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

Welcome to October 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 –

Vidushi Zarin Daruwala Sharma – String It On – an outstanding Sarod player, she was a skilled classical musician but what set her apart from the rest of her counterparts is that she also played Sarod on the tracks of several Hindi film songs.

Vasant Desai: When Classical Music, Dance Themes and Bhajans Gained Mass Popularity – Vasant Desai created music that stayed true to the classical roots and yet gained mass popularity. Working with leading filmmakers like Hrishikesh Mukherjee, Vijay Bhatt and others, Desai created iconic songs. NS Rajan explores the oeuvre of the legendary maestro.

Vasant Desai Part 3 (post-50s): His best songs for Lata Mangeshkar a follow-up post to Vasant Desai Part 1 and Part 2 pertaining to the vintage years (1930s and 40s),

Continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar, Mehfil Mein Teri revisits 1953 – Lata Mangeshkar

Like Father, Like Daughter…Ashok Kumar and Bharati Jaffrey – It is indeed most befitting to describe Bharati Jaffrey as the daughter of the legendary actor Ashok Kumar. Ratnottama Sengupta pays a heartfelt tribute to her ‘Didi’, the talented actress who left her indelible mark in her underplayed film roles and in various other capacities.

October 2022 episode of Fading Memories, Unforgettable Songs takes up Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1956 (Part II). Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

1955 and 1956 (Part I) in 2021

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

We now move on to posts on other subjects –

Special Duets are the duets where the couple though not together, was within reach of each other. They could hear each other, and at times could see each other. Or at least one of them could see the other one. They might occupy two adjacent rooms as in a few of the songs on today’s list, or they were wandering in fields or jungle.

Kahaan Ja Raha Hai Tu Aye JaanewaaleShirish Waghmode revisits this powerful song from Seema.

हे भगवान्‌ ! (Hey Bhagwan!) has two opposite meanings. One is the straightforward surrender before Him, and the other is of surprise at the world of vigilantes of gods.

My Favourite ‘Quartets & More’ are the songs which has four or more than four singers,

Songs with non-musical sound effects i.e., sounds such as water filling, glass breaking, the oars striking the water creating ripples and so on. In the present list, the focus is not the sounds of improvised musical instruments but the atypical ones.

Songs with echo and reverberationEcho and reverberation are both time-based audio effects resulting from the reflection of sound on hard surfaces. The difference between reverb and echo lies in time.

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

We have moved forward to Female Solo Songs in Micro View of  1943 with Solo songs of Sardar Akhtar, Parul Ghosh, Leela Sawant; Noor Jehan, Suraiya, Khursheed; ;Shamshad Begum;  and Snehprabha Pradhn, Nirmala, Radharani. SoY has in the meantime presented Best songs of 1943: Wrap Up 3 for the best duet. After a very thorough and comprehensive summary analysis, has presented 10 Special songs and then has presented 10 best duets

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 –

I seem to inadvertently have missed:

Zaalim Teri Ada Mere Dil Mein Utar Gayi – Bombai Ki Billi (1960) – Hasrat Jaipuri – Khayyam

And now to the main track:

Tum Akele To Kabhi Baag Mein Jaaya Na Karo – Aao Pyar Karein (1964) – Rajendra Krishna – Usha Khanna

Meri Raaton Ka Mahtaab..Sun Liya Na Aana Tu Hi – Smuggler (1966) – Asad Bhopali – Ganesh

Suno Suno Ek Baat Kahun – Memsaab (1972) – Verma Mallik – Sonik Omi

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.

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

Welcome to October 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, Collapsing Separateness by Gitanjali Murari.

Here is an excerpt from the article:

The development of science over last couple of centuries have dramatically broadened the playfield of the human being, serving to emphasize the universality of human life experience in every region of the earth.

Swami Vivekanand explains the miracle of scientific innovation in this illuminative statement: ‘The greatest force is derived from the power of thought. The finer the element, the more powerful it is. The silent power of thought influences people even at distance because the mind is one as well as many. The universe is a cobweb; minds are spiders.’ This has become the reality in the digital age, in the form Internet. People from all parts of the world meet virtually in a matter of seconds in a way that all barriers to knowledge have collapsed.

According to theory of butterfly effect[1], the flap of butterfly’s wings can create a hurricane halfway across the world. The modern internet travels much faster than that, not just over the physical distance, but over the mental distance too. As a result, the distance between minds have collapsed. More than a hundred years ago, in his lecture on ‘Vedanta and Its Application to Indian Life’, Swami Vivekanand had prophesied: ‘Even in politics and sociology, problems that were only national twenty years ago can no more be solved on national grounds only. They are assuming huge proportions, gigantic shapes. They can only be solved at the broader light of international grounds.’  How true this holds even today!

The Internet is continually expanding to accommodate variety. It seems to mimic nature which celebrates variety. This principle applies to humans as well. Not only we look different, but each has unique fingerprints, unique personalities, likes and dislikes, behaviour pattern, our own Gods. In his letter to Justice Subramanya Iyer, dated 3 January, 1895, Swami Vivekanand writes, ‘Jati means creation. I am one, I become many. Unity is before creation, diversity is creation. Now if this diversity is stops, creation is destroyed. So long as species is vigorous and active, it must throw out verities. When it ceases or is stopped from breeding varieties, it dies.’

In the pre-digital era, while the man was thrilled to discover cultures beyond his ken, he also used his power to subjugate indigenous tribes., he either excised or ‘civilized’ them for the sake of maintaining the social status quo. The degree of separation experienced by different societies then, literally and figuratively, spanned oceans. In the same letter to Justice Iyer, referred to earlier, Swami Vivekanand goes on to add, ‘The present caste system is not the real Jati, but a hindrance to its progress. It really has prevented free action of Jati, i.e., caste or variation.’

In the digital age, our interconnectedness – constant sharing of thoughts and ideas – is helping many to find their voice. What was tolerable or acceptable a decade ago is now under minute scrutiny.

The ever-changing nature of human values is reflected in scientific developments. As our need for greater satisfaction evolves, so does technology. Like Maslow, whose hierarchy of needs leads to self-actualization at the very top of the pyramid, Julian Huxley, a biologist and philosopher, believed that man journeys through levels of temporary satisfaction, transcending them one by one to ultimately reach a state of complete and eternal fulfilment. Swami Ranganathananda described this journey as adventure with many heights to conquer’, calling all the people ‘a great line of pilgrims. …. You give up something because you have got something better, something higher, something more valuable. And the highest value is spiritual realization.’.

As humanity continues to chase fulfilment, technologies of future will even be more sophisticated. The gap between inequalities may diminish, but new forms of injustices may also arise. Since we will be more intricately meshed together, the repercussions of these injustices will be swifter and harsher.

To attain equality and freedom, i.e., absolute well-being, is our birth right. Swami Vivekanand emphatically states that this can be acquired only through the knowledge of the Self. All other attempts to achieve absolute welfare, though well intentioned, will be short-lived.

Our struggles for a life full of purpose and consequent everlasting happiness hinges on refining our experiences by sacrificing sole self-interest and moving closer to the source of our absolute well-being.

If there is at all a possibility of a permanent end to our problems, then it lies in being as expansive and as inclusive as the Internet that we have created in being curious about our internal nature and understanding our external nature and allowing the ‘splendour’ within to collapse separateness forever.

More reading:

Man’s Search of Meaning[2] – Victor E. Frankl – While Freud speaks of a “will to pleasure” and Adler speaks of a “will to power,” Frankl focuses on a “will to meaning”, as the primary motivational force in man.

4 Keys to your life’s meaning – Dr. Viktor Frankl

We will now turn to our regular section -.

We now watch ASQ TV episode on –

  • Data Storage And Analysis – With big data comes great responsibility. Quality professionals have the knowledge and the and skills to help manage the challenges.

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

  • Organizations Need Committed People to Succeed – To be blunt, if anyone finds they cannot recommit rapidly when the organization must make changes, they should probably go somewhere else where the culture fits their approach. … This is not the same as asking that you be blindly loyal to the organization. That would likely strike you as rather hypocritical anyhow. Some leaders, however, seem to recognize the importance of two-way loyalty. … It is not surprising that employees who trust and respect the organizational leadership often feel more empowered and motivated to do their best – they become a highly committed workforce…. Organizations with a highly committed workforce generally outperform their competitors. However, the worker must get something in return, with both tangible and intangible benefits.  … Commitment is a gift you should give yourself, your family, your friends, and your organization. It can become contagious! Being committed will make your life, and those who surround your life, much more rewarding.

‘From the Editor’ (of Quality Magazine) – by Darryl Sealand, we have –

  • Prepare for the Worst, Hope for the Best – a mantra, made popular by poet and activist Maya Angelou and sales wizard and speaker Zig Ziglar – In its most elaborate form, it is part of exposure therapy, a cognitive behavior therapy.  … In essence saying, even if the worst happens, we will know how to deal with it. … Exposure therapy takes it a step further and, in a very controlled way, turns the activity which one fears doing of into a reality. As we experience doing that over and over again and realizing it does not result in our death, our discomfort with that activity begins to subside. …Individuals, businesses, and governments do roughly the same thing. Have you ever tested an unfamiliar chair by pressing on it to get a sense if it can hold your weight or pulled on a door after you’ve locked it to make sure it is secure? … Possibly nowhere else is this preparedness more evident than in manufacturing, particularly in quality… …. Quality processes not only increase our confidence in the products produced, but also in the health of the organization producing them.  .. One of the processes helping us tackle these risks is Lean manufacturing.  … So, check out Genevieve Diesing’s article, “Why Lean Principles Stand the Test of Time”  …….

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.

[1] Chaos: The science of butterfly effect


The Micro View of Songs of 1943 – Female Solo Songs – Snehprabha Pradhan, Nirmala, Radharani

Solo Songs of Snehprabha Pradhan

Aa Naya Tarana Gaaein, Aa Jag Mein Aag Lagae Part 1 & 2 – Naya Tarana – With chorus – Wali Sahab – Amir Ali

Yaad Koi Aa Raha Hai – Naya Tarana –Wali Sahab – Amir Ali

Mere Prano Mein Bas Ke Rahe, NainoN Se Door KyuN – Naya Tarana –Wali Sahab – Amir Ali

Aai Meera Prabhu Ke Paas, Nainan Ke Sagar Mein Lekar Darshan Ki Pyas – Naya Tarana – Wali Sahab – Amir Ali

Solo Songs of Nirmala

One solo song – O More SaiyaN, Jiya Kalpaye, Chain Na Aaye (Kanoon) – could not be traced on internet.

Bolo Bolo Re Sajanawa Main Teri Kya – Kanoon – D N Madhok – Naushad Ali

Suno Fariyad Meri Suno Fariyad Meri – Kanoon – D N Madhok – Naushad Ali

SaiyaN Khade More Dwar Kaa KaruN, Kaa KaruN – Kanoon – D N Madhok – Naushad Ali

Solo Songs of Radharani

5 solo songs from Paraya Dhan could not be traced on internet.

Manmohan Mukhada Mod Gaye Aur Base Bides Jaye,  Roti Vrishbhan kumari (Kashinath) have been covered in Memorable Songs of 1943.

Mere DukhoN Ki Raina Kati, Sukha Chain Bhari Phir Bhor Suhani Aai Re – Kashinath – Pt. Bhushan – Panakj Mallik

Ban Ke Panchii… Tum Kis Aur Sidhare – Kashinath – Pt. Bhushan – Panakj Mallik

HFGK does not identify the singer

The Grace and Charm of Roger Federer – on and off the courts

Roger Federer (B: 8th August 1981) will be remembered as usherer of a new age of speed-power-and-grace style play in the annals of tennis in the first decade of 21st century, Once he bagged the first ever grand slam win – the 2002 Wimbledon Singles Final -, he so effortlessly seemed to dominate the next decade. The ease with which he could adjust his game to the demands of different surfaces, he seemed to effortlessly accumulate 19 more grans slams, with one Calendar Grand Slam as well as record 8 Wimbledon Singles to=titles, even while facing fierce completion form Rafael Nadal and Novak Djokovic.

His recent announcement of retiring voluntarily from the professional tennis spurs me to note down some of my memories of the game of tennis as well as some lessons that his career offers to all of us, for our personal as well professional lives.

My basic interest in tennis dates back to ‘60s, when I would read the whole of sports page in the English newspaper with a basic aim to improve my English. There,, along with news of cricket and cricket stars, I would get to read about exploits the then tennis greats like Rod Laver, Ken Rosewell, Roy Emerson, Stan Smith or the Indian greats like Ramanathan Krishnan, Premjit Lal and Jaideep Mukherjea.. However, I saw the real tennis court for the first time only when I joined L D College of Engineering, Ahmedabad in 1966.

Then came the mid ‘70s, when TV had started making in-roads into Indian homes. In that period, we would invariably make it a point to watch the live telecasts of the tennis matches, more particularly the Wimbledon finals.  Bjorn Borg, Ile Nastase, John McEnroe, Arthur Ashe, or Vijay Amrithraj of India are the names from that period that remain etched in my mind. Watching these matches also cultivated the understanding of the game of tennis. Then came Boris Becker, who cliched Wimbledon Singles title in 1985, at the age of 17 (the youngest to win the title) as an unseeded player. His ‘boom boom’ serve ushered in the ear of strong first serve as the major match-winning weapon. In fact, ‘number of first serve as aces’ then became a major parameter to assess the match performance.

By ‘90s, the tennis had started becoming the game of technique and power, with most games being decided on the first serves only. The charm of serve and volley, spins, dropshots suddenly started looking like relics form the distant past. However, games of players like Stefan Edberg, still, remained attraction of watching the full live matches.

By the end ‘90s, new star, Roger Federer, could be seen at the horizon of the tennis world. However much before Federer won his junior Wimbledon title in 1988, his father was able see that hidden talent in the boy. He used to motivate the young Federer to nurture the goal to reach the Top 100 so that he could earn the expenses of travelling for playing in the tournaments.

However, the adolescent Federer was feeling extremely home sick. Additionally, when he would match, he would keep crying, alone. He would try to copy some of the shots of his the then idols, like Stefan Edberg, Pete Sampras, Boris Becker etc. But obviously once into the rhythm of a match these copy shots would not work. He would then grievously regret his such decisions.

However, his Junior Wimbledon title win in 1998 had created its own impact in the world of tennis. But his short temper was still a big hampering factor that seemed to keep consistency away from his game.  The 6-3, 6-3 straight sets defeat against Franco Squillari turned out to be the eye-opener for Federer. His own terrible behaviour on the court in that match hurt Federer so much that he vowed not to lose his cool ever again.

The manner in which he succeeded in maintaining the right balance between the hot lava’s flow of series of successes on the court and exemplary coolness of temperament on and off the court has placed the Federer’s subsequent professional career and his life in coveted a role model for a professional in any walk-in life. The way he could create the harmony between his natural talent and acquired competence could be seen in the smooth precision on the court that elevated him to status of (one of) the greatest player as well as a treat to watch for his fans.

However, what appears to be so simple in the way it comes across in these words, in was not all that smooth sailing for Federer. In fact, in the same year at Wimbledon, he suffered another defeat at the hands of Tim Henman. That defeat was the second eye-opener event in the life of Roger Federer.

He realized that along with the natural skill and acquired composure, the discipline also plays a crucial role in the success for a professional. He realized the importance of regular and dedicated training, reaching the venue o the match well before the scheduled time, a sound sleep of night and such other every single detail of a professional life.

The death of his mentor and one-time coach, Peter Carter, too made Federer realize what his destiny was.  Roger Federer realized that this untimely death was a sacrifice at the altar of his success.

His win at the 2003 Wimbledon Singles final, against Mark Philippoussis, was the first sweet fruit of his changed way of life. Every lesson that Federer learnt from the subsequent success, or defeat went on to add to the humility, maturity and burning desire for success on all types of surfaces.

His 2009 French Open title was perhaps his sweetest of all 20 grand slam wins. The way he transformed his game from a straight two set defeats and on the brink of a breakpoint in the third one, in the fourth round, is considered to be nothing sort of a miracle. That French Open title established him as the sixth ever male winner of career grand slam, after Fred Perry, Don Budge, Rod Laver, Roy Emerson and Andre Agassi. (His close rivals and compatriots Rafael Nadal and Novak Djokovic also have achieved this success subsequently.)

In the age where changes in the ball and the racquet, tennis attire and gear, surface, post-match analysis rapidly started undergoing changes because of the pressures of the respective technologies, a very unique blend of Federer’s skill, style, commitment and razor-sharp intuition has played a key role in recognising him as THE trend-setter player of his time.  Never retiring from a match or the tournament in his long gruelling career also remains an unbeatable record.

The destiny had other plans for Federer as he mulled different strategies to continue pursuing his tennis career in spite of advancing age taking its toll on his physique. In aa freak accident in 2026, His left knee popped up when he slipped while running a bath for his daughters. He had to undergo a surgery he was avoiding all this while. Once he recuperated back to the fighting fitness, he went ton defeat Nadal in 2017 Australian Open final to clinch his 18th grand slam!

Presently, Roger Federer, in sage-like decision, recognises the inner messages that his body has been sending in that enough is enough now. His body now has to be accorded its due after having fully supported his career over more than 1,500 matches in last 24 years hat his body cannot take more strains of the professional tennis, so he has decided to hang off his professional tennis gears.

As much as it is important to nurture burning desire to excel at each stage of life and put in all the energies to achieve that success, it is also a defining quality of a successful individuals to know when it is time to quit, gracefully, voluntarily, in planned manner. The great cricketer Vijay Merchant out it succinctly when he said, ‘Retire when people ask why and not when’.

Along with burning desire to always excel with matching approach towards the on-court play on different surface s and ability to adjust the playing style, one very major facet of Roger Federer’s tennis persona has been his very unique equation he has been able to maintain with his hotly chasing his heels compatriot competitors – Rafael Nadal and then Novak Djokovic.  On 3rd July, 2022, Roger Federer was in two minds to accept the invitation to attend the 100th anniversary celebrations[1] of the beginning of Wimbledon which was to be attended by almost all the past greats. In the end, his love for the game and the ground that gave him the unique status of eight, record-making, grand slams seem to have tilted in favour of the decision to attend the function. Importantly, one can so clearly see the unique chemistry he had been able to work out with the compatriot competitors and his respect for other greats like Stan Smith, Rod Laver, Bjorn Borg and such other great legends. It is that quality of Roger Federer that puts him in to the league of one of the ‘aal-time greats’ from a simple great player of his time.

Federer, Nadal and Djokovic essentially have very different playing styles, each having one more suited for a particular type of the surface. However, it is to their individual and collective credit that they have won 65 finals out of a total 72, played across different types of surfaces. If 2004 to 2010 was the golden period of Federer, it is Nadal and Djokovic who seem to have dominated the next decade.

Even when their on-court competitive spirits is quite fierce, the combative mood simply gets switched off as anon as the match ends.  It is this unique Coopetition ( a business strategy that uses insights gained from game theory to understand when it is better for competitors to work together) that has not only spurred each one of them to raise their game to sustained higher levels of performance, but also greatly benefitted the game of tennis at large. Every match between any two of these three has been a great event for not only the respective fans but has also attracted several other classes of essentially non-tennis loving public to the game.

If shattering of one record after the other in just one time period of the game is because of the great individual competence of each one of these three, a major part of the credit is also due to the strong stimuli that their cooperative completion. To better appreciate this aspect, let us go back a little in the past.

After a string of successes at clay and grass courts of French Open and Wimbledon respectively, Bjorn Borg was not able to crack the American Open title. After a fourth successive failure, when he suddenly announced his retirement from the active game, his words were:

“When you go out on the court, you should say this is great, I’m going to hit the tennis ball, I’m going to try to win every point, and I like to make a good shot. If you don’t think and feel that, it’s very difficult to play.”

There are two different explanations to this statement. One school interprets this as his frustration that he did not have that quality of competition that could help him to elevate his game for the hard courts of American Open. The other school looks at this feeling as Post-Prime Depression, wherein the symptoms include a bruised ego, growing awareness that the top spot in the ranking will never belong to you again, and a fear of the inevitable. It was perhaps a combination of both the factors that prompted Borg to suddenly call it a day.

In comparison to this, there hardly was a phase when any one of the three – Federer, Nadal or Djokovic – always would keep so much winning on a particular surface that other may simply lose all hope of ever winning again on that surface.

Roger Federer selecting the September 2022 Laver Cup as his swan song professional tournament, where he was to team up with Rafael Nadal under the captainship of Bjorn Borg, epitomises the true nature of that unique competitively cooperative spirit. Nadal was all tears at the end of the doubles which he and Federer had lost. However, these tears were not because the two greats could not win just one match, but were the natural reaction that he would never play that high-class, high-voltage tennis against Federer.

Federer has not only given back to tennis what he has got in so much abundance from the game, but he has put his earnings from the game to the care and education of the children across the poorer nations. An official statement at Roger Federer Foundation that he has set up for this purpose notes that the foundation has been able to reach out more than 1.8 million deprived children over last 18 years[2].

Beyond the game, Federer is also a brand ambassador for the Swiss tourism. A street each is named after him in Halle, Germany and Biel, Switzerland.

Federer was so graceful tennis player, who combined minimalist elegance with an abundance of flair, that it is said the even after a gruelling five-steer, he would hardly have shed a drop of perspiration and would be as immaculate as he was at the beginning of the match. His gliding movements across the court were so much a stamen of kinetic beauty that he was called ‘a poetic inspiration with the racquet’.  For many others watching his game was more of a ‘spiritual experience’.

In his farewell statement Roger Federer very emotionally states that “… the game of tennis: I love you and will never leave you.”

The words of Bjorn Borg, at the recent Laver Cup, aptly sums up the feelings that we all will cherish for Roger Federer – …. no one is bigger than the sport itself — but what he did for the sport all around the world, it’s amazing. We should all be proud.



The Micro View of Songs of 1943 – Female Solo Songs – Shamshad Begum

Shamshad Begum’s solos songs Balamwa Re, Sajanawa Re and Jab Se Naina Se Naina Laage (Poonji, Ghulam Haider) are covered in Memorable Songs of 1943.

Husn Ki Yeh Maherbani Phir KahaaN – Pagli – Qamar Jalalabadi / Melaram ‘Wafa’ (?) – Amir Ali

Ummid Tadapati Hai, Roti Hai Tamannaein – Pagli – Qamar Jalalabadi – Pt. Govind Ram

HFGK notes singer as Shamshad Begum, whereas Hindi Geetmala mentions singer as Naseem Akhtar

O Bhoolanewale Main Tujhe Kaise BhulauN – Pagli – Qamar Jalalabadi / Melaram ‘Wafa’ (?) – Pt. Govind Ram

Ga Ri Sakhi Man Ke TaraanoN Se – Pagli – Arzoo Lakhanav- Rasheed Are

Lyricist and Music directors have been as accepted as mentioned by uploader Melody is Queen – RAJA

Ab Koi Toote Dil Ka Sahara Na Raha  – Poonji – ? – Ghulam Haider

HFGK does not identify the singer, hence accepted as mentioned by uploader Melody is Queen – RAJA

Gaadi Wale Dupatta Uda Jae – Poonji – with chorus – ? – Ghulam Haider

Jhalak Dikha Kar Chhipi Chandani – Poonji -? – Ghulam Haider

Sheeshe Ke NahiN Tukade, Tukade Hai Mere Dil Ke – Poonji -? – Ghulam Haider

Baabu Darogaji Kaun Kasoor Par Dhar Liya SaiyaN Mor– Taqdeer – Maikall Kadari – Rafiq Ghazanvi B A

Mera Maika Hua Sasural Mujhe DonoN Taraf Ka Khayal – Taqdeer – Maikal Kadari – Rafiq Ghazanvi B A

Fading Memories…. Unforgettable Songs: October 2022

Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1956 (Part II)

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987) of Shankar Jaikishan music director duo and Shailendra (a.k.a. Shankardas Kesarilal, B:  30 August 1923 – D: 14 December 1966) of their Shailendra-Hasrat seamless pair of lyricists formed two adjacent sides of the SJ-Shailendra-Hasrat quartet.

The typical model of the films in 50s had an average of 5 to 8 songs. Where as most of the  then successful music directors were able to give two to three hit songs in each film, Shankar Jaikishan had that very unique knack which created almost all songs of each film a great hit. As a result, whereas other music directors generally handled one or two films a year, S-J started getting three to five films a year, even when they went on jacking up their fees. In the beginning, as can be expected, Shankar and Jaikishan used to devote a good time together for the conception of the music composition for each film.

Several historians have recorded that with the mounting pressure of ever increasing workload, Shankar and Jaikishan had to compose the tunes for the songs that each one had pre-selected for a given film independently. That division of labor also lead to each partner working more with a lyricist with whom each one was naturally more comfortable with.  As is very widely believed, and accepted, Shailendra mostly worked with Shankar and Hasrat Jaipuri with Jaikishan. After his marriage, it is said that Jaikishan had started composing music more from his home whereas Shankar used to work from their music studio.

The film historians also do take note of the fact that all through the 50s, even after their clear division of work there still was that great camaraderie between the two, each one improvising the other’s tune or orchestration. There have been notable instances when it is said that two had worked even with other than their normal lyricist partner.

It has been so much of personal pleasure for me to commemorate the birth anniversary of Shankar Singh Raghuvanshi, of this great S-J team, through the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018. That pleasure gets multiplied several times while recalling their more famous numbers and listening to their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

1955 and 1956 (Part I) in 2021

After an avalanche of as many as 6 Hindi films in 1953 and 5 in 1954, there was some lull during 1955, But the year 1956 had 7 films under the belt of S-J pair. Of these seven, we have covered Halaku, Kismat Ka Khel and Basant Bahar in the Part 1 of the SJ songs of 1956 in 2021. Presently, we will take up three more films of SJ duo in the year 1956, viz. Chori  Chori, New Delhi and Rajhath,

Chori Chori (1956)

As may be observed from the poster of the film, Chori Chori was romantic film (with the then most coveted lead pair of Raj Kapoor and Nargis) fairly mixed with comedy (with two big guns – Johnny Walker and Bhagwan – playing comically grey roles).

Chori Chori had nine songs, of which Hasrat Jaipuri penned 5 and Shailendra penned four, of which Yeh Raat Bheegi Bheegi (Manna Dey, Lata Mangeshkar) remains one of the most iconoic romantic songs of Hindi cinema and another sweet duet Jahan Mein Jaati Hoon (Manna Dey, Lata Mangeshkar) is my one the most favorite one.

Tum AraboN Ka Her Pher Karanewale Ramji, Sava Lakh Ki Lattery Bhejo Apne Bhi Naam Jii – Mohammad Rafi, Lata Mangeshkar

Essentially a mandatory comedy song always assigned to Bhagwan Dada in any film, stands out because very effective lyrics and equally pleasing composition by Shankar (Jaikishan).  Just note how tastefully orchestration for both interludes has been composed.

Manbhavan Ke Ghar Jaaye Gori Ghunghat Mein Sharmaye Gori Bandhi Rahe Ye Pyar Ki Dori Hamein Na Bhulana – Lata Mangeshkar, Asha Bhosle

The opportunity of entertainment stage show as part of the marriage ceremony has been converted by the music director and lyricist to weave in a traditional farewell song for the brides. Shailendra comes up with lyrics that has mix of pleasure of the friend getting married and sorrow of being away once she settles at the in-laws’ place. However Shankar(Jaikishan) uses the dance sequence to present their signature dance composition style – multiple rhythm instruments backed up multi-instruments interlude and counter-melody orchestration.

New Delhi (1956)

The story of the film moves around a newly graduated north Indian young man’s search for a rented premises to settle in his new job in New Delhi, which lands him at the doors of tradition bound South Indian family – both for home as well as his love. Kishore Kumar in the male lead and Vyjaintimala in the female lead naturally provide music directors a templated platform for light mood male songs and classical dance based female songs. Zone would certainly expect dance-based songs to be Composed by Shankar, but even majority of Kishore Kumar songs also have been composed by Shailendra-Shankar composition.

One would very easily recall Arre Bhai Nikal Ke Aa Ghar Se, Nakhrewali Dekhne Mein Dekh Lo Kitani Bholi Bhali, Milte Hi Nazar Aap Mere Dil Mein Sama Gaye (all by Kishore Kumar) Tum Sang Preet Lagayi Rasiya (Lata Mangeshkar, Choru).

Zindagi Bahar Hai Mohabbat Ki Bahar Hai – Lata Mangeshkar

One more fine example of Shankar (Jaikishan)’s own signature style composition for a dance song – rhythm by traditional Indian-rhythm instruments but orchestration of interlude music scores by multiple western instruments.

The song is filmed back-to-back with Nakharewali…

Baari Barssi Khattan Gaya Te Khat Ke Le Aaya Sotti – Lata Mangeshkar, chorus

Essentially this a traditional Punjabi folk dance. But just see how Shankar has given it a very different treatment by first listening to a song from Punjabi film

then listening to the Shankar (Jaikishan) composition.

Gori Tere Sapno Ke Sajna Aye Ter Angana Kar Le Solah Singaar Hoja Jaane Ko Ab Taiyaar Leke Doli Khade Hai Kahaar  – Lata Mangeshkar, chorus

We have one more bride farewell song that will go on to demonstrate the wide range of tunes and compositions that Shankar Jaikishan could commandeer for the same theme.


Rajhath was Sohrab Modi’s romantic fantasy drama based on a historical plot. The story, revolving the animosity being perpetrated through the generations between two empires gave Sohrab Modi to lay the plot for a costume-drama and the two children of each state falling in love provided Shankar Jaikishan a wide freedom to compose songs that would help create one more hit album. Shailendra’s songs like Chale Sipaahi Dhool Udaate (Manna Dey, chorus) Mere Sapne Mein Aana Re (Lata Mangeshkar)  Naache Ang Ang Ang Tere Aage (Lata Mangeshkar, chorus) went on to big hits at the box-office.

Aa Ja Aa Ja Nadiya Kinare TaaroN Ki Chhaiya Tujhe Kab Se Pukare – Lata Mangeshkar, chorus
The prelude to the dance song gives faint hint of tune that Shankar Jaikishan used as a full-fledged song in (possibly) in Kanhaiya (1959), which I am not able to precisely remember at this stage..

If only all the tunes the duo had composed during teir music room had been well documented, the Hindi Film music would have been far richer than what the tunes that went on to be converted in to songs or background pieces.

Kahaan Se Milte Moti Ansoo Mein Meri Taqdeer Mein – Lata Mangeshkar

A love story in a Hindi film has to mandatorily have a phase wherein the there are roadblocks to the road of love of the two protagonists, which would provide the opportunity for a couple of pathos songs to be composed by the music director.

Pyare Babul Se Bichad Ke … Ghar Ka Angana Suna Kar Ke Gori KahaN Chali Ghunghat Mein – Lata Mangeshkar, chorus

If one needed any validation test for Shankar Jaikishan’s vast range of tunes, here is one more bridal farewell song.

One more aspect of Shankar Jaikishan’s unique style that should be noted here is their use of very fast rhythms where normally other music directors would have used a slow rhythm in lower octave scale.

Aa Gayee Lo Aa Gayi Main Jhoomti… Ho AkhiyoN ko AkhiyoN Se Chumati – Lata Mangeshkar
The situations seems to be the case where Madhubala has impersonated as a native tribe girl and performs their traditional song with accompaniment of a folk-instrument (if I am not mistaken, it is Sarangi) player as a company.

Shankar (Jaikishan) seem to have game fully tried to recreate the desired effect with relyin more on use multiple flutes as the main instrument accompanying sarangi , but the composition does not come out from the shadow of their signature dance composition style – a fast rhythm with multiple instrument-orchestra.

We have one more film -Patrani – for the year 1956, but that deserves a full-scale post, Hence, we will carry forward the year 1956 to  one more episode.

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.

The Micro View of Songs of 1943 – Female Solo Songs – Noor Jehan, Suraiya, Khursheed

Solo songs of Noor Jehan

Whereas Noor Jehan’s two solo songs from Duhai and three (including a twin song) from Nadan could not be located on YT, Dil Dun Ki Naa Dun and Roshni Apni Umangon Ki Mitakar Chal Diye from Nadan are covered in Memorable Songs of 1943..

Ab To Nahin Duniya Mein Kahin Apana Thikana – Nadan – Jiya Sarhadi – Datta Koregaonkar

Ek Anokha Gam Ek Anokhi Musibat Ho Gayi – Nadan – Jiya Sarhadi – Datta Koregaonkar

Jinhein Karana Tha Dil Abaad Apana Woh Barbaad Hai – Naukar – Akhtar Sherani – Rafiq Ghazanvi

Solo Songs of Suraiya

Ek Tu Ho Ek Main HuN Aur Nadi Ka Kinara Ho from Kanoon, and Aa More Saaanwre Sainya Mora Jiya Lahraye  and Mori Gali More Raja, Mori Kasam Aa Ja from Sanjog are covered in Memorable Songs of 1943.

It is interesting to note that Naushad has used Suraiya as playback for Mehtab in Kanoon and Sanjog for the year. It may sound even more interesting now, but Suraiya was just 13 years old then and Mehtab was on 17 or 18.!

Panghat Pe, Panghat Pe Muraliya Baje – Ishara – D N Madhok – Khursheed Anwar

Koi Chutaki Si Mere Dil Mein Laye Jaaye – Sanjog – D N Madhok – Naushad

Solo Songs of Khursheed

Whereas  Koeliya Kaahe Bole Ri, Mora Nazuk Nazuk Jiyara  and Aankhon Ka Khel Khel Ke Aankhen Koi Churaaye Kyon  from Nurse and Ab Raja Bhaye More Baalam Woh Din Bhool Gaye, Barso Re Barso Kale Baadarwa, Ghata Ghanghor Ghor Mor Machve Shor and Ho Dukhiya Jiyra Rote Naina  (Music: Bulo C Rani, as per HFGK) are covered in Memorable Songs of 1943, one solo song from Nurse could not be traced on YT.

Kahani Ban Gayi Mori Tum Sang Aankh Milani – Nurse – D N Madhok – Gyan Dutt

Mere Dil Ki Suno Pukar, Dil Mera Bol Raha Hai – Nurse – D N Madhok – Gyan Dutt

1966 to 1971 – Those Anecdotal Five Years …. – The Practical(s) : In Practice

As I sit down to introspect today, I am still not been to clearly spell out my relationship with the practical(s) during the five years of the study of engineering.  Whether it was lack of interest, or lack of aptitude, or lack of skills, lack of appreciation of importance of the practical(s) for an engineering professional, I can vaguely define that relationship as the degree of connect only to the extent that I had with all other subjects- be it its theoretical part or the practical part. When I reflect a bit deeper, I can possibly see conditioning of a typical mindset that the environment those days would tend to mold.

In most of the middle and upper lass homes, the atmosphere generally inculcated the belief that during the ‘student’ phase of the life, a growing person had to study as best as the facilities available. The evaluation of the learning normally always gross total of all the marks that a student gets for all the subjects during the studies. The emphasis on studying was so much that the children hardly were given any other assignments that would either develop their aptitude for multi-disciplinary learning. It was the sacrosanct responsibility of the parents and the family to make available best possible resources to help the child pursue the studies, Correspondingly, it was considered to be prime duty of the child to study as much as he/she can, till a particular age or till the family could afford the total cost of study for all the children in the family.

As I had seen, during my Democratic High School (Gomtipur, Ahmadabad – a residential area in the textile mills dominated locality of eastern Ahmadabad) days, the friends who came from working class families, used to double up for many daily family-support chores. However, for the elite student class of the society – to which we belonged at bottom of the pyramid strata – the only activities that could possibly inculcate some aptitude for the practical life was a school picnic her or a short vacation tour there. If any school induced the students to create some kinds of working models or develop any performing art skill was considered to an ‘enlightened’ school. These schools therefore were considered ‘experimental’ schools because they dared (or imagined creating) unusual educational methods that included the practical(s) as well to the historically developed educational model of the school.

The studies till 11th standard those days, generally, was all about theories. The schools that offered multi-disciplinary education during primary, secondary, and higher-secondary stage were far too few. Most of the students of that period would see a laboratory, as part o the regular studies, only when they reached the level of college studies. Even at this stage, the ‘practical(s)’ were treated more a part of a given curriculum. One would study, or teach, the practical as all other subjects were being studies all these years.

As a result, I would tend to conclude that most of the students of those times were hardly aware that the structured studying was as much widening of the learning as it was developing the reasoning.

I, too, was a typical product of that system – certainly somewhat better than the then average – who had reached the level of studying engineering in course of the regular development of the life. That did not necessarily mean that I was attitudinally competent, or ready, to appreciate the importance of ‘the practical(s)’ in the pursuit of the engineering studies. I was not even aware that I will need to consciously cultivate several changes in my natural aptitude in order to really absorb what I was to learn during the course of my engineering studies. As a result, whatever shortcomings came up during the course of studies, my typical response was to accept them as it were rather than try to improve upon it.

In the retrospect, I do realize that It was only when I entered the ‘earning’ phase of the life that I could actually realize the importance what we were made to study during school and college. But that is a subject far beyond the scope of the present endeavor.

My memories and experiences of the practical(s) that will come up in my now to follow narrative should present that side of apathy. I candidly admit that the above disclaimer is not an effort to justify that apathy, but a sincere effort to present my perspective of that reality.

I plan to take my ‘(Mis)connections at the Electical Lab’ in the next episode.