Carnival of Blogs on Golden Era of Hindi Film Music – January, 2017

Welcome to January, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will commence our current episode with the posts on the anniversaries or eulogies.

Which Was the True Voice of Pancham? – It will be 23 years since Pancham (R D Burman) on this day in 1994 left us music lovers with an awful feeling of loss just when we were about to celebrate his huge comeback. Peeyush Sharma recalls the many voices that he sang to us in, trying to really understand which his true voice was. All songs picked in this list had music by R D Burman himself. The voice had become known as a distinct and melodious one which had that ‘ras’ that was so typical of him. Mone poRe Ruby Roy (later reused as Meri bheegi bheegi si in Anamika) and Jete jete pathe holo deri (which had a Hindi reincarnation as the iconic Tere bina zindagi se koi shikwa to nahin in Aandhi) became chart-toppers in the Bengali non-film songs category.

Om Puri certainly deserved profuse eulogies in the print and net media. I have picked up the three representative ones here –

  • Om Puri – The Luminance of a Natural Actor  – Amitava Nag – Om Puri passed away on 6 January 2017 after four decades of acting. One of the pioneer faces of the Indian ‘parallel’ cinema movement of the 70s and 80s, Om Puri later on shifted to international cinema and remained a forceful actor till his last.
  • The original choice for Ahuja’s role in ‘Jaane Bhi Do Yaaro’ was… not Om Puri – Pankaj Kapoor was to play the builder Ahuja, but when he was cast in the larger role of Tarneja, Om Puri made his celebrated comic debut.
  • Everyman, comedian, sutradhaar: a tribute to Om Puri – It is a bit sad to realise that much of Puri’s best work was done between 25 and 35 years ago, that few roles in the final years did him justice…Much like the man whose hesitant voice and flashing eyes helped make them so memorable, they belong to us all. Or as JBDY’s Ahuja might slur, “Yeh films aap akayle ke nahin hain. Hum sab shareholder hain.”

Urdu Poet, Lyricist Naqsh Lyallpuri Dies at 88  – He first got break in the 1952 film Jaggu with the song Agar Teri Aakhon Se Aakhein Mila Doon (Asha Bhosale, Hansraj Behl).

From Hindi film music to raga-based symphonies, the remarkable journey of Anthony GonsalvesNaresh Fernandes pays rich tribute to the renowned musician, whose fifth death anniversary is on January 18, merged the Western classical music of his Goan heritage with Hindustani melodies.

Geeta Bali’s Personality Had the Energy of Shammi Kapoor’s Dance – Megha Mathur – This story is from The Quint’s archives and was first published on 21 January 2016. It is being republished to mark Geeta Bali’s death anniversary.

Kamal Amrohi made only four films. Fortunately for us, one of them was ‘Pakeezah’ – On the director’s birth anniversary, here is an excerpt from Vinod Mehta’s biography on Meena Kumari revisits the film’s troubled production.

The January 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Dilip Dholakia as singer. This was preceded by the guest article Forgotten Composers Unforgettable Melodies (11): Dilip Dholakia, which I then had reblogged on 10-1-2017. Here we have looked at back at Dilip Dholakia from the lens of a music director of Hindi films.

Here are posts on other subjects as well:

Noor Jehan with R.D. Burman & Asha Bhosle – Asha Bhosle said that “Badnaam mohabbat kaun kare [Dost, 1944, Sajjad Hussain] is her favorite song by Noor Jehan.

noor-jehan-with-r-d-burman-asha-bhosleBharat Bhushan, Meena Kumari at premiere of Baiju Bawra (1952)

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From left to right: Bharat Bhushan, Meena Kumari, Meena Kumari’s sister Madhuri and Surendra, who played the role of the musician Tansen in the film.

When Cinema Matched Music Beat by Beat: Nadiya Kinare in Abhimaan  – The challenge of Nadiya kinare in Abhimaan was to create a supremely classical yet rustic song. SD Burman’s music, Majrooh Sultanpuri’s lyrics, Lata Mangeshkar’s voice along with Jaya Bhaduri and Amitabh Bachchan’s performance and Hrishikesh Mukherjee’s direction were ably supported by the competent technical crew and musicians. Anand Desai and Antara Nanda Mondal explore how master craftsmen of cinema and music matched every frame to a note in this song which can well be called a textbook in song composition and picturisation!

A snowy winter is the perfect excuse to get cuddly in Hindi film songsManish Gaekwad pens this sub-genre of Hindi Film Songs.

Film Songs Based on Classical Ragas (10) – Bihag and its family – Subodh Agrawal continues from where he had left off his series, Songs based on classical ragas.

My Favourites: ‘Kaun Aaya?’ Songs – Hindi films are full of rhetorical questions to which everyone, including the people asking those questions, know the answer… One such question is ‘Kaun aaya?’ The answer is obvious, of course (and the characters on screen know who has stolen their heart, resided in their soul, made them laugh…), but they ask (sing) the questions anyway.  The post has some excellent, but not more often heard songs –

Dhoondhta Hoon Jinko Raaton Ko Khayalon Main Mein’ – Shiv Kumar (Pathak) made his debut with Poonam KI Raat (1965). Here is the link to the song in the title of the post – Dhoondhta Hoon Jinko

Flashback 50 Years By Peeyush Sharma  – There is a marked shift in the style of compositions, change in the audience taste and acceptance of new music directors. Among the films that had their music release this year, Shankar Jaikishen, O P Nayyar and Usha Khanna each had 7 films while Madan Mohan and Ravi had five each and Hemant Kumar had three. Laxmikant Pyarelal had 10 releases to their credit – a defining year for their career. RD Burman gave his life’s first massive chart buster hit Teesri Manzil.  There were several others who scored memorable music scores in a single film or two.

  • (Part I): Shankar Jaikishan Hits of 1966 – Teesari Kasam, Gaban and Amrapali were the notable films from the point of view of the quality of songs.
  • (Part II): OP Nayyar Hits of 1966 – Bahaarein Phir Bhi Aayengi, Sawan Ki Ghata, Yeh Raat Phir Na Aayegi were the notable films from the point of view of the quality of songs.
  • (Part III): Madan Mohan Hits of 1966 – Mera Saaya, Neend Hamari Khwab Tumhare, Dulhan Ek Raat Ki were the notable films from the point of view of the quality of songs.

Steam behemoth rides in Bollywood – D P Rangan takes on the nostalgic trip to the younger days of most of the readers who are in 40+ age group.

Ten of my favourite non-romantic male-female duets which do not mention romantic love in any form, not even as part of a bhajan (the Radha-Krishna trope is one that comes to mind). And that the actors should both be adults (because there are far too many songs which have a female playback singer singing for a child onscreen) as in Saanwle-salone aaye din bahaar ke (Ek Hi Raasta, 1956).

Do actors have what it takes to stop lip-synching and start singing their own film songs? – No actor took playback singing as seriously as Premnath when he sang an Indian classical bandish Dagar Chalat Dekho in the little-known film Raja Kaka (1973). It was an enviable accomplishment that went unnoticed.

Odd(itie)s and Ends, Joys of Fusion, and Blogging Restlessness is a post that is a little more scattered and eclectic than usual, which may signal a direction for other posts to come.

Cinema classical: When Parveen Sultana trumped Kishore Kumar in ‘Hamein Tumse Pyar Kitna’Manish Gaekwad has kick started to showcase the voices of the stalwarts of Indian classical music in popular films with this song from Kudrat. Naushad introduced Parveen Sultana to Hindi moviegoers in Kaun Gali Gayo Shyam in Pakeezah (1972). The thumri was used in the background….Sultana returned to Hindi playback only in 1981 for Hamein Tumse Pyar Kitna, composed by RD Burman for the movie Kudrat. The track, in raag bhairavi, was written by Majrooh Sultanpuri. Parveen Sultana won the 1982 Filmfare trophy for her version of the song.

My Favourites: Songs of Promises – are all love songs, songs of promises between lovers. Not ‘aap ki kasam’ songs, or the breaking of promises but actual promises being asked for, or made. Promises of a future together, of hope that one will have someone with whom to share life’s struggles and happiness, of trust that one’s faith will not be betrayed. For example:

Picture the song: Guns and snogs in ‘Mile Mile Do Badan’ from ‘Black Mail’Nandini Ramnath narrates why we should trust Vijay Anand to insert a romantic song in the middle of a chase sequence and make it work…..

We end today’s episode with a INTERVIEW of Ahsan Qasim by Sanjeeb Updhyay about GREAT MOHD RAFI SAHAB – Part 1  ǁ Part 2 ǁ Part 3 ǁ Part 4

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

Carnival of Blogs on Golden Era of Hindi Film Music – December, 2016

Welcome to December, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will begin our present episode on a lighter note with You’ve never heard the demonetized version of this famous song from Guru Dutt’s ‘Pyaasa’. As a parody, ‘When it was our turn in the queue, the bank’s coffers were empty‘ is a part of sort of mini cottage industry – These Bollywood spoofs on demonetisation will tide you over the cashless blues.

December, 2016 also had another major event- passing away of Tamil Nadu CM, J Jayalalithaa.

Wadia and Nadia: How love kicked in pre-Bollywood filmdom – Nadia was a JBH discovery. But it was Homi (May 22, 1911 – December 10, 2004) who gave this memsahib with a thick Scottish accent, a voice. “Homi realised her language was her ‘body’,” says film theorist and curator Amrit Gangar. “He kept Nadia’s dialogue to a bare minimum because of her difficulty with Hindi.”

mary-ann-evans-aka-fearless-nadia-in-a-still-from-carnival-queen-1955
Mary Ann Evans aka Fearless Nadia in a still from Carnival Queen, 1955

Happy Birthday Dharmendra: As he turns 81, we bring you his various filmi moods – He was probably the first Indian male star who appeared bare-chested in a song in Phool Aur Patthar. From Anupama (1966) to Satyakam (1969), Dharmendra tried to create a space for himself as an actor. Hrishikesh Mukherjee’s Chupke Chupke is another film which proved that the actor could balance subtle comedy just as well as slapstick elsewhere.

MS Subbulakshmi: A journey from Kunjamma to Meera – is N Venkataraman’s tribute on her birth centenary (16 September 1916 – 11 December 2004).

December is also a month of birth dates of Dilip Kumar and Raj Kapoor, two fulsome actors of the Great Triad.

dilip-kumar

Dilip Kumar – Leaves from My Diary in an interview conducted in 1957.

prithivi-raj-kapoor-with-sons-and-a-grand-son

Prithivi Raj Kapoor with sons and a grand son

15 Songs of Shailendra: The Art of Simply Expressing Deepest Thoughts – On Shailendra’s death anniversary,Antara Nanda Mondal and Peeyush Sharma have compiled a brief list of 15 songs that give a glimpse of his massive range – encompassing songs of love and romance, songs of introspection and philosophies, songs of spiritual awakening and harsh social realities, songs of that celebrate liberation and songs that express the anguish of entrapment.

sitara-devi

We have an excellent career-sketch of Sitara Devi: The Twinkling Star profiled by Karan Bali on her second death anniversary on 25th November.  Some of her memorable films are Judgement of Allah (1935), Achhut (1940), Pagal (1940) and India Today (1940)., Roti (1942), Najman (1943) or her snake dance in Anjali (1957) or the Holi dance in Mother India (1957).

We will also take note of A Short Film Tribute to Sitara Devi   

Karan Bali has also profiled PC Barua, who is most easily remembered for K L Saigal’s songs of Devdas (1935) or Saigal’s So Ja Raajkumari So Ja (Zindagi).

The December, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Mohammad Rafi’s solo song from the first film with the music director. This part of the article covered the first three years of the first-five-year-period of 1944-1948. The second part of the article, has covered songs from 1947 and 1948 @ Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director ||2||.

Here are posts on other subjects as well:

Shyam Benegal’s ‘Ankur’ and the beginning of a film movement – A Book Review by Sangeeta Datta – A script written during the filmmaker’s college years became the foundation of his sparkling career as one of cinema’s greatest realists.

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Smita Patil as a child: Mischievous, adventurous, emotional and an excellent mimic – In her review Maithili Rao notes that  Smita Patil biography reveals that the acclaimed actor, whose death anniversary is on December 13, was ‘prem mayee’: a being suffused with love.

More Delicious Chutney Covers of Hindi Film Songs – After the introductory piece, we can now expect this to be a regular fare.

Southern Spice in Hindi Music highlights key aspects of South Indian music that have been absorbed in Hindi film songs, that have added what one would call as a dash of Southern spice in Hindi film music. This is not about the vocal styles from South India, but instruments from South India. LINK TO PLAYLIST FOR SOUTHERN SPICE IN HINDI FILM MUSIC takes us to 12 such songs from 1940s to’60s, with one exception.

I have been able to land upon this quite an imaginative subject – “Samne waali khidki” songs rather belatedly.

Shankar-Jaikishan’s multi-faceted genius with ‘other’ singers – have covered so far their best songs for his leading singers, Lata Mangeshkar, Mukesh, Rafi and Manna Dey. also presented his best dance songs for Lata Mangeshkar and female dance duets. presenting my final tribute to SJ with their songs for ‘other’ singers which give a glimpse of their multi-faceted talent.

My Favourites: Heroes – 1 (40s-70s)  is the pairing list of earlier  My Favourites: Heroines – 1 (40s-70s) , based on an idea of Stars and Songs, that the author, Ava Suri, particularly like featuring the actress. In the continuum, Zeenat Aman – My favorite Songs is a collection of Baker’s dozen songs that have matching visuals to the catchy lyrics with Zeenat Aman in the focus and Ashok Kumar – 10 favorite songs that the actor sang as well as performed on the screen.

‘Diya Na Bujhe Ri Aaj Hamara’ – Kumkum The first song I got as a dancer was the song “Angana Baaje Shehnai Re, Aaj Mori Jagmag Atariya” in the film Sheesha which was sung by Shamshad Begum. ‘Raat Ke Raahi’s song ‘Daayein Baayein Chhup Chhupa Ke Kahaan Chale’ was picturized on Kumkum’s younger sister Radhika and Shammi Kapoor.Radhika also stays with her family in Mumbai.

Trios, Quartets, and More: Ten of my favourite songs has presented songs such as:

Bas mujhko mohabbat ho gayi hai (Biwi aur Makaan), 1966); Mukesh, Manna Dey, Hemant, Talat Mahmood. There is one more such experiment in the same film – Nahi Hota… Aa Tha Jab Janam Liya – Mukesh, Manna Dey & Hemant Kumar

The Legends: Asha Bhosle sets the tone with the help of solos and The Legends: Asha Bhosle – Part 2 has her duets.

We end today’s episode with a short film on songs and life of Mohammad Rafi: Part 1| Part 2 | Part 3. 

I take this opportunity to wish a great 2017 to all of you and look forward to your valued suggestions to keep our content more engrossing…

Carnival of Blogs on Golden Era of Hindi Film Music – November 2016

Welcome to November, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1st October (1906) –

Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music

The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa) – The iconic Jaane kya tune kahi in Guru Dutt’s Pyaasa (1957) is a masterpiece in the world of music and cinematic technique. Anand Desai and Antara Nanda Mondal dig into the finer nuances of this classic song, unspooling its various artistic and creative layers – composition, rendition, camera work, performances, orchestration and more. Here is its Bengali version – Mono Dilo Na Bandhu

The Incomparable Music Of S D Burman Transcends GenerationsWhat makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his?  Antara Nanda Mondal  seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.

Aankh Jhukakar Baithnewaale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle)

10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.

More to read on Geeta Dutt

mala-sinha-810x574We have an excellent career-sketch of Mala Sinha, profiled by Karan Bali  in this episode.  Well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes – Premendra (Holi Aayee Re (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971).

Baat Niklegi Toh Phir: The Unforgettable Voice and His Musical Journey – In remembrance of Jagjit Singh, Antara Nanda Mondal  for Learning and Creativity-Silhouette Magazine presents a review of journalist-editor-biographer Sathya Saran’s eloquent and engrossing chronicle Baat Niklegi Toh Phir The Life and Music of Jagjit Singh, peppered with anecdotes, instances, stories and nuggets of information, traces the life, works and music of India’s most popular ghazal singer.

Helen of the dance floor, in 10 songs – Born on November 21, 1938, and dazzling viewers all the way to eternity, Cha Cha Cha (1964) offered Helen a rare chance to be a heroine, while offering maximum exposure to her dancing prowess:

The instrumental title track from Cha Cha Cha

Cha Cha Cha*Cha Cha Cha(1964) Dance Competition

15 films about children to mark Chacha Nehru’s birthday : Children’s Day is the perfect excuse to visit the most enduring cinematic explorations of the world of the little ones.

SP Balasubrahmanyam’s staggering achievement: 40,000 tracks, 50 years later, numerous languages : With his unparalleled talent to emote, SP Balasubrahmanyam has lifted compositions to sublime levels.

The November, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Surinder Kaur.

Here are posts on other subjects as well:

When Lata & Noor Jehan Sang The Same TuneKaran Bali in his study of Lata – Noorjehan parallels landed upon Nayanawa Chalaye Ban, in Norrjehan’s voice for Anjuman a 1970 Pakistani film. The very same tune had been used in a Hindi film called Kar Bhala (1956), recorded in Lata Mangeshkar’s voice by Nisar Bazmi as Balamji Bade Nadan.

Some great songs of Lata Mangeshkar by Shankar-Jaikishan goes onto chart one more color of SoY’s Lata Mangeshkar spectrum, supplementing her association with other music directors Chitragupta, C Ramchandra, Roshan, SD Burman, Anil Biswas and Naushad. Previously, Lata Mangeshkar’s dance songs by SJ and S-J’s female dance duets have already added different shades to the Shanker – Jaikishan:-Lata Mangeshkar color on SoY.

My Favourites: Nigahein Songs is in line with different categories of Naina and glance, gaze – Nazar – songs that in Hind films invariably leads to romance song. All these come from Aankhen.

A Few Words About the NYPL Library for the Performing Arts and Reviews of A Few Books That I Got There even in those rushed visits.

The debt that Indian cinema owes to Wilkie Collins and his ‘The Woman in White’Karan Bali According to Nasreen Munni Kabir’s seminal book Guru Dutt: A Life In Cinema, Raaz was based on The Woman in White… Although Guru Dutt had abandoned Raaz, the movie was destined to be made. His former assistant Raj Khosla, got permission to use the unfinished film’s story. Khosla reworked Raaz with writer Dhruva Chatterjee as the well-crafted suspense drama Woh Kaun Thi? (1964)… Woh Kaun Thi is the first in a trilogy of mystery films that Sadhana did with Khosla, the others being Mera Saaya (1966) and Anita (1967)… The success of Woh Kaun Thi? inspired remakes, Yaar Nee? (1966), in Tamil and Aame Evaru? (1966) in Telugu, both starring the up and coming J Jayalalithaa. The Woman in White also travelled across the border. Acclaimed music director Khwaja Khurshid Anwar’s Humraz (1967) stars Pakistani star Shamim Ara in the double role of the sisters.

‘Gulzar in Conversation with Tagore’ is a love letter from one poet to anotherManish Gaekwad :  Composer Shantanu Moitra tunes Gulzar’s lyrics to Rabindra Sangeet in a stunning non-film album Gulzar in Conversation with Tagore featuring seven songs based on Hindi translations of poems by Tagore.

Gulzar’s ‘Lekin’ is a mystery in an enigma wrapped in raag MaandRineeta Naik:  The combination of Gulzar’s lyrics and Hridaynath Mangeshkar’s music is adequately ghostly.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar, the series went to  take a look at Male-Male Duets and Triads & Triads+ as the last leg of the journey. The journey has ended with My Top Duets and My Top Music Directors as my concluding pieces. SoY’s  Best songs of 1949: Wrap Up 4  of dueta fondly notes that male-female as well female-female duets of singers other than Lata Mangeshakr create a kaleidoscope of colors.

We end today’s episode with a couple post / songs on Mohammad Rafi’:

When Big B lost out to Sanjay Khan  in ‘Duniya Ka Mela’ – Here is the original song from the film pictured on Bachchan and Rekha….Asha Bhosle accompanies Mohammad Rafi in this duet.

Very Rare Songs Clips (1 & 2) by Great Mohammad Rafi Sahab

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – October, 2016

Welcome to October, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we have posts from Silhouette magazine delves on the on the memories of S D Burman on his birthday on 1st October (1906) –

Pag thumak chalat balkhaye, haye, Sainyan kaise dhaarun dheer (Sitaron Se Aage, 1958) Lata Mangeshkar

In addition to these, Moti Lalwani has penned Part 1 of his memoir of S D Burman’s experiments, which we shall look at in details along with Part 2, to be published later.

Hrishikesh Mukherjee: In a Humane Genre of His Own By Antara Nanda Mondal  – Most of Hrishikesh Mukherjee’s films had music that has lasted through the decades and continue to be heard, hummed and cherished till date. SD Burman, Hemant Kumar, Shankar Jaikishen, RD Burman, Salil Chowdhury, Vasant Desai – whoever he worked with came up with some of their best tunes for him.

We should not miss Hrishikesh Mukherjee: Giving Cinema a New Definition too – a tribute based on a lengthy interview Shoma A Chatterji had with Hrishikesh Mukherjee.

Tribute: Shailendra was the proverbial moth who got burned too quickly – The lyricist has left behind a legacy of exquisite songs that make you cry and think.

Films that are 50:

We have a few excellent career-sketches too for the present episode:

Hema Malini by Karan Bali – Acting aside, Hema has dabbled in film production having produced Swami (1977), Sharara (1984), Awaargi (1990) and Marg (1992 but unreleased) besides directing Dil Aashna Hai (1991), Tell Me O Khuda (2011) and Mohini (1994) for Television.

Kersi Lord – by Karan Bali – Ace musician Kersi Lord, not only imported the first synthesizer into India in 1973, butthe-human-factor also introduced musical instruments like the ‘glockenspiel’ in Indian cinema for the cigarette lighter effect in Hum Dono (1961). He is also well-known for playing the accordion pieces in the hit songs Roop Tera Mastana from Aradhana (1969) and O Meri Sharmilee from Sharmilee (1971), among many others. it was RD who first introduced the electronic organ in India for the composition O Mere Sona Re in Teesri Manzil (1966) for which I had the privilege of playing the organ.” Kersi Lord retired in 2000 after a career spanning more than 5 decades. He passed away in Mumbai on October 16, 2016. He had been ailing for sometime. The Lords – father  Cawas, Kersi and his brother, Burjor, all musicians, have been featured extensively in a wonderful documentary, The Human Factor (2012), directed by Rudradeep Bhattacharjee.

leela-a-patchwork-life Leela Naidu: The Person Behind the Image – “A couple of months ago when I had come across her autobiography, “Leela – a patchwork life” (Penguin India, 2010), written with Jerry Pinto, I was very tempted to read it and at the same time, I was not very sure that it would be a wise thing.
Through experience I have learned that favourite film persons are better seen through the sepia tinted glasses of nostalgia. Knowing them as persons ruins their magic. However, in the end I had not resisted. The book has definitely changed my perception about Leela Naidu, the person behind the image.”

Here are posts on other subjects as well:

This Indian Film Won The Highest Prize In Cannes In 1946, But Still Remains Forgotten – Gautam Chintamani – Even though it won the highest prize at Cannes, Chetan Anand’s ‘Neecha Nagar’ remains largely forgotten today.music-masti-modernity

From Teesri Manzil to Yaadon Ki Baaraat, Nasir Husain’s cinema is celebrated in a new bookRohini Nair – In an interview with Firstpost, Akshay Manwani spoke of why he felt compelled to write – in a new book, titled Music, Masti, Modernity — The Cinema of Nasir Husain about the cinema of Nasir Husain, the filmmaker’s legendary collaborations with Shammi Kapoor, Asha Parekh and RD Burman, and what his lasting contribution to Hindi films has been.

Actors Prepare – From Ravan to Mahatma Gandhi  presents some of the images of the theatre actors from India, Italy and some other countries.

Redemption song: ‘Titli Udi’ by Sharda was a beginning and an end by Manish Gaekwad – Once upon a time in the 1960s arose a rare challenger to the Lata-Asha combination – This is quite an interesting, and yet balanced, narrative of Sharda’s Hind film career.

N.B.:  The articles that have appeared in this series in the past can be accessed at Stories in A Song.

‘Jago Hua Savera’ dropped: ‘Mumbai has lost out on watching a classic that is still relevant’ by Anjum Taseer – Jago Hua Savera sees the best talent from East and West Pakistan and India participating in a production under trying circumstances. This is a film that was lost, rediscovered and restored. The new version is a perfect showpiece of the original masterpiece.

Songs of Angana nostalgically recalls the Anagan, the courtyard, a central feature of the then houses of India. Open to the sky, and surrounded on the four sides by verandah and living rooms, this quadrangle is the place where the family lives out its life, does all its mundane chores of daily existence, and also holds all its ceremonies and special occasions.

We have had a post on songs of atariya too on SoY.

Remembering Diwali Songs presents a multi-faceted view of Diwali in Hindi film songs during the decades of ‘40s, ‘50s and ‘60s.

Vyjayantimala’s Singing Debut for Composer Master Venu  – by Lakshmipriya – The songs referred to in the title of the post are: Dachinanu ravoi neekai and Daricheraga rava priyuda . There is also an interesting refrence to Dekhane Mein Bhola Hai. Waheeda Rahman mentions this anecdote in her many interviews of how she was humming the yeruvaka song on the sets of Solva Saal. S D Burman was very impressed to found out who the composer was and asked Master Venu permission to use it in his song Dekhne Me Bhola for Bambai ka Babu. Master Venu was so delighted that he immediately agreed happily…...

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar. In the category of Duets, we had covered duets of Mohammad Rafi with Lata Mangeshkar, Suriya and Shamshad Begum and Geeta Roy and other female playback singers  and Duets of Mukesh in the Male-Female Duets sub-category. For the present month, we have continued with duets of Shamshad Begum with other Male singers, Geeta Roy, Lata Mangeshkar and Suraiya with other Male Singers, Other Male Female Duets and then have moved on to Female-Female Duets of LatamangeshkarOther Female-Female Duets in the Female- Female duets subcategory.

We end today’s episode with a post on Mohammad Rafi’:

Rafi is Hindi Cinema’s greatest voicePankaj Vohra – The findings of the survey were revealed on the Independence Day and Rafi came out as the winner from a formidable field that comprised Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mukesh. In fact, the Survey put Rafi ahead of Lata Mangeskar by nearly 12 percent with Kishore Kumar coming second, with about five percent votes less than those secured by the winner…It was also interesting that Asha and Mukesh polled nearly the same number of votes and if added to those polled by Lata Mangeshkar, they were not enough to catch up with Rafi….Another aspect of Rafi’s voice was that he could replicate his studio recording even in a public function and sang exactly the same way as he done for a film. This was a unique trait since there has been no singer other than him who could sing exactly the same song in a public function as during the recording.

I whole-heartedly wish you and your family a Crackling Happy Diwali, and look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2016

Welcome to September, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

As always, we first take up posts that focus on memories –

The Many Moods of Meena Kumari – with the exception of sadness  – and indeed the listing in the post and in the discussion thereon present Meena Kuamri in so different moods that it now appears she was known more as ‘tragedy queen’.

SoY has already presented OP Nayyar’s songs for Rafi, Mahendra Kapoor and Shamshad BegumBest songs of Asha Bhosle by OP Nayyar – on her 83rd birth anniversary (b. 8 September 1933) – now, does succeed in bridging the obvious gap while deftly handling  the difficult task of presenting a representative set of songs from 300+ to choose from.

For Noor Jehan’s 90th Birthday, Here’s a Lovely Performance by Her from 40 Years Ago listing of songs (and other things), along with the times in the video when they appear:

0:00                 Awaaz De Kahan Hai
2. 5:06             Talk and Interview
3. 9:17             Sanu Nehar Waley Pul Te Bulake
4. 13:59           Mujhse Pehli Si Mohabbat
5. 20:04           Chithi Zara Saiyaanji
6. 24:30           Bhoolnewale Se Koi Keh De

Kahin Door Jab Din Dhal Jaaye – Mukesh’s Hit Songs for HeroesPeeyush Sharma takes up on a journey through some of Mukesh’s hit songs, which he sang for the reigning heroes or stars of his time, presented in the alphabetical order in the article, in a tribute to the Golden Voice Mukesh. V. Balsara, the music director settled in Calcutta, had (once) commented that one Mukesh song in the film assured that at least one song would be a hit. The article has a special mention of Saath Ho Tum Aur Raat Jawan (Kanch Ki Gudiya, 1961, Suhrid Kar / Shailendra / Asha Bhosle and Mukesh, picturized on Manoj Kumar and Sayeeda Khan) on Public Demand.

rekha-_the-untold-story

For Rekha, the show won’t endSanjukta Sharma‘Rekha: The Untold Story’ taps into that irresistible fantasy of knowing a who has been mythologized all her life.

Lucknow’s Great Son: Naushad Ali recollects the LP record (Odeon ‎– 3AEX 5015)   ’The Genius of Naushad” that has  a collection of some of his greatest hits sung by voices as diverse as Mohammad Rafi, Mukesh, Suraiya and Shamshad Begum.

Music by Naushad, lyrics by Shakeel Badayuni: The great partnership in Hindi film music history is an excerpt of Ganesh Anantharaman’s book Bollywood Melodies A History of the Hindi Film Song, published by Penguin Random House India.

We now take a look at posts on other subjects –

My Favourites: Picnic Songs – Picnics in Hindi films today seem to have gone the way of the dodo, but they were a staple, indeed, integral part of the narrative in the 60s and 70s. Picnics were the perfect occasion to include a song; mostly, it was there so the hero and heroine could a) tease each other b) make fun of the other c) fall in love with each other.

Dekho Dosto Chhed Ka Maza! – Guest article by Shalan Lal – The Chhed chhad songs or the sketches are sub-division of a general term called Comedy. The post and as is always the case, the discussion thereon , are quite scholarly penned presentations of songs and views thereon.

My Favourites: Zulfein – History, mythology and fairy tales are replete with hairy tales……But. Hindi films knew how to celebrate hair. Especially women’s hair, because ‘zulfein’ seemed to refer only to women’s hair. So here are some …‘zulf’ songs, songs that are romantic, sensuous, playful… and extremely lovely plus a bonus song. This has nothing to do with romance, or passion –

Ten of my favourite Aankhen songs is again a very meticulously curated list that includes

‘Mother India’ at the Oscars: ‘The audience laughed with the characters and cried with them’  – Bunny Reuben – Here’s what Sylvia Norris wrote (“Filmfare:” June 6, 1958): The day Mehboob Khan met Cecil B. DeMille in Hollywood; he was referred to as ‘The DeMille of India’. This is a title he richly deserves; not only for his latest spectacle, Mother India, but for the thirty years of devotion he has given the Indian film industry.

Here is one batch of articles from the recent past editions of Scroll.in last month-

The debt owed by Gulzar’s lyrics to Mirza GhalibManish Gaekwad  recounts how the lyricist isn’t shy to admit, in the series of conversations with Nasreen Munni Kabir’s book ‘In the Company of a Poet’,  that the song ‘Dil Dhoondta Hai’ from the film ‘Mausam’ was inspired from Ghalib’s couplet.

In Missing silent film ‘Bilwamangal’ finally returns to India,  Scroll Staff  narrates the story of a digital version of 20-minute duration that arrived at the National Film Archive of India from Cinematheque Francaise in Paris.

Akshay Manwani in a Film flashback: To understand Hindi cinema of the 1960s, start with 1957  hat-tips a great year in which apart from ‘Pyasa’ and ‘Mother India’,  several other films also shaped the future of Hindi cinema on various fronts, showing early signs of the frothy ’60s.

The ‘Prabhat touch’: How the legendary studio became a respectable workplace for actressesZinnia Ray Chaudhuri presents the essay, titled Teen Deviyan: The Prabhat Star Triad and the Discourse of ‘Respectability’  – available on the free online encyclopedia Sahapedia, – in which film historian Sarah Niazi reflects on the circumstances at the film production company that boosted the presence of women in various capacities.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, we continued the journey now with Solo songs of Lata Mangeshkar. After part 1 and 2 we covered of part 3 and the review – Summing Up: MY Top Lata Mangeshkar Solo Songs and have moved on to Male-Female Duets category. We have covered duets of Mohammad Rafi with Lata Mangeshkar, Suriya and Shamshad Begum and Geeta Roy and other female playback singers..

We end today’s episode with a post on Mohammad Rafi’:

Bringing Generations Together – Rafi Sahab’s Magic – Achal Rangaswamy discusses with son whether Mohammad Rafi would have been able to sing the songs being “dished out” and how.

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – August,2016

Welcome to August, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

One of our regularly visited blogs Dances on the Footpath celebrated its ninth anniversary on 30th July, 2016. We join all the readers to congratulate the blog author Richard on this great milestone.

As we delve into the posts on Anniversaries,

We take a belated note of the 80th birth anniversary of Nutan @ The origin of my admiration for Nutan and join in sharing the author’s views : «Nutan shares with classic Indian cinema this quality that I find so important and that we in the West have lost, in a way: a fundamental honesty. She adds to this quality something personal and special which I choose to call vibrant grace”.

Happy birthday Kishore Kumar: Top 5 things to know about the legendary singer – Kishore Kumar started his career in the field of acting, with “Shikari” in 1946. – 1946 is when S D Buramn also made his debut with Hindi films – In 1948, music director Khemchand Prakash gave Kishore Kumar a chance to sing “Marne ki duayen kyon mangu” for the film “Ziddi”…During the making of ‘Mashaal’ way back in 1950, Burman visited Ashok Kumar’s house, where he heard latter’s younger brother, Kumar imitating KL Saigal. Kishore Kumar, along with R D Burman, also formed a formidable team which ensured a volley of  chartbusters whenever they came together.

The Unforgotten and Unremembered Genius Jaidev – A tribute on his 98th birth anniversary (3 August 1918 – 6 January 1987) – Jaidev was neither a remembered composer nor a forgotten one. He is also possibly the only music director to have won the National Awards thrice for Reshma Aur Shera (1971), Gaman (1979) and Ankahee (1985). We have picked up a few songs here:

We also have a couple of more articles on Jaidev:

And so far as I am concerned, no discussion on Jaidev could ever without remembering

Raat Bhi Hai Khuchh Bhigi BhigiMujhe Jine Do (1963) – Lata Mangeshkar – Sahir Ludhyanvi

We now take a look at posts on other subjects –

The ‘Biopic’ TeaserDebamitra Mitra – “Biopic films have more often than not run into controversies and debates about the authenticity in depicting the life of a celebrated person. From the Hollywood myth-making trends to the Bollywood surge in making biopics on sports-persons, film-makers worldwide are perennially plagued with legal hurdles, insufficient data and at times difficulty in finding the proper actor for the role. However there is no doubt that biopics have an important significance in the contemporary film culture.”

Rimjhim ke Taraane… The Breezy Rain SongsAntara Nanda Mondal and Peeyush Sharma relive at some evergreen rain songs of Hindi films that never cease to evoke a smile, a memory or simply uplift the heart, especially when you hear the raindrops starting to fall. Readers have also chipped in with songs on rain.

Ten of my favourite songs of waiting – “Waiting, of course, can be of different types, and for different things. It can be a patient wait, for something one knows is coming one’s way. It can be restless, dominated by an urge to do something to alleviate one’s own suffering. Or the restlessness can be one of hopelessness, of knowing that one waits for something that can never come to be…One may wait for a much-longed for event to happen. One can wait for news. For friends, relatives. And, much more frequently in Hindi cinema, where romance is such an important element of most plots, for the beloved.”

Kuchh to log kahenge” has presented songs wherein emphasis has to be on the issue of ‘saying’, e.g.

Patriotism and cinema are old companionsSanjukta Sharma – Directors and producers of 1950s’ Hindi cinema best exploited the patriotic sentiment …. In Hollywood and other big film-making nations like India, patriotism is a commonly used, commercially lucrative storytelling trope. Even a romance has a few patriotic scenes.

Santoshi Maa: The celluloid goddess – Ruchika Sharma – How an unexpected hit in the 1970s catapulted a minor local goddess to national fame.. The mythological, being unique to Indian cinema, is also its founding genre. Starting with Dadasaheb Phalke’s 50-minute silent movie Raja Harishchandra (1913), mythologicals dominated the silver screen before Independence. Their numbers began to dwindle post-1947, and by the 1970s, they had been relegated to the B-circuit….This was until Jai Santoshi Maa, a low-budget movie featuring unknown actors, became one of the highest grossing films of 1975, alongside Sholay and Deewar.

Here, Have Some Chutney! – Chutney is a fusion of Indian and Caribbean music that was born in the mid-20th century. Wikipedia specifically mentions that the people who created chutney music had ancestors in Bihar and Uttar Pradesh…. [the post has presented several video clips that gives enough idea about the subject….]

Faiz & Nayyara Noor – “Jab Teri Samandar AankhoN maiN” – Unlike Faiz Ahmed Faiz’s very popular, overtly political poetry, Yeh dhoop kinaray is an example of Faiz at his finest.

Harmonium has remembered two of my favorites records [Talat Mahmood] In a Blue Mood and In 1976 The Finest Ghazals from Mohd. Rafi @ Mixed up Blue: Talat Mahmood  and New and Old Ghazals: Mohammad Rafi respectively.

The Power of Holding Hands is so aptly presented via Hum Panchhi Mastane (Geeta Dutt, Lata Mangeshkar – Dekh Kabira Roya (1957) – Madan Mohan – Rajendra Krishna).

Usha Kiron – Dr. Kher Wedding Picture (May, 1954)

Usha Kiron – Dr. Kher Wedding Picture (May, 1954) - Shammi (right) “says” it with flowers

Shammi (right) “says” it with flowers

As we could not cover articles form Scroll.in last month, we have a deluge of articles that have to be accommodated in our episodes. This month also our episode seems to be bordering on being too verbose. So, we will need to take them up  in smaller groups in our forthcoming issues.

In Micro View of the Best Songs of 1949 @SoY, having covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs in the Male Solo Songs category till now, I followed it up with MY Top Male Solo Songs, choosing Mohammad Rafi as the Best Male Singer for 1949 and his Suhani Raat Dhal Chuki (Dulari, Naushad) as the Best Song. SoY also has released Best songs of 1949: Wrap Up 1, choosing Mukesh as the Best Male Singer and Tu kahe agar as the Best Male Solo.

Then,  I have finished up the Micro View of  Solo Songs of ‘Other Than Lata Mangeshkar’ Female Singers, in which we covered Suraiya, Geeta Roy , Shamshad Begum, Raajkumari, Asha Bhosle, Surindar Kaur,Uma Devi and Meena Kapoor to end up with solo songs of Lalita Deulkar, Amirbai Karnataki, Hamida Bano, Zeenat Begum and Pushpa Hans. I also went on to wrap up the subject My Choice of the TOP Solo Songs of the Other Female Singers for 1949. My final choice was a toss-up among Suraiya ( Woh Pas Rahe Ya Door Rahein, Nazron Mein Samaye Rahate Hain); Shamshad Begum – Na Bol More Angana Pi Pi Panchhi Ja Re Ja and Raajkumari – Ghabra Ke Jo Ham Sar Ko Takaraye To Achcha Ho. SoY also has released its analysis and choice@ Best songs of 1949: Wrap Up 2, which happens to be Shamshad Begum, followed by Suraiya.

Our journey now continues with Solo songs of Lata Mangeshkar, part 1 and 2 of three part review.

We have some more of articles on Mohammad Rafi’ on his 36th death anniversary 31st July, 2016:

In his tribute, Not just Hindi: When Mohammed Rafi sang in English, Creole, Dutch and Persian , Manish Gaekwad  recounts how the legendary singer extended his vocal range to foreign languages whenever he got the opportunity.

On Mohammed Rafi’s 36th death anniversary, the question lingers: How did he sing so effortlessly? – While lamenting as to we are still waiting for the definitive study of the timeless songs he sang, Akshay Manwani  takes us through Mohammad Rafi’s versatility over a widest possible range – of subjects, situations, notes and all that ““Rafi sa’ab jo kar saktey hain”.

Month of August also has one more very strong connection with Mohammad Rafi – his patriotic songs:

Are you patriotic tonight? Here is a songlist that will make your heart swell with pride– India’s greatness has been frequently celebrated through nationalist songs, as proven by Manish Gaekwad’s  potted list.

List of 120 Patriotic songs by Rafi Sahab – Swaminathan Rajan has painstakingly collected film and non-film songs here

In order to maintain continuity with the subject of patriotism, we will end our present episode with

Vande Mataram on recycled instruments and other versions of the modernised national song, which happen to be one more take-off on AR Rahman’s ‘Vande Mataram’, not the original one.

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – July, 2016

Welcome to July 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Hindi Film Music world lost its two more talented, but not corresponding recognized personalities – Mubarak Begum and Omi (of Sonic-Omi duo). Mubarak Begum made her debut in 1949 and thus saw the transformation of the HFM from vintage era to golden era.  Omi (Omprakash Sonic) of Sonic-Omi music director (Uncle, Manoharlal Sonic and his nephew Omi) duo, who did enter the HFM world at the last phase of the golden era and thus saw the transition for the golden era to the present day HFM world.

Here are the tributes to Mubarak Begum:

Mubarak Begum - Woh Na AAyende Palatkar

Ae Dil Bata  Hum Kahan Aa Gaye  – Khooni Khazana (1965) –  S Kishan –  Khawar Zaman
Chaah Karani Thi Chaahkar Baithe – Punarmilan (1964)  – C Arjun – Raja Mahedi Ali Khan
Itne Kareeb Aa Ke Bhi  – with Talat Mahmood – Shagoon (1964) – Khayyam  – Sahir Ludhianvi
Mere Aansuon Pe Na muskara – Morey Man Mitwa (1965)  – Dattaram –Priyadarshi
Hum Haal-e-Dil Sunayenge – Madhumati (1958)  – Ssalil Chowdhary – Shailendra
Mujhhko Apne Gale Laga Lo  – with Mohammad Rafi – Humrahi (1963) – Shankar Jaikishan – Hasrat Jaipuri
Bemurrawat Bewafa – Sushila (1966) – C Arjun – Jan Nissar Akhtar

Hamrahi (1963) – Mubarak Begum & Rafi – Mujh Ko Apnay Galay Lagaa Lo, Ae Meray Hamraahi – Shankar Jaikishan (Hasrat Jaipuri)

Gogola (1966) – Mubarak Begum & Talat – Zara Keh Do Fizaayo.n Se Aame.n Itnaa Sataye Na – Roy & Frank (Baalkavi Bairagi)

Phoolon Ke Haar (1951) – Mubarak Begum & Devendar Goel – Jhoom Jhoom Kar Door Gagan Pe Badal Kare.n Ishaaray – Hans Raj Bahal (Varma Malik)

Basera (1950) – Mubarak begum & BS Nanji – Dekho Ji Baat Suno, Tum Mujhse Aan Milo– MA Rauf (Sardar Ilham)

Awara Shehzadi (1956) – Mubarak Begum & Shashikant – Karlo Ji Pyaar Karlo Ji Pyaar Dil waalo Pyaar Kar Lo – Nashad (Sartaj)

Patit Paawan (1955) – Mubarak Begum & Sudha Malhotra – Jeevan Ka Tu Ujiyaara Hai, Rakhwaara Bansi Waara Hai – Jamal Sen (Bharat Vyas)

Haar Jeet (1954) – Mubarak Begum & Geeta Dutt – Bechain Hai Betaab Hai Is Dil Ka Fasaanaa Sun Le – SD Batish (Kaif Irfani)

Neend Hamari Khwab Tumhare (1966) – Mubarak Begum & Asha – Saaqiyaa.n Ek Jaam Vo Bhi To De – Madan Mohan (Rajendar Krishan)

SoY also had posted An evening with Mubarak Begum on January 5, 2013.  I have selected these two songs from this post:

And the tributes to Omprakash Sonic:

AAJ KE FANKAR- A TRIBUTE TO COMPOSER OMI (DUO SONIK- OMI)

We also recollect Omi ji (of Sonik-Omi) in an exclusive interview with Anmol Fankaar and “Sansaar Hai Ik Nadiya” – (Sonik) Omi

We now take up posts that remember the Anniversaries:

Sanjeev Kumar – The Actor Who Rose Above The ‘Hero’ – From among his several costars, ranging from Hema Malini to Sharmila Tagore, from Raakhee to Vidya Sinha, Suchitra Sen to Hema Malini, Sanjeev Kumar experimented the most with his female lead and bosom pal Jaya Bhaduri (Bachchan). These two superbly talented actors played out all kinds of relationships on screen – husband-and-wife (Koshish), father-in-law and daughter-in-law (Sholay), lovers (Anamika), father-daughter (Parichay), the multifarious 9-character role in Naya Din Nayi Raat, ending up as the doctor and patient who hesitatingly comfort each other on finding that their respective spouses are having an affair (Silsila).

Shankar-Jaikishan’s songs for Mukesh  – Continuing the series on Shankar-Jaikishan, SoY presents the songs composed by them for Mukesh as a tribute to the singer on his 93rd birth anniversary (22 July 1923 – 27 August 1976). All the songs that are posted present a good panorama of their association.  I have added a few on my art here. Except for ‘Apne Hue Paraye’ song, these songs that immediately popped up, but had remained dormant till the memory was jolted out by this post….

‘Tu Jahan Jahan Chalega, Mera Saya Saath Hoga’ – The Everlasting Songs of Raja Mehdi Ali Khan – From patriotic to sentimental, from humorous to romantic, Raja Mehdi Ali Khan penned a wide range of songs that were simple yet sublime. In a tribute, we revisit some of those everlasting songs on the extreme end of the spectrum:

Music Makers of Golden Era

The Music Makers of the Golden Era – Roshan, Anil Biswas, Hemant Humar, Mohd. Shafi, Naushad, Jaikishan, C. Ramchandra and Madan Mohan

‘Rehearsals were Never Easy, Music Sittings were Always Fun’ – Remembering Madan Mohan – Madan Mohan, the creator of immortal melodies and film ghazals, had a fun-loving, outgoing personal side as a gracious cook and host, a wrestling and racing enthusiast, a car freak among other energetic interests – his eldest daughter Sangeeta Gupta in a conversation with Peeyush Sharma.

Orthodox RD Burman – an extremely talented and creative composer with a solid foundation in the orthodox style of composition., a style of composition where there is an emphasis on melody and melodic content in the vocals of the song. We can listen to 30 handpicked songs in his orthodox style in a playlist by clicking LINK TO R D BURMAN PLAYLIST

Tumko Piya Dil Diya Kitne Naaz Se – GS Kohli, the Unsung Music Composer – We have picked up only one song here to simply illustrate the versatility of GS Kohli.

We now take a look at posts on other subjects –

My Favourites: Songs of Strangers – in honour of those long-gone days, when pardesis seemed to make frequent trips to far flung villages and find the love of their lives in those unsullied vales, here are some of my favourite pardesi songs.

My Favourites: ‘Where Are You?’ Songs – I have picked up two of the less heard songs from this list to give us the idea about what the subject is about –

D P Ranagan, in one more of his highly innovatively informative article, Star showers in Bollywood, has presented Hindi Films songs that have featured the stars

Book Review: Dorothee Wenner’s ‘Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen’Fearles Nadia

In her biography of Hindi cinema’s ‘original stunt queen’, German film-maker and curator for the Berlin International Film Festival, Dorothee Wenner sets out to explore the life and times of this fascinating actress. Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen (Translated by Rebecca Morrison; ISBN: 0-14-303270-4; Penguin Books; 248 pages; Rs 295)

Ten of my favourite Dupatta/Chunri/Chunariya songs – a salwar-kurta (or churidarkurta) or a sharaara, or even a ghaagra, the dupatta served to drape the upper part of the body: the bosom, at least, but in some cases, even the head. It thus became a symbol of modesty—and, in some instances, an extension of the heart, the feelings of the wearer. More than the saree or any other garment, the dupatta became the theme for songs. (It even gave its name to one really lovely Pakistani film starring Noorjehan). However, this post is really a response-in-kind of “absolutely lovely dupatta” that friend, fellow blogger and soul sister Anu’s gift to the author.

Three Queens of the Indian Drums focuses on some great contemporary female players of Indian drums.

Pakistani Stars endorsing Lux Soap – The first Pakistani actress to endorse Lux Soap was Meena Shorey in 1956

Guru Dutt with his family (1957)

guru-dutt-family

Back row: Guru Dutt with his father, mother and Geeta Dutt. Front row: Guru Dutt’s brother Atma, his wife, sister Lalita and her husband. The children are those of Guru and Atma Dutt.

Autographs of Hindi Film Stars – I and II – and links to the profiles of – Om Prakash, Cuckoo,Nalini Jaywant, Vimla, Kuldeep Kaur, Jairaj, Sajjan and Veera

Biswajeet – Memories – as told to Santosh Sud in1990 – throws light on some very interesting facets of him.

In Micro View of the Best Songs of 1949 @SoY, having covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs in the Male Solo Songs category till now, I also declared MY Top Male Solo Songs, choosing Mohammad Rafi as the Best Male Singer for 1949 and his Suhani Raat Dhal Chuki (Dulari, Naushad) as the Best Song. SoY also has released Best songs of 1949: Wrap Up 1, choosing Mukesh as the Best Male Singer and Tu kahe agar as the Best Male Solo.

Then I have taken up Solo Songs of ‘Other Than Lata Mangeshkar’ Female Singers, in which we covered Suraiya, Geeta Roy , Shamshad Begum, Raajkumari, Asha Bhosle, Surindar Kaur.

On Mohammad Rafi’s anniversary we end our present episode with a few of Sonic-Omi’s Mohammed Rafi songs that did not gain ‘high’ popularity:

Haseen JulfoN Ka Rang De Do – Beti (1969) – Shakeel Badayuni

Mere Mehboob Tu Mujhko – Beti (1969) – Shakeel Badayuni

Yeh Dil Nahin Hai – Aabroo (1968) – GS Rawal.

We will take up an exclusive article on Mohammad Rafi in our next Fading Memories.. Unforgettable Songs episode…..

I look forward to receive your inputs for further enriching the contents of the posts…..