Categories
Memoire

LDCE71M Batch Celebrates Golden Jubilee of the Graduation

It was about a year and half, or two years ago that I received an e-mail to join a WhatsApp group of L.D. College of Engineering, Ahmedabad, 1971 batch of Mechanical Engineering (LDCE71M) batch friends. That e-mail was from my LDCE friend, Ashok Thakkar, the only one of the 120 batchmates of LDCE71M batch, with who I had a modicum of e-mail relationship of exchanging New Year Greetings. The batch strength of LDCEM was 120 students. Out of which a half a dozen of us were quite close – to easily visit each other’s homes and enjoy the unscheduled snacks during each such visit – in those five years. And then, a dozen and a half were one ‘group’, of the several close-knit groups of the batchmates, who had easy sharing arrangements – of books, notes journals, tips to survive through the viva tests etc. But it was good fifty years that I had had absolutely no contact with anyone.

Naturally, the idea of getting connected with friends of that ‘golden’ phase of life was quite exciting. Soon, a couple of the more energetic and active friends took up the initiative to gather additional. basic, contact information of the group and put it in a very utilitarian spreadsheet. With that the mere phone numbers of WhatsApp group members now had names on my cell phone=book and my e-mail had an e-mail contact group. That spread sheet also presented us with recent photographs against each name. That helped to me recollect faces from the recesses of my memory and superimpose them with present faces visible in the spreadsheet.

Soon thereafter a couple of video call meetings were organized that further helped to connect the memory of voice to the name and photograph. It was one of those video call meetings that put the idea of collecting information of the 50-year journey of each one’s life and document it in the form of a memoir book to commemorate the reaching of a milestone of half a century of the graduation.

Once the formal idea was circulated in the WhatsApp / e-mails of around (the then) 32 members, a dozen responses came up in no time. That “small” number brought up the force of inertia of half-a-century’s distance and relative inactive life that each one now lived at this age came up with full glaring realization. But the spontaneity and vigour that was spilling out of those dozen responses helped us to resolve us to tighten up our belts and gear up for one-to-one follow-up phone calls to the other ones. A couple of months of joint efforts resulted in getting six more responses.

18 out of 38 presently connected members plus 7 who had left for the eternal journey was perhaps not a very great number to really celebrate the memory of golden jubilee of graduation of a batch of 120 students. However, the intimateness with which each of these eighteen members had put in their journey of 50 years was cause enough to push us to fructify that idea into a reality.

So, finally we, now, have a collection of life stories of (eighteen) batchmates of the class of Mechanical Engineering, 1971, of L.D. College of Engineering, Ahmedabad in the form of a book , which I proudly and happily share here @

_Selected Life Stories-LDCE Class of 1971-Mechanical.

Over and above the outcome it was the process of implementation that had its own moments of pleasures – pleasures of getting to talk the friends after a good 50+ years and finding that the informal warmth of friendship is as live now as it was then!

The proverbial Oliver Twist in me ‘wants some more’ – the process of going through the conceiving and implementing this project has germinated one more idea in my mind – to enliven the memories of those five years of 1966 to 1971 and share the joy of those memories of youthful foolhardiness, unspoiled fun and dreams that had started shaping in our totally inexperienced minds.

Some day soon I, or in all possibilities, we, may hit those lanes of fading memories and live them one again………

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – August 2021

Welcome to August 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

August is the month of India’s Independence, which is remembered by different articles form different angles –

Play It As It WasShubhra Gupta makes a movie map of 75 films across seven decades – that celebrates the journey of the world’s largest democracy.

Upkar — film born of churn in newly-Independent India gave Bollywood a hit formula  – Unnati Sharma – Upkar, released in 1967, represents the issues India faced at the time. It celebrates rural India and depicts the temptations that may trigger greed.

In Shyam Benegal’s ‘Mammo’, the lingering effects of Partition come vividly aliveNandini Ramnath – The highly opinionated and often brutally frank Mahmooda Begum (a.k.a. Mammo) might have had something to say about the Union government’s plan to mark August 14 as “Partition Horrors Remembrance Day”.

Hindi Cinema lost Jagjit Kaur too on 15 August, 20201.

Veteran singer and wife of composer Khayyam, Jagjit Kaur, dies at 93 on 15th August – Veteran singer Jagjit Kaur started her career in the early 50s, singing songs in films like Posti (a Punjabi film), Gumasta (1951), Khoj (1953) and Dil-e-Nadan (1953) – starring Talat Mehmood and Shyama – which gave her fame as playback singer. She got married to Khayyam in 1954.

Photo: Express Archive

The blogging community also joins to mourn the loss –

‘Tum Apna Ranj o Gham – Remembering Jagjit Kaur’ presents the journey of Jagjit Kaur’s career path.

We will recall her two solos and a triad from Dil-e- Naadan (1953)

Khamosh Zindagi Ko Ek Bahaana Mil Gaya – Dil-e-Naadan (1953) – Shakeel Badayuni- Ghulam Mohammad

Chanda Gaaye Raagni Chham Chham Barse Chandani – Dil-e-Naadan (1953)  – Shakeel Badayuni- Ghulam Mohammad

Muhabbat Ki Dhun BeqararoN Se Puchho – Dil-e-Naadan (1953) – with Talat Mahmood, Sudha Malhotra  – Shakeel Badayuni- Ghulam Mohammad

We now move on to other tributes and memories:

5 songs to remember Shakeel Badayuni, Hindi cinema’s romantic poetUnnati Sharma – Ahead of Shakeel Badayuni’s 105th birth anniversary on 3 August, we look back on his remarkable career and his unabashedly romantic soul.

Mukesh’s Non-film Hindi Geets and Ghazals is a bouquet of geets and ghazals, selected form 78 NFSes that Mukesh has rendered in his active career, as a tribute on his 45th remembrance day.

The Legendary Leena Daru: Dressing up Indian Cinema’s DivasAlpana Chowdhury – She was part of the reigning troika of costume designers for actors of her time, the other two being the formidable Bhanu Athaiya and Mani J .Rabadi (elder sister of Shammi, a.k.a. Nargis Rabadi)

Revisiting Chandni that established Sridevi’s mystery and myth – Revisiting Chandni: On Sridevi’s 58th birth anniversary, here’s revisiting the film that changed the way Bollywood saw its women, and the impact of that can still be seen in Hindi films to this day.

Kumkum: The Danseuse Butterfly of Bollywood – DP Rangan pays tribute to Kumkum (22 April 1934 – 28 July 2020) on her first death anniversary.

Death is everywhere in Bollywood, but why is grief so rare?Bijal Vachharajani  – When it comes to the matter of being grief-stricken because of death, Bollywood falls upon tried and tested tropes.

5 songs and 5 moods to remember Khayyam, Bollywood’s versatile music composerUnnati Sharma – The musical maestro did merely 57 films but his output was stellar and versatile.

Forgotten Composers Unforgettable Melodies: Bipin-Babul/Babul – In spite of the some of the most remembered songs, the duo, or Babul , as the sole music director, remain more unknown than the music directors in the series Forgotten Composers: Unforgettable Melodies.

Lata Mangeshkar chooses her own favourite songs on her 90th birthday, talking to Subhash Jha about why she loves those songs.

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

Poet-composer Padma Sachdev, ‘mother of modern Dogri’, passes away at 81 in MumbaiUnnati Sharma – Padma Sachdev had good command over Hindi and Sanskrit as well. She had composed lyrics for Prem Paravat (1973, Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai – Lata Mangeshkar – Music Jaidev)  – and Aankahin Dekhi (1978, Sona re, tujhe kaise miloo” – Mohammad Rafi and Sulakshana Pandit Music: J P Kaushik)

(Note:  Incidentally, this blog had occasion to recall these songs in the article Jaidev: Brilliant, But Underrated, Composer:  1972-1973

Rafi sings with Geeta Dutt is on Mohammad Rafi’s death anniversary/

Remembering Jagdish Raaj: The quintessential policeman of BollywoodAjay Mankotia   @ajaymankotia    – On his death anniversary we recall Jagdish Raaj — an actor who epitomised the role of police inspector in Bollywood.

In the series of articles on Sahir’s Songs of Romance, commemorating Sahir Ludhianvi’s birth centenary,  Sahir Ludhianvi’s Two film associations with Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty are taken up..

Pyar Kiye Jaa, classic comedy that got Mehmood his first Filmfare as comedian  – Unnati Sharma – In this ensemble 1966 romantic comedy, a remake of Tamil film Kadhalikka Neramillai, Mehmood is hilarious as a wannabe filmmaker.

August 2021 episode of Fading Memories, Unforgettable Songs takes up Shailendra’s Songs with Sardul Kwatra and Mukul Roy. Beginning the series in 2017 with Shailendra’s songs with “other” music directors, till now we have covered

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

In 2020, songs with SN Tripathi, Anil BIswas and C Ramchandra

We now move on to posts on other subjects –

Dilip-Dev-Raj or Salman-Aamir-SRK?Monojit Lahiri – Each generation brings its own challenges and opportunities, so comparisons, while forever tempting to engage in – is bound to be unfair, inaccurate and irrelevant

Madhubala: Ageless Beauty, Timeless IconSMM Ausaja – In a short-lived career, Madhubala rose to the status of a superstar on the dint of her talent and magnetic screen presence. Humble beginnings, a meteoric rise to fame, dangerous liaisons, unrequited love, and dying young made the enchantingly beautiful Madhubala a legend of Hindi cinema history.

Of Waheeda Rehman’s luminous beauty, and film that changed Guru Dutt’s fortunes: Revisiting Chaudhvin Ka Chand  – Sampada Sharma –  Starring Guru Dutt, Waheeda Rehman, Rehman and Johnny Walker, M Sadiq’s 1960 film Chaudhvin Ka Chand is the story of a romance where women get the short end of the stick.

Writing cinema: Shama Zaidi on a major problem with Hindi films and the importance of theatreAnubha Yadav – In edited excerpts from a book of conversations with female screenwriters, Scripting Bollywood – Candid Conversations with Women Who Write Hindi Cinema, Anubha Yadav, Women Unlimited. – Zaidi talks about ‘Garm Hava’ and ‘Suraj Ka Satvan Ghoda’.

Dance Songs in Old Hindi Cinema – by (guest writer) Arjun who has always been interested in dance and music even as a wee tot.

My Favourites: Flirtatious Songs that the “Never accept a ‘no’ until she says a ‘yes’ ” hero manages to turn the until-then independent minded heroine into a simpering mess merely by irritating the hell out of her.

Boat Songs – Part I focuses on the songs that has only the couple on the boat.

The Gravitas of Sitar in Songs either in a classical raga-based song, or in a song full of pathos.

Songs of the Sun very vividly enlist 10 songs on that refere to the sun, at least in the mukhada. As such, songs songs where the sun is referred to indirectly or obliquely or songs which refer to both the sun and the moon at least in the mukhda are not included here.

Ten of my favourite ‘Impossible Duets’ sung perfectly in tandem—the tune the same, one verse completely responding to the previous one, even the voices sometimes blending together? —when the two people supposedly singing the song are nowhere close to each other?

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

Micro View of Best Songs of 1944 @SoY took up  Female Solo Songs with 2ndt part of solo songs Amirbai Karnataki, and those of Zohraibai Ambalewali, Hamida Bano, Zeenat Begum, Rajkumari, Sushila Rani and Khursheed.

In continuation to our tradition of ending 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.

Suno Suno Ae Duniyawalo Bapu Ki Amar Kahani – Rajinder Krishna – Husnlal Bhagatram

Awaz Do Hum Ek Hai – Jan Nissar Akhtar – Khayyam

Watan Ki Aabroo Khatare Mein Hai Taiyar Ho Jaao – Sahir Ludhiyanvi – Khayyam

Is Waste Pandrah August Hai Hamein Pyara – Lyrics: Ramesh Gupta

Pandrah August Se Hamien Kyon Itani Preet Hai

Bharatwalo Bhul Na Jana, Amar Shaheedo Ka Afasana – Rajinder Krishna

I look forward to your inputs to enrich the contents of Carnival of Blogs on 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.

Categories
Remembering Mukesh

Mukesh’s Non-film Hindi Geets and Ghazals : Aaj Bhi Unaki Mohabbat Ka Tassavur Hai Wohi

A tribute to Mukesh on his 45th Remembrance Day (b. July 22, 1923 – d.  August 27, 1976)

The saga of performed songs in India is an age-old tradition. The knowledge transfer in the ancient times used to happen by a word of mouth. Many lessons were encapsulated into the form of songs, which were rendered in the singing form to make them more interesting and easier to remember.

Ancient saint poets created devotional songs that were easily moulded into singing pattern. On the other hand, social events like festivals or births, deaths, marriages also provided ideal platforms for the songs as means to share joy, or sorrow. The advent of theater created another genre of songs – songs that were essential part of the story of the play. These used to be romantic songs or dance songs or national spirit songs and such varieties. It was not uncommon for a song to be played for the whole night as it would keep getting incessant ‘once more’s.

In a parallel development, for the ease of presentation on a shorter time scale, the classical oral singing schools also created semi-classical forms of pure raags to render traditional folk poetry as easy-to-appreciate songs.

As such, it was no surprise that when films went ‘talky’, songs constituted an essential and integral element of a film recipe.  The recording companies saw a big commercial potential for their business and actively started encouraging music directors to create songs beyond the use in films. Advent of radio also provided impetus to a rich crop of music directors and singers to create songs in ‘light-classical’ format. Most of the big names of film singing of the vintage era earned their passage into the films via these non-film songs. As a result, non-film songs, as a genre, developed its own roots, traditions, and styles.

By the end of decade of ‘40s, the new crop of music directors was on the path to carve out a different composition style, wherein an increasing ensemble of music instruments provided the core of a film song. The preludes and interludes started gaining nearly equal importance to the lyrics and went on to gain the status of music director’s own identity. The taste of generation of Hindi film listeners born during forties and fifties was ingrained with this instrumental music dominated film songs. When we regularly started listening to radio for the whetting appetite of film songs, we had devised a simple test – if a song had ‘fair’ amount of orchestration, it was a film song; otherwise, it was a non-film song. As it so happened, there were large number of such non-film songs to listen to in the voices of likes of Talat Mahmood, Hemant Kumar, Mukesh etc.

My own taste of listening to film songs started maturing more when I graduated to the purchasing the records after I started earning in early 70s. I did collect quite a few records of NFSes. Most of my purchases of Mukesh songs used to be in the form of a record for all the songs of a film. Of course, I did purchase a stand-alone record of Mukesh’s Gujarati NFS.

+                      +                      +                      +

Aaj Bhi Unaki Mohabbat Ka Tassavur Hai Wohi

The songs of Mukesh opened up in a very fresh light when I received the new, 2020, edition of Mukesh Geetkosh[1] from Shri Harish Raghuvanshi. The Geetkosh is interestingly designed, making searching for different aspects of Mukesh’s songs a pleasure hunt. More one studies the Geetkosh, more one can find out hitherto hidden nuances of Mukesh’s songs. One such genre of Mukesh songs that caught my attention was Mukesh’s non-film songs.

The opening note of Mukesh Geetkosh for the Hindi non-film songs of Mukesh states that Mukesh commenced his singing career journey by recording two non-film songs at Delhi in July August 1940 on record no. N16396.  These were

  • Gokul Nagari Jaana….. Sanwariya Sang Nahi Man Ko Hai Bahalana
  • Meri Andheri Kutiya Mein Woh Aye Ujala Hi Hoga

Overall, 78 (known) non-film songs of Mukesh have been listed in the Geetkosh. Of which we have selected here today a few of his known or less known geets and ghazals only. For the sake of convenience, I have retained the sequence in which the songs appear in the Geetkosh I have limited the selection to just one song per a particular lyricist-music director combination. I have also retained the record number of the song as given in the Geetkosh but have turned onto the highly resourceful YT for a digital link to the song for the purpose of listening the song.

Ashaar YuN To Mere Jamane Ke Liye Hai – Lyrics: Jan Nissar Akhtar – Music: Khayyam [Record no. ECSD 2723]

From among Hindi film music directors, Khayyam is one music director who had very professionally taken up recording non-film songs during the early 60s. This was probably because, Khayyam could find the medium of NFSes to present music that could be presented in his natural style, in the period when the trend of fast-paced easy-to-sing film songs had started emerging.

Aankhon Mein Bas Ke Dil Mein Sama Kar Chale Gaye – Lyrics: Jigar Muradabadi – Music: Murli Manohar Swaroop [Record No. N 88324]

It was quite customary those days for amateur music directors to select highly amenable to singing Hindustani / Urdu poetry of known, or even not-so-known poets for the records sponsored by the music company.

Aaj Gagan Se Chanda Utara Aa Gaya Meri BahoN Mein – Lyrics: Madhukar Rajasthani – Music: J P Kaushik [Record No. N 88375]

Even as a smaller number of musical instruments characterized the composition of NFSes, the innovative music directors did not hesitate to use different types of instruments as well as using the same instruments for the obbligato support of the song.

Aaj Bhi Unaki Mohabbat Ka Tassavur Hai Wohi – Lyrics: Jan Nissar Akhtar – Music: Vipin Mehra [Record No. N 88323]

Jan Nissar Akhtar is not an unknown name as lyricist in Hindi films. But not many listeners of his film songs would have read his poetry. Here, one of his poems is presented so sweetly.

Aabaad Raho Mere Dil Ko Jalanewale – Lyrics: Madhukar Rajasthani – Music: V Balsara [Record No. N 35740]

During his stint of working with music company, V Balsara has created some of the finest NFSes. His NFSes had his distinct touch. However, for a lay listener like me that aspect would be beyond recognition while listening to the song in its normal course. It was the in-depth pursuit of Mukesh Geetkosh now that I specifically chose to listen to these songs and start enjoying the nuances of lyrics, composition, and orchestration, as is the case here with use of piano or deep tone of Mukesh’s voice.

KyuN Pheri Nazar KyuN Pheri Nazar Ddekho To Idhar – Lyrics: Anjum Pilibhiti – Music: Naushad [Record No. N 88034]

The song was originally recorded for Anokhi Ada (1948). However, when it was not finally included, it is now classified as NFS. However, the song would simply stand out as a film song when the test of use of number of music instruments would have been applied. From that point of view, the song is typical film song, even if the song belongs to a period when the use of number of music instruments was rather limited!

Kisi Ko Deke Dil Koi Nawa_Sanj-e-Fughan Kyun Ho – with Talat Mahmood – Mirza Ghalib + Daag Dehlvi – Murli Manohar Swaroop [Record No. N 88300]

Here is the case of a very interesting experiment, wherein Talat Mahmood sings the parts of Ghalib Ghazal and Mukesh sings that Daag Dehlavi (e.g., Jo Dil Ho Qabu Mein To Koi Ruswa-e-Jahan Kyun Ho).

We find a couple of more such Talat-Mukesh duets in the Geetkosh. Each one is composed by Murli Manohar Swaroop but bears different record number. This could probably be interpreted as one experiment found to be successful was repeated in subsequent records as well.

Gai Yak-ba-Yak Jo Hawa Palat  Nahi Dil Ko Mere Qarar Hai – Lyrics: Bahadurshah Zafar – Music: Mukesh [Record No. P: 45-N 88420]

Mukesh has composed music for his own film Anurag (1956).

He has composed five NFSes in all, published on two different records. The present song is on, what was then available as, a 45 rpm Extended Play record which contained two songs on each side.

We can find one more song – Diya apni khudi ko jo hamne mita – which seems to be on the same side of record.

Jiyenge Magar Muskara Na Sakenge – Lyrics: Kaif Irfani – Music: Mukesh [Record No. N 88042]

This is one of the very well-known non-fil songs of Mukesh. However, I came to know that it was a Mukesh’s own composition only because of Mukesh Geetkosh.

The other song – Do jhulmi naina ham pe jhulm kare  – on the second side of this record is also an equally well-known one.

Jhehal-e-Miskin Makun Taghaful Duraye Naina Banae BatiyaN – with Sudha Malhotra – Lyrics: Amir Khushro – Music: Murli Manohar Swaroop [Record No. LP: S/3AEX 13004]

Murli Manohar Swaroop experiments a male-female duet for an NFS.

The present song is essentially a Sufi poetry, which normally are the compositions of prayers for which the classical form is qawwali. If some singers have chosen to render it in ghazal style format, several other singers have rendered it in the qawwali form.

Tere LaboN Ke Muqabil Gulab Kya Hoga – Lyrics: Shiv Kumar ‘Saroj’ – Music: Kishor Desai [Record No. ECP 2468]

Shiv Kumar ‘Saroj’ was a well-known announcer to my generation of Radio Ceylon listeners. However not many would have known that he was a very good poet too. Few of his poems have been recorded as well. One of the famous songs is Khamosh zinadagi ko kyoN awaz de rahe ho (NaMag Mandir, 1966; singer- Mohammad Rafi; Music: Laxmikant Pyarelal).

Kishore Desai is better known as sarod and mandolin player. YT has several video clips on his performances. One of the famous examples of his virtuoso performance is extensive mandolin pieces in Tum bin jauN kahaN (Pyar Ka Mausam (1969); Singer – Mohammad Rafi; Music: R D Burman)

Na Hui Gar Mere Marane Se Tasalli Na Sahi – Lyrics: Mirza Ghalib – Music: Khayyam [Record No. N 88362]

One noticeable feature of NFSes is presentation of the many different shades of a singer’s tonal variations.

Main Chakori Tum Gagan Ke Chandrama – with unknown female singer –Lyrics: ? –  Kalyanji Anandji [Record No.: ?]

The song is supposed to have been recorded for a proposed film Purnima, but not included finally.

The song is a validation of classification of a NFS on the basis of level of orchestration!

We end the present episode with a very interesting NFS. An ad jingle….

CigarettoN Mein Sab Se Aalaa, Public Jane Kala Pakitwala – Lyrics: ? – Muisc: ? [Record No. QC1550 (Matrix No. – QJE 13689TI)

Just look at the amount of effort that has gone into composition of this jingle!

BTW, Mukesh Geetkosh notes that the composition of this jingle is based on Raag Bahar! Wow!

We will look at Mukesh’s film songs from other different angles, with the help of Mukesh Geetkosh, on some future occasions.

Acknowledgement and disclaimer:

  1. Mukesh Geetkosh, 2020 edition – Harish Raghuvanshi: For the basic information of the songs selected herein the present article.
  2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

This article is originally published on Songs of Yore as Mukesh’s Non-film Hindi Geets and Ghazals on 27 August 2021.

[1] Mukesh Geet Kosh – Compiled by Harish Raghuvanshi, Second edition : 2020

Publisher: Mrs. Satinder Kaur, HIG-545, Ratan Lal Nagar, Kanpur 208022, India | E-mail: hamraaz18@tahoo.com

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : Female Solo Songs – Sushila Rani + Khursheed

Solo Songs of Sushila Rani

Sushila Rani, being the lead actress for the film ‘Draupadi’ (director: Baburao Patel), had 9 of her songs, of which we can find 6 on YT. Three others – Kaun Bagiya Se Mere Phool Churane Aaya, Maa Kisne Diya Bujaaya and Suno Ab Shayam Bihari, KyoN Bigadi Meri – originally published by Sargama, are available in Apple music audio format.

Sheetal Chandani Khili, Mohe Suahani Raat Mili – Draupadi – Pt. Indra – Hanuman Prasad

Bhaiya… Aao….. Mohan Bhaiya – Draupadi – Pt. Indra – Hanuman Prasad

Chamkata Hai Ang Sanwale Surang Rang – Draupadi – Pt. Indra – Hanuman Prasad

Bandh Ke Rakhungi Tohe Naino Mein Kanha – Draupadi – Pt. Indra – Hanuman Prasad

Suhagan Kahe Ansoo Dale….. Lekh Tale Na Taale – Draupadi – Pt. Indra – Hanuman Prasad

Gopala Meri Re Karuna KyoN Nahi Aave – Draupadi – Pt. Indra – Hanuman Prasad

Solo Songs of Khursheed

Memorable Songs of 1944 has Khursheed’s Jo humpe guzarati hai from Mumtaz Mahal and Mohabbat mein sara jahan jal raha hai from Shahenshah Babar. I have not been able to locate Na Bhulenge Tujhko Bhula Denewale, Meri HasartoN Ko Mita Denewale from Shahnenshah Babar on the net.

Here are some more from HFGK and YT –

Dil Ki Dhadkan Bana Liya Unko – Mumtaz Mahal – Wali Sahab – Khemchand Prakash

Jali Patang To…. Isamein Qasoor Kiska Hai – Mumtaz Mahal – Wali Sahab – Khemchand Prakash

Udas Sham Ki Aahein…. Salaam Kaheti Hai – Mumtaz Mahal – Wali Sahab – Khemchand Prakash

Ulfat Ke Fasane, Bachpan Ke Jamane…..HothoN Pe Tarane, AnkhoN Mein Bahane, Na Wo Bhule Na Ham – Mumtaz Mahal – Pt. Indra – Khemchand Prakash

HFGK does not mention lyricist for the song.

Dil Lagane Mein Kuchch Majha Hi Nahi – Shahenshah Babar -Shams Lakhanvi – Khemchand Prakash

Bulbul Aa, Tu Bhi Gaa… Pyar Ke Gaane Main GauN – Shahenshah Babar – Pt. Indra – Khemchand Prakash

Categories
Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – August 2021

Welcome to August 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

Our topic for the discussion for the month is – The Future of Quality – Management – Profession.

Past is rear-view of the driving a vehicle, present the dashboard and future is the windshield. For safe and effective driving all the three views have their own role to play.

The paper, Quality: past, present and future, published by Chartered Quality Institute (CQI), essentially, addresses the concepts and approaches the way the quality profession worked and that have inspired its thinking, as well the trends that can be observed currently to look at the future where man and technology can work together. The focus of quality is set to expand to include quality of life, which is best reflected in what Edward de Bono said, “the quality of our thinking will determine the quality of our future”.

The concept of “quality” has evolved to mean far more than the integrity of a manufactured product. Quality now represents a philosophy, a system of methodologies and practices, and an ongoing commitment to business excellence that encompasses all issues – and engages all individuals – within an organization…..The challenge for quality managers moving into the future is largely about allowing for change in a field that relies on constants. While so much attention today is paid to the bottom line, quality has a profound impact on the top line as well –remaining fluid to recognize, respond to and anticipate customer wants and needs to drive satisfaction and loyalty – a focus that grounds the future firmly in the concepts taught by the original quality leaders over 60 years ago.[1]

The five research themes of the Quality 2030 agenda together with the positive core of QM[2]
The focus of quality will have to shift from the quality tools to the overall business success…. to lead organizational change from the macro level…with the help of business models free of foreseeable risk and committed to business excellence at all levels.[3]

Further reading:

We will now turn to our regular sections:

We now watch ASQ TV, wherein we refresh our viewpoints about–

Mentioned in this episode:

Principles of the Quality of Cost

Executive Guide to Applying Cost of Quality

SSF Cost of Quality Calculator

We have taken up one article from Jim L. Smith’s Jim’s Gems this month

  • The Career Path to Success May Not be Linear – Our mental models for how we comprehend the world of business matter shape how we think and what is possible. However, the vertical corporate ladder is becoming an artifact, as the world and how we work continues to evolve…The book, “The Corporate Lattice: Achieving High Performance in the Changing World of Work,” by Cathy Benko and Molly Anderson. authors outline the changing world of work and introduces what they called the corporate lattice. Unlike the linear ladder, the multi-dimensional lattice is more adaptive and replaces the vertical, one-directional model with one that can be described as a “zig zag” or multi-directional career path….The enlightened (lattice) organizations support rewarding professional experiences, providing better career-life fit for employees, and results in greater agility….While it may not necessarily be immediately financially rewarding, employees, and not just those viewed as high potential, gain experience and position themselves to move up when the opportunity presents itself.

‘From the Editor’ (of Quality Magazine) – by Darryl Sealand, we have Ego or Progress? –  The three American billionaires’ trips into the outer space have been frequently dubbed nothing more than the competition between, and placation of, the massive egos of these three billionaires… However, over a longer time span and a broader perspective, the idea of technology that starts out benefitting one industry or sector and finding its way to being useful in another is not uncommon, and not uncommon to the quality sector.

I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for Creating and Maintaining Sustained Success.

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

[1] Quality Management: Then, Now and Toward the Future

[2] Quality 2030: quality management for the future

[3] The Future of Quality Management is Business Management by Tom Taormina

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : Female Solo Songs – Rajkumari

Memorable Songs of 1944 has 4 songs of Rajkumari – 1 from Char Aankein, 1 from Maa Baap and 2 from Panna. However HFGK and YT put together has rich crop of Rajkumari’s s silo songs for the year. She was sole playback singer for Panna.

Mera Balam Bada Hartai Re, Main To Preet Laga Pachhatai – Badi Baat – Swami Ramannad Saraswati – Firoz Nizami

Ae Kismat Bata Kya Bigada Hai Tera – Dr. Kumar – Gafil Haranalvi – Sarwaswti Devi

Main Duniya Ki Rani Firati HuN, Main Mauj Manati – Ghar Ki Shobha – Roopbani – Alla Rakha

Badli Hawa Miti Bahar, Rang-e-chaman Bigad Gaya– Ismat – Shams Lakhanvi – H P Sharma

HFGK has not identified the singer of the song.

Panchhi Tu Jaa Re Mere Piya Ko Sandesava Kahiyao – Ismat – Shams Lakhanvi – H P Sharma

HFGK has not identified the singer of the song.

Woh Kaun Hai Jo Duniya Mein Nashad Hai – Ismat – Shams Lakhanvi – Pt. Govardhan Prasad

HFGK has not identified the singer of the song.

Main HuN Piya Ki Joganiya, Mera Jog Nirala Re – Kadambari – Miss Kamal B A – H P Das

Suno Suno Tumhein Sunaein Ae Pritam Chitchor – Maharathi Karna – Pt. Shivkumar – Datta Koregaonkar

Kise Sunae Apane Man Ki Baat – Mujrim – Kailas Matwala – Gyan Prakash Ghosh

HFGK has not identified the singer of the song.

Kaali Ghata Chhai Ho Raja Kaali Ghata Chhai – Panna – Wali Sahab – Amir Ali

HFGK notes that, according to Rajkuamri, the songs were actually rendered by Shamshad Begum, but records were releaed in Rajkumari’s voice.

Le Lo Le Lo Malaniya Se Haar – Panna – Wali Sahab – Amir Ali

Har Cheejh Hai YahaN Ki Faani, Mela Do Din Ka – Panna – Wali Sahab – Amir Ali

Taqdeer Ne Jo Aag Lagai Hai, Bujha De – Panna – Wali Sahab – Amir Ali

Chori Jan Gai Pahachan Gai Main Pyare Piya Tori – Police – Ramesh Gupta – Panna Lal Ghosh

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2021

Shailendra’s Songs with Sardul Kwatra and Mukul Roy

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966) body of work beyond Shankar-Jaikishan and the other two music directors S D Burman and Salil Chaudhuri remains quite varied and interesting. There have been films where he has just one or two songs too.

We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

In 2020, songs with SN Tripathi, Anil BIswas and C Ramchandra

Presently we will take up Shailendra’s songs with Sardul Kwatra and Mukul Roy, with who he had two films each.

Shailendra – Sardul (Singh) Kwatra

Sardul (Singh) Kwatra – 1928|2005 – was a master of Punjabi folk songs. His maiden Hindi film Ek Teri Nishani-49. That film failed at the box office. However, Sardul Kwatra composed music for 22 Hindi and 15 Punjabi films during his active career. Sardul Kwatra’s music in Mirza  Sahiban (1957) had caught attention of the cinegoers.

Pipili Saheb (1954)

The film had 9 songs of which had three lyricists – Hasrat Jaipuri – 6, Verma Malik -1 and Shailendra 2

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Fagun Aaya – Usha Mangeshkar, Meena Mangeshkar, Shaminder Pal

A folk tune-based dance song that is set to a very pleasing tune and simple orchestration.

Chand Sitaro Mein Kaun Bulaye Re …. Pahalu Se Dil Uda Jaaye Re – Lata Mangeshkar, Shaminder Pal

Shaminder hailed from a well-to-do agriculturist family of Punjab. After Sardul Kwatra gave him the break, he did get to sing with a few other music directors as well.

When he came to Bombay, it was Shaminder’s dream to sing a song with Lata Mangeshkar. This is Shaminder’s dream come true.

Tees Maar Khan (1955)

The film had 10 songs. Prem Dhawan penned all other songs.

Jinki Nigahon Ne Chheena Hai Dil Mera Dekhoji Unka Nishana KahiN Aur Hai – Lata Mangeshkar

The protagonist happily mulls her love. The song has verve that catches the mood of the lyrics so vividly.

I could not find the other song Dhoondhati Hai Tujhko Nigahein (Asha Bhosle) on YT.

Shailendra – Mukul Roy

Mukul Roy (B: 16-8-1926 to 8-11-2009) was the elder brother of Geeta Roy (Dutt). He composed music in only 3 Hindi films, 2 Bangla films (Grihpravesh and Kay hiner kahini). He also gave music to one Gujarati film.

Sailaab (1956)

Mukul Roy produced the film and Guru Dutt was the director. The other lyricists for the film were Majrooh Sultanpuri (4), Hasrat Jaipuri (2) and Madhukar Rajasthani (1).

Yeh Rut Yeh Raat Jawaan Bekal Dil Ke ArmaaN Aise Mein Tu Kaha Mere Dibar Aa – Geeta Dutt

The song appears to a club dance song, with Geeta Dutt at her usual mellifluous intoxicating mood.

Aa Gayi … Re Raat Rangbhari Aa Gayi…. Bachpan Ka Hath Chhoota – Geeta Dutt

Geeta Dutt comes up with a very different tonal variation.

Detective (1958)

Shailendra was the sole lyricist for this mystery thriller genre film. Shakti Samanta was the director.

Aankhon Pe Bharosa Mat Kar Duniya Jadu Ka Khel Hai – Mohammad Rafi, Sudha Malhotra

Protagonists play tricks to please the lady.

Mohammad Rafi sings for Pradeep Kumar whereas Sudha Malhotra sings for the child artist Daisy Irani.

Kal Talak Hum Thik Tha Aaj Hamien Kya Ho Gaya – Mohammad Rafi, Geeta Dutt

The song is filmed on Johnny Walker and Bimla Kumari (not to be confused with Hawa Mein Udata Jaye Bimala Kumari).

Shailendra has deftly weaved in the colloquial Anglo-Indian diction for the lyrics enacted by Bimla Kumari, befitting her role in the film.

Chhodiye Gussa Huzoor Aisi Narazagi Bhi Kya – Mohammad Rafi

Here is a the then popular roothana-manana genre song.

Aaja Kar Le Muqabla Ye Baji Pyar Ki – Mohammad Rafi, Geeta Dutt

Johnny Walker masquerades as a matador and Bimla Kumari as bull in the stage play as the mystery seems to deepen in the background.

Mujhko Tum Jo Mile, Ye Jahan Mil Gaya – Hemant Kumar, Geeta Dutt

The song comes up as a mandatory duet.

Hindi Geetmala mentions of solo in Geeta Dutt’s coice, too, which may be a small piece used in the film.

Raahi Chal Sambhal Sambhal Ke Bada Katheen Hai Rasta – Asha Bhosle

On the face of it, this is a street song, but the lyrics are laded with meaning for the ‘The Detective’ to remain guarded against the machination of the villains. Visuals of furtive movements by the villains makes it easier  for the lay public in the cinema hall to appreciate this ‘between the lines’ message.

Do Chamakti Ankhon Mein Kal Khwaab Suhana Tha Jinka – Geeta Dutt

The beloved is whittling out time in clubs and the poor heroine is shedding tears at home. The formula-drama of a Hindi cinema, irrespective of the theme of the screen play is ploy to create a space for a female song of pathos!

Geeta Dutt is her at most expressive best in this song, which is enshrined in the front-row of her top songs.

With curtain call for the present episode, please remember that our journey of the memory lanes of Shailendra’s song for “other” music directors continue…..

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : Female Solo Songs – Zeenat Begum

We do not seem to have Zeenat Begum’s songs in many 1944 films. But the songs that one does to get to llisten more than whet the appetite in so far as the moods, and hence her toval varities.

Duniya Ki Ye Khushi Hai Tujhe Bhul Jayein Hum – Bhai – Khan Shatir Gazanvi – Shyam Sundar

Hindu Muslim Sikh Isai Aapas Mein Hai Bhai Bhai – Bhai – Khan Shatir Gajhanvi – Ghulam Haider

Panchhi Meri Khushi Ka Zamana Kahan Gaya – Chand – Qamar Jalalabadi – Husnlal Bhagatram

Kya Yahi Jawani Hai Har Din Nikhara Hua Hai – Chand – Qamar Jalalabadi – Husnlal Bhagatram

Raatein Na Rahi Woh Na Rahe Din Woh  Hamare – Daasi – D N Madhok – Pt. Amarnath

Dekha Karo Bhagwan Garibo Ka Tamasha – Daasi – D N Madhok – Pt. Amarnath

Ho Rasiya Kabhi Le Chal tu Jamuna Ke Par – Daasi – D N Madhok – Pt. Amarnath

Subah Hui Aur Panchii Jage Chuga Chagan Ko Bhage – Daasi – D N Madhok – Pt. Amarnath

Dhan Ke Keht Mein Na Jaio Raja – Daasi – D N Madhok – Pt. Amarnath

Tum Chhod Gaye Mujhko Kis Ke Sahare – Panchhi – Akhtar Chugtai / Manohar Saharai – Pt. Amarnath

UnhoNne Muhabbat Ki Duniya Mita Di – Panchhi – Akhtar Chugtai / Manohar Saharai – Pt. Amarnath

HFGK has not identified the singer.

Jaie Jaie GairoN Ke Dil Asra Ho Jaie – Panchhi – Akhtar Chugtai / Manohar Saharai – Pt. Amarnath

HFGK has not identified the singer.

Uthi Hai GhataeiN, Chali Hai HaweiN – Panchhi – Akhtar Chugtai / Manohar Saharai – Pt. Amarnath

HFGK has not identified the singer.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Two Film Association(s)

Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem.  His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:

hazār barq gire laakh āñdhiyāñ uTTheñ
vo phuul khil ke raheñge jo khilne vaale haiñ

Let thousands ice fall, lakhs of dust-storm rise
The flower shall blossom that is so destined.

Sahir Ludhianvi’s association with as many as 31 music directors, for the 122 films for which he penned songs, certainly provided Sahir to blossom into as many different shades that he was destined to blossom into.

Presenly, we will take up Sahir Ludhianvi;s Songs of Romance with the music directors with who he did films in his career. These music directors re, in the sequence of their first year of association, are: Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty

Usha Khanna (B: 1942), is a member of the rare elite club of female music directors in the Hindi films. Her first ever Hindi film was Dil Deke Dekho (1959).the two films where she worked with Sahir Ludhianvi are Hum Hindustan (1960) her second film and then Lakshmi a good 22 years later.

Hum Jab Chale To Ye Jahan Jhume, Aarzu Hamari AasmaN Ko Chume – Hum Hindustani (1960) – Mohammad Rafi – Music: Usha Khanna

Sahir has penned only this song for ‘Hum Hindustani’!

hamse hai fizaoN meein rang-o-bu
ham hai is jamiM ki aarzu
nadiyo ki ragini hamse hai
har taraf ye tajhgi hamse hai
hum chale to chal pade jhindagi

Halat Se Ladna Mushkil Tha, Halat Se Rishta Jod Liya– Lakshmi (1982) – Asha Bhosle – Music: Usha Khanna

The song is set to a mujra composition, but the lyrics have a profound sense of regret for not having been able to fight the circumstances. As such, this is not a song of romance that has happiness of love, but has the quintessential poetic bitterness of reality, and hence would stand excluded from the present series.

However, as noted in the preamble to the preamble, Sahir ‘s film songs sound a very different note even when they depict the bare realities of the world. Here is one such illustration.

chunri ranga li maine bindiya sajali maine
….. ….   …    ….. …
jhumar ki mang patti dil se saja li maine
…. ….  ….. …..
kar liye solah
kar liye solah singar singar singar
najro ki pyas bujhalo jamane walo
jalwo se dil bahlalo jamane walo

Rashid Attre (a.k.a. Abdul Rasheed Attra, B: 15 February 1919 – D: 18 December 1967) possessed varied musical talents.  His initiation to Hindi films took place in Calcutta in 1942. He moved to Bombay (as it was then called) in 1943 and worked successfully till 1947 when he migrated to Pakistan. His last film in Bombay was Shikayat, which was released in 1948. In his second innings at Pakistan, he composed for as many as 80 films.  Rashid Aatre and Sahir Ludhianvi have combined in two Pakistani films – Solah Anne (1960) and Farangi (1964). In the absence of the authentic source for the songs, I have refrained from presenting any song here.

Chitragupt (a.k.a. Chitragupt Shrivastava -B: 16 November 1917 – D: 14 January 1991) has composed music for more than 150 films, in a career spanning from 1946 to 1988 (his one film was released posthumously in 1998) but does not seem to have received the credit duet to him. Chitragupt’s two films with Sahir Ludhianvi are Vaasana (1968) and Sansar (1971).

I have picked up two songs each from Vaasna and Sansar, each presenting different mood within the shade of romance.

Ye ParabatoN Ke Dayare, Ye Sham Ka DhuaaN, Aise Mein Kyon Na Chhed De Dilo Ki DastaaN – Vaasana ((1968) – Mohammad Rafi, Lata Mangeshkar – Music – Chitragupt

jara si zulf khol do, fiza me itr ghol do
najar jo baat kah chuki woh baat munh se bol do
ki jhum uthe nigaah me bahaar ka sama

yeh chup bhi ek savaal hai, ajib dil kaa haal hai
has ik khayaal kho gaya, bas abb yahi khayaal hai
ki fasala na kuchh rahe hamaare darmiya

yeh rup rang yeh paban chamakte chaand sa badan
bura na mano tum agar toh chum lu kiran kiran
ki aaj hausalo me hai bala ki garmiya

Itni Nazuk Na Bano.. Had Ke Andar Ho Nazakat To Adaa Hoti Hai… Had Se Badh Jaye To Apni Sazaa Hoti Hai – Vaasana (1968) – Mohammad Rafi – Music: Chitragupt

jism kaa bojh uthaaye nahi uthta tumse
zindgaani kaa kada bojh sahogi kaise
tum jo halki si hawaao me lachak jaati ho
tez jhonko ke thapedo me rahogi kaise

koi rukta nahi thahre hue raahi ke liye
jo bhi dekhega voh katraake guzar jaayega
hum agar vaqt ke hamraah naa chalne paaye
vaqt ham dono ko thukraake guzar jaayegaa

Mile Jitni Sharab Main To Peeta HuN, Rakhhe Kaun Ye Hisaab Main To Peeta HuN – Sansar (1970) – Kishore Kumar – Music: Chitragupt

koi apna ager ho to toke mujhe
main galat kar raha huN to roke mujhe
kise dena hai jawab …..
main to pita huN

Raja Jani Raja Jani Na Maro Nayanawa Ke Teer Re – Sansar (1971) Krishan Kalle – Music: Chitragupt

abhi nadan hu mai najuk jan hu
mujhe aise na maro yuhi halkan hu
mujhe aise na maro aise na maro
tikhi tikhi nazroN se dekho na sawriya
…  …..   ….  …
sah na sakungi abhi kachi hai umariya kachi hai umariya
maro na katari do dhari uthe teer re raja jani dilbar jani

Kalyanji Anandji carved their path of success in the face of stiff competition from the array of top-line music directors. They have composed music for over 250 films. With Sahir Ludhianvi, they have two films – Nanha Farishta (1969) and Shankar Shambhu (1976).

O Re Sharabi Tujh Mein Ek Kharabi… Sikha Na Tune Kisi Se Pyar Karana… Tujhe Aa Main Pyar Sikha DuN – Nanha Farishta (1969) – Asha Bhosle – Music; Kalyanji Anandji

ho sake to samjhle raat kya kah rahi haiN
raat kya kah rahi hain
ye dhadkati khamoshi baat kya kah rahi haiN
kya kah rahi haiN
thoda sa ishaara ho to palbhar mein
abhi laakho rang luta duN
aa main pyar sikha duN

Bheege Hue JalwoN Par Aise Na Najhar Dalo, Dil Chahe Idhar Rakhkho Par Aankh Udhar Rakhkho.. – Shankar Shambhu (1976) – Lata Mangeshkar, Mohammad Rafi – Music: Kalyanji Anandji

in garam nigaho se jajbat bhadakte hai
ahsaas sulagta hai arman dhadkate hai
ruk jao ruk jao
ruk jao abhi dil par itna na asar dalo

soyi hui dhadkan ko khud tumne jagaya hai
sanso se pukara hai najro se bulaya hai
mat apni khatao ko
mat apni khatao ko ab aur ke sar dalo

kab hamne kaha tumse hum tum pe nahi marte
tum kuch bhi kaho tum par ilzam nahi dharte
beraham ho beraham ho
beraham ho katil ho ye katal bhi kar dalo

Sapan Chakravarty (a.k.a. Swapn Chakraborty), though known more as assistant to R D Burman, and two of the more known songs in his voice – Mere Saath Chale Na Saya (Kitab,1977) and Preetam Aan Milo (Angoor,1982) – has composed music for 5 Hindi and 15 Bengali films.

Jaaney Aaj Kya Hua Aisa Kabhi Hua Na Tha, Sanso Mein Ghule Nasha Jaisa Kabhi Ghula Na Tha, Tumhi Bolo Kya Karein Aisa Hoga Pata Na Tha – 36 Ghante (1974) – Kishore Kumar, Asha Bhosle – Music: Sapan Chakravarty

chhaya chhaya dur tak
rango ka gubbar hai
aisa toh na tha jahan
ho na ho yeh pyar hai
khawabo ka sama saja
jaisa kabhi saja na tha

Tum Bhi Chalo Hum Bhi Chale, Chalti Rahe Zindagi, Na ZamiN Manzil Na AasamaN, Zindagi Hai Zindagi – Zameer (1975) – Kishore Kumar, Asha Bhosle – Music Sapan Chakravarty

behte chale hum masti ke dhaaroM mein
gunje yahi dhun sada dil ke taaroN mein
ab ruke na kabhi pyar ka kaarwa
neet nayi rut ke rang mein dhalti rahe jindagi

Before we end our present episode, a detour to Sahir Ludhianvi- Khayyam’s two films – out 7 they did together – is in order. Phir Subah Hogi (1958) and Shagoon (1964) are the films belonging to the Golden era period of Hindi films whereas other five films belong to the post-golden era period.

Phir Na Kije Meri Gustakh Nigahi Ka Gila
Dekhiye Aapne Phir Pyar Se Dekha Mujhko

Main Kaha Tak Na NigahoN Ko Palatane Na Deti
Aapne Kai Baar Pukara Mujhko – Phir Subah Hogi (1958)- Mukesh, Asha Bhosle – Music: Khayyam

Is kadar pyar se dekho na hamari janib
dil agar aur machal jaye to mushkil hogi

tum jahaN meri taraf dekh ke ruk jaaoge
vohi manjil meri taqadir ki manjil hogi

ek yunhi si nazar dil ko jo chhu leti hai
kitne armaan jagati hai tumhe kya maalum

ruh bechain hai kadmo se lipatne ke liye
tumko har saans bulati hai tumhe kya maalum

har nazar aap ki jazbaat ko uksati hai
maiN agar hath pakad luN to khafa mat hona

meri duniya-e-mohabbat hai tumhare dam se
meri duniya-e-mohabbat se juda mat hona

Itane Qareeb Aake Kya Jaane Kis Liye
Kuchh Ajanabi Se Aap haI Kuchh Ajanabi Se Hum

Woh Ek Baat Thi Jo Faqat Aap Ke Liye
Woh Ek Baat Kah Na Sake Aap Hi Se Hum – Shagoon (1964) – Talat Mahmood, Mubarak Begum – Music Khayyam

aisi to koi qaid nahi dil ki baat par
apas ki baat hai to dare kyo kisi se ham

tum dur ho to maut bhi aaye na ham ko raas
tum paas to jaan bhi de de khushi se ham

maut ek vaham, aur haqikat hai zindagi
ik dusare ko maangege is zindagi se ham

Shagoon has two more romantic gems – ParabatoN Ke PedoN Par Sham Ka Basera Hai (Mohammad Rafi, Lata Mangeshkar) and Tum Chali Jaogi ParchhaiyaN Rah Jayegi (Mohammad Rafi).

As we once again traversed across the whole career span  of Sahir Ludhianvi, it is observed that Sahir has been able to maintain the quality of lyrics across each different music directors, even during the last, post-Golden Era. One may presume the pressures changing tastes of the cine-going public. However at no time one can say that he got away with ‘filmy-style’ lyrics even for Sahir’ songs in’70s..

We end here our present episode of homage to Sahir Ludhianvi, through his romantic songs with the five (plus one) 2-film-association music directors.

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : Female Solo Songs – Zohrabai Ambalewali + Hamida Bano

Solo songs of Zohrabai Ambalewali

Zoharabai has as many as 16 songs listed in the Memorable Songs of 1944. Here are some more –

Saqui Saqui Dil Bujh Gaya Hai Seene Mein – Geet- D N Madhok – Naushad Ali

Raat Ki Malaka Ban Than Ke Mujhe Dulhan Banae Aayee Hai – Ismat – Shams Lakanavi – Pt. Gvaradhan Prasad

Naino Mein Naina Mat Dalo O Ji Balam – Jeewan – D N Madhok – Naushad Ali

My Dear My Dear I Love You, Mora Jiya Na Lage – Jeewan – D N Madhok – Naushad Ali

Aayi Diwali, Aayi Diwali, Dipak Ke Sang Patanga – Rattan – D N Madhok – Naushad Ali

Solo Songs of Hamida Bano

Memoravle Songs of 1944 has two songs of Hamida Bano. Four songs identified in HFGK are not traceable on YT.

KyoN Dard De Ke Bhul Gaye Shhyam Salone – Anban – Pt. Madhur – Gyan Dutt

Yaad Nahi Jati, Bichhad Gaya Pichhal Pagalpan – Lalkar – Pt. Madhur – C Ramchandra

Gulshan Mein Rang Lai Hai, Bahar Loot Le O Yaar Loot Le – Mauji Jeewan – Baba Pagal – Gulshan Safi

O Balam O Sajan, O Balam Hamare Bata – Mauji Jeewan – Baba Pagal – Gulshan Safi

Aankh Bhar Aai, Dil Bhar Aaya, Dil Ko Laga Ke Yeh Fal Paya – Pahele Aap – D N Madhok – Naushad Ali

Chhed Gaya Bedard Meri Dilruba Ke Taar KyuN – Shahenshah Babar – Pt. Indra – Khemchand Prakash