I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Sardar Akhtar, Parul Ghosh, Leela Sawant

Solo Songs of Sardar Akhtar

Har Cheez YahaN ki Hai Tasalli Ka Sahara, Tum Pyare Ho Jab Dil Ko – Fashion – Arzoo Lakhnavi – Shanti Kumar

Dil Ko Dukha Ke Baar Bar, Kahate Hai Muskuraye Ja – Fashion – Arzoo Lakhnavi – Shanti Kumar

Kadwa Phal Neki Ka Nikala, Kya Samajhe The Aur Kya Nikla – Fashion – Arzoo Lakhnavi – Shanti Kumar

Jo Na Kisi Se Ban Sake – Fashion – Arzoo Lakhnavi – Shanti Kumar

Solo songs of Parul Ghosh

Parul Ghosh’s solo songs, Aye Wade Saba Ithalati Na Jaa, Mera Guncha-e- Dil To Sukh Gaya and Main Unki Ban JaauN (Hamari Baat), Papiha Re Mere Piya Se Kahiyo Jaa (Kismet), Aye Bhi Woh, Gae Bhi Woh, Khatm Fasana Ho Gaya (Namste),   are covered in the Memorable Songs of 1943.

Chashm-e-Purannam Baha Ke Dekh Liya, Haal-e_Dil Suna Ke Dekh Liya –Muskurahat – Ishwar Chandra Kapoor – C Ramchandra

HFGK does not identify the song, but the uploader, Sadanand Kamath, a well-studied follower, identifies it as Parul Ghosh

Dil Na Lagein, Mora Man Na Lagein …. Naktaiwale Babu – Namaste – D N Madhok – Naushad Ali

Aao Ji Kabhi To Aoji,….. Dil Ke Sitar Par Tere Get GauN Main – Namaste – D N Madhok – Naushad Ali

Aaj Pahlu Mein Dard Sa Kya Hai – Sawaal – Wali Sahab – Pannalal Ghosh

Ajay Yuvraj Has uploaded the song along with Aaye Bhi Woh Gaye Bhi Woh

Solo songs of Leela Sawant

Leela Sawant’s solo song Soz-e-gam (Nai Zindagi) could not be traced on the net.

More Jubna Pe Aai Bahar Re, Dekho Dekho Na Laage Nazariya – Dawat – Tanvir Naqvi – Vasant Kumar

Masti Ke TaraanoN Se UmmidoN Ko Jagaa De – Mohabbat Ki Jeet – Ehsan Rizvi – Vasant Kumar

Tere Nanhe Girdhari Ne Haye Matki Mori Phodi – Nurse – D N Madhok – Gyan Dutt

Jivan Sapana Jag Sapne Ki Chhaya – Nurse – D N Madhok – Gyan Dutt

Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – September 2022 Edition

Welcome to September 2022 edition of Xth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Presently we move on to our section on tributes and celebrations for the month –

The Musical Geniuses Who Have Ruled Hindi Film Industry Since Independence – From Naushad to Arijit Singh, here’s a list of 75 melody makers who have ruled the roost in Bollywood since 1947:

75 Bollywood Actresses Who Ruled The Silver Screen With Grace, Beauty And Talent

75 Actors Who Conquered Hearts Of The Millions Since 1947

75 Years Of Indian Cinema: The Platinum Magic On The Silver Screen

While celebrating 89th birthday of Asha Bhosle here are the chosen Asha Bhosle’s ‘Overshadowed Songs’ which have been overshadowed by other popular songs of that particular movie, but the songs are excellent. Mostly the songs stand out because of Asha Bhosle’s Midas touch.

Asha Bhosle and the Seven Wonders takes us to the tour of 7 solo music directors whose repertoire is filled with Lata Mangeshkar songs and have a scattered graph of Asha numbers.

After Khayyam at the Mountain Peak (1): Songs on Pahadi, we now have  Khayyam at the Mountain Peak (2): Songs sans Pahadi as  a tribute to Khayyam (18.2.1927–19.8.2019) on his third Remembrance Day

Continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar, Mehfil Mein Teri takes a look at her career in the year 1952

Bengali Cinema During the Freedom Struggle – Throughout the 1930s and 1940s Bengali cinema produced socially aware films, which seldom attacked the British imperialism and oppression. Silhouette editor Amitava Nag explores the trends and patterns of Bengali cinema during the struggle for independence.

Did You Know Vyjayanthimala Refused a Filmfare Award for ‘Devdas’?Khalid Mohamed – On Vyjayanthimala’s birthday, here’s a (belated) special tribute to the veteran actor.

This article is from The Quint’s archives and was first published on 13 August 2016. It is now being republished to mark Vyjayanthimala Bali’s birthday)

HT spotlight: a short piece about Hindi cinema 1977-92 –  The Hindustan Times has this good-looking package which divides the Hindi cinema of the past 75 years into five eras, with separate essays on each. Here is a piece onJaane Bhi Do YaaroN, incidentally on its anniversary of release.

September 2022 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963. After we launched the series in 2017, we have covered the years

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

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

We now move on to posts on other subjects –

After a short break,  Mehfil Mein Teri presents (Part 8) of Boat Songs

Book Review: ‘Hindi Cine Raag Encyclopaedia’ Vol. 3, 4 & 5 – Whereas volumes 1 & 2 addressed the question, i.e which are the underlying raags in a particular song, whereas Volumes 3,4 & 5 answer the reverse question: Which are the famous songs based on a particular raag, say Asavari?

Book Review: P.K.Nair’s Yesterday’s Films For Tomorrow, published in 2017 by the Film Heritage Foundation after P.K.Nair’s death, is a collection of his writings – personal diaries, detailed notes, articles, letters – deftly edited by Rajesh Devraj.

The Two Worlds of Jalte Hain Jiske Liye – When Adheer offers his first song of love to Sujata, little does he know that while he is dreaming of a world with her where love is as fragile as delicate glass, Sujata’s world is imploding. Shirish Waghmode looks at the two worlds on either side of Jalte hain jiske liye.

Songs of wishes, desires and expectations– fulfilled and unfulfilled – The words used in film songs typically are – चाह, तमन्ना, आरज़ू, माँग. Many of the songs of course are melancholic and thus speak of unfulfilled desires. There are some which also speak of fulfilment. The playlist below has songs that capture both shades.

Bollywood, Masala Movies and Family Values – As ideas of family and love change, so do the films.

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

We have inched forward to Female Solo Songs in Micro View of  1943 with Solo songs of Husn Bano, Sitara (Devi), Vatsala Kumthekar, and Rajkumari, Kaushalya, Nalini Jaywant, SoY has in the meantime presented Best songs of 1943: Wrap Up 2. After a very thorough and comprehensive summary analysis, SoY has awarded ‘The Award for the Best Female Singer of the year’ to Amirbai Karnataki.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022 –

Woh Jab Yaad Aaye Bahut Yaad Aaye – Parasmani (1963) – Asad Bhopali – Laxmikant Pyarelal

Ja Ja Jaare Tujhe Hum Jaan Gaye – Sehra (1963) – Hasrat Jaipuri – Ramlal

Agar Main Puchhun Jawab Doge – Shikari (163) – Farooq Qaiser – G S Kohli

While taking a slight detour, we take note of Dilip Dholakia’s first Mohammad Rafi- Lata Mangeshkar duet(s), from a Gujarati film:

O Naaho Liyaare…..O Roop Raseeli – Satyavan Savitri (1963) – Bhaskar Vora – Dilip Dholakia

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.

I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Rajkumari, Kaushalya, Nalini Jaywant

Solo Songs of Raajkumari

At least one each solo song of Rajkumari from film Badalti Duniya and Khanjarwali and Nagad Narayan and two solos from film School Master (Music: Neenu Majumdar) chould not be located on YT.

Tu Mujhe Bana De Rani, Main Bani Teri Diwani  – Badalti Duniya – Mohan Sinha – /

Dard Bankar Fugaan Na Ho Jaae, Jhindagi ImtahaaN Na Ho Jaae – Dawat – Tanvir Naqvi – Vasant Desai

Mere Sune Mandir Mein Ye Kisane Deep Jalaye – Nagad Narayan – Kavi Shamim – Shreedhar Parsekar

Main To Nachoongi HaaN, Main To Gaaungi – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

Main HuN Kali Matwali Liyaqatwali – Panghat – Ramesh Gupta – S N Tripathi

Solo Songs of Kaushalya

In the caseof Kaushakya, one song each from the films Angoori (Music: Ghulam Mustafa Durrani) and Mouj (Music: Vasant Desai) and two each from films  Aankh Ki Sharm (Music: Vasant Desai) and  Kurbani (Music: Khemchand Prakash) do not seem to be available in digital formats across intenet.

Mere Naina Tujhe Dhoondhe Hai Sanwariya – Bhakta Raj – D N Madhok – C Ramchandra

Kagaz Ke Purje Dil Ka Hal Suna De – Chirag – D N Madhok – Khemchand Prakash

Jholi Meri Bhar Do Baba – Chirag – Wali Sahab – Khemchand Prakash

So Ja SoJa O Pyare Kanhaiya, Tori Maiya Leti Hai BaliyaN – Chirag – Pt. Indra – Khemchand Prakash

Kagaz Ki Hai Naav – Zaban – D N Madok – C Ramchandra

Tera GhoNsala Bhikhara Re Pankhi – Zaban – D N Madok – C Ramchandra

Solo Songs of Nalini Jaywant

One solo song of Nalini Jaywant from the film Adab Arz could not be traced in digital form

Kaheta Hai Ye Dil Baar Baar – Adab Arz – Kailash Ji ‘Matwala’ – Gyan Dutt

Kheto Pe Chale Bhaiya Kisan Re – Adab Arz – Rammurti – Gyan Dutt

Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – Volume X – September 2022 edition

Welcome to September 2022 edition of the Xth volume of Carnival of Quality Management Articles and Blogs.

The theme for the Xth volume of our Carnival of Quality Management Articles and Blogs is inspired from the editorial of the January 2022 special Issue of Prabuddha Bharata (The Awakened India) – Living a Meaningful Life in a Digital World.

For our present episode, we take up the article, Nature Connectedness: An Avenue to a Meaningful Life in the Digital Age by Sravanti Thutupalli.

Here is an excerpt from the article:

Cleave not the sky. Injure not the mid-space. Be in the harmony with earth.
This sharpened axe has led you to the great good fortune.
Therefore, O you divine Lord of forests, grow with your hundreds of branches.
May we also grow with thousands of branches.

(Yajurveda 5.41)

Beneath the forest floor, lies a network that connects – often called as Wood Wide Web – that connects nearly all the plants on the earth. This network, made of mycorrhizal fungi, shares resources preventing neighbouring plants from dying and other parasite resources.

This example that reminds us of inextricable links between all of life, is strongly similar to the internet of the present digital world. This natural network is repository of huge amount of data that emanates from, and controls, the exact cyclical happenings in the nature. So is our generic makeup in the form of DNA. As far as we know, DNA is the source code for all life. Like binary coding in the digital technology, DNA has four constituent digits – A, T, G and C. This digital nature of DNA code enables us to take genes from one and transfer it to another organism. This unifying language of DNA is translated into the wondrous diversity of life on earth.

However, there is an inherent interplay between the underlying digital character of nature and our experiences with its many analogue forms.  Although our experiences with the innumerable analogue manifestations of natural phenomena are being recorded as information stored and transmitted in the digital form, these cannot be always broken down into the simplifying codes.

The Panchakoshas elucidiated in the Taittriya Upanishad mediate our experiences –

    • Annamaya Kosha – expreinces of our gross body
    • Pranayama Kosha – our life energy
    • Manomaya Kosha – our mind
    • Vijnanamaya Kosha – the intellect, and
    • Anandmaya Kosha – the state of eternal bliss

Nurturing and transcending the Kosha from the grosses (Annamaya) to the subtlest (Anandmaya) provides the path towards meaningful experiences into a subtler and more pervasive substratum until all are resolved into the pure awareness.

Thus, our body and its senses, are valuable sources of knowledge of the material world and as the vehicles for action that provides the means to travel inwards more meaningful experience.

The sustained engagement with nature (gardening, family-get-togethers etc.) and digital technology (long hours of work on digital devices) require our total attention and hence lead to some degree of temporal dissonance causing us the lose the track of time.

However, there are important cognitive and neurocognitive differences between the two experiences. There are some activities during which happen with ‘smooth and accurate performance with an acute absorption in the task’ to the point of time dissociations and dissociative tendencies. Such a state is also called the ‘flow state’ and is achieved during self-fulfilling activities.

Flow experiences strongly diminish identification of Self with the body and thereby provide the means to transcend the Aannamaya Kosha.

The challenge of our present lifestyles lies in getting rid of the constant distractions (social media notifications) that require low levels of skills and challenges.

Truly identifying the unity of nature’s mycorrhizal fungal network and the digital internet can provide the route to transcending the material and physical world and nurture the pranamaya kosha.

It is this loss of nature connectedness – identification with nature – that is said to have led to the disconnect with the purpose of our life. Ecological self-theory proposed that nature connectedness and spirituality are strongly linked.  This positive link is what leads us to attain optimal psychological functioning and our true potential. The nature connectedness helps in removing our false notion of dualism – looking upon God and the world as two distinct or different things – to realise our true nature, to realize that basis of human existence is not set apart from the nature.

When the digital technology seems to intrude into every nook and corner of our lives.  It becomes imperative that we do limit ‘digitisation’ of our many experiences simply for the sake of either ease of doing something otherwise felt difficult or for the sake of storage of information.

Such a perspective lends itself to cooperation and harmony – both found in abundance in nature – with the nature. The conflicts of interests also do exist in the nature, but nature operates by ‘a set of rules for negotiating conflicts in a way that resolve them’.  Unfortunately, as the mankind has made more scientific progress(?!), it has led to conditioning of its Vijnanamaya kosha that demonstrates in our investment in our bodies and lower mental functions, further manifested in the self-perception that nature is for the us to exploit. It has been growing so unchecked that we have brought the nature to the point of extinction. The inventions and innovations that solve today’s problems create more complicated problems of tomorrow. If one needs any corroboration, just look the way digital technology uses rare metals and, in the end, creates mountains of most hazardous wastes.

The way human creativity is cultivated, the self is positioned in the heart of the object (the entire external reality), and yet stands outside it. However, the fact is that creativity is a thread in the very fabric of what it means to be human and a path to the subtlest of the koshas – the Anandmaya kosha. While making any new developments, we need to ask ourselves a simple question – whether we are bringing ourselves to the nature. If we put it spiritually, the question should be – our nurturing our creativity to further nurture the sheaths of Panchakoshas to ensure our progress from gross to the subtle.

The nature’s nature has so incredible, awe-inspiring experiences to offer, that we ‘stand on the shoulder of the giants.’ It is for us to find the meaning of our lives that support the giants of tomorrow on our shoulders.

Further readings:

We will now turn to our regular section -.

We now watch ASQ TV episode on –

  • Cloud Advantages And Aligning To Business Objectives – Alka Jarvis, the co-author of Successful Management of Cloud Computing and DevOps (ASQ Quality Press), sat down with ASQTV to discuss the benefits of cloud storage and how to align your cloud computing strategies with the business objectives.

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

  • Elusive Quality: Quality Doesn’t Just Happen – it’s time we got back to basic quality principles. We talk about getting to the root cause of problems. Well, we need to get to the root results of our actions by ensuring all projects include measurements to ensure quality. It’s critical to measure the level of customer satisfaction, improvement in mean time to failure (MTTF), reducing percent defective, preventing product recalls, and lowering return rates – not just focus on dollars saved, inventory turns, or process performance.

Quality just doesn’t happen; it must be nurtured every day with every action and project. The real quality objective is to achieve increasingly better products and services. As many organizations have discovered, without focusing on quality, the wrong measures can lead to negative results!

I look forward to your views / comments / inputs to further enrich the theme of Living a Meaningful Life in a Digital World.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September 2022

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – is probably a lyricist who worked with maximum number of big and small composers ever since he joined RK team (and was allowed to do ‘outside’ work) till he passed away in 1999. And that never affected his bond with Shankar-Jaikishan-Shailendra team bond. It is said that his first ever song, Jiya Beqarar Hai, recorded for Barsaat (1949) was set to Music by Shankar whereas the second one Chhod Gaye Balam was composed by Jaikishan.

The success of Barsaat led to a deluge of work and division of work among each one was a necessity of the day. The inherent individual preferences lead Shankar to compose Shailendra’s songs and Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] to compose Hasrat Jaipuri’s songs.

During ‘50s too there are several films where Shankar(-Shailendra) songs outnumbered Jaikishan (-Hasrat Jaipuri) Songs. When such instances did happen, Jaikishan continued to lead his natural bent of orchestration. However, in minefield like film industry where every success would attract envy from outside competition, it cannot be expected to be unusual for strong friendship, or even professional, relationships to get infected by the natural human jealousy to weaken and fall apart.

By the 60s, extremely heavy workloads, coupled with such negative external pressures had gradually led Shankar and Jaikishan virtually work individually under the umbrella of Shankar Jaikishan brand. However, there is no denying that pair of Shankar and Jaikishan as composers, Shailendra and Hasrat Jaipuri as lyricists had almost perfect bonding as team, till first the death of Shailendra (1966) and then that of Jaikishan (1971) finally loosened up that never-to-be-loosening four-way bond. It should also be noted here that even after the death of Jaikishan Shankar continued work solo under the flag of Shankar Jaikishan brand only.

But, these inherent or otherwise internal preferences or differences is the not our subject. In the month of Jaikishan’s birth, and Hasrat Jaipuri’s death, we have undertaken to refresh our memories of (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform. After we launched the series in 2017, we have covered the years

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

Presently, we will take up (Shankar) Jaikishan and Hasrat Jaipuri’s Songs the Memory for the year 1963. Some of the songs certainly have not faded out from our memory but do need to be taken note of in the context of so-called widening rift between Shankar and Jaikishan.


Shankar Jaikishan had three films – Dil Ek Mandir, Ek Dil Sau Afsane and Hamrahi – in 1963. Dil Ek Mandir and Ek Dil Sau Afsane each had 7 songs, for each of which Shailendra had 4 and Hasrat Jaipuri had 3 songs. Hamrahi had 8 songs of which Hasrat Jaipuri had 5 and Shailendra had 3.

Dil Ek Mandir was a remake of Tamil film Nenjil Ore Ayalam (1962). The whole picture was completed in just 27 days only., and probably the SJ-Shailendra-Hasrat team only could come up with such outstanding musical score in so short a time. Their one big asset was that they could deliver excellent quality despite the challenges of time or quantity. Incidentally, Rajendra Kumar and Raaj Kumar won Filmfare awards under different categories and Arjun Dev Rasq for the dialogues.

Hum Tere Pyar Mein Saara Aalam Kho Baithe Hain, Tum Kahate Ho Ke Aise Pyar Ko Bhul Jao – Lata Mangeshkar

Hasrat Jaipuri comes up lyrics that we normally would not associate with his light romantic songs. Let us look at them in details…..

panchhi se chhudakar uska ghar, tum apne ghar par le aaye
ye pyar ka pinjara man bhaaya, hum ji bhar bhar kar musakaye
jab pyar hua is pinjare se, tum kahne lage aazaad raho
hum kaise bhulaye pyar tera, tum apni jubaan se ye na kaho
ab tumsa jahaan me koi nahi hai, hum to tumhare ho baithe

is teri charan ki dhool se hum ne apni jiwan maang bhari
jab hi to suhaagan kahlaayi, duniya ki najar mein pyaar bani
tum pyar ki sundar moorat ho, aur pyar hamari puja hai
ab in charno mein dam nikle, bas itni aur tamanna hai
hum pyar ke gangaajal se balam ji tan man apna dho baithe

sapnoN ka darpan dekha tha, sapnoN kaa darpan tod diya
ye pyar ka aanchal humne to daaman se tumhare baandh liya
ye aisi gaanth hain ulfat ki, jisko naa koi bhi khol saka
tum aan base jab is dil mein, dil fir to kahi na dol saka
o pyar ke saagar hum teri laharo mein naaw dubo baithe

Here is the Tamil version of the song, Sonnathu neethaanaa.. sol sol, which incidentally too has a story of the lyricist coming up with the lyrics almost instantaneously.

Aside Trivia:

Even though such comparisons should never be done, one may still listen to Shankar-Shailendra composition, Ruk Ja Raat Thahar Jaa Re Chanda, to feel how seamlessly the quartet used to work.

Yahan Koi Nahi Tera Mere Siva Kaheti Hai Jhoomati Gaat Hawa Tum Sab Ko Chhod Ke Aa Jao – Mohammad Rafi

Decorated with rich prelude and Mohammad Rafi’s Rajendra Kumar-like histrionics the song is tailor-made to Rajendra Kuamr’s acting style

Dil Ek Mandir Hai. Pyar Ki Jis Mein Hoti Hai Puja Yeh Pritam Ka Ghar Hai – Mohammad Rafi, Suman Kalyanpur, chorus

The song opens with a high-pitched Sakhi, jane wale kabhi nahi aate jane wale ki yaad aati hai, in Rafi’s signature style. However, the rest of the song is another proof, if that is ever needed, for Hasrat Jaipuri’s depth of poetry:

har dhadkan hai aarti bandhan aankh jo michi ho gaye darshan
mout mita de chahe hasti yaad to amar hai

hum yadoN ke phul chdhayein aur aansuoN ke dip jalayein
sansoN ka har tar pukare ye prem nagar hai

Skillfully playing with ups and downs of one-an-half scale weave, the song also epitomizes Jaikishan creativity in the form of use of chorus as countermelody.

Aside Trivia:

The Tamil version of the song, Oruvar vaazhum aalayam, would also show how the SJ music team has creatively reconstructed the song in the Hindi version with their own trademark style.

Ek Dil Sau Afsane had Madhubala in the lead originally. The shooting had started in 1959, but Madhubala’s worsening heart condition left the progress of the film incomplete. Waheeda Rehman was then brought in the lead female role and all the relevant shots were re-filmed.

Ek Dil Aur Sau Afsane Haye Muhabbat Haye Zamane – Lata Mangeshkar

Hasrat Jaipuri and Shailendra easily switched to role of writing title songs as well.

Jaikishan provides the song with their trademark violin ensemble orchestration with melodious mixing with other instruments.

Urdu words mixed Hasrat Jaipuri’s lyrics do attract the attention.

dil jo na hota kuch bhi na hota, aankh na roti aur dard na uthta
apna ye daman bol bhi gata, kaun kisi ke pyar mein yuN khota

dil jo lagaya chain na paya, sare jahaN ka iljam uthaya
gake sunaye apna tarana, ye to janam janam se hota hi aaya

tu meri manjil pyar ka sahil, jauN kidhar main hai tu hi muqabil
o mere hamdam ek hai mushqil, kar ke rahenge hum tujhko hi hasil

Aside Trivia:

Shankar Jaikishan normally used to reserve one song in every film with extra-large orchestrion. In the present case, its Shankar who has composed such a song with his trademark ‘waltz’ dance rhythm , Dur Ke O Chanda Aa Meri BaahoN Mein Aa, on the lyrics by Shailendra. One more example was how seamlessly the quartet worked.

Kuchh Sher Sunata Hoon Main, Jo Tumse Mukhaatib Hain, Ek Husn Pari Dil Mein Hai, Ye Unse Mukhaatib Hai – Mukesh

In so far as the use of Urdu, the song can be easily identified with Hasrat Jaipuri. However, what is really noteworthy is its synchronization in creating the mood of a party song with an undertone of pathos – the trade mark Raj Kapoor’s depiction of Charlie Chaplin on the Hindi screen,

Aside Trivia:

Shankar- Shailendra take the role of creating a light-mood song in  Suno Ji Suno Hamari Bhi Suno

O Jadoogar Pyar Ke Ye Bata Dil Mera KyuN Tera Ho Gaya   – Lata Mangeshkar

Normally it is believed that a dance song is reserved for Shankar, but in the present case it is Jaikishan-Hasrat Jaipuri who step in the role, with all the trappings of Jaikishan’s orchestrations style.

Hamrahi (1963) may be seen as a signal in the trend of Jaikishan charting his independent course., after Jab Pyar Kis Sse Hota Hai (1961) where Shankar has composed just two songs. Of course, during 50s, there are many a film wherein Jaikishan would have a couple of songs in a film, But the rumor mill of industry had not sense anything wrong then.

Well. Well, to step into this quicksand of controversy is not our subject. So we would rather stick to our course and take up the songs for more attention.

It was perhaps Shankar Jaikishan who had provided the medium to Rajendra Kumar for rise to the level of Jubilee Kumar. These films were set to a very fixed template – Rajendra Kumar would be attracted by the charm of the heroine, sing a song in  the garden while teasing her, to which she would scorn at the beginning of the song but would fully fall into the love with Rajendra Kumar, then would follow a duet of that manifested the agreement, some or other thing would go wrong, the dual would fall apart, Rajendra Kumar would now get to sing a sad song in some forlorn place, and then everything would end well in the end.

Hamrahi was the film that used that template faithfully, and did succeed too, of course.

Main Albela Jawaan Hoon Rangila, Aye Dil Manzil Hai Pyar Ki, Jhoom Jhoom GauN NazaroN Pe ChhauN, Sanam Mehfil Bahar Ki – Mohammad Rafi

The song is supposed to set the stage for presenting us with a young man who is just care-free, even in the case of his dealings with the girls. Just as most of dames Rajendra Kumar sings the song do not fall into the trap, the poor cinegoer has to coast along with story line.

Woh Chale Jatak Ke Daman, Meri Arzoo Mitake – Mohammad Rafi

This the song genre that Shankar Jaikishan had almost patented for Rajendra Kumar’s eve-teasing formula, with Mohammad Rafi joining in with his unique- Rajendra-Kuamr-like histrionic singing style.

Mujhko Apne Gale Lagalo Aye Mere Hamrahi – Mohammad Rafi, Mubarak Begum

There many stories circulating about (Shankar)Jaikishan’s choice of Mubarak Begum for the song. However nowhere do we get a clue how Jaikishan would have ever thought of Mubarak Begum only for the song. Be that as it may, Jaikishan has not only set up a high pedestal for Mubarak Begum but has also set a higher benchmark for duets as well.

Woh Din Yaad Karo, Woh Chhupke Milna, Woh Hasana Hasana, Woh Din Yaad Karo –  Mohammd Rafi, Lata Mangeshkar

Mahmood and Shohha Khote were also a popular pir that would contribute to the box-office success of the film. They would generally be provided with a very decent song sequence too which they would enact so naturally as well.

Yeh Aansoo Mere Dil Ki Zabaan Hai, Main RouN To Ro Dein Aansoo, Main Has DuN To Has Dein Aansoo – Mohammad Rafi

The song on its own is a perfect outcome from the sad song mold that Shankar Jaikishan had designed for Rajendra Kumar.

Whether Hamrahi can be seen as early straw in the wind that portends the beginning of diminishing return for Shankar Jaikishan for their overdependence on “Shammi Kapoor” or Rajendra Kumar” image formula template?

We await for the next episodes to validate the hypothesis…..

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.

I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Husn Bano, Sitara (Devi) and Vatsala Kumthekar

Solo songs of Husn Bano

I have not been able to locate digital version of 3 solo songs of Husn Bano from Kaushish (Music: Bashir Dehlavi)

Pag Baje Ghungharava Piya Harajaye,,,, – Amanat – ? – Neenu Mazumdar

HFGK records the song as solo, but it seems to be duet.

Kya Jhamane Ki Kahani Ho Gayi – Amanat – ? – Neenu Mazumdar

Solo songs of Sitara (Devi)

I have not been able to locate 1 solo song from Andhera (Music: Gyan Dutt), and 4 solo songs of Sitara (Devi) from Bhalai (Music: Pannal Ghosh). Memorable Songs of 1943 has covered Sautan Ke Ghar Na Jaiyo (Abroo, Music: Pt. Govind Ram).

Pune Se Laayi Paan Re – Aabroo – ? – Pt. Govind Ram

HFGK mentions Najir as co-singer, but he joins by way of reciting dialogues.

Hamari Zindagi Kya Hai Amiro Ka Khilauana Hai Re – Aabroo – ? – Pt. Govind Ram

Ye Gam Ka Fasana Hai Koi Bhi Nahi Suanata – Aabroo – ? – Pt. Govind Ram

Naiya Hamari Paar Lagao – Aabroo – ? – Pt. Govind Ram

Haye Yaad Kisi Ki Sataye – Aabroo – ? – Pt. Govind Ram

Dukh Dard Ke Maare HaiN – Aabroo – ? – Pt. Govind Ram

GaauN Khushi Mein GaauN…  Ha Ha Ha .. – Najma – Anjum Pilinbhiti – Rafiq Ghazanavi B A

Solo songs of  Vatsala Kumathekar

One song, Teekhi Chitwan Dikha Ke Lut Liya from Aabroo (Music Govind Ram) is covered in Memorable Songs of 1943, one song from Ishara (Music: Rafiq Ghazanavi) and one from Zaban (Music: C Ramchandra) could not be traced on YT.

Saheli Bata Raat Ki Baat, KyoN Teri Bhikahr Gayi Bindiya – Ashirwad – ? – Anna Dahab

Prem Ke Hindole Dole – Ashirwad – ? – Anna Dahab

Ishq Ka Dard Suhana … – Ishara – D N Madhok – Khursheed Anwar

Meri Aankhein Hai Nashili … – Sarkari Paune – ? – Datta Daujekar


1966 to 1971 – Those Anecdotal Five Years …. – Commuting – to and from the college : My second vehicle promotion

The memories that Suresh Jani shares with us of his commuting by route no #47,  is typically very sketchy, but enough to rekindle similar memories in our minds:

My second vehicle promotion – from two wheels to four large-sized wheels mode of transport

Diwan Ballubhai Secondary School, Kankaria, Ahmedabad, was hardly a couple of kilometres from my home. So as was the customary practice of those times, walking was the natural mode of commuting to the school. But when I entered the 11th standard (SSC) class, I was awarded my first promotion – from two legs to two wheels mode of transport – of commuting on a bicycle.

I had joined Gujarat College (Ells Bridge, Ahmedabad) for my Prescience. The college was around four kilometers from my home. So, I continued to use bicycle for commuting to the college.

After my Inter, I joined L D Engineering college, which was still at more distance from my home. So I got my second vehicle promotion – from two wheels to four large-sized wheels -of traveling to and from college by AMTS bus service, by the pair of circular routes of #46 and #47.

I had to take my Kalupur Station to Delhi Darwaja-Income tax office- side route of #47 for my ride to college. I would walk up to the Sarangpur Garden bus stop, just outside the Sarangpur Gate. Even though the bus route was a circular one – one that does not have a specific terminus point for the reverse journey – we used to get almost no-passenger-situations when we would board the bus. After two stops was the Kalupur Gate stop, where two other colleagues, Bhupendra Doshi and Vinod Solanki, would join.

Bhupendra Doshi went on to reach the position of Chief Engineer at Aryodaya Ginning Mills and had retired from a senior position from Delhi. Vinod Solanki had risen to become professor at the engineering college.

Presently, our bus journey would progress towards Dariapur, where at Upadhyay would join us. He went to reach the position of Superintending Engineer at Head Office of Gujarat Electricity Board.  When our journey would reach Shahpur, Pancholi would join in. Unfortunately, I do not recollect the full name of Pancholi, nor have whereabouts of his career progression. Both of them normally had to travel standing till Income Tax office bus stop, from where they generally used to get a seat till our last stop of Gujarat University.

Many other contemporary LDites also used to join in this bus service during the whole route. However, since they all belonged to other classes, our relationship remained at the level of high-hello stage only.

We used to remain fully occupied with some or other topic of discussion during the trip every day. The topics would range from the films that we may have seen of late or filming the skits of our teachers. The actors of those films or our teachers would be awarded with most innovative fishpond titles as part of our story sessions. During the ‘submission’ season, the discussing would remain focused on the woes of meeting the ‘submission’ targets, duly interspersed with any improvisations that anyone had had benefit to try out to ease the load.

The return journey from college to home was on the pairing circular route of #46 service. The return journeys were invariably the standing ones for most of the part of route. Many a times we must have felt that additional burden over hectic studies of the day. Sometimes, in order to beat that boredom of travelling in standing mode, or just for the sake of fun because that would also cost us 5 paisa, we would choose the longer route of #47 service that would take us Paldi Jamalpur etc. The bonus of that longer route was company of many other friends who normally travelled by that route. Unfortunately, I am not able recollect more details of them.

Of course, after the graduation during the service, I was beneficiary of company-provided Royal Enfield motorcycle, which wen onto scale up with my own scooter and company-provided car too.

Post-retirement too I have been rewarded with a car gifted by so lovingly by my daughter and son-in- law. Added to this is frequent long-haul air travel to USA and India once every few years, the share of promotions of travel means seems not to end…


Nothing of these luxuries would stand any chance with the innate pleasure that 5-paisa student concession travel that route #47 had provided……..

An aside memory:

That takes me back to my bus travel to commute to Democratic High school during early 1964, because of our mid-academic year shifting to the H colony, a government servant residential facility opposite the then Secretariat. I would normally take Lal Darwaja to Polytechnic route (#43) for one leg of my daily commuting. That route, as well many buses of routes #46 and #47 had Leyland model known as “Tiger cub’.

The Obvious difference of this bus was its seating arrangement. Its ‘out’ gate was right at the front wall of the body. As a result, the first the first passenger seat in the left side was so close to the front wall that when sitting there, you can feel that the traffic ahead is just a hand away. Even at the age of 15 /16 years, that feel gave me a great thrill. However, I still remember those buses for its another feature, At the start, when the driver would engage the gear, the bus would get into the motion with a very soft jerk. Then, once it would gain speed, it has a very different rhythm. Interestingly, today, when I ride the modern Volvo or Mercedes buses, with their ultra-modern automobile engineering, I get the same feel of rhythm!