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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2021

Manna Dey – Chale Ja Rahein Hai…. – 1954 – 1955

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) had sang more than 4000 songs in all languages. He has had some phenomenally successful romantic songs with almost all major actors of his times. But the lady luck seemed to bend upon ensuring him a ‘next-best’ place to him. The Hindi film industry considered Manna Dey too good for his own good. And in an industry once you are cast in a die, you remain stuck to that mold.

We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the2020 episode.

In the present episode, we will take up his les heard songs for the year 1954 and 1955. As far as possible, we have studiedly avoided his songs from the mythological films.

Even after success of Awara (1951) and Boot Polish and Do Beegha Zamin (both 1953), the flow of non-romantic songs has not ebbed during the year 1954.

Shamo Sahar Hai Sahar Hi Sahar – Danka (1954) – with Asha Bhosle and chorus – Aziz Hindi – Arshi Ajmeri

This is an inspirational song, one more of a genre for which Manna Dey was to be typecast.

Jhini Jhini Re Bhini Chadaria – Mahatma Kabir (1954) – Anil Biswas – Kabir (Traditional)

Anil Biswas has imparted his own touch to this traditional bhajan.

Sangeet Hi Shakti Iswar Ki … Bhagat Ke Bas Mein Hai Bhagwan, Mango Milega Sab Ko Daan – Shabab (1954) – Naushad – Shakeel Badayuni

This again is bhajan, set to semi-classical tune. Naushad, in a rare use of Manna Dey’s voice, has used Manna Dey’s voice quality to a telling effect.

Jati Jati Hai … Aaj Naiya Meri…. Nila Hai Akash Dharati Hari – Baadbaan (1954) – Timir Baran S K Pal – Uddhav Kumar

We have selected this song over more traditional bhajan, Jai Deva Ho (with Asha Bhosle), because it being based on a Bengali folk tune.

Ye Jag Rain Basera Bande, Na Tera Na Mera – Ilzaam (1954) – Madan Mohan – Rajinder Krishna

We have a film from Madan Mohan’s early part of the career.

A singer is seen passing on the road singing this song. However, that voice has struck some chord with Meena Kumari, who runs after the singer.

As such, we see even a relatively new entrant like Madan Mohan too using Manna Dey for such ‘niche’ song.

1955 had two another great success to Manna Dey’s credit – Shree 420 and Seema. Each of Dil Ka Haal Sune Dilwala, Pyar Hua Ikrar Hua and Mud Mud Ke Na Dekh represented a different genre and Manna Dey as Raj Kapoor was playback, as well as singer, was hugely popular in  each of these songs. Tu Pyar Ka Sagar Hai can be classified as prayer, for which Manna Dey was already in the process of being typecast. So, the great success of the song only went ton to fortify the strength of the cast.

Murli Manohar Krishna Kanhaiya, Jamuna Ke Tat Par Viraje Hai – Jhanak Jhanak Payal Baje (1955) – With Ustad Amir Khan Saheb, Lata Mangeshkar – Vasant Desai – Diwan Sharar

Vasant Desai Has been using Manna Dey’s voice for a variety of songs. The present song is a semiclassical piece that has been used as a dance song. Manna Dey sings @ 4.48, for Gopikrishna who plays Krishna in this dance song.

The film had several more of Manna Dey songs. Of these, Mere Aye Dil Bata can be considered to be leaning towards romantic genre, while Gurur Brahma…. Rut Basant Aayi  Ban-Ban Upvan has more classical base even when the base feeling is that of Romance.

The music of the film was indeed highly successful, but that success was normally considered as an add-on to the over success of the film. So, neither Vasant Desai or even singers could make much of this success into far-reaching commercial success.

Chal Chal Paani Hamari Zindgani, Ye Chal Ke Rukna Jane Na – Amanat (1955) – with Asha Bhosle – Salil Chaudhury – Shailendra

Here too we have not considered a vicarious song, Chet Re Murakh Chet Re Avsar Bita Jaaye….Re Murarkh Tu Kya Jaane, filmed on an alms-seeking old man and his young companion couple . Such songs typically contain a message for the main character in the film.

The present song represents typical small celebrations in in a poor rural rea. Manna Dey comes in with alaap @1.40 and then takes over the next stanza on behalf of a village tradesman.

Aan Milo Aan Milo Shyam Sawarey – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

Here we have typical example of Manna Dey not being used as main singer in the film. In fact, he along with Geeta Dutt, seem to have been selected because the song is based on Baul Bengali folk tune.

Saajan Ki Ho Gayee Gouri – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

This is song which is being rendered by the same Boul singers as in the previous song, but Paro has now grown as an adult. The songs reflect the feelings of adult Paro, in the song by these singers. Manna Dey and Geeta Dutt very deftly reflect the mood the song.

Hosh Me Aa O Murakh Bandey – Kundan (1955) – Ghulam Mohammad   Shakeel Badayuni

This essentially a background song which leaves a vicarious inspirational message to the key protagonist. That seems to be the reason why Ghulam Mohammad, who has not used Manna Dey much, seems to have leaned towards choosing Manna Dey as playback voice for the song.

Ha Main Lanka Naresh …. Mere Dus Hai Shis – Insaniyat (1955) – with Mohammad Rafi – C Ramchandra – Rajinder Krishna

Here again Manna Dey sings for a character that plays Ravan in the is belle. The song has Agha in the focus, but he lip-syncs playback of Mohammad Rafi.

Naino Me Neer Liye, Hriday Mein Peer Liye – Oonchi Haveli (1955) – Shivaram Krishna – Bharat Vyas is again a background genre song for which I could not locate a YT link.

Similarly, Bharat Mata Ke Laadlo Mein Hove Na Ladai – Teen Bhai (1955) – with Laxmi Shankar – Arun Kumar – Bharat Vyas is an interesting composition, which is based on Baul folk music, deriving its main message form A Ramayana episode.

Manna Dey is his usual best even in these non-romantic songs. It seems that perhaps it was this versatility that led him to be cast a niche-singer who was perceived as being too versatile for the lead actor who was supposed to sing songs on the screen that common man on the street can also easily sing.

For Manna Dey fans, these songs are a treat to remember and for others these offer a glimpse of hidden treasure of Manna Dey’s songs


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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned  around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. Even though the widespread impression is that along with Shailendra, his major work was Shankar Jaikishan, he has done sumptuous work with many other music directors. With Shankar Jaikishan, as would be obvious, all the available situations in a film would be shared Shailendra. That would offer Hasrat Jaipuri ample spare time. It is also said that he was also worldly wise to spread his eggs among many baskets. That seems to have made himself open to be associated with other music directors. He is even said to carved out other streams of income with the help of savings generated from the income of songs-writing. 

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for the year 1959, with Roshan, Dattaram and Kalyanji Virji Shah. Except for two films with Dattaram, Hasrat Jaipuri was neither the sole nor the major lyricist in the films discussed herein. Whether he was chosen for a situation for which he would prove to be a better choice, what sort of rates he would have charged are some of the questions for which it would be interesting to know the reasons.

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

Ik Baat Sun Matwale Kahate Hai Nazar Ke Pyale – Asha Bhosle

This is a signature club song. Roshan has successfully tried hand with using western rhythm instrument in Mukhada and then switching over to Dholak as rhythm instrument in the main lines  Anataras, ending with western instrument rhythm instrument. Hasrat Jaipuri has penned lyrics pregnant with the message enshrouded for those whom the song is actually addressed.

Akiyon MeinDil Khoya Batiyon Mein Dil Khoya, Main Ise Dhoondh Loongi Baabu Asha Bhosle

We have here a club song that is peppier. The song is straightforward a tantalizing one

Dattaram

Qaidi No.911 (1959)

Hasrat Jaipuri was the sole lyricist for the film. Meethi Meethi Baton Se (Lata Mangeshkar) and
Pyar Bhari Yeh Ghatayein (Manna Dey, Lata Mangeshkar) are two well-known songs.

Tere Teer Ko Hamne Pyar Se Dil Mein Rakh Liya – Lata Mangeshkar, chorus

This time Dattaram comes up with club song. However, playback singer is Lata Mangeshkar, who might have agreed to sing the song to help bolster Dattaram’s career.

Tune Mera Maine Tera Dil Le Liya … Do Nain Mila Ke Haye Diwana Kar Diya  – Lata Mangeshkar

This one is street-play genre song. This genre was also a popular genre in those days. Dattaram smartly blends his ‘theka’ with the orchestration pieces of harmonium.

Yeh Khile-Khile Taare Hamare Hain Ishare Aaja Re Aaja – Lata Mangeshkar, Mehmood

This is again a peppy club song that is a blend of tantalization that is impregnated with hidden message to a particular client – dressed up as an Arab, which itself can be a masquerade.

Santan (1959)

Hasrat Jaipuri is sole lyricist here too. Kehta Hai Pyaar Mera (Twin version – Lata Mangeshar  + Hemant Kumar). Dil Ne Use Maan Liya (Mukesh) and Bole Ye Dil Ka Ishaara (Manna Dey, Lata) are the well-known songs.

Aside Trivia: There are at least three other films with this title, a 1946 film (Music: Ramchandra Pal; Lyrics – Anjum Pilibhiti), a 1976 film, which also has Hasrat Jaipuri as sole lyricist with Laxmikant Pyarelal as music director and a 1993 film9 Music: Anand Milind; Lyrics – Sameer).

Chhoti-Si-Dulahaniya Ke Shaadi, Pyari Si Dulhaniya Ki Shadi – Lata Mangeshkar, chorus

Here we have a (all-kid girls) party song so ably created by Dattaram and Hasrat Jaipuri weaving in simple events with meaningful lyrics of a marriage function.

Chham-Chham Mein Naachu Jhumati Bahar Mein, Jane Kis Khayal Mein Baje Man Ke Taar –  Lata Mangeshkar

The young heroine is bubbling with the first acceptance of her love –

Jane Kyu Ye Jiya Lehraye
Raz Hi Samajh Na Aaye….
Haye Re Sharm Si Lagi Haye Re Na Bola Jaye
Haye Re Na Bola Jaye Chhalke Hai Pyar Haye

Jeene Wale Khushi Se Jiye Ja Apne Ansoo Tu Khushi Se Piye Ja – Mohammad Rafi, chorus

Dattaram had so masterfully used choir chorus in the counter melody in this background song. Hasrat Jaipuri dutifully pens lyrics that fits the situation like a T. Mohammad Rafi is his usual theatrics best for such songs.

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

The film had six songs, penned by four lyricists Gulshan Bawra, Indeevar, Shor Niyazi and Farooq Qaiser, with one song each, in addition to two songs by Harat Jaipuri. No less than eight playback singers have been deployed for these six songs.

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

Baabu Na O Baabu Na … Dil Maange Dil De DooN, Jaan Maange Jaan De DooN, Teri Ada Pe Main Cheen Aur Japan De DooN – Manna Dey, Mahendra Kapoor, Suman Kalyanpur

The use of Baabu Na (No Please O Baabu) is a very clever ploy. The opening lines of the song set stage for the two competitors, at a club performance, by openly bidding for the common prize of a beauty.

Satta Bazaar (1959)

That Gulshan Bawara (3 songs), Indeevar (2 songs) and even Shailendra (1 songs) are the other lyricists, indeed makes the film as an ideal case to know why these lyricists were chosen for the film. Interestingly, it is also noteworthy that after Anandji joined his elder brother. And the duo was well established, Hasrat Jaipuri has worked with Kalyanji Anandji off and on in films like Jee Chahta Hai (1965, sole lyricist), Ghar Ghar Ki Kahani (1970, 2 songs), Rakhwala (1971, 1 song), Apradh(1972, 1 song) etc.

Aside Trivia: The present film was produced by Ravindra Dave under his production banner ‘Nagina films’. Laxmikant was the assistant to the music director, Kalyanji Veerji Shah – thus both hyphenated respective partners – Pyarelal and Anandji- have to yet to join the respective duo teams.

Kaheti Hai Meri Aankhein, Ye Jaadu Bhari Aankhein, Hua Hai Tum Se Pyar…., Tumhari Yaad Aaye Jiya Ko Tadpaye.- Lata Mangeshkar

Hasrat Jaipuri’s signature beginning with the initial couplet- Sakhi – is seamlessly joined with the principal opening line Teri Yaad Aaye.. in this mujra song

Zara Thehro Ji Abdul Gaffar Rumal Mera Le Ke Jaana… O Main To Layi HuN Jamun Se Bahar, Rumal Mera Leke Jaana – Mohammad Rafi, Suman Kalyanpur

Kalyanji has set the song to the Gujarati folk tune of a garba in this essentially a street play song, rendered by the two Pathani-dressed artists. Hasrat Jaipuri has successfully weaved in the lyrics that spell sweet tit-a-tat between the two protagonists – Sabita Chatterji and Johnny Walker.

Aside Trivia: The sad-faced hero is Suresh, who may be better recalled as an actor who had sung Suhani Raat Dhal Chuki (Mohammad Rafi; Dulari, 1949; Music – Naushad; Lyrics- Shakeel Badayuni)

We will continue with Hasrat Jaipuri’s songs for other music directors in our next (year) episode.


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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

top-post-markGhulam Mohammed (1903 – 17 March 1968), born in the family of musician in Bikaner (Rajasthan), got his early training from his father, Nabi Baksh, a tabla player and a stage artist. The career of Ghulam Mohammed is littered with ironies of fate that did give him his credit for his creation, but a little too late and far too less.

Every single piece of article written on Ghulam Mohammed would invariably focus on at least one defining characteristic. And yet, the fact that Ghulam Mohammed got to compose music for just 37 films in a career spanning almost four decades does neither tells the full story of his caliber nor it does justice to his talent. As such, in the month of his death anniversary, we commence an annual series that relives his known and less known songs.

We will begin with an overview of Ghulam Mohammed’s career in the form of songs he has composed for different singers. The choice of singers does seem to be a function of the period in which the music for the film is composed. Every song that Ghulam Mohammed created songs with each of this singer had the perfect mix of the singer and of the music director. We have adopted a conscious choice of selecting the songs that can easily be classified as the ones receding from the memory.

Hamida Bano – Ud Ja Re Ud Ja Panchhi Pee Pee Mat Bol – Mera Khwab (1943) – Lyrics: M E Ashq

Ghulam Mohammad got his first break as an independent music director in 1942 for a stunt film, Mera Khwab, released in 1943. However, some sources indicate Banke Sipaahi (1937) as Ghulam Mohammad’s debut film. There does not seem to be unanimity among film historians on this count. This was the period when he was known to be working as an instrumentalist for music directors like Rafiq Ghazanvi, Irshad Ali, Anil Biswas etc. It is further recorded that his first major break that elevated him to the status of assistant was in Sharda (1942; Music: Naushad). Their this relationship lasted till Aan (1953) even after Ghulam Mohammad had charted his own independent course in the meantime. Naushad also paid his tribute to their relationship by completing the unfinished tasks of Ghulam Mohammad swan song film ‘Pakeeza’

Zohrabai Amablewali – Tere Bina O Balam Kaise Kategi Mori Raina Bata Jaa – Mera Geet (1946) – Lyrics: Ramesh Gupta

The film had four music directors – Bal Mukund, Geeta Varma, Shankar Rao Vyas, Ghulam Miyan, Reejram – to compose as many as 16 songs. HFGK has been able to identify only a few songs for their respective composers. Even as we get to read the name is Ghulam MIyan, Cinemaazi confirms that this song is indeed composed by Ghulam Mohammed.

The song has very prominent and distinct use of dholak as rhythm instrument.

G M Durrani – Khel Nahi…Khel Nahi Gir Gir Ke Sambhalana – Doli (1947) – Lyrics: Majrooh Sultanpuri

The song is set to what is popularly known as Ghoda songs 9 singer rides a horse or a horse driven cart on the screen). The song is set to a fast pace, but runs on a very low octave, indicating that protagonist is deep thoughts as he sings the song during the ride.

Mukesh, Shamshad Begum – Tere  Naaz Uthane Ko Jee Chahta Hai – Grihasthi (1948) – Lyrics: Shakeel Badayuni

The song uses a duff (sometimes spelt as ‘daf’, too), another rhythm instrument that Ghulam Mohammed is credited with popularizing in Hindi film songs.

Knowledgeable bloggers inform us that this song was filmed on Pran and Sharda who was the sister of actor of ‘70s-‘80s Vinod Mehra

Mohammad Rafi – Nigahein Milane Ko Jee Chahata Hai – Parai Aag (1948) – Lyrics: Tanveer Naqvi

Composed to a softer, but relatively a fast, ‘qawwali’ style, and set to a soft Mohammad Rafi rendition, this easily the forgotten preceding song with the initial lyrics – Nigahein Milane Ko Jee Chata Hai. Yes, the one with better recall value is one which was used in Asha Bhosle qawwali song by Roshan (Dil Hi To Hai, 1963 – Lyrics: Sahir Ludhyanavi)

Suraiya – Mohe Mera Bachpana La De … Jawani Bhaye Na – Kaajal (1948) – Lyrics: D N Madhok

The orchestration has strong resemblance to what is used in Naushad’s songs. However, this playful song is well-remembered by Suraiya fans.

Sitara Kanpuri – Dil Ki Lagi Zubaan Par Aaye To Kya Karun – Pugree (1948) – Lyrics:  Shakeel Badayuni

‘Pugree’ is the second film that Ghulam Mohammed composed music for the production house All India Pictures, after Doli (1947). All India Pictures perhaps is the only banner that Ghulam Mohammed had under his belt as an independent music director. Other films that followed were: Paras (1949), Pardes (1950), Nazneen (1951), Guahar (9153), Rail Ka Dibba (1953), Laila Majnu (1953), Hoor-e-Arab (1955) and Sitara (1955).

Songs of ‘Pugree’ were resounding success in those days.

Shamshad Begum – Masti Bhari Bahar Ne Masatana Kar Diya – Pugree (1948) – Lyrics: Shakeel Badayuni

So ever young Shashikala lip-syncs Shamshad Begum on the screen.

Geeta Dutt – Na Tum Mere Na Dil Mera, Azab Hai Bebasi Meri – Dil Ki Basti (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed had two other solos, two male-female duets and one female-female duets in the film. However, Ghulam Mohammed has also used Lata Mangeshkar for two solos as well.

Lata Mangeshkar, G M Durrani – Do Bichhade Hue Dil Lo Aapas Mein Gaye Mil – Shair (1949) – Lyrics:  Shakeel Badayuni

‘Shair’ was also quite popular album, in the year wherein blockbusters like Andaz or Barsaat or Mahal would have occupied the memory space of the listeners.

It should be interesting to note that G M Durrani is preferred as a playback voice to the male lead, Dev Anand.

Even as I had planned to take up film-wise song later in this series, it would be opportune to listen to two other duets from Shair, for the use of different percussion instruments.

Mukesh, Lata Mangeshkar – Ye Duniya Hai Yahan Dil Ka Lagana Kisko Aata Hai – Shair (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used ‘matka’ (an earthen clay pot) in this song. Matka was another percussion instrument that is credited to Ghulam Mohammed for being popularly used in Hindi film song.

Playback voice now shifts to Mukesh, possibly because the of the pathos mood of the song

This duet was also a chart buster of those days.

Mohammad Rafi, Shamshad Begum – O More Balma…Kahe Maari Kataar…. Haye… Daiya…. Daiya – Shair (1949) – Lyrics: Shakeel Badayuni

Since my knowledge of music, and as a natural corollary, that of music instruments, is abysmally limited, I could only recognize a different instrument is used here, possibly a mix of dholak and matka, but do not which one it is!

A few strains of orchestration in the prelude seem to have faint the precursors of orchestration that we got to listen in the music of Pakeeza.

One interesting, and equally very rare as well, trivia to be observed is that Cuckoo is in the spectator’s gallery and enjoying the dance on the stage.

I plan to take up a few more singers in the next episode, before switching over to the usual format of remembering the songs from different films in chronological order.

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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

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I Liked Music from films

Songs of 1945 @ SoY :: Summing Up : MY Top Music Director(s)

The year 1945 has been a year, where I happened to listen for the first time most of the songs that came up in the Micro View.  As such, all the (s0-called) objective or scientific measures that have been deployed for the selection of MY Top Music Directors seem to lose all the rationale that they had supposedly carried.

The only possible solution that appears plausible at this tage is to seek the quantitative analysis of the songs that I have short-listed at the stages of MY Top male solo songs, female solo songs and the duets and see which music directors have composed these songs.

Quantitative view My Top Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets –

Music Director Male Solos Female solos Duets Total
Bulo C Rani 1 3 2 6
Govind Ram 2 4 6
Amarnath 2 1 3
Srinath Tripathi 1 1 2
Gyan Dutt 1 1 2
Hafiz Khan 1 1 2
Ninu Mazumdar 1 1 2
G A Chisti 1 1 2
Firoz Nizami 1 1 2

Other than these, Shanti Kumar and Pt. Ganapat Rao have one sons each in Male Solo songs, Datta Koregaonkar, Khemchand Prakash, Dhiren Mitra, Anil Biswas, Arun Kumar, R C Boral have one each in Female Solo songs and C Ramchandra, Naushad, Lal Muahammad have one Duet each in MY respective ‘Top’’ lists.

This approach has resulted in Shyam Sundar, the music director who has given a run away popular albu, Village Girl, being left out of the consideration.

SoY has also presented an exhaustive analysis to arrive at the Best Music Director spot for the year 1945 in its Best songs of 1945: Wrap Up 4. Going by the popular choice, SoY has adjudged Shyam Sundar as the Best Music Director and Bulo C Rani getting special mention.


P.S. All the episodes of Micro View of Best Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper link.

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I Liked Music from films

Ninu Mazumdar : A Trifoliate of Note, Lyric and Sound

Ninu is the family pet name of Niranjan Mazumdar (B: 9-9-1915 | D: 3-3-2000), who has 20 Hindi films to his credit as music director, 28 Hindi film songs in his own voice, one film each as lyricist and as a film director. Ninu Mazumdar was born in a community, which was traditionally more literate in those times. His father, Nagendra Mazumdar, was a dramatist and director of silent film era. Nagendra Mazumdar has also acted in a comedy cameo role in K L Saigal’s classic Tansen (1943). Ninu Mazumdar’s childhood upbringing happened under the guidance of his maternal grandmother at the then Gaikwad princely state Baroda. She herself was a leading social reformist. Here Ninu Mazumdar got his initial training in classical music under Ustad Faiyaz Khan and Ustad Imam Chili Khan.

In 1931, he came to Bombay and settled with parents. Here he met wide-ranging film personalities. His early initiation to Rabindra Sangeet also happened in those years. For some time, he had stayed in UP as well, where he picked up his liking for folk music as well as semi-classical music forms like, Chaiti, Hori, Thumri, Dadra etc. Soon he got his chance to compose music for Hindi films. His involvement in the world of music spanned singing, lyrics-writing, and music composition.  Avinash Vyas, his contemporary in the world of Gujarati Light Music, used call him trifoliate bael (Aegle marmelos) leaf  – स्वर, the (sound) note (the seven notes base of Indian Classical music), शब्द, the word (lyric of a poem) and सूर, the tune

The uncertain nature of Hindi films drove him to pick up invitation to join All India Radio (AIR) in 1954. His creativity fully flourished here. He introduced many budding Gujarati singers to the world of radio, and in the process popularized ‘light’ Gujarati music to the masses. He invited leading Hindi, Marathi and Gujarati poets to lend their poems to the AIR programmes to lend the breadth and depth to the Gujarati Light music. He introduced the concept of chorus singing into Gujarati light music with the help Bombay Choir Group (an association with which Salil Chowdhury also was associated). He is also credit with initiating one of the most popular programmed on AIR – Jaymala. His insatiable urge to learn and experiment led to him to learn Sanskrit after his retirement from a 20-year stint at the AIR service in 1974.

Ninu Mazumdar has composed music for 20 Hindi films, spanning a period of 1942 to 1967. Of these films, the films for which there is no trace on YT are: Masterji (1943) -co-music-director B R Deodhar; Pratigya (1943) – as recorded by Shri Harish Raghuvanshi in his famous Gujarati newspaper column article*- ; Rangile Dost (1944), Gudia (1947); Pul (1947); Ramshashtri (1944); Aflatoon (1950): Azamyish (1952) – except one song.  Ninu Mazumdar has penned songs for ‘Paristan’ (1944) and directed ‘Kuchh Naya’ (1948).

The Singer of His Own Compositions

To commemorate the death anniversary of Ninu Mazumdar, we will listen to his compositions in Hindi films in his own voice, as are available on YT at present.

Haay Haay Haay Haay Dil Ko Le Gaya Chor – Black Out (1942) – Ninu Mazumdar, Rehmat Bai – Lyrics: Wahid Qureshi

The song opens with prelude orchestration based on western music instruments. runs on a fast-western rhythm in the male voice and switches over to a slow waltz rhythm in the female voice. Ninu Mazumdar also easily improvises with scale variations in the second line.

If we have had more songs form this very first film of Ninu Mazumdar digitally available, we would have had enough proof of his intense willingness to experiment.

Main To Lambe Safar Ko Jaaungi, Saiyan Mera Ticket Babu – Kiran (1944) – Unidentified Female and Male Singer

HFGK records female and male singer as Unidentified. However, while uploading the following video on YT, Sadanand Kamath identifies female singer as Leela Chitnis and I would place my bet on the male singer as Ninu Mazumdar.

The song is light-hearted romantic song wherein the female singer enlists he wishlist and male singer agrees to meet that and more.

Pal Bhar Ki Aap Se Pahechan… Kal Se Aaj Suhanaa Lage – Paristaan (1944) – Ninu Mazumdar, Amirbai Karnataki – Lyrics: Ninu Mazumdar, Roopdas

The song rendition is more in the typical vintage era style, but Ninu Mazumdar’s orchestration has his own stamp, So are the skilful variations in throw of words by both singers as they melodiously sing the initial lines in after another. Amirbai Karnataki singing only one word ‘Bhala’, @00.54, with a little extension of the last vowel ‘aa’ is again ample testimony of Ninu Mazumdar’s experimentations. The first stanza opens on a higher scale at a slightly rapid beat and then switches on to an easier paced second line. This is how Ninu Mazumdar has used folk tunes in his compositions.

Bamna Ki Cchhori Dil Le Gayi, Ho Baniye Ka Put Jiya Le Gaya – Main Kya Karoon (1945) – Ninu Mazumdar, Hameeda Bano – Lyrics: D N Madhok

The song is set to Gujarati folk music – Garba- rhythm, but the delivery of the lyrics is very innovatively presented as a light mood song. In the initial line- mukhda- Hameeda Bano literally cuts through the line being sung by Ninu Mazumdar. In the first stanza, Ninu Mazumdar chirps in, almost as counter melody, at every pose by Hameeda Bano. Interestingly first stanza itself comes in seamlessly with the mukhada, without any intervening interlude music as usual.

O Gori Kahaan Chali Us Paar … Chhod Ke Ganv Ki Bahar – Jail Yaatra (1947) – Ninu Mazumdar, Meena Kapoor – Lyrics: Sajjan

Jail Yatra has attained fame more as Raj Kapoor’s one of those initial films where he was not the lead actor. Ninu Mazumdar has recorded songs filmed on Raj Kapoor in Raj Kapoor’s own voice. So the songs that Ninu Mazumdar has chosen to sing in his voice may have been filmed on the Gajanan Jagirdar, who was the lead actor in the film. Ninu Mazumdar is credited with using Meena Kapoor very early in her career.

The song composition is nearer to vintage ear style, but the song does not progress linearly. Every line of the song has some or other variation in the delivery. Ninu Mazumdar once more demonstrates his improvisation skill in the way he has used the folk dance music at the end of the song from 2.18 onwards.

Duniya Sari Jail Re, Jiski Unchi Hai Deewarein – Jail Yatra (1947) – Ninu Mazumdar – Lyrics: Sajjan

The song is basically set to Bengali folks baul styles tune. Ninu Mazumdar, as can now be expected, introduces his own improvisation in the template. The way chorus has been used in the song one such sweet improvisation.

Aayee Gori Radhika Brij Mein Balkhaati – Gopinath (1948) – Ninu Mazumdar, Meena Kapoor – Lyrics:  Surdas

In the glory of the fame that this song has got as the inspiration of Yashomati maiya se bole nandlala (Satyam Shivam Sundaram, 1978), it is perhaps being missed that is was Ninu Mazumdar who introduced the traditional ‘bhajan’ (prayer) music styles into Hindi films through the Surdas and Meerabai bhajans in this film.

Kaare Badar Baras Baras Kar Thak Jaaein Bar Bar, Re Birhan Ke Dware .. Gae Koi Aaj Koi Gaaye Re Malhar – Gopinath (1948) – Ninu Mazumdar – Ram Murti

Ninu Mazumdar has based the song on the folks ritual singing styles of wandering ascetics.

Piya Milan Kaise Jaogi Gori, Rang Roop Sab Jaat Raho Ri – Kuchh Naya (1948) – Ninu Mazumdar, Meena Kapoor – Lyrics:  Meera Bai

Ninu Mazumdar comes up in new style by singing the song in base scale. As a music director, he uses Meena Kapoor in a contrasting scale, to come down athe same scale in the last line, wherein Ninu Mazumdar also joins to end the song.

Kar Ke Singar Chali, Sajan Ke Dwar Chali Chatura Albeli – Part 1 – Teen Tasweeren (1954) – Kaumudi Munshi, Ninu Mazumdar, chorus – Lyrics: Prem Dhawan

Kaumudi Munshi**, a trained semi-classical singer, popularly known “Nightingale of Gujarat”, is an established and well-respected name in Gujarati ‘light’ music world. She started as chorus singer in AIR music programmes when Ninu Mazumdar was heading the Gujarati music programmes section. Ninu Mazumdar’s first wife, Shardaben, had passed away a few years back. The professional relationship between Ninu Mazumdar and Kaumudi Munishi got converted in personal relationship and they married in 1954.

This song is also set to a ascetic ritual folk rhythm. Ninu Mazumdar has very easily crafted the tune to a different mood, of a young maid expectantly looking forward to proceeding to her new, in-laws home.

The song has a twin part 2 which is a solo by Ninu Mazumdar. Since we only have an audio clip here, we are not able to ascertain the siutaion in which the song would have been filmed on the screen. However, the Kar Ke Singar Chali Sajan Ke Dwar of female version now becomes Kar Le Singar Chatura Albeli Jaan Hoga Sajan Ke Dwar in the opening line and the song takes a form of well-wishing message.

Dekh Liya Jag Wale Tera Jag Dekh Liya – Teen Tasveeren (1954) – Ninu Mazumdar – Lyrics: Prem Dhawan

In song based on wandering ascetic folk song style, Ninu Mazumdar has introduced a novel approach to the orchestration support.

We now have a song in Ninu Mazumdar’s voice, which is technically not his own composition.

Karo Hamein Parnam Karo Jee, Baar Baar Parnam – Manjhu, Ninu Mazumdar, Unidentified voice – Ramshahstri (1944) – Music: G Damle – Lyrics: Qamar Jalalabadi

Kaumudi Munshi’s site records Ramshastri in Ninu Mazumdar’s filmography. However, HFGK records G Damle as the music director for Hindi version of the film (YT has several videos of film’s Marathi version). The names of the singers have been added in addenda of HFGK , Vol. II -1941-1950, signifying that the information was available at a very late stage.

This led me to approach Shri Harish Raghuvanshi, whose article* mentions this film, Shri Har Mandir Sinh ‘Hamraaz’ of HFGK and Shri Arun Kumar Deshmukh, who has done pioneering posts on Atul’s Song A Day w.r.t. Ninu Mazumdar. Har Mandirji informs that Ninu Mazumdar himself had confirmed to him that he had composed songs for this film with another music director, K. Bhole.

Shri Arun Kumar Deshmukh throws further light on the background of this film. He states that, “Film Ramshastri-44 was originally directed by Raja Nene. During the shooting of the film in 1943, Raja Nene along with Mukhram Sharma, Datta Dharmadhikari and few others decided to quit Prabhat. Keshavrao Bhole was the first MD for this film. He too wanted to quit, but he stayed, completed the work, and then left. This is told by Bhole himself. After Raja Nene left, Vishram Bedekar directed the film, but he too quickly left  and the film was completed by Gajanan Jagirdar as a Director. He was the Lead actor too in it. I do not know who this G. Damle is, mentioned as MD. Ninu might have assisted Bhole in this period.”

The audio version of the song also is very kindly provided by Shri Arun Kumar Deshmukh.

The following are the songs for which I have not been able to locate digital versions. Since, there was enough number of songs already available for one post, I have not troubled knowledgeable sources like Har Mandir Singh ‘Hamraaz’. Harish Raghuvanshi, Arun Kumar Deshmaukh, who already have taken enough pains to provide base material and clarifications even for the present post.

(Note: Subsequent to posting the article, Shri Arun Kumar Deshmukh has sent in audio files of three of the songs in the list herebelow. These files ar now auploaaded along with the respective songs)

Sajan aao chalein kahi door, is neele aakash ke neeche – Black Out (1942) – Ninu Mazumdar, Leela Sawant – Lyrics: Wahid Quereshi

Mauj kare duniya anadi bahar, phoolon se mauj kare – Amanat (1943) – Ninu Mazumdar, Jyoti, Harish – Neelkanth Tiwari, M A

Pujari ab to mandir kholo – School Mater (1943) -Ninu Mazumdar, Chorus – Lyrics: Pt. Indra

  1. Sipahi sipahi ab to bigul baja – School Mater (1943) – Ninu Mazumdar, Chorus – Lyrics: Pt. Indra
  2. Aa Bahar Kar Ke Phoolon Ka Singar – Pul 1947 – Neenu Mazumdar – Lyrics : Rammurti Chaturvedi
  3. Aaye Bhi Nahin Bit Gaye Din Bahar Ke – Pul 1947 – Neenu Mazumdar, Meena Kapoor – Lyrics: Rammurti Chaturvedi
  4. He Ji Dagmag Dole Hamari Naiya, Bichhad Gaye hain – Kuchh Naya (1948) – Ninu Mazumdar
  5. Bahut Rahi Babul Ghar Dulhin Chal Tere Piyu Bulai Hai – Kuchh Naya (1948) – Ninu Mazumdar
  6. Lena Fakiri Phir Kya Dilgiri, Sada Magan Mein Rahena Ji – Kuchh Naya (1948) – Ninu Mazumdar – Lyrics: Meerabai
  7. Koi Saaf Na Dekha Dil Ka, Ye Chola Ban Zilmil Ka – Kuchh Naya (1948) – Ninu Mazumdar
  8. ………Kar Le Singar – Kuchh Naya (1948) – Ninu Mazumdar

Notes:

  1. Rami Dhoban (1953), noted in the filmography of Ninu Majumadar at Kaumudi Mishi’s site**, apparently appears to be an error of memory, since HFGK database records Hiren Bose as music director,
  2. Kaumudi Munshi’s site** also notes that Ninu Mazumdar has sung a duet with Sardar Akhtar in Uljhan (1942, Music: Ramchandra Pal), but HFGK database does not validate this claim. All, except, the 20 songs that he has rendered in his own voice, belong to his early career of 40s. As such, I have not been able to locate the digital version of these songs:

Ninu Mazumdar consciously charted his own course at a time when vintage era music directors like R C Boral, Khmechand Prakash, Pt. Amarnath, Anil Biswas, Ghulam Haider, Feroze Nizami held the sway over the public taste. His compositions in the voices of other singers is also an equally interesting area which we will recall at some other opportune occasion.


Acknowledgements and references:

  1. * Harish Raghuvanshi’s Gujarati article “ઉત્તમ સંગીતના તરફદાર નીનુ મઝુમદાર
  2. ** Kaumudi Munshi’s website: The Life and Art of Kaumudi Munshi
  3. A pioneering anthology, ‘Gaurav Gurjari: – Nandini Trivedi, Published 2006; Publisher N M Thakkar and Co, Mumbai 400002., e-version  located at com @ hyperlinked title of the book.

The article is first published on Songs of Yore as Remembering Ninu Mazumdar – the composer and the singer.

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I Liked Music from films

Songs of 1945 @ SoY :: Duets – Summing Up : MY Top Duet Songs

For the purpose of summing up the duets, I have picked up the ones that I liked on the first hearing.

So, here is the list, in no particular order:

Mohammad Rafi, Zohrabai, Shamshad Begum – Chhoti Si Ek Banayenge Naiya – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Manna Dey, Amirbai Karnataki – Ye Rang Birangi Dor Hai…  – Mazdoor – H P Das – G S Nepali

Mukesh, Khursheed, Hamida Bano – Badariya Baras Gayi Us Paar, Liye Khadi Hai Preet Gagariya – Moorti – Bulo C Rani – Pt. Indra

Shrinath Tripath + Geeta Roy (?) – Aayee Beloonwali, Aayee Re, Koi Na Lena Mose Udhar – Aadhaar – Shrinath Tripati – M A Razi

Khan Mastana + Nirmala – Motor Gadi Chalane Wale O Balama – Chalis Karod – Pt. Govind Ram – Pt. Indra

Bulo C Ranii + Amirbai Karnataki – Asha Ko HaNsaye, Kismat Ko Banae = Preet – Bulo C Rani – D N Madhok

Surendra + Shamshad Begum – Nain Baan Se Kar Ke Ghayal, Rupvati KahaN Jaye – Ratnavali – Pt. Govindram – Brajendra Gaud

G M Durrani + Amirbai Karnataki – O Jaanewale Kuchh Kaheta Jaa, Kuchh Hamari Bhi Sunata Ja – Samrat Chandragupta – C Ramchandra – Pt. Buddhi Chandra Agrawal ‘Madhur’

Amar + Zohraba Amabalewali – Suno Ji Pyari Koyaliyan Bole, Mast Jawani Dole – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

S D Batish + Shamshad Begum – Ye Dil, Ye Mere Pyar Ka Ghar  Tere Liye Hai – Shirin Farhad – Pt. Amarnath – Mazim Panipati

K L Saigal + Suraiya – Rani Khol De Apane Dwar, Milane Ka Din Aa Gaya – Tadbir – LaL Muahammad – Swami Ramanad

Amirbai Karnataki + Zoharabai Amabalewali – Piya Ki BasuriyaHui Kaleje Paar – Chhamia – Gyan Dutt – Pt. Indra / Qabil Amrutsari

Suraiya + Hameeda Bano – Bachpan Gaya Jawani Ayee, Dil Mein Kisi ne Li Angadai – Main Kya – Neenu Mazumdar – D N Madhok

Zohrabai Ambalewali + Shamshad Begum – RatiyaN GujaruN Kaise Hay Ram – Ratanavali – Govind Ram – Ram Murti Chaturvedi

Kalyani + Zohrabai Ambalewali + Noot Jehan – Aahein Na Bhari Shikawe Na Kiye – Zeenat – Hafiz Khan – Nakshab Zarachvi

In order to select the ones that I liked most, I willleave out the duest that I have heard several times prior to the present Micro Review –

Mukesh, Khursheed, Hamida Bano – Badariya Baras Gayi Us Paar, Liye Khadi Hai Preet Gagariya – Moorti – Bulo C Rani – Pt. Indra

Amar + Zohraba Amabalewali – Suno Ji Pyari Koyaliyan Bole, Mast Jawani Dole – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

K L Saigal + Suraiya – Rani Khol De Apane Dwar, Milane Ka Din Aa Gaya – Tadbir – LaL Muahammad – Swami Ramanad

Kalyani + Zohrabai Ambalewali + Noot Jehan – Aahein Na Bhari Shikawe Na Kiye – Zeenat – Hafiz Khan – Nakshab Zarachvi

From the rest, I have selected one song each from the three different subcategories that we have used for classifying the duets for the present Micro Review:

Manna Dey, Amirbai Karnataki – Ye Rang Birangi Dor Hai…  – Mazdoor – H P Das – G S Nepali

Bulo C Ranii + Amirbai KarnatakiAsha Ko HaNsaye, Kismat Ko Banae = Preet – Bulo C Rani – D N Madhok

Suraiya + Hameeda Bano – Bachpan Gaya Jawani Ayee, Dil Mein Kisi ne Li Angadai – Main Kya – Neenu Mazumdar – D N Madhok

SoY has adjudged jointly =

Aahein na bharin, shikwe na kiye kuchh bhi na zubaan se kaam liya
Badariya baras gayi us paar
Rani khol de apne dwar, milne ka din aa gaya

as the Best Duet of 1945 in the overview Best songs of 1945: Wrap Up 3.

P.S. :

All the episodes of Micro View of Duet Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper link.

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I Liked Music from films

Songs of 1945 @ SoY :: Duets – Female – Female Duets (+)

Female- Female Duets present an opportunity to listen to many of the voices that we listed to in the female solo songs, with a different perspective of – in terms of the subjects as well as style of singing these types of songs.

Barring an exception, I have picked up only those FF songs for which HFGK has identified the singers.

Minaxi, Lata Mangeshkar, chorus – Janani Janmabhoomi…Tum MaaN Ho Badi MaaN Ho – Badi Maa – Datta Koregaonkar – Anjum Panipati

Unidentified female voicesBegum Janiya Ki God Bhari, Hamari Lado Rani   – Bhaijaan – Shyam Sundar – Padtau Lakhnavi

Zeenat Begum   Munnavar Sultana – Doriye Ki Odhani Maim Mal Mal DhouNgi – Champa – –Lachhiram

Amirbai Karanataki + Zoharabai Amabalewali – Piya Ki BasuriyaHui Kaleje Paar – Chhamia – Gyan Dutt – Pt. Indra / Qabil Amrutsari

Naseem + Ratan Bai – Chali Pawan…. – Dharma – Sajjad Hussain

Zoharabai Ambalewali + Naseem Akhtar + Shamshad Begum + Chorus – Holi Ka Tyauhar, Aaj Rang Holi Ka – Hamara Sansar – Govind Ram – Ramesh Gupta

Shamshad Begum + Rajkumari – Naina Bhar Aaye Neer, Mere Hatheele Raja – Humayun – Ghulam Haider – Anjum Pilibhiti + Kavi Shanti

Suraiya + Hameeda Bano – Bachpan Gaya Jawani Ayee, Dil Mein Kisi ne Li Angadai – Main Kya Karoon  – Neenu Mazumdar – D N Madhok

Suraiya + Hameeda Bano – Aaj Hans Hans Ke Do Do Baatein Ki Hai Sanam Ne Hamare – Main Kya Karoon – Neenu Mazumdar – D N Madhok

This song has a sad solo version by Suraiya.

Rajkumari + Hameeda Bano – May GulguN Hai Jawani Hai, Aur Rut Bh- Suhani Hai – Main Kya Karoon – Neenu Mazumdar – D N Madhok

Zohrabai Ambalewali + Shamshad Begum – RatiyaN GujaruN Kaise Hay Ram – Ratanavali – Govind Ram – Ram Murti Chaturvedi

HFGK mentions only the female singers but the song has a male voice, that of Surendra, in the song

Kalyani + Zohrabai Ambalewali + Noot Jehan – Aahein Na Bhari Shikawe Na Kiye – Zeenat – Hafiz Khan – Nakshab Zarachvi

We will take up Summing Up of Duets for 1945 in the form of MY Top Duets, in the next episode.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: February 2021

Talat Mahmood: Duets with Geeta Dutt:

A Rare Blend of Velvety Voice with Mellifluous Tone

Talat Mahmood (B: 24 February 1924 | D: 8 May 1998), known for his velvety voice was more comfortable in lower scales. His voice required most of the music directors to adapt their styles to his singing. Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; B: 23 November 1930 | D: 20 July 1972) was a gifted singer who could enliven any song with her mellifluous voice. The contrasting styles of the two contemporaries should have resulted in a larger number of duets. However, the destiny seemed to have scripted a different script for the duets of these two singers.

Statistically, the number of Talat Mahmood – Geeta Dutt duets trail those of Talat Mahmood-and Lata Mangeshkar as well as Talat Mahmood and Asha Bhosle. However, as in the case of both artists’ other songs, the numbers alone do not make the full picture. How the velvety voice of Talat Mahmood so magically blended with the mellifluous tone of Geeta Dutt can be experienced only by listening their duets.

To commemorate the memory of Talat Mahmood in the month of his birth, we have taken up the theme of his rare duets. Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri, and

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952.

Presently, we carry forward our journey into the memory lanes of Talat Mahmood- Geeta Dutt duets.

Kah Rahi Hain Dhadakane Pukar Kar, Chupake Chupake Dhire Dhire Pyar Kar – Laal Pari (1954) – Hansraj Behl – Asad Bhopali

To a good many of Geeta Dutt or Talat Mahmood fans, the song will ring special bells of memory. Geeta Dutt slides over changing scales across the song.

Muhabbat Ki Duniya Mein Barbad Rahena Magar Kuchh Na Kahena – Lakeeren – Hafeez Khan – Shewan Rizvi

Songs runs in a lower scale in consonance with the mood of poignancy.

Wah Re Wah Bhagwan…Hazar Haathwale Mandir Ke Dwar Khule Aur Tere Moonh Pe Taale – Maha Pooja (1954) – Avinash Vyas – Ramesh Gupta

Talat Mahmood opens on a high scale as he renders ‘sakhi’. The song then essentially plays in lower scale.

Avinash Vyas has used Geeta Dutt so effectively for Gujarati films. Here Geeta Dutt comes up very sharp variant of her tone, probably in line with a tone of complaint of the song..

Aaye To Kaise Aaye, Majbur Kar Diya Hai…Mil Jaye Koi Tumse Aake Sahar Nahi Koi – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

Geeta Dutt opens ‘sakhi’ on a higher scale which is supported by a crescendo of violins ensemble. Geeta Dutt continues in higher scale supported by Talat Mahmood in lower scale, thereby creating depth of mood of exasperation.

Raat Hai Aramaan Bhari….Aur Kya Suhani Raat Hai, Aaj Bichhade Dil Mile Hai, Tera Mera Saath Hai – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

The song opens with high scale singing by the chorus, probably the crew of the boat singing the tune in rhythm with pedaling the boat. But this itself is sufficient to set the mood of the song – a serene trip on calmly flowing river, in open moonlight and the two beloved ones together after a long time…

This was one of the hugely liked song then, which remains well remembered even today.

Dekho Dekho Ji Balam Deke Birha Ka Gam Mera Naha Sa Jiya Tadapana Na – Bahu (1955) – Hemant Kumar – S H Bihari

We have a very playful song which Geeta Dutt seems to be equally enjoying as she keeps climbing up and down the scales. We get to hear here a fast paced song that is so sweet all the way through vocal s and orchestration.

Thandi Thandi HawaoN Mein, TaroN Ki ChaaoN Mein, Aaj Balam Dole Mora Jiya – Bahu (1955) – Hemant Kumar – S H Bihari

The song is set to an easy flow pace, in consonance with the mood and the possible situation – the couple riding on some vehicle- mostly a horse cart, or even cycles as was very popular style in those years – in the open moon night.

Kya Paya Duniya Ne…Do Pyar Bhare Dil Tod Kyun Kya Paya Duniya Ne – Darbar (1956)  – Hansrah Behl – Asad Bhaopali / Prem Dhawan

We have a poignant song wherein the couple questions the way the world treats the innocent love of the couple. Geeta Dutt switches over to a lower scale in a melancholy tone with a questioning tone in a higher scale.

Dono Jahan Ke Maalik, Tera Hi Aasara Hai, … Raazi Hai Hum Usi Mein Jis Mein Teri Razaa Hai – Khul Ja Sim Sim (1956) – Hansraj Behl – Asad Bhopali

Incidentally, we have a totally inverse song from the same team – seeking a reprieve from the troubles of this world in the form of  a prayer in the resigned tone this time. It is Talat who scales higher scale at the beginning of each stanza.

O Arabpati Ki Chhori..Gori Gori…Dili Door Nahin  – Makhichoos (1956) – Vinod – Pt. Indra

This a song of Chhed Chaad genre, very popularly used in Hindi films, this time both the parties enjoying the mutual teasing- a way of expressing the enjoyment of stealing a few moments of togetherness. It is not only rare for Talat Mahmood to playback so light song, it is equally rare for Mahipal to sing such a song on the screen, that is in fully modern suit-tie formal attire.

Saare Jag Se Nain Chura Ke Ho Gayi Main Teri – Naag Padmini (1957) – Sanmukh Babu Upadhyay – Prem Dhwan

A lovely playful romantic song, wherein if Geeta Dutt is in her elements, Talat Mahmood comfortably matches the mood.

Dil Ko Laga Ke Bhul Se Dil Ka NishaaN Mita Diye – Doctor Z – Manohar – Akhtar Romani

Here is a song that is from an unknown film, by a hardly heard named music director that showcases strong vocals of Geeta Dutt as she effortlessly. Renders alaap to support and synthesize Talat Mahood to a improvised waltz tune. The composition is quite complex to sing, but the magic blending of the two voices makes it a gem that would like to listen again and again.

Tum Sa Meet Mila Dil Ka Phool Khila, Chalta Rahe YuN Hi Sanam, KhushiyoN Ka Kaafila – Midnight (91972) – Subir Sen – ?

A low-scale vocals high scale orchestration composition, that can be considered as the last duet of Talat Mahmood and Geeta Dutt. The film was never released. So it is really very lucky to get the song on the YT.

There is a reference to a duet – Tumhari Mohabbat Ka Badla – by Daan Singh (film – Bahadur Shah Zafar), but the song does not seem to be traceable. So is a NFS duet Chanda Hanse Hans Rahi Chandani (Music: Jimmy) not traceable on YT.

A look back at Talat Mahmood – Geeta Dutt duets reveals a pattern wherein we do not find songs by the then mainstream music directors. This can be possibly because when either singer was picked up as lead singer for major banner, the other singer would be someone like Lata Mangeshkar, or even Asha Bhosle, as female playback or Mohammad Rafi as male playback. A such what we lose in terms of numbers is well compensated by a very wide range of highly talented music directors and Talat – Geeta duets of all hues and shades, leaving us with a feeling of being fully satisfied with a high-quality fare to enjoy forever.

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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

P.S.:  Talat Mahmood: Duets with Geeta Dutt and its Gujarati version તલત મહેમૂદનાં યુગલ ગીતો – ગીતા (રોય) દત્ત સાથે can be read / downloaded by clicking on તલત મહેમૂદનાં ગીતા (રોય) દત્ત સાથે યુગલ ગીતો । Talat Mahmood: Duets with Geeta Dutt.

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I Liked Music from films

Songs of 1945 @ SoY :: Duets – Duets (+) of Vintage Era (Male+) Singers [2]

We had taken up Micro View of Part [1] of the Duets (+) of Vintage Era (Male+) Singers, in the previous issue.

Paresh Bannerji + Snehprabha Pradhan – Kahe Ko Nain Milaye, Nain Milanewale – Din Raat – Dada Chandekar – Santokh Nadim

Paresh Bannerji + Snehprabha Pradhan – More Jivan Mein Aai Bahar, Kisamt Chamaki – Din Raat – Dada Chandekar – Santokh Nadim

Unknown male singer + Zeenat Begum – Daman Na Chhod Dena. – Kaise KahooN – Pt. Amarnath – Moti B A

HFGK does not have the singer for this song.

Bulo C Rani + Snehprabaha Pradahan – Bhul Na Jana … Aur Dekhoji Hansega Zamana – Preet – Bulo C Rani – D N Madhok

Bulo C Rabi + Amirbai Karanataki – Asha Ko HaNsaye, Kismat Ko Banae = Preet – Bulo C Rani – D N Madhok

Unidentified male voice – Kanan Devi –- O Kali Matwali, O Matwale Phool, Ban Ke Prani Banke Saathi – Raj Laxmi – Dhiren Mitra – Suresh Chaudhari

Surendra + Shamshad Begum – Nain Baan Se Kar Ke Ghayal, Rupvati KahaN Jaye – Ratnavali – Pt. Govindram – Brajendra Gaud

Surendra + Naseem Akhtar – Ye Mere Hai Main Unki Hun – Ratnavali – Pt. Govindram – Brajendra Gaud

G M Durrani + Amirbai Karanataki – O Jaanewale Kuchh Kaheta Jaa, Kuchh Hamari Bhi Sunata Ja – Samrat Chandragupta – C Ramchandra – Pt. Buddhi Chandra Agrawal ‘Madhur’

G M Durrani + Amirbai Karanataki – Badala Hai Jamana Hai Mera Badla Hai Jamana – Samrat Chandragupta – C Ramchandra – Pt. Buddhi Chandra Agrawal ‘Madhur’

G M Durrani + Rajkumari – Jhoom Rahi… BagoN Mein Bheegi Hui Daali – Yateem – Khursheed Anwar – Zia Sarhadi

Amar + Zohraba Amabalewali – Suno Ji Pyari Koyaliyan Bole, Mast Jawani Dole – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

Amar + Zohraba Amabalewali – Duniya Chadhaye Phool Main Ankho Ko ChandhauN – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

Amar + Zohraba Amabalewali – Neha Laga Ke Jo Koi YuN ChhoopJaye – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

Amar + Zohraba Amabalewali – Peepal Ki ChhaoN Tale Main Bhi Milun, Tu Bhi Mile – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

S D Batish + Shamshad Begum – Ye Dil, Ye Mere Pyar Ka Ghar  Tere Liye Hai – Shirin Farhad – Pt. Amarnath – Mazim Panipati

K L Saigal + Suraiya – GariboN Ki Duniya – Tadbir – LaL Muahammad – Swami Ramanad

K L Saigal + Suraiya – Rani Khol De Apane Dwar, Milane Ka Din Aa Gaya – Tadbir – LaL Muahammad – Swami Ramanad

We will take up MicroView of Female-Femaale Duets for the year 1945 in our next episode.

Categories
I Liked Music from films

Hemant Kumar’s Hindi Song Compositions: Male songs – [3] – ‘Other’ Male Singers

This is the third and concluding part of the article – Hemant Kumar’s Hindi Song Compositions: Male songs. The previous parts have covered Hemant Kuamr’s solo songs in the voices of Hemant Kumar |Mohammad Rafi and Kishore Kumar |Manna Dey.

The end of the spectrum of Hemant Kumar’s solo male compositions presents quite unusual variety of, not-from-the-mainstream, male singers. Except for the first and last song, incidentally in the chronological order, all other songs can also be ascribed to not-so-usual song situations. However, one thing that stands out is the Hemant Kumar’s choice of the singer for the song – he has fully leveraged the singer’s voice quality in the first and the last song, while duly accommodating his compositions to the vocal range of the respective singer in the other songs.

Kavi Pradeep

Pradeepji was essentially a poet, but the beauty is whichever film song is recorded in his voice has become a massive hit.

Aao Bachcho Tumhe Dikhaye Jhanki Hindustan Ki – Jagriti (1954) – Lyrics: Pradeepji

When I look at the song now, I realize how imaginatively the song has been conceived, filmed, composed, and rendered. No wonder, we found the song so enchanting in our school days in the latter half of ‘50s.

Chitalkar

Chitalkar (a.k.a. C. Ramchandra) has very rarely agreed to sing a song for other music directors. However, the mutual rapport that both will have developed while working together for Anarkali (1953) seems to have tilted the scales.

Sunaoon Ik Majnu Ka Haal, Ke Ghar Pe Pakati Na Thi Daal – Lagan (1955) – Lyrics: Rajinder Krishna

The song seems to be street song. Hemant Kumar has packed in all possible variations that the situation for the song seems to have demanded and Chitalkar deftly handles his part of the deal.

Ravi

It is said that Ravi’s original plan was to make a career as a singer, as well. As such, he did pick up every possible opportunity in the beginning of the career. However, he did seem to have finally settled to focus on his music direction career.

Khol Ke Aankhein Dekh Jara…. Dekhi Teri Duniya Duniyawale – Lagaan (1955) – Rajinder Krishna

Whether it is quirk of circumstances or was Ravi’s own choice, but good many of beggar song genre songs that Ravi composed were popular.

Aside:

HFGK records Mohammad Rafi as the singer of the song ‘Dekhi Teri Duniya’ (Lagan 1955). There is a footnote saying that initially the song was recorded in the voice of Ravi.

Therefore, we may surmise that Mohammad Rafi was called in to sing the song with a view to boost the sale of records, and in turn, possibly help the performance of the film at the box office.

Balbir

Balbir (a.k.a. S. Balbir) has had a fairly long active career in the Hindi films. He is said to have sung around 120 songs in the films, but he was so typecast as a co-singer in male-male duet songs that there are hardly a dozen or so solo songs to his credit. To that extent, Hemant Kumar deserves special mention since he has used Balbir’s voice as a standalone singer in the following song, and the duet – O Lili, Yu Tham Ja Mere Aagey Aa Gayi Billi – with Geeta Dutt.

Main Mar Gaya To Likhna Ye Kabhi Mere Afsaane Mein… Arre Hamne To Saari Zindagi Gujaari Kedkhane Mein – Laalten (1956) – With chorus – Lyrics: Shewan Rizvi

Mukesh – In a Version Song

Mukesh apparently did not have solo song composed by Hemant Kumar.

Gori Chori Chori Jaana Buree Baat Hai, Teri Kismat Ki Chaavi Mere Haath Hai – Ek Jhalak (1957) – Lyrics: S H Bihari

Mukesh Geetkosh (Hindi Edition, November 2020) records this as version song, with record number FT21009

Asides:

Here is the song as it appears in the film, in the voice of Hemant Kumar

Anil Kumar

Hardly anything is known of this singer.

Rooh Pyase Hai, Pareshan Hai Oos Raat Ke Baad – Oos Raat Ke Baad (1970) – Lyrics: Gohar Kanpuri

The song is rendered in Mohammad Rafi style.in the credit titles of Oos Raat Ke Baad. The credit of the singer and the lyricist for the title song appears in a separate frame in the credit titles.

This is the video clip of the film. The titles run from the beginning till @2.19 in the clip.

Yesudas

Yesudas was playback voice for many of the songs filmed on Anmol Palekar on the screen., Probably, hence the choice.

Kise Khabar Kahan Dagar Jeevan Ki Le Jaaye – Do Ladke Dono Kadke (1979) – Lyrics: Yogesh

This film is produced by Hemant Kumar’s son, Jayanta Mukherjee. Hemant Kumar, the music director, has easily been able to rhyme in with the NextGen singer in the song.

In this Long Tail of the Other Singers Yesudas is the only exception of being a mainstream playback singer.

On the whole, this representative selection of Hemant Kumar’s male solo songs abundantly endorses the tenet that a music director knows whose voice would justice to the composition.

For the purpose of the debate of deciding whether Hemant Kumar is a better composer or a better singer, we can always have a couple of more of such samples, in the future.


Originally published on SoY as Hemant Kumar’s Male Playback Singers. This is the edited and improved-on-the-inputs-of-discussions-thereupon version.


A single file collated version of the three parts of Hemant Kumar’s Hindi Song Compositions: Male Solo Songs is available for download by clicking on the hyper link.