Fading Memories…. Unforgettable Songs: Volume VIII – March 2023 Edition

Ghulam Mohammed and His Singers: 1953

Ghulam Mohammed (1903 – 17 March 1968) was trained as dholak player, but on the strength of his natural insight for rhythm ensured he was equally comfortable and proficient with folk percussion instruments like duff or matka. More he also had advantage of accompanying his father to various music programs. That helped him to extend his reach to melody as well. The initial years of struggle after he came down to Bombay in 1924 also worked as blessing in guise, in that his natural  talents got honed to a level of professional excellence. The cruel realities of politics of Hindi film world or the fickleness of destiny could prevent in getting Ghulam Mohammed the success commensurate with his talents but has not been able to obliterate Ghulam Mohammed’s creations in the 37 films for which he scored music as independent music director.

It to refresh our memories of multi-talented music director Ghulam Mohammed that we commenced the present series in the month of death of Ghulam Mohammed’s songs with special focus on the playback singers he chose to fructify his creations in the month of his passing away to the heavenly abode. Till now we have covered Ghulam Mohammed’s songs for the year

1943 to 1949 in 2021, and

1950-1952 in 2022.

Presently, we will listen to the relatively less heard songs of six films – Dil-e-Naadan, Gauhar, Jazar Raatein, Laila Majnu, Naina and Rail Ka Dibba – for which Ghulam Mohammed composed music in the year 1953.

Jagjit Kaur – Chanda Gaye Ragni Chham Chham Barse Chandani, Mast Jiya Lahraye Mora Mast Jiya Lahraye – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

While recognizing the talent of Jagjit Kaur, Ghulam Mohammed has so creatively used her voice for this happy song.

Ghulam Mohammed has so effectively further used Jagjit Kaur’s voice in sad song, Khamosh Jindagi Ko Ek Afazana Mil Gaya, that the song instantly got a place of honor in Jagjit Kaur’s all-time greats

Sudha Malhotra – Na Wo Humare, Na Dil Humara, Kahin Bhi Apna NahiN Thikana – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed extends his experiment to use voice of Sudha Malhotra for this solo wherein he has a slow-paced mukhada as well as first lines of Antaras to create that specialeffect of pathos.

Asha Bhosle – Lijo Baabul Hamara Salam Re, Ham To Jaate Hai Saajan Ke Gaam Re – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

The daughter is trying to assuage the helpness of father. Ghulam Mohammed has chosen the folk tune of a vidaai (bride farewell) to convey the message. He has chosen the then less known voice of Asha Bhosle for this poignant song.

Talat Mahmood – Ye Raat Suhani Raaat Nahi, Aye Chand Sitaro So Jao – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

Not having seen the film I do not why Talat Mahmood (the hero on the screen) is so disturbed on his first wedding night, but Ghulam Mohammed has effectively used his soft voice at a higher scale to express the mood.

Asha Bhosle, Mohammad Rafi – Haule Haule Dhire Dhire  Haule Haule, Dil Mera Leke Chale – Gauhar (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used a novel way of the singers  swinging the lyrics of mukhada to express the bubbling moods of the love birds.

Shamshad Begum – Saavan Mein Yaad Teri Aaye Jab Piya, Ho Dekho Ji Kali Ghata Baras Baras Jaye – Gauhar (1953) – Lyrics: Shakeel Badayuni

The pouring rains from the dark clouds of Saavan is a favorite metaphor for poets to express the feelings of the separation of the two birds. Ghulam Mohammed has fallen back on the veteran Shamshad Begum to enliven the pain.

Sudha Malhotra, Shamshad Begum – SaiyaN Tore PaiNYa PaduN Aa Jaa Re,  Mere Man Ki Aag Bujha Ja Re – Gauhar (1953) – Lyrics: Shakeel Badayuni

Two friends and their friends voice their youthful longings for falling into love with someone of their choice. The song is set to a folk tune.

Mohammad Rafi – Zara Sambhal Ke Beta Jamura Tu Naach Main ChheduN Tamura – Hazaar Raatein (1953) – Shakeel Badayuni

The song is essentially the traditional folk tune used by the street conjurer who moves along with his red-faced monkeys and performs on the street.

Shamshad Begum, Mohammad Rafi – Raja Ji, Raja Ji Tum Meri Kahani Kya Jaano,  Main Hun Kya, Tum Bhala Dil Ki Baatein Puraani Kya Jaano – Hazaar Raatein (1953) – Shakeel Badayuni

Ghulam Mohammed uses a folk tune, retaining  dholak as rhythm instrument and harmonium in the orchestra, smoothly weaving in violin ensemble to give the song  modern touch. He also moves away from the set pattern of antara singing by using Rafi to sing the lines in a very noel manner.

Mohammad Rafi – Milne Ki Hasrat Mein Betabi Ke Saath, Rah Gaye Faila Ke Haye Dono Haath, Ful Do Din Hans Ke Ji Bahla Gaye  Aur Ye Gam Se Bin Khile Murjha Gaye – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

In this background song, we get to hear Mohammad Rafi in deep tone set to a mildly higher scale, fully expressing the feelings of flying sands gradually covering up the bodies of Qaish and Laila.

Asides: Laila Majnu had two more songs of Mohammad Rafi, as also songs by Asha Bhosle and Shamshad Begum as well. However, in order to cover all these songs we may have to dedicate separate episodes to the cases of such films.

Mohammad Rafi, Khan Mastana – Bulbul Mein Nai Nagame Tere Gul mein Teri Bu Hai, Har Saye Mein Tera Nur Hai Har Chijh Mein Tu Hai – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

Medicants are sinigng a qawalli-styled song, probably as a prayer which so intimately reminds Qaish of his love Laila

Mohammad Rafi, Talat Mahmood – Bhar De Jholi Allah Naam Bhar De Jholi Allah Naam, Sabhi Ki Khair Mayi Baba Ki Khair Tere Banenge Sab Bigade Kaam – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

The song initially depicts medicants seeking alms from Laila. Qaish also seems to have joined the group, When his turn comes up, the song goes into Talat Mahmood’s solo voice and Qaish uses the opportunity to seek a peek of Laila in the alms.

Naina (1953) had two music directors – Ghulam Mohammed composing three songs and Manna Dey four of total seven songs.

Meena Kapoor – BarbadiyoN Ne Hosh Se Begana Kar Diya, Ab AaNsuoN Ko Dard Ka Afsana Kar Diya – Naina (1953) – Lyrics: Anjum

On th efface of it the song is atypical love-torn heroine’s expression of poignancy. But, Ghulam Mohammed has experimented with voice Meena Kapoor while laying the first line of mukhada and each anatara to aver slow rhythm, thereby transforming the song into a very effective expression of pain of the torn-up love.

Geeta Dutt – Dil Unko De Diya Haye, Dil Ka Amailk Jaan Ke – Naina (1953) – Lyrics: Anjum

When it came to accepting the love, Ghulam Mohammed has switched over to the voice of Geet Dutt.

1953 had three films of Shammi Kapoor – Thokar, Laila Majnu and Rail Ka Dibba. Each one had fared poorly at the box office, ranking 21^st, 22^nd and 19^th respectively in terms of the collections. As a result, all the good work that Ghualm Mohammed had done in composing the songs for the two later films also was swept along in the wave of the ebb of box-office failure.

Shamshad Begum – Chham Chhamaachham Paayal Baaje, Naache Mora Man Ho Naache Mora Man, Chandaa Se Gawaahi Le Le Tu Mere Saajan Ho – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

On a stand alone evaluation Shamshad Begum is at her usual gay mood in the song. But, the perplexing part is why should Ghulam Mohammed have chosen Shamshad Begum as playback to petit Madhubala in the year 1953!

Mohammad Rafi, Gandhari – Dunia Jawan Hai Dil Meharban Hai, Aise Mein Sanam Mil Jaaye Sanam Meri Qasam  – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

The song has all the mandatory strapping of a street song – harmonium taking the lead in the orchestration, Kakoo dancing with gay abandon.

Shamshad Begum, Mohammad Rafi – La De Mohe Baalma Aasmani ChudiyaN Ji Aasmani ChudiyaN – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has so deftly transformed the mood the traditional folk tune to enliven the playful mood of the two love birds.

Before we formally end the episode, we ough to take note of Talat Mahmood songs composed by Ghulam Mohammed in this year – the songs that remain high order of Talat Mahmood’s all time greats – Zindagi Denewale Sun, Jo Khushi Se Chot Khaye, Muhabbat Ki Dhun BeqararoN Se Poochho (with Jagjit Kaur and Sudha Malhotra) (Dil-e-Naadan), Chal Diya KarwaaN  Lut Gaye Hum Yahaan,  BaharoN Ki Duniya Pukare, Dekh Li Aye Ishq Teri MaherbaniyaN Dekh Li ( both with Asha Bhosle, composed by Sardar Mallik), Aasmanwale Teri Duniya Se Jee Bhar Gaya.

Our journey of refreshing Ghulam Mohammed’s songs still has a long way to go…..

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

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