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

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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

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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

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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

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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

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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…..

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

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

We begin with our regular Anniversaries section.

Songs of Yore completes six years is certainly quite an milestone to celebrate. True to the signature style of the blog, the post contains great, quite unheard of songs, For example:

Celebrating the Urs of Lal Shahbaz Qalandar, Part I: The Song is about THE song. A lot of people know about the origins of the poem, the Sufi poets, etc. What most people don’t seem to know about is the man who composed the music for this song – that is, the music that the famous Sufi poem has been sung to by thousands or millions of people over the last several decades. That man is the Pakistani film composer Master Ashiq Hussain. The film was Jabroo (1956) – Lal Meri Pat Rakhio.  Part II: The Festival presents a few good documentary clips and also am transcribing an interesting and amusing piece of writing from a favorite book.

We now take a look at posts on other subjects –

Shankar-Jaikishan’s female dance duets – The earlier post on Shankar-Jaikishan’s dance songs for Lata Mangeshkar has had generated a great deal of enthusiasm. Here is the follow-on one on female dance duets. We have picked up a few less-heard ones here:

Romance of letters – Both Hollywood and Bollywood have letters as integral part of many films, but Bollywood goes one step ahead in having letter songs which may not necessarily carry the story forward, but so what, Indian audiences need their quota of dance and songs.

We also take opportunity to re-visit My Favourites: Letters in Verse

First films of some music directorsArunabh Chowdhuri – is a very interesting collection of basic facts and related trivia, for example “What is even more odd is that Lata  Mangeshkar  sang  for  Khayyaam  before  she sang for Anil Biswas, SJ or Khemchand Prakash.  The HEER RANJHA song “Kaahe Ko Deenhi  Bides” is a traditional Avadhi song now credited to Ameer Khusro.  Lata sang it then, and Jagjit Kaur repeated it in UMRAAO JAAN – more than 30 years later!Life Lessons From Hindi Films –are lightly put across in a serious tone. As we go through the comments we see that Dusted Off also had two articles in a similar vein. The earlier one is Ten Great Bollywood Mysteries, and the second one (Why I love the comforts of old Hindi cinema) can be accessed through the link in this article: Why I love the comforts of old Hindi cinema

My Favourites: The Rain in Ten Moods – Three years ago, around this time, we have read a post on rain songs, which was followed by another.  After two posts on rain songs, we now have one on rain scenes. One of the comments on this article states that a scene from Ascenseur pour l’efachaud  does not have the rain but it’s there in the memory unless of course time has etched in something that wasn’t there. But Moreau and the camera and the music are amazing (and the rain later perhaps).

My Favourites: The ‘Mawsome is Awesome’ Songs surely have plenty of songs celebrating the generic ‘mausam’. Here are some of the less-heard ones:

  • Mausam aaya hai rangeen  – Dholak (1951) – Satish Batra, Sulochana Kadam – Shyam Sunder – Aziz Kashmiri
  • Mausam ye pukare  – Burma Road (1962) – Talat Mehmood, Lata Mangeshkar – Chitragupt – Majrooh Sultanpuri
  • Ye hawa ye mastana mausam – Akeli Mat Jaiyo (1963) – Lata Mangeshkar, Mohammed Rafi – Madan Mohan – Majrooh Sultanpuri

Ten of my favourite philosophical songs – focus on a philosophy of life. The philosophy shouldn’t be hidden away behind another agenda; the philosophy must be the main theme of the song. The discussion on the post has mentioned a very typical song. The songs filmed on comedians, invariably would include a dose of philosophy of life.

On a biography of Shashi Kapoor, householder and movie staressay-cum-review for Open magazine of  Shashi Kapoor: The Householder, the Star – “In between all this, I was struck by Kapoor’s dignified turn as a modern-day Karna in Kalyug,… and dimly aware of his pencil-moustached “serious” roles in films like New Delhi Times and Vijeta. Though not one of my very favourite actors, he was always a pleasing personality, and even at a time when I was more interested in macho men and less so in sensitive, dreamy-eyed heroes like Shashi and his nephew Rishi, I think I realized there was something special about someone who could easily shift between the mainstream films I liked and the somber ones by Shyam Benegal and others.”

Manna from heaven is the melancholic, pining-for-the-past melody Coffee House er adda. The song penned by Gauriprasanna Majumdar recounts the Coffee House days of seven friends, who sat over endless cups and cheap charminar cigarettes burning between their lips with dreams to make it big.

Suraiya & Ashok Kumar in unreleased Wajid Ali Shah (1953) Suraiya & Ashok Kumar in unreleased Wajid Ali Shah (1953)

 British director Herbert Marshall, making English version of  “Wajid Ali Shah”, puts Oudh’s last king (played by Ashok Kumar) in good humor.  Suraiya can be seen smiling in the background. The film was shelved later.

Famous Singers and their Signature Singing Styles – Anjana Mohan very succinctly reviews singing styles of Mohammed Rafi, Kishore Kumar, K J Yesudas, Begum Akhtar, Lata Mangeshkar and Asha Bhosle

Muhammad Ali, the legendary boxer, dies at 74

Muhammad Ali hands over a plaque to Mohammed Rafi

Muhammad Ali hands over a plaque to Mohammed Rafi in an undated picture from Yasmin Rafi’s collection

Suspense, Romance, Crime Thrillers, Offbeat, Social Drama: The Trend-setting Films of Raj Khosla By Peeyush Sharma

Raj Khosla - a rare picture, when he was 21

A rare picture of 21 years old Raj Khosla who made his debut as an actor in Raen Basera (1946). However, this film is not documented in his biography or elsewhere. (Pic: Pakanati Lakshmi Priya of Old Is Gold FB Group)

The post, as expected contains a large amount of facts, trvias and songs. For example – Khosla dug out an aborted Guru Dutt venture (Raaz) and made it into Woh Kaun Thi (1964). (Incidentally, the Tamil Nadu chief minister, Jayalalitha acted the part in both Tamil and Telugu remakes). We have picked up one song mentioned in the article –

Humse Bhi Kar Lo Kabhi Kabhi Meethi Meethi Do Baatein – Milap (1955) – Geeta Dutt – N Dutta (debut film of N Dutta as well) – Sahir Ludhyanvi

Re-claiming Indian Parallel Cinema Omar Ahmed

Rare poster of Sara Akash

 

Rare poster of Sara Akash, one of the 3 films – the other two being Mani Kaul’s Uski Roti (1969) and Mrinal Sens’s Bhuwan Shome (1969) –  that ushered in the Indian New Wave cinema in 1969-70
(Pic: A Manzil of Memories: Rare memorabilia from Basu Chatterji’s films)

 

 

In Micro View of the Best Songs of 1949 @SoY, we have first taken up Male Solo Songs Till now, we have 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

We end our present episode with posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –

We have picked up two of the rare and nice of the 10 songs of Mohammad Rafi that you are not heard of:

A to Z of Mohd. Rafi SongsAchal Rangaswamy has listed one song per an alphabet that encompasses every emotion, every mood and every kind of expression a singer could display

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 – May 2016

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

We begin with our regular Anniversaries section.

Forgotten Composers Unforgettable Melodies: Iqbal Qureshi –  Once you get to listen to the songs, one would simply wonder how come such a talented music director did not succeed commercially after having composed such songs. Even some of his less heard songs too are a treat to listen to, even today:

Interestingly, the same tune when used for Ek chameli ke madwe tale, do badan pyar ki aag mein jal gaye – Cha Cha Cha (1964) got huge success.

Manna Dey’s songs by Shankar-Jaikishan is a tribute to Manna Dey on his 97th birth anniversary with his songs by Shankar-Jaikishan as a part of the celebrations of SJ Year on SoY. As one would expect, the post and the discussion thereon yields a veritable treasure of SJ-Manna Dey combo.

We now take a look at posts on other subjects –

My Favourites: ‘Don’t Go’ Songs – All the songs in this list have that one thing in common – they are all songs that entreat someone not to leave. It doesn’t necessarily have to be the first phrase in the mukhda, but the entreaty has to appear in the mukhda itself. Here are a couple less heard ones –

Ten of my favourite cynical songs – Ten songs that speak of the singer’s cynicism, his or her belief that the world is not a nice place. At times the bitterness boils forth in a fierce and/or despairing rejection of the entire world; at other times, it is cloaked with satire or a sort of bitter humour. Perhaps even smiles. But the cynicism is there, if you only pay attention to the lyrics. Here is the one as an example:

Moon and Mumbai (Bollywood) – Guest Article by D P Rangan –  Film makers in Mumbai and Chennai, the first two centers of film studios, had also fallen under the influence  of Chand, the Moon and used it as scene creator ab initio, and music directors had risen to the occasion and composed immortal musical pieces for the heroes and heroines to cavort about in joyful abandon. The post and the discussion thereon presents Chand in its all shades:

Madhubala in Greece – Did you know that Madhubala was so popular in Greece in early 1960s that a song was written in Greek for her and sung by perhaps the best singer ever of the “Laika” genre Stelios Kazantidis. Here is the song with English Translation

Suraiya on the sets of Goonj (1952) – Singing star Suraiya makes friends with a horse on the sets of Kwatra Art Productions’ “Goonj”; co-workers look on interestedly.

Beauty and the beast and a host of lookers on

Beauty and the beast and a host of lookers on

Kamini Kaushal, S.D. Burman, Lata, Kishore on the sets of Chalis Baba Ek Chor (1954)

Producer Kamini Kaushal (center) has first of the eight songs in “Chalis Baba Ek Chor,” her own production recorded. With her, from left, are Director P.L. Santoshi, playbacks Kishore Kumar and Lata Mangeshkar, with music-director S.D. Burman completing the group

Producer Kamini Kaushal (center) has first of the eight songs in “Chalis Baba Ek Chor,” her own production recorded. With her, from left, are Director P.L. Santoshi, playbacks Kishore Kumar and Lata Mangeshkar, with music-director S.D. Burman completing the group

 

A music link – Working with a grant sanctioned in 2008, Suresh Chandvankar steered the Endangered Archives Programme (EAP)190 project that has successfully digitized gramophone records, advertisements and publicity material as well as catalogues of the Young India record label that operated in Mumbai from 1935-55. A staggering 1,427 items populate this extraordinary collection which one can now access for free (http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection). [Once you visit this site, you will also find 103 item collection @Music From India.]

For the present, I did not find a fresh post @ that can be taken up here. That gives a good opportunity to go back a little in time and listen to a select Geeta Dutt songs, composed by Madan Mohan @ Madan Mohan: The Composer of the Classes By Gajendra Nand Khanna.  These are the songs that have western tunes, fairly heavy orchestration and a very lively Geeta Dutt. These songs amply show that Madan Mohan was capable of doing heavily instrumented songs as well when he did such songs.:

We have commenced Micro View of the Best Songs of 1949 @SoY, by now a well-settled, annual review feature of visiting the songs of particular year under the subject of Best songs of year. This year we have Best songs of 1949 for the Base. We have first taken up Male Solo Songs, and have covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers till now.

We end our present episode with a posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –

Bhoole Bisre by Prakash Gowda – A zero budget short film with a million dollar message, by Prakash Gowda, that narrates the story of an old man who yearns for a hearing machine, just so that he can enjoy the songs of Mohammad Rafi.

Mohammed Rafi also always used to sing a song in the native language whenever he would visit different countries. Not many people know that Mohammed Rafi visited Kabul, Afghanistan in 1975 and recorded few farsi songs in Radio Kabul. Here is such rare non-filmi farsi song of Mohammed Rafi, with Afghan female singer Zhilla. This song is composed by Hafizullah ‘Khyal’ and recorded in Radio Kabul in 1975 with Afghan musicians.
Aye Taaza Gul Tu Zeenat-e-Gulzaar-e-Keesti
(Oh fresh flower, you are beauty of which garden?)

Similarly when he visited the capital city of Suriname, Paramaribo, he sang Baharon Ful Barsao in Suriname language. Here is that clip where we can listen to his live performance in Suriname.

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

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