As would be evident, eventhough the list of singers is quite lengthy, there are several singers for which only one song could be traced up on the YT. And that too with almost close to half of the songs for which the singers also remain unidentified.
Moreover, there are many songs where the records of HFGK and those by the valiant YT uploaders seem to be at variance.
To add to the ambguity to the process of selecting the TOP song / singer for the year 1944, almost all the songs that I got to listen in the Micro Analysis, I have listened for the first time.
In any case, from the point of view of my limited knowledge and basic taste, it would be only fair that I confine myself to my personal viewpoint.
Shorn of all these verbose pleadings, the simple fact is, I have not any rational back up analysis for selecting one solo song for a given female singers for the year 1944.
As such, the song for each of the female singer that was covered in the detailed Micro View of Female Songs of 1944 that appealed me most is the one hearing are the ones that presented her. If there is only one song for any female singer, I have simply included here.
So, here are the songs that would call for TOP slot from the female solo Songs for 1944, in the order in which the singer has appeared in the detailed Micro View earlier.:
Amirbai Karanataki – Baaj Rahi Kis Aur Muraliya .. – Police – Ramesh Gupta – Panna Lal Ghosh
Zohrabai Ambalewali – Raat Ki Malaka Ban Than Ke Mujhe Dulhan Banae Aayee Hai – Ismat – Shams Lakanavi – Pt. Gvaradhan Prasad
Hamida Banu – Chhed Gaya Bedard Meri Dilruba Ke Taar KyuN – Shahenshah Babar – Pt. Indra – Khemchand Prakash
Zeenat Begum – Subah Hui Aur Panchii Jage Chuga Chagan Ko Bhage – Daasi – D N Madhok – Pt. Amarnath
Rajkumari – Mera Balam Bada Harjai Re, Main To Preet Laga Pachhatai – Badi Baat – Swami Ramannad Saraswati – Firoz Nizami
Sushila Rani – Suhagan Kahe Ansoo Dale….. Lekh Tale Na Taale – Draupadi – Pt. Indra – Hanuman Prasad
Khursheed – Bulbul Aa, Tu Bhi Gaa… Pyar Ke Gaane Main GauN – Shahenshah Babar – Pt. Indra – Khemchand Prakash
Shamshad Begum – So Ja Meri Ladli So Jaa – Chal Chal Re Naujwan – Pradeep – Ghulam Haider
Sitara – Chupake Chupake Mere Dil Mein Aaye Hai Murari – Chand – Qamar Jalalabadi – Husnlal Bhagatram
Leela Chitnis – Hamein Yaad Aa Rahi Hai Unaki, Bah Rahi Hawa Fagun Ki – Char Aanken – Narendra Sharma – Anil Biswas
Nirmala Devi – AkhiyaN Mila Ke Bhagna Na – Jeewan – D N Madhok – Naushad Ali
Naseem Akhtar – Is Dil Ki Haalat Kya Kahiye – Bhai – Khan Shatir Gazanvi- Ghulam Haider
Manju – Angadai teri hai bahana – Rattan – D N Madhok – Naushad Ali
Kalyani – Misal-e-Khayal Aye The – Aina – Pt. Fani = Gulshan Sufi
Husn Banu – Khushi Ke Tarane Sunata Chala Ja – Aina – Tanvir Naqvi – Gulshan Sufi
Noor Jehan – Badnam mohabbat kaun kare aur ishq ko ruswa kaun kari – Dost – Shams Lakhanavi – Sajjad Hussain
Parul Ghosh – More aangan mein chhtki chaandni – Jwar Bhata – Narendra Sharma – Anil Biswas
Kusum Mantri – Phir Aayee Hai Diwali, Khushi Se Naach Rahi Hai Naian – Badi Baat – with chorus – Swami Ramanad Saraswati – Firoz Nizami
Kaushalya – Kuchh Bol Bol Panchhi, O Par Khol Khol Panchhi – Aina – Pt. Fani – Fateh Ali Khan / Gulshan Sufi
Taara – Aankhein Ye Kah Rahi Hai Ki……Ram Kare KahiN Naiana Na Uljhe – Char Aankhen – Narendra Sharma – Anil Biswas
Leela Sawant – Le Aate BaharoN Ko, Raja Loot Liya, – Kaliyan – Kidar Sharma – G A Chisti
Shanta Apte – Mere janam maran ke saathi chalo chita par so jaye – Kadambari – Miss Kamal B A – H P Das
Utapala Sen – Jal Jane Do Is Duniya Ko – My Sister – Pandit Bhushn – Pankaj Maaalik
Vimla – Main In PhooloN Ke Sang DoluN – My Sister – Pandit Bhushn – Pankaj Maaalik
In its comprehensive review, Best songs of 1944: Wrap UP 2, SoY has conferred the Best Female Singer trophy to Amirbai Karanataki fo the song Chanda Desh Piya Ke Ja (Bhartruhari, Lyrics: Pt. Indra- Music: Khemchand Prakash)
P.S. All the episodes of Female Solo Songs of Micro View of Best Songs for 1944 @SoY can be read / downloaded from one file, by clicking on the hyper link.
One way is to take control of your time and manage it as well as possible. Try keeping a log for a week or two and track every minute of your day at work, then analyze it. Next, develop strategies for eliminating time traps and time wasters that are pulling you away from achieving your goals
was versatile poet and lyricist. He wrote a poetry that was accessible to the common man. Critics may not put him in the same roll of honor as Sahir Ludhianvi or Kaifi Azmi or even his long-time associate Shailendra. But his simple lyrics appealed the commos listener. His poetry was simple but the message it contained used to be quite deep. Many of his pure romantic songs carried most intimate and intense feelings. Hasrat Jaipuri also has written screenplay for ‘Hulchul (1951). His career spanned for the first film ‘Barsat’ in 1949 till his last, Hatya: The Murder (2004).
| D: 12 September 1971] is sometimes not equated with the music qualities of life-long partner Shankar. But his innate sense of melody lent a totally different dimension to the style of orchestration that made Shankar Jaikishan songs stand out quite distinctively. They led the trend of creating orchestrion style which as easily recognized as unique signature style of the music director.
Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.
Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff
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