Rafi solo Paas Baitho Tabiyat Bahal Jayegi remains one of the best ever Rafi song. But of course C Arjun is more immortalized by his Usha Mangeshkar record-breaking prayer Jai Santoshi Ma (1975)

Ho Gori Zulm Kare Zulf Ka Bikhar Jaana – Main Aur Mera Bhai– Lyrics: Jaan Nisaar Akhtar

Mohammad Rafi is at his playful best in this lively song.

Insaan Kitne Yug Beete Yunhi Rahi Nadaan.. Moorakh Hai Insaan – Main Aur Mera Bhai – Lyrics: Jaan Nisaar Akhtar

This should be background song.

Arun Raghavan

Arun Raghavan is one of the 48 music directors who have composed only one Mohammad Rafi song. As he is a music director of South Indian films, this does not seem to be so stounding statement.

Chali Aaj Rajbhawan Se..Yug Yug Se Anyaya – Mera Suhag – Arun Raghavan – Vinod Sharma

Like other South Indian film remakes in Hindi, Mohammad Rafi gets to sing a background song.

SL Merchant, Shri Ram

SL Merchant, Shri Ram are perhaps more active in Tamil films.

Kaisa Hai Ye Shraap Haye Re..Haye Re Qismat – Sati Renuka – Bharat Vyas

As has been now a well-formed pattern, Mohammad Rafi gets to sing this background song.

Putraheen Ko Pita..Janani Janani Mahima Hai – Sati Renuka –Bharat Vyas

One more background song in a South Indian remake Hindi film.

D Dilip

Known more as assistant to S N Tripathi, then Chitragupt and lastly as arranger to Laxmikant Pyarelal, Dilip Dholakiya took up D Dilip as his pen name when composing independent music in Hindi films. He also was a very accomplished singer. He did sing a few Hindi songs under S N Tripathi and Chitragupt. The only Hindi song that he has rendered under his own baton is Khanke Kangana Khan Khan Re, Chhanake Ghungharu Chhan Chhan Re  – Saugandh (1961) – with Lata Mangeshkar and Mohammad Rafi in the lead.

Apne Liye Jiye To Zamane Mein Kya Jiye.. Kaun Raha Hai Kaun Rahega – Saugandh – D Dilip – Prem Dhawan

The song is a background song, filmed on Gemni Ganeshan on the screen.

As a special note on Dilip Dholakia – Mohammad Rafi, I succumb to the urge to record here a beautiful Gujarati solo song from this pair – Meethadi Nazrun Vaagi – Satyavan Savitri ,1963)

Since we have far too many song to listen to in the present post, we will take up the last two years – 1962 and 1963- of the 4th Five Year period in our episode of 15th December, 2019.

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.

N.B. : All episodes for the year 2019 can be seen / downloaded as one file by clicking on Fading Memories..Unforgettable Songs – 2019

Categories
Centenary Celebrations I Liked Music from films

Manna Dey and Contemporary Lead Actors – 7

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, Raaj Kumar and Rajendra Kumar, Prem Nath, Pradeep Kumar and Sunil Dutt , Dharmendra, Shashi Kapoor, Manoj Kumar, Pran, Joy Mukherjee in the present series till now.

We have reached end of ‘50s in the Manna Dey’s career. With that we will now also enter a third phase if career, wherein he playbacks for some of the third – generation lead players.

With Sanjeev Kumar (a.k.a. Harihar Jethalal Jariwala) [B: 9 July 1938 | D: 6 November 1985]

Sanjeev Kumar technically entered Hindi film with a very minor role of a polic offcer in Hum Hindustani (1960). He then got a role of a side-kick of Joy Mukherjee in Aao Pyar Karein (1964) – seen as one of the sycophant friend in Ye Jhuki Jhuki Si Nigahein Teri. His first step in lead role was Nishan (1965), a Wadia Brothers make B grade film.

Humkadam Humsafar Humnashi HumzubaN, Mast Apne Hal Mein Zinda Diilo Ka KarwaN – Nishan (1965) – With Usha Khanna, Mahendra Kapoor – Usha Khanna – Javed Anwar (a.k.a. Manohar Lal Sharma (father of Usha Khanna)

A boy of teen age years, in the opening lines of the song, Sanjeev Kumar transforms into a young man in the first stanza – so apt a metaphor that also mirrors Sanjeev Kumar’s graduation to lead roles.

As had been the case with several earlier lead actors covered in this series, Manna Dey sings here for Sheikh Mukhtar, who grooms Sanjeev Kumar in the film. So to say, Manna Dey plays the (indirect) role in mentoring Sanjeev Kumar to scale the heights of an illustrious histrionic career.

Apne Liye Jiye To Kya Jiye – Badal (1966) – Usha Khanna – Javed Anwar

Sanjeev Kuamr’s run with B grade film continues, so too continues his association with songs composed by Usha Khanna, who give Manna Dey a quite known, but underplayed in the Hindi film history, song in two versions

Part 1

Part 2

Mit Jogi Banke O Gori Aaya Hai Ab Tere Dware, Saiyan Se Gori Nazare Mila Le  – Badal (1966) – Usha Khanna – Asad Bhopali

Manna Dey easily matches the playful, mischievous mood of the song.

Soch Ke Ye Gagan Zoome, Abhi Chand Nikal Ayega – Jyoti (1965) – with Lata Mangeshkar – S D Burman – Anand Bakshi

Sanjeev Kumar is in the lead role, along with one of those very unlucky, but highly, talented actress Nivedita.

Kanhaiya O Kanhaiya Koyi Murali Ki Taan Suna De, Mere Tann Mann Mein Aag Laga De, Laga De – Rajaa Aur Rank (1968) – with Lata Mangeshkar, Kaumudi Munshi – Laxmikant Pyarelal – Anand Bakshi

Sanjeev Kumar can be said to have started gaining the escape velocity in this film.., Manna Dey sings his lines in the background as a narrator.

Aye Dost Maine Duniya Dekhi Hai – Sachchai (1969)- With Mohammad Rafi – Shankar  Jaikishan – Rajinder Krishna

The first sign of transformation of Sanjeev Kumar’s stature is a major role with Shammi Kapoor.

In Part 1 Sanjeev Kumar plays philosophical

In Part 2, the roles are reversed and Shammi Kapoor becomes philosophical.

Phir Kahi Koi Phool Khila – Anubhav (1971) Kanu Roy – Kapil Kumar

Not directly lip-synched by Sanjeev Kumar on the screen, the film marks Sanjeev Kumar’s footprint as an accomplished actor.

Manna Dey’s singing career, too, has passed through such turns.

Goyake Chunanche….Ho Naache Gaye jhoom Ke – Manoranjan (1974) – with Kishore Kumar and Asha Bhosle – R D Burman – Anand Bakshi

Here too Sanjeev Kumar has successfully charted his course as lead actor who plays a common police man. Rise of his stature is manifested by Kishore Kumar as his play-back voice.

In the reversal of roles that we had earlier seen the Sachchai song, Manna Dey playsback for Shammi Kapoor here.

Bindiya Jagaye Bindiya Jagaye Ho Rama, Nindiya Na Aaye Haye Bindiya Jagaye – Daasi (1984) – Ravindra Jain – Ravindra Jain

Manna Dey is possibly chosen more for the ground of song being based on classical mode, but can be taken as metaphor of Sanjeev Kumar having reached the peak of fame as an actor, to whom Manna Dey’s playback  suits as much as that by Bhupinder.

https://www.youtube.com/watch?v=gbjEBDz82Gw

with Rajesh Khanna (a.k.a. Jatin Khanna)

He made his film debut in the 1966 film Aakhri Khat, directed by Chetan Anand, followed by Raaz, directed by Ravindra Dave, both of which were a part of his predetermined prize for winning the All-India United Producers’ Talent Competition. G.P. Sippy and Nasir Hussain were the first to sign Rajesh Khanna after he won the contest.

Rajesh Khanna went onto chart a blockbuster career as the First Superstar of Indian Cinema, keeping in toe Kishore Kumar as his THE playback voice. But, he also enacted acting-as-an-art intensive roles as well. It was Manna Dey who was in his good company in such toles.

Chunari Sambhal Gori Udi Udi Jaaye Re, Maar Na De Dankh Kahin, Nazae  Kahin Haaye – Baharo Ke Sapne (1967) – with Lata Mangeshkar – R D Burman – Majrooh Sultanpuri

Baharo Ke Sapne was Nasir Hussain’s low-budget project to keep the unit engaged while his Teesari Manzil was getting delayed.

Perhaps to continue the set trend of Manna Dey’s career, here too Manna Dey directly plays back for Anwar Hussain on the film, but the focus of the song is on Rakesh khanna

For the records, this remains Manna Dey’s sole hit for the banner

Zindagi Kaisi Hai Paheli Haae – Anand (1970) – Salil Chowdhury – Yogesh

Rajesh Khanna too charts on to a parallel track of acting in non-commercial films.

For the song Manna Dey was THE choice of Salil Chowdhury.

Tum Bin Jeevan Kaisa Jeevan – Bawarchi (1972) – Madan Mohan – Kaifi Azmi

Once again Manna Dey comes in to playback for Rajesh  Khanna in a non-commercial lead role.

Bhor Aayee Gaya Andhiyara – Bawarchi (1972) – With Harindranath Chattopadhyay, Kishore Kumar, Nirmala Devi, Laxmi Shankar  – Madan Mohan – Kaifi Azmi

Madan Mohan has also charted a non-commercial track by selecting of payback singers  from classical sinigang for female singers and Hridaynath Chattopadhyay sininging for himself. Manna Dey fits into the scheme of things like a T.

Hasne Ki Chaah Ne Kitana Hamein Rulaya Hai – Aavishkar (1974) – Kanu Roy – Kapil Kumar

Here too Manna Dey does not directly playback for Rajesh Khanna, but the song remains a landmark in the careers of Rajesh Khanna as well as Manna Dey.

Mere Lal Tum To Hamesha The Mere Mann Ki Abhilasha Mein – Aavishkar (1974) – Kanu Roy – Kapil Kumar

In the narrowest scope, the song would fall into a background song genre. However, I have selected it here as a token of demonstrating virtuosity of Manna Dey’s voice, with Rajesh Kahanna in the focus as an additional justification !

Gori Tori Paijaniya…..Man Khole Bhed – Mehbooba (1976) – R D Burman – Anand Bakshi

Rajesh Khanna being ina masquerading track and the song taking up a classical base, makes Manna Dey as the ideal choice to sing the song.

Aamli Ki Taamli GaoN Mein – Prem Bandhan (1979) – with Asha Bhosle – Laxmikant Pyarelal – Anand Bakshi

Laxmikant Pyarelal must have preconceived Manna Dey as the singer for the song to playback for Rajesh Khanna as an oldish head of the tribe on the screen.

We plan to transit for Manna Dey as singer for the lead actors to Manna Dey as the singer of comedy songs in our next episode on Manna Dey and Mahmood.

All seven episodes of the series ‘Manna Dey and His Contemporary Lead Actors’ can be viewed / downloaded as one file by clicking on the hyperlink.