Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : June 2022

Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam

Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) is that notable name that remains etched in the history of Hindi Film Music as ‘an unsung composer’. Whether Dattaram’s continuing as SJ’s assistant was a tactical error, or whether he could not create his own ‘musical identity’ or was so modest that he would unhesitatingly respond to the calls by other music directors to play dholak and such theories that postulate the reason(s) for such a fate remain inconclusive. However, as we listen to his compositions of the years when the work came to him in bits and pieces, Dattaram’s music comes out as fresh as it was when he stepped out as independent music director.

We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.

Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

1965 in 2021

Dattaram did not seem to have any film in 1966 and 1967.  He had one film Farishta in 1968 and two films, Baalak and Beqasoor in 1969.We will listen to the songs from these three films in the present episode.

Farishta (1968)

Dattaram teams up with Asad Bhopali, a highly respected lyricist, for the film.

Duniya Ek Jhamela Hai …. …. … , O Diwane Humse Mil Aa Mila Le Dil Se Dil – Asha Bhosle

In line with the thriller film formula, whenever something exciting is going to happen, a club song pops in. Dattaram takes up the cue and sets the tone with guitar-based dance tune.

Dekhi Teri Duniyaa Arre Dekhe Tere Kaam – Mukesh

The song situation is framed as a street song, where the song being rendered by the performer fits the state of mind of the lead actor. The song is meant to convey sorrowful pensive mood and that seems to have led Dattaram to choose Mukesh as the playback singer.

Ek Khoobsurat Ladki Meri Nayi Mulaqati – Kishore Kumar, Asha Bhosle

Dattaram seems to finally awake to the reality of using Kishore Kumar for a mischievous song.

Does it not sound very prophetic, just a year before Kishore Kumar was to sweep the market with his Aaradhana numbers!

Bhaiyya Mere Pyaare Raakhi Bandhaao Bhaiyya – Asha Bhosle

Dattaram comes with a very original, fresh, dance tune for a traditional ‘rakhi’ situation

Rut Badli More Rasiya Mile, Rasiya Mile Ji Man Basiya Mile – Asha Bhosle

Dattaram creates a very playful tune for song that reflects the happy mood of the protagonist.

Baalak (1969)

Baalak was film based on an idealist story, but hardly made any impact on the box office. The songs for the film are penned by Bharat Vyas.

Sun Le Bapu Yeh Paigam, Meree Chitthi Tere Naam – Suman Kalyanpur

As I listen to the song, I recall that this child song was heard quite often on radio those days. That in turn goes on to show that Dattaram had not lost his touch after a good decade of his stupendous entery with the Ab Dilli Door Nahi numbers.

Bhagwan Ki Dekho Bhul Bichad Gaya Dali Se  Ek Phul – Mohammad Rafi

As generally is the case with the background songs, this song also encapsulates the essence of the story of the film. Dattaram easily turns back to Mohammad Rafi for the playback.

Chandaniya….. Chandaniya Hai Raat Sajan Rahiyo Ke Jayiyo – Asha Bhosle

Dattaram seems to have fallen back on Shankar’s style of orchestration for this mujra song

Mera Naam Hai Mehmud Rahta Har Jagah Maujud – Shanti Mathur

Dattaram’s adroitness in selecting the playback singers is reflected in the selection of Nanha Munna Rahi Hun (Son of India, 1962) fame Shanti Mathur as playback for the song.

Beqasoor (1969)

The film, which appears to a Hindi-film-formula, B grade, stunt film, had four songs, all written by Farooq Kaiser.

O Sanam Mera Saath Dena Pyar Ki Raah Mein – Suman Kalyanpur, Mohammad Rafi

Dattaram composes a playful romantic mood duet.

Rukhsana…… Haye Rukhsana .. Dekhoji Mere Pichhe Mat Aana – Asha Bhosle, Mohammad Rafi

Here is another very playful song with Mohammad Rafi and Asha Bhosle at their best ‘harakatein’ moods.

Naam Gulabi Hai Mera – Asha Bhosle

Dattaram creates a catchy ‘club’ song that comes up as a very appealing, overall, construction,.

Mohabbat Se Keh Do (Asha Bhosle) is the song for which I could not trace digital link on the net.

On that note, we reach the last leg of Dattaram’s career as independent director, with two of his last films, in the next, the last in the present series, episode.

I Liked Music from films

The Micro View of Songs of 1943 – Male Solo Songs [1]

We had stopped publishing the songs that have been covered in the Memorable Songs list for the year. As such, here are the Male Solo songs which are not covered in Memorable Songs of 1943.

As had been noted in the overview article, 1943 has 119 male solo songs for which the singers are identified in HFGK. However, I could not find 57 of these songs on YT.

For the purpose of the present Micro Review, we have divided the Male Solo songs that are available on YT and not covered Memorable Songs of 1943 – one that has songs of G M Durrani and the other with all other singers.

We first take up the male solo songs of singers other than G M Durrani for the year 1943.

K C Dey – Mange Ja Har Bar – Andhera – Pt. Indra – Gyan Dutt

K C Dey – Bol Bol Tu Is Duniya Mein Sab Se Meethe Bol – Badalati Duniya – ? – K C Dey

K C Dey – Chandani Raat Hai Chandani Raat – Manchali – ? – H P Das

Vishnupant Pagnis – Kit Jaay Chhipe Sanwariya – Mahatama Vidur – Narottam Vyas – Harishchandra Bali

Vishnupant Pagnis – Jagat Mein Khili Prem Phulwari – Mahatama Vidur – Narottam Vyas – Harishchandra Bali

Khan Mastana – Fasle Bahar Aa Gai, HaNsane Lagi Kali-Kali – Mohabbat Ki Jeet – Ehsan Rizvi – Vasant Kumar

Khan Mastana  – Thahar Ja .. Jhooth Bolnewale – Vakil Saheb – ? – Anna Saheb Mainkar/ P Madhukar

Ashok Kumar – Tarasi Hui Hai Muddat Se Aankhein – Najma – Anjum Pilibhiti – Rafiq Ghazanavi, B A

Ashok Kumar – Kya Muhabbat Ka Yahi Anjam Hai– Najma – Anjum Pilibhiti – Rafiq Ghazanavi, B A

Noor Mohammad Charlie – Kis Taraf Hai Dhyan Hai Tera – Sanjog – D N Madhok – Naushad Ali –

Shyam Kumar – Jaan Bachi To Lako Paaye – Sanjog – D N Madhok – Naushad Ali

Surendra – Preet Ki Jyot Jalakar Chhup Hai – Vish Kanya – Kedar Sharma – Khemchand Prakash

Surendra – Bhool Ja Jo Dekhata Hai – Vishwas – Dr. Safdar ‘Aah’ – Firoz Nizami B A

Surendra – Musafir Hansi Khushi Ho Paar – Vishwas – Dr. Safdar ‘Aah’ – Firoz Nizami B A

Surendra – Gaa, Ban Ke Panchhi Gaa, Koi Anokha Raag Suna De – Vishwas – Munshi Sham Jilani + Munshi Ajham – Master Chaila Lal

Ishwarlal – Bigadi Hui Kismat Ko….. Ik Roz Banana Hai – Zaban – Mahrul Kadari – C Ramchandra

Ishwarlal – Piya Desh Hai Jaana …. – Zaban – Mahrul Kadari – C Ramchandra

Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : May 2022

Manna Dey – Chale Ja Rahein Hai…. – 1956

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) was trained for wrestling during his childhood. However, he could struggle free from that cocoon to metamorphose into a singer. Having been brought up in the atmosphere of music, he was also trained hard in the classical singing genre. However, if one looks back at his early career in Hindi films, one may wonder whether he was indeed caught into the clutches of hardened cased die of typecasting that Hindi film industry was so strongly adept at. However, his initial training as a fighter, did help him to experiment with every possible genre that film industry would offer and establish his unique position therein. Music directors like Anil Biswas and S D Burman firmly believed that Manna Dey could sing any song that any of his contemporary singer can sing, but none of these singers can sing a song that Manna Dey could sing with technical virtuosity.

By the turn of decade of 40s, Manna Dey has started making foothold into romantic song, which was further cemented by the songs that Shankar Jaikishan offered him in 1951 and 1953. As such, Manna Dey’s popular romantic, classical, devotional, comedy, western or qawwali songs have now been etched into the minds of every fan of Hindi Film music. But Manna Dey’s songs that unfortunately could not get ‘popularity’ also have the spirit of life and a sense of timeliness. It is that universality that we want to refresh in our present series Chale Ja Rahen Hai by specifically choosing the so-called less popular, less-heard songs.

Till now, we have covered Manna Dey’s less popular, less-heard songs for the years

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

1956 had some of the Manna Dey’s career-best  romantic songs –  Jaa Tose NahiN BoluN Kanhaiya  (Parivar, with Lata Mangeshkar; Lyrics: Shailendra – Music :Salil Chowdhury), Chaley Sipahi Dhul Udate Kahaan Kidhar Koi Kya Jaane ( Rajhath – Lyrics: Shailendra – Music: Shankar Jaikishan), Nain Miley Chain KahaaN (Basant Bahar- Lyrics: Shailendra – Music – Shankar Jaikishan) ; all-time best background song like Nirbal Se Ladai Balwan Ki (Toofan Aur Diya- Lyrics: Bharat Vyas – Music: Vasant Desai) or classical raag-based Bhay Bhanajana Vandana Sun Hamari and Sur Na Saje Kya GauN Main and Ketaki Gulab Juhi (all from Basant Bahar, the last one with Bhimsen Joshi- Lyrics: Shailendra – Music- Shankar Jaikishan).

Presently we will take up Manna Dey’s less heard songs for the year 1956.

Jodi Mile Na Mile Shaadi Rachaye Chale – Gauri Pooja – Lyrics: G S Nepali – Music: Manna Dey

Manna Dey has so soulfully composed and rendered the bride farewell song.

In those days. The bride had to accept the groom and subsequent life that fate had forced on her.

Kah Do Ji Kah Do Chhupao Na Pyar, Kabhi Kabhi Aati Hai Zumati Bahaar – Kismat Ka Khel – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Shankar Jaikishan’s marked preference for Manna Dey can be seen in the form his selection for the male playback.

The song is a signature romantic tune that Shankar Jaikishan used to compose those days – full of vivre and feelings as well as so pleasing to the ears.

Ek Din Tera Bhi Savera Aayega – Sati Anasuya – Lyrics: Bharat Vyas – Music: Shivram Krishna

Here we have one more typical background song, deployed as an inspirational song to the protagonist in deep trouble.

Wo Dekho Udhar Chand Nikla Gagan Mein, Idhar Aa Gayi Chandani Muskarati – Roop Kumari -with Geeta Dutt – Lyrics: B D Misra – Music: S N Tripathi

S N Tripathi is was also a very talented and versatile music director who had to be satisfied with B and C Grade mythological / historical films. The present song is testimony of S N Tripathi’s talent.
The song is so pleasant a romantic duet,

Aside Trivia: Knowledgeable YT follower has mentioned in a comment to this video clip that S N Tripathi has used this tune again for Nigahon Mein Tum Ho – Jadoo Nagari – Lata Mangeshkar – Lyrics: Hasrat Jaipuri.

Khel Khiladi Jis Sey Na Khel Apni Jaan Se – Badshah Salamat – Lyrics: Vinay Kumar – Music: Bulo C Rani

The lyrics of the song indicate that this ought to be ‘fakir’ genre song. Manna Dey is well adapted for such songs.

Chhod Bhi De Aakasah Singhasan, Phir Dharati Par Aa Ja Re – 26 January – with Asha Bhosle and chorus – Lyrics: Rajendra Krishna – Music C Ramchandra

The lyrics clearly tell us that this an ‘inspirational’ – devotional genre song, but I do not have any more information on the song.

Aaj Ki Baatein Raja Bhool Mat Jaiyyo Ji…Hum To Nahin Bhoole Tum Na Bhool Jaiyyo Ji – Dhola Maru – with Asha Bhosle – Lyrics: Bharat Vyas – Music: S K Pal

Asha Bhosle and Manna Dey render a seemingly simple, romantic, song so intimately.

Bahta PaanI Bahta Jaay Raah Take Na Teri, Aeji Samay Ka Haal Hai Na Kar Der Ghaneri – Dhake Ki Malmal – with Asha Bhosle and Kishore Kumar – Lyrics: D N Madhok – Music: Robin Banerjee

This is the only song composed by Robin Banerjee, whereas all other songs are composed by O P Nayyar.

Robin Banerjee comes up with a Bengali folk tune set and has composed the song to varying pace.

Mudkar Bhi Na Dekh Suhaagan MahloN Ki Ye Shaan, IS Duniya Mein Ab Tera Bas Pati Hi Bhagwan…..Udhar Chali Ja Janaki Jidhar Chale Tere Ram – Devta – Lyrics: Rajendra Krishna – Music: C Ramchandra

This is a background song, advising the protagonist to accept the husband that fate has chosen for her.

Many a times, our (Hindi) films have such highly contrived situations, which have to be made palatable by the team of lyricist, music director and the singer.

Apart from these, the sites and  also mention songs from films like Lal-e-Yaman, Kar Bhala, Jungle Queen, Indraleela,  Grand Hotel, Zarina, Sudarshan Chakra, Scout Camp, Sati Nagkanya, Rajraani Meera, Ayodhyapati, Anurag and Dayar-e-Habib. However, several other authoritative sites either do not mention existence of Manna Dey songs from these films or do not have a digital version of the song. That does tell us what we have missed quantitatively but does not indicate what we have missed qualitatively.

On that note, we rest our episode here, to continue with our explorative journey of Manna Dey’s less heard songs………………

I Liked Music from films

The Micro View of Songs of 1943 – Setting The Stage

The backward journey of Best Songs for TheYear @ SoY has steadily evolved over the years 1955, 1953, 1951, 1950, 1949  19481947, 1946, and 1945 on the way. At that juncture the journey of the Best songs of year further took off to venture deeper into the vintage era with first milestone of the year 1944.  Presently the journey has reached the year 1943 and is at the stage of the overview post: Best songs of 1943: And the winners are?

The pick of the year 1943 are:

However, with possibly just this much, or a perhaps a little more, known, The Micro View of the Best Songs for the Year also joins this journey of more unknown than knowns fo the year 1943.

On that note, we first recapitulate the key points of the SoY overview article:

Musical landmarks:

All three films, viz. Namaste, Sanjog and Station Master, which Naushad had composed music marked silver jubilee

New Theaters made Kashinath and Wapas, music for which was composed by Panakj Mullick and R C Boral respectively. in the year 1943 even after many stalwarts had left the production house.

Debut, fact file and trivia

V Shantarm sets uo Rajkamal Kalamndir and prodiuces its maiden film Shakuntala, for which music was compsed by Vasant Desai.

Mehboob Khan also sets up his own production banner, with the film Najma, music for which ws composed by Rafiq Ghazanavi

Suraiya opens her career account as an actress with the film Ishara and Hamari Baat.

Shyam Sundar also opens account with Nai Kahani.

Some other music directors also opened their accounts:

Avinash Vyas and A R Quereshi – Mahasati Anasuya

Khursheed Anwar – Ishara

Firoz Nizami – Vishwas

Ghulam Mohammed – Mera Khwab

The lyricists who opened their accounts are:

Bharat Vyas – Duhai

Narendra Sharma – Hamaari Baat

Saraswati Kumar Deepak – Zabaan

Shyamkumar sings first ever song, Dil Ka Gudda Uda, in Namaste.

Bela Kumari (who married Hemant Kuamr) sang her first Hindi song in Kashinath.

K L Saigal’s first film in Bollywood is Tansen.

Kismet sets the record of running continuously for three years and eight months @ Roxy cinema, Calcutta.

Kashinath became last film to be directed by Nitin Bose for New Theaters and Hamaari Baat the last film of Bombay Talkies wherein Devika Rani acted.

Nargis appeared first time on the silver screen as Baby Fatima in Taqdeer.

Ramrajya is the bonly film tha Gandhiji ever saw.

Ek Bewafa Se Pyar Kiya, sung by K Sundarama, in Duniya Diwani appears agin as mukhada of a Aawara (1951) song.

Panghat has two Rajkumaris singing songs – one the famous Rajkumari Dubey ( as a lead singer) and the other Rajkumari Shukla, who sang only in this film!

As we open up our Micro View of the Songs for 1943, we can expect many shades of known, less known as well as unknown songs.

To add further shades, it needs to be noted that 1943 had 105 films, of which details of 3 films are not available. from which 959 songs with their titles are known. Of these songs, singers for more than 412 songs remain unidentified.  Of the 547 songs for which singers are identified, 119 songs are male solos, 256 female solos and 172 duets. We will have to wait for the detailed micro view to see how many of the uncovered songs are available on YT or in audio form.

Of these, List Of Memorable Songs has 98 songs. These songs have been separately listed as Memorable Songs of 1943, with corresponding YT link to the song.

For the year under review, Special songs are indeed special as the list contains songs sung by music directors and the lyricist. I have brought these songs on the same page with Memorable Songs of 1943.

The songs covered in the Memorable Songs of 1943 ans Special Songs of 1943 will not be repeated in the Microview undertaken under hereafter, the different sections.

The stage is now set to commence our journey into the Micro View of the Songs of 1943. I plan to take up only those songs here which are not covered under Memorable Songs of 1943 and Special Songs of 1943.

MY TOP Male Solo Songs
MY TOP Female Solo Songs
MY TOP Duets

MY TOP music director

are concerned for the year 1943.

All the posts that will appear on this subject here have been tagged as Songs of 1943.

Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.

However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.

If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name

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,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani),  Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and  Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.

An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.

Music Director: Khayyam

Bambai Ki Billi

This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.

Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!

Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt

This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.

Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.


Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.

Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein….  Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara  – Mohammad Rafi

A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.

Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar

This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.

Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar

For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.

Music Director: Dattaram

Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.

Kala Aadmi

Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur

Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.

Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge  – Mohamamd Rafi

To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.

If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.

Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar

We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.

Music Director: O P Nayyar


Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.

The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi  Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.

O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle

The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!

Music Director: Sardar Malik

Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.

Mera Ghar Mere Bacche

There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.

The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.

Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur

We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.

Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle

No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.

Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai …..  – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal

Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.

Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle

Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!

Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh

We have a here a good-to-listen, but difficult-to-hum pathos mood composition.

As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.

Centenary Celebrations

Sahir’s Songs of Romance : 19 Films Association with Ravi

Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry.  As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions

Sahir Ludhianvi’s 19 films association with Ravi spanned almost a decade and half, and as such did span over a very wide range of situations and film subjects. It is perhaps this aspect has this relationship a very special chapter not only in the oeuvre of either Sahir or Ravi but also in the annals of Hindi film music.

Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions.  He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.

Because of the simplicity of his compositions, there was school of critics who would not place Ravi at par with some of the other major top-ranking music directors of that time. But the fact remains that Mohammad Rafi got his first ever Filmfare award for Ravi’s Chaudahavi Ka Chand Ho, Mahendra Kapoor for Chalo Ek Bar Phir Se Ajanabi BanJaaye Ham Dono, to be followed with Neele Gaagan Ke Tale Dharati Ka Pyar Pale. Even female stalwart playback singers, Lata Mangeshkar also has one Filmfare for Ravi’s Tum Hi Mere Mandir, Tum Ji Meri Puja and Asha Bhosle fro GariboN Ki Suno. Even an experiment like Salama Agha also had one for Ravi’s Dil Ke ArmaaN AansooN Mein Dhal Gaye. That is more than enough of proof of popular appeal of Ravi’s compositions.

For our present episode, we have remained away from Sahir Ludianvi – Ravi combination’s very popular songs. As such, all the songs of BR Films very successful films, Gumrah (1963), Waqt (1965) and Haaraz (1967) have been filtered out here. We have also left our the popular songs of BR Films’ Aadmi Aur Insaan (1969)  and Dhundh (1973).. Also filtered out, on the same criterion, are the songs from Kajal (1965) and Neel Kamal )1069).

It also needs to be noted that Amaanat (1977) –  Dur Rah Kar Karo Na Baat Qarib Aa Jao and  Chingari )1989), for some or other external factors, were released much later then the actual period of their production

On this note, let us take up Sahir Ludhianvi’s Romantic songs from his 19 films association with Ravi –

Itni Hasin Itni JawaN Eaat Kya Karein, Jage Hai Kuchh Ajib Se Jazbat Kya Karein – Aaj Aur Kal (1963) – Mohammad Rafi

pedoN ke bajoomein lachakati hai chandani
bechain ho rahe hai khayalaat kya karein

sanso mein ghul rahi hai kisi sans ki mahak
….    …..  ……        …….  ……………
daman ko chhu raha hai koi hath kya karein
………  … ……….     . ………..

shayad tumhare aane se ye bhed khul sake
hairan hai ki aaj nai bat kya kare

Rangin Fiza hai, …. ….. ….  Aaja Ke Mera Pyar Tujhe Dhundh Raha Hai …. Ye Kiski Sadaa Hai, Ye Kaun Mujhe Apni Taraf KhiNch Raha Hai ….  – Bahu Beti (1965) – Mahendra Kapoor, Asha Bhosle

teri bhi hai ye meri hai, aawaz nahiN hai
……  …. …. ……       ….. aye jan-e-tamanna
ye koi raz nahi hai
tu mujhse juda hoke bhi
kab mujhse juda hai
dil dil se mila hai

tum mujhko bulate ho to tala nahiN jata
tum mujhko bulate ho to tala nahiN jata
apne ko kisi tarah sambhala nahiN jata
julfo ka mujhse hosh na aachal ka pata hai
ye kaisa nasha hai

dunia ko bhula kar meri bahoN mein chali aa
…. ……. …… ….. …… ………
jajbat ki befikar panaho mein chali aa
kahte haiN jise ishq wo jine ki ada hai
achha na bura hai

Milti Hai Zindagi Mein Mohabbat Kabhi-Kabhi, Hoti Hai DilbaroN Ki Inaayat Kabhi-Kabhi – Aakhein (1968) – Lata Mangeshkar

sharma ke munh na pher, nazar ke sawaal par
………… ………. ….. …………
laati hai aise mod pe, kismat kabhi-kabhi
…. ….         …    …… ……… …

khulte nahi hai roz dariche bahar ke
…     …….  …. ……….. ……..
aati hai jaaneman ye qayamat kabhi-kabhi

tanha na kat sakeinge javani ke raste
….      …..         …..   . . …….. .
pesh aayegi kisi ki zarurat kabhi-kabhi
… … …       …  … … ..
phir kho na jaaye ham kahiN duniya ki bhid mein
….  …        …. ….. ……..
milti hai paas aane ki mohalat kabhi-kabhi
…..   ….  …         …..    . … ..

Sama Ye Rut Ye Nazare, Dil Mera Machalne Laga, Jaan-e-wafa, Aye Dilruba, Aise Mein Aa Meri BaahoN mein Aa, Rok Le NigahoN Ke Ishare, Tan Mera Pighalne Laga, Main HuN Teri, Tu Hai Mera, Aa Mere Dil Ki PanahoN Mein Aa – Do Kaliyaan (1968) – Mohammad Rafi, Lata Mangeshkar

shame pe mere, gira de julfe
aankho pe mere, bichha de julfe
aisa jaga de pyar ka jaadu
sare jahan pe chhaye nasha
rok le nigaho
ke ishare, tan mera pighalne laga

Ijaazat Ho To Puchhe Aap Hi Se Ke Hum Milkar Bhi Hai Kyun Ajnabi Se Mile Hum Tum Aise YuhiN Naa Samajho Koi Milta Nahi YuNhi Kisi Se  – Aadmi Aur Insaan (1969) – Asha Bhosle, Mahendra Kapoor

hazaaroN shaukh kurbaaN us par
jo tumne keh diya hai saadgi se
ajab sa lag raha hai tumse kahkar
ye baatein hum naa kahte the kisi se

meri manzil ki raahine jagmaga do
mohabbat ki sunheri roshani se
safar ki intaha hone naa paaye
sada ka sath lele zindagi se

Jane KyuN Bar Bar Bar Mera Dil Mujhe Kahe Us Se Mil – Paisa Yaa Pyar (1969) – Asha Bhosle

jisse milte nahiN bilkul hi khayalat tere
kyu pareshan hai uske liye zazbat tere
jab bhi wo mujhse mila usne sataya mujhe
mujhko bura to laga phir bhi wo bhaya mujhe

jo tere husn ki tauhin kare us se na mil
jo kisi dusri saztaz pe mare us se na mil
mujhko to jo bhi dekhe raho me aahe bhare
mai kyu kisi pe maru mujhpe zamana mare

ho sake to koi sangin saza do usko
tere kabil nahi wo dil se bhula de usko
usko bhulau kaise itna bata do mujhko
uska irada kya hai kuch to bata do mujhe

Taaro Ki ChhaoN Mein SapnoN Ke Gaon Meon PariyoM Ke Sang Tumhein Jana Hai. So Jao Chain Se Is Kali Rain Se Aage Jo Des Hai Suhana Hai  – Samaj Ko Badal Dalo  (1970) – Mohammad Rafi, Lata Mangeshkar

gagan tale pawan chale thandi suhani
dhimi dhimi laye mein kahe man ki kahani
aayi rey aayi rey aayi hindol le ke nindiya ki rani
so jao, so jao, so jao
taaro ki chhao me sapno ke gaon me
pariyo ke sang tumhe jana hai

bhaNve teri pita jaisi maa jaisi ankhiyaN
gajab kare jiya hare dhunde kankiya
aayi rey aayi rey
aayi hai tumhe lene phulo ki sakhiya
so jao, so jao, so jao
taaroN ki chhaoN mein sapnoN ke gaon mein
pariyo ke sang tumhein jana hai

khili rahein saji rahein yuN hi ye kyari
hasi khushi jiyo sabhi maa tum pe vari
….. ….. …..  …….. ….
…..  … …. ……….. …….. …
aayi rey, aayi rey
aayi rey chanda ke rath ki sawari

Is Dharti Is Khule Gagan Ka Kya Kahna Madmati Madbhari Pawan Ka Kya Kahana, phuloN Bhare Ye Gulsan Hare Magan Hua Tan Man Kya Kahna – Ganaga Tera Paani Amrit  (1971) – Mohammad Rafi, Lata Mangeshkar

gawalanoN ka roop ghunghatoN ki aad mein
panchhiyoN ka pyar bairiyoN ki jaad mein
basuri ki dhun khetiyoN ke par se
panghatoN ki nar dole is pukar se
dhadkan badhe nasha sa chade
thirak uthe gagan kya kahna

chappuoN ke rag kah rahe hai pyar se
…… …. …. … … …

jud gaye hai aaj kastiyoN ke tar se
ja raha hai jane kaun kisi ki chah mein
bas raha hai kaon jane kis nigah mein

bas gayi hai nigahein jab kahi tum aaye ho
kya meri pukar sunke bhi paraye ho
…. ….. ….. ….. ….. … …….. …
…… ……….. ….. …… …….. . …
itna intzar roj kar na paungi
rok lungi aaj ya main sath jauNgi
duri ghati to ye duvidha hate to
fir mere sajan kya kahna

Jubna Se Chunariya Khisak Gayi Re, Dunia Ki Najariya Bahak Gayi Re – Dhundh (1973) – Asha Bhosle, Manna Dey

najuk tan or uspe jawani
haye patli kamariyaN
haye re haye re patli kamariyaN
lachak gayi re

balkhati julfein jo dunia ne dekhi
dal fasi gale mein latak gayi re

gusse mein inke ye tewar to dekho
jaise badal mein bijli
haye re haye jaise badal mein bijli
kadak gayi re

Meri Chahat Rahegi HameshaN JawaN, Jism Dhalne Se Jajhbat Dhalte Nahi Maut Aane Se Bhi Pyar Marta NahiN, Dam Nikalne Se ArmaNn Nikalte NahiN – Mehmaan (1975) – Mohammad Rafi

lakh toofan ho hum na ghabrayenge
tu na aayegi milne to hum aayenge
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi

humne choda na chodenge daman tera
jisko apna liya usko apna liya
ho sake to hame umar bhar aazma
mausmo ki tarah hum badalte nahi

tu mile na mile par salamat rahe
dur hi ki sahi tujhse nissbat rahe
zindagi bhar teri mujhko hasrat rahe
hasrato ke bina khwab palte nahi

Cycle Pe HasinoN Ki Toli Dekhi To … Dekhi To Dekhi To Tabiyat YuN Boli, Aye Kash Ke Hum Cycle Hote Tn HathoN mein Handle Hote… Pairo Ke Tale PaiNdal Hote Dabti Uthi SaiNdal Hote  Bhar Jati MuradoN Ki Jholi – Amaanat (1975) – Mohammad Rafi, Asha Bhosle, Manna Dey, Chorus

cycle pe jawano ki toli dekhi to
dekhi to dekhi to tabiyat yuN boli
ae kash ke hum sendal hote sode ki bhari botal hote
tab thik se tum dakhal hote sab jhagde abhi settle hote
pachta abe ke niyat kyuN doli pachta abe ke niyat kyu doli

sadko pe pared ye fashion ki ek shakal hai invitation ki
jat kuch bhi banao nation ki tum jaan ho us genration ki
jo dil pe chalati hai goli jo dil pe chalati hai goli

kya bat hai education ki halat hai ye civilization ki
kuch sharam karo position ki yu humse jo conversation ki
kar waoge khopadiya kholi kar waoge khopadiya kholi

kuchh naaz ada ke rule bane romaance ke kuchh school bane
tapori hain hum kyuN tool bane dil de ke tumHein kyun fool bane
is neend humein samjho goli is neend humein samjho goli

Dil Mein Kisi Ke Pyaar Kaa Jaltaa Huaa Deeya,  Duniyaa Ki AandhiyoN Se Bhalaa Ye Bujhegaa Kya – Ek Mahal Ho SapnoN Ka (1975) – Kishore Kumar

saanso ki aanch paa ke bhadakta rahega ye
sine mein dil ke saath dhadakta rahega ye

The Lata Mangeshkar version:

wo naqsh kya hua jo mitae mit gaya
wo dard kyaa huaa jo dabaaye se dab gayaa
dil mein kisi ke pyaar kaa jaltaa huaa deeya

ye jindagi bhi kyaa hain amaanat unhi ki hain
ye shaayari bhi kyaa hain inaayat unhi ki hain
inaayat unhi ki hain
ab wo karam kare ke sitam unka faislaa
hum ne to dil mein pyaar kaa shola jagaa liyaa

Har Vaqt Tere Husn Ka Hota Hai Samaa Aur …  Har Waqt Mujhe Chahiye Andaj-e- BayaN Aur – Chingaari (1989) – Mahendra Kapoor

phulo sa kabhi naram hai sholo sa kabhi garam
mastana ada mein kabhi shokhi hai kabhi sharam
har subah guma aur hai har raat guma aur
har waqt tere husn ka hota hai samaa aur

bharne nahiN pati tere jalvo se nigahein
thakne nahiN pati tujhe lipta ke ye baahein
chhu lene se hota hai tera jism jawaan aur

+                                    +                                   +

Basically, Sahir Ludhianvi was rebel at the heart. But his poetry had several other dimensions at his core, than the rebellion. We have closely looked at one such dimension of romance, from several different perspectives, during our present memoir. And yet –

ko_ii bhii us kaa raaz na jaane
ek haqeeqat laaKh fasaane
ek hii jalawaa shaam sawere
bhes badal kar saamane aaye

All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.

Fading Memories….Unforgettable Songs

Fading Memories ….. Unforgettable Songs : March 2022

Ghulam Mohammed and His Singers : 1950-1952

Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.

This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s  ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’

In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.

Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.

As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.

Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.

With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.

Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri

Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.

One noteworthy feature of Ghulam Mohammed’s  compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.

Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics:  Shevan Rizvi

Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.

Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini

Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.

Since the song is not available on YT, here is an adio link: Hum Dil Hi Apna Haar Gaye.mp3

Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash

Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)

(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani

Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.

It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.

Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni

Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!

How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!

Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman

The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.

Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni

I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.

Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.

Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni

This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.

Zohrabai Ambalewali, Shamshad Begum – Dil Ke Sheesh Mahal Mein Aaya Yeh Matwala Chor – Amber (1952) – Lyrics: Shakeel Badayuni

In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.

Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni

Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!

Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.

Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni

I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.

Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.

Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!

What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!

Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni

Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.

Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!

We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.

Centenary Celebrations

Sahir’s Songs of Romance : 18 Films Association with N Dutta

Sahir Ludhianvi, whether as a person (at least outwardly) or as a poet or as a lyricist, was known to the world for his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue or his fierce belief for the equality of lyrics in the effect of any composition. might have made him intolerable. Maybe it was these inherent traits that came in the way to build a lasting relationship with equally strong-willed, outspoken and fiercely proud of his artistic skill (as a music director) O P Nayyar. But then, on the other hand, he had had a very long, fruitful and epochal relationship with equally (artistically) moody, choosy and fiercely accord supremacy of melody, S D Burman. As such, one would not be inclined to buy a very passing observation that Sahir Ludhianvi was more at ease with talented, but not so-strong personal traits music directors like Roshan or N Datta or Ravi. Of these relationships, Sahir Ludhianvi’s relationship seems to be quite different.

Whatever be the factors for N Datta (a.k.a. Dattaram Baburao Naik – B: 12 December 1927 – D: 30 December 1987) and Sahir Ludhianvi’s professional association, there cannot be any denying that it was special in more ways. After working for some time with Ghulam Haider, D Datta joined S D Burman as his assistant. It was during the making of Jaal (1952) that he met Raj Khosla, who immediately took him up as independent music director for his own maiden directorial film Milaap -– Ye BahroN Ka Sama – (1955). Though the film did not do well on the box office, G P Sippy’s Marine Drive – Ab Woh Karam Kare Ke Sitam Main Nashe Mein HuN – in the same year and then Sippy’s next film Chandrakanta – Maine Chand Aur SitaroN Ki Tamanaa Ki Thi (1956).

So, when B R Chopra launched Saadhana (1958), it was very natural that Sahir would recommend N Datta as his music director partner. N Datta, too, did rise to the challenge by blending simmering rebellion with judicious melody in Aurat Ne Janam Diya MardoN Ko and weaving in sheer romance in Sambhal Aye Dil Tadapne Aur Tadapaane Se Kya Hoga. Most of the keen observers almost unanimously agree that N Datta (in company with Sahir Ludhianvi) peaked for BR Chopra next, based on totally iconoclast subject of that time, film, Dhool Ka Phool (1959) with all hits like Tere Pyaar Ka Aasra Chahta UuN, Jhukti Ghata Gaati Hawa Sapne Jagaye, Daman Mein Dag Laga Baithe and Tu Hindu Banega Na Musalman Banega Insaan Ki Aulad Hai Insaan Banega.  For B R Chopra’s next venture Dahrmputra (1961), N Datta composed best-in-class romantic melodies Bhool Sakata Hai Bhala Kaun Ye Payari Aankhen (in Raag Bilawal) and Aaj Ki Raat Nahi Shqwe Aur Shiqayat Ke Liye as well as soft pensive pathos in Main Jab Bhi Akeli Hoti Hun.

When the time came for BR Chopra’s one more film, Gumrah (1963), N Datta suddenly developed cardiac trouble. He was jus 36 then. He did come out of that phase, but he had lost not only his place in B R Chopra camp, but also his own confidence. In order to maintain visibility, he started signing even B grade films. Sahir Ludhianvi, in fact supported him, even during this phase and did write lyrics for such films even when he had already scaled the front-line position by then. N Datta, in the company of Sahir Ludhianvi, could compose Talat Mahmood’s one of the all-time best Ashqon Ne Paya Hai Woh GeetoN Ne Diya Hai (Chandi Ki Deewar) in 1964 and then Ponchh Kar Ashq Apni AankoN Se (Naya Raasta) in 1970. Of course, N Datta also compsed several memorable songs in association with two other lyricists Jan Nissar Akhtar and Majrooh Sultanpuri in the same period. But the luck was not on his side.

N Datta’s exposure to Goan culture, can be very evidently seen in the use of Saxophone, Accordion or drum in the orchestration of his western-biased compositions. It is this genre of N Datta’s music which lends a special dimension to Sahir Ludhianvi – N Datta relationship. Sahir certainly has an extra mile to provide lyrics away from his traditional Urdu-heavy poetry even for the otherwise light-mood songs with other music directors.

My selection of the song for the present episode of Sahir Ludianvi’s 18 films association of Romantic Songs with N Datta has marked preference for such songs. In the process, I have also tended to give as wide as possible range of playback singers that N Datta has so comfortably used for his wide-ranging compositions, which have unfortunately received as much attention as their more famous songs already mentioned hereabove.

Bachnaa Zaraa Ye Zamaanaa Hai Buraa….. Kabhi Meri Gali Mein Na Aanaa – Milaap (1955) – Mohammad Rafi, Geeta Dutt, chorus

meri gali mein aane waale
ho jaate hain gham ke hawaale
in raahon se jo bhi guzre
soch samajh kar dil ko uchhaale
bade bade dil yahaan bane hain nishaanaa

chupke chupke nain ladaanaa
nain ladaa kar dil ko lubhaanaa
dil ko lubhaa kar paas bulaanaa
paas bulaakar khud ghabraanaa
ho teraa jawaab hi nahin waah
khud ghabraakar aankh churaana
aankh churaakar dil ko jalaana
dil ko jalaakar hosh bhulaanaa
hosh bhulaakar arre majnu banaanaa
in lailaaon kaa hai khel puraanaa

shokhi samjhein sharm-o-hayaa ko
daawat samjhien naaz adaa ko
in deewaanoo ka kyaa kahnaa
aap bulaayein apni kazaa ko
aur phir maange hamse harzaanaa

Mohabbat YooN Bhi Hoti Hai …. Tabeeyat YooN Bhi Aati Hai…Museebat YooN Bhi Hoti Hai – Marine Drive (1955) – Mohammad Rafi, Asha Bhosle

jo miltein hain to aapas mein
nigaahien tak nahin miltin
agar chalte hain to kadmoN ko
raahein tak nahin miltin
muhabbat pahli pahli ho
to haalat yoon hi hoti hai

kayi aise bhi majnu hain
jo aahein bharte rahte hain
koyi chaahe na chaahe
aap yoon hi marte rahte hain
samajhte hain ke lailaaon mein
shohrat yoon bhi hoti hai

jahaan dekhi bhali soorat
machal jaate hain deewaane
uthakar munh
pahunch jaate hain sar par jootiyaan khaane
sharaarat hi sharaarat mein
hazaamat yoon bhi hoti hai

Mujhko Laga Hai Sal SolvaaN Haaye NahiN Chhedanaa – Chandrakanta (1956) – Shamshad Begum

main wo daali hoon ke jo
chhoone se kumhlaati hai
aisi nazroN se tabeeyat meri
ghabraati hai
chhedkhaani mujhe
gairoN ki kahaaN bhaati hai
main to aayina bhi dekhooN to
hayaa aati hai

haatha paayi na karo
jaao ji rastaa chhodo
apne jaisi kisi se
sharm se naata jodo
main hoon bholi
mujhe kya ilm chaahat kya hai
.. … …  …..
ishq kehte hai kise
aur mohabbat kya hai

O Gumba Rumba Gumba Rumba Gelo …. Kal Ki Baat Kal Tak Chhodo Aaj Maaza Le Lo – Lighthouse (1958) – Mohammad Rafi, Suman Kalyanpur

tujhe kasam hai
.. ….. ….. …  .
jahaan ka gham hai
dilwaalon ke iss mele mein
mauj mana lo yaaron
custom wustom culture wulture
sab ko goli maaro
dilwaalon ke iss mele mein
mauj mana lo yaaron
…. ….. ….   …..
muft mile jab dil ki gudiya
phir takhleef kyon jhelo

nazaaren hain jawaan
tu gum ho kahaan
khilen khilen murja na jaaye
ye phoolon ke chehre
in phoolon ko goonth ke pahno
sar par baandho sehre
…  ….  …  …..  ….
duniyaa tum se khel rahi hai
tum duniyaa se khelo
majaa le lo

Aise Waise ThikaanoN Pe Jaana Buraa Hai …. Bachh Ke Rehna Meri Jaan Zamaana Bura Hai, … …  Dil Lagaana Bura Hai – Saadhana (1958) – Lata Mangeshkar


jo hum mein hai wo matwaali ada
sab mein nahin hoti
mohabbat sab mein hoti hai
wafa sab mein nahin hoti

zulf lehraaye to
zanjeer bhi bann jaati hai
aankh sharmaaye to
ek teer bhi bann jaati hai
dil lubhaane ko jo
dildaar bana karte hain
dil chura kar wahi
talwaar bana karte hain
ye wo mehfil hai jahaan
pyaar bhi lut jaata hai
dil to kya cheez hai
ghar baar bhi lut jaata hai
… ….. …..
isiliye to kehti hoon
aise waise thikaanoN
pe jana bura hai

tak’ke hanste hain to
mastaana bana dete hain
hans ke takkte hain to
deewaana bana dete hain
koi naghme mein koi
Saaz mein kho jaata hai
inse jo bachta hai
wo naaz mein kho jaata hai
yoon to gardan se lipat jaati hain baahen inki
…… ….. ….. ….
dil nahin jeb pe hoti hain nigaahen inki
isi liye to kehti hoon
aise waise thikaanoN
pe jana bura hai

hum sitam dhaate hain
bedaad kiya karte hain
dil liya karte hain
aur dard diya karte hain
dard lena ho to aa
mehfil meri aabaad karo
warna jaao ji
kisi aur ka ghar yaad karo
aaj jaaoge to kal laut ke phir aaoge
…. ….. ….. ….. …..
hum sa maashooq na duniya mein kahin paaoge
isiliye to kehti hoon
aise waise thikaanon
pe jaana bura hai

Jaate Jaate Ishaaron Se Maar Gayi Re, Main To Aise LafaNgoN Se Haar Gayi Re – Bhai Bahen (1959) – Mohammad Rafi, Geeta Dutt

ban sanwar kar tu jis dam chaley
ho dekhne waala dil ko maley
ban sanwar kar tu jis dam chaley
haaye dekhne waala dil ko maley
chhod peechha
arre man jaley ho

pad kisi doosri ke galey

saare nakhre hain jaadu bharey
haaye koi kaise na tujh pe marey
gaaliyaan doongi hatt ja parey ho
mujhko kya tu jiye ya mare haaye

kyun jalaati hai itna mujhe
hai kisi ki to ban’na tujhe
chor le jaaye chaahe mujhe ho
paas aane na doongi tujhe haaye

Tere Sheheron Se Raja Hamein Ban Hi Bhaley, Wahaan Chain Se To Sote The …  Sitaaron Ke Taley – Naach Ghar (1959) – Mohammad Rafi, Lata Mangeshkar

tujhko bhi dekh liya
sheher bhi teraa dekha
jagmagaahat ki har ik teh mein andhera dekha
aish kartein hain tere sheher mein
aur faankon ke sitam sehte hain mehnatwaale
tere shehron mein zubaan jhoothi hain
dil khotein hain
buildinge oonchi hain
insaan bahot chhote hain

shor itna hain ke dil ki bhi sadaa kho jaaye
bheed aisi hain ke khud apna pataa kho jaaye
ishq waalon ko yahaan rasm e  wafaa yaad nahin
husn ko husn ki sharm aur hayaa yaad nahin
jism se ruh ka hain bair tere shehron mein
nazar aaten hain sabhi gair tere shehron mein

Rimjhim Rimjhim Saawan Barse .. Tumhre Milan Ko Jiyaraa Tarse Chham Chham Chham Chham Paayal Chhanke, Bol Sajan Kaise Nikloon Ghar Se – Dilli Ka Dada (1962) – Manna Dey, Asha Bhosle

chanchal sheetal pawan jhakhore
vyaakul man mein agan lagaayen
garaj garaj kar kaare badarwa
deh ki soyee peer jagaayen
nain hatat naahin tumhri dagar se

tumhre milan ko jiyaraa tarse

morey anganwa laaj ka pehra
band kiwadiya khol naa paaoon
geeli lakadiyaa ban ban sulgoon
mukh se kuchh bhi bol na paaoon
mar mar jaaun jag ke darr se

bol sajan kaise nikloon ghar se

Aye Mere Meharbaan Ab Na Le Imtihaan, Hum Bhi Tere Huye Dil Bhi Tera Huaa Ab Hamein Aazmaana Hai Kya – Sachche Moti (1962) – Suman Kalyanpur, Mahendra Kapoor

shaam ke saaye dhalne lagey
dard karwat badalney lagey
jab chali thhandi thhandi hawaa
dil ke armaan machalne lagey
saans ghutney lagi
aas chhutney lagi
is qadar bhi sataanaa hai kya

jab pukaaro chaley aayenge
dil ki dhadkan mein lehraayenge
hum kisi haal mein bhi rahen
door tum se na reh paayenge
tum bulaati raho
jee lubhaati raho
to khushi ka thhikaanaa hai kya

tum ruko to zamaanaa rukey
tum chalo to chaley zindagi
tum jo hum se miley
mit gaye sab giley
ab hamein aur paanaa hai kya

Laage To Se Naina Laage Laage… Daras Bina Na PauN Chain.., JaagooN Saari Rain – Chandi Ki Deewar (1964) – Talat Mahmood, Asha Bhosle

jab se lagi
lagan tihaari
bhool gayi sudh budh saari
kal naa pade din ho ke rain

man mein basi
peer anjaani
tan mein jagi agan suhaani
gayo re more jiyaraa ka chain

Chunar Mori Kori Kori Kori, Umar Mori Baali Baali Baali Dheere Rang Daaro Karo Na Joraa Jori… ,  Baras Bhar  Beete Tab Aaye Kahin Hori, Jhijak Nahin Hamse Nikat Aajaa Gori  – Naya Raasta (1971) – Mohammad Rafi, Asha Bhosle

dheere dheere pichkaari maaro
nahin maaro bedardi se kas ke
dekho dekho bainyya na kheencho
mori resham ki choli na masske
mohe tumri kasam
mohe laage sharam
maano maano araz maano mori
chunar mori kori

bheegi bheegi chunri se jhaanke
torey matwaale angon ka jaadoo
aaja meri baanhon mein chhup jaa
gori ghabra ke yoon na simat tu
miley tan se jo tan
bujhye tan ki agan
kahen ham bhi ki aayi hai hori

Aaj Socha Hai Khayaalon Mein Bulaa Kar Tum Ko, Pyaar Ke Naam Pe Thodi Si Shikaayat Kar Lein – Chehre Pe Chehra (1981) – Sulakshana Pandit, Mohammad Rafi

aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise  kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha  paas bulaana hi na thha

ranjishien bhi wahiN palti hain
jahaaN pyaar paley
pyaar hi jis se nahiN
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hooN
aur chaahat ki duaaoN ka sila kya hoga
ranjishein bhool ke
khwaaboN ko haqeeqat kar lein

aaj socha tha kya kahoon main tumhein

kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar lein

Sahir Ludhianvi and N Dattaa’s 18 film association has one un-released fil, Picnic- one of the many shelved because Guru Dutt had committed before it could be completed.. A couple of songs are available on YT. Here is one romantic song, which is penned by Majrooh Sultanpuri, but needs a mention here because the tune is so similar to Aaj Ki Raat NahiN Shiqve Shiqayat Ke Liye (Dharmputra, 1961)

Kitna Rangeen Hai Ye Chand Sitaron Ka Sama – Picnic UNR

So this is where we end Sahir Ludinavi and N Datta’s 18 film association which began with N Datta’s maiden film as independent music director, Baalo (1951, a Punjabi film),  and ended with N Datta’s last film Chehre Pe Chehra (1981), and thus, has spanned over no less than 30 years.

We will next take up last episode of the present serries of Sahir Ludhianvi’s Romantic Songs, which also is a long 19 films association of Sahir Ludhianvi and Ravi

Fading Memories….Unforgettable Songs

Fading Memories, Unforgettable Songs – February 2022

Talat Mahmood: Duets with Shamshad Begum

Talat Mahmood (24 February 1924 – 9 May 1998) did commence his career in Hindi films in 1945, but his career got really moved to top gear only after success of Aye Dil Mujhe Aisi Jagah Le Chal JahaaN Koi Na Ho (Arzoo, 1950 – Lyrics: Majrooh Sultanpuri  – Music: Anil Biswas). That also was the period when the careers of two other cotemporary male playback singers, Mohammad Rafi and Mukesh, were also getting the right momentum. Add to this the fact that Talat Mahmood’s attention was also getting divided between his playback singing and acting in the same period. However, his four-decade long, 740+ songs rich career conferred this velvet-voice singer the uncrowned title of King of Ghazals.

Shamshad Begum (14 April 1919 – 23 April 2013), acclaimed as the ‘first’ female playback singer of Hindi cinema had a very unique voice – quite different with her contemporaries, like Noor Jehan, Kanan Bala, Suraiya, Amirbai Karnataki, Zohrabai Amablewali etc.  of ‘40s or like Lata Mangeshkar, Geeta Dutt, Asha Bhosle and the like of ‘50s and ‘60s. She had created her own space from her very early films like Khajanchi (1941) and Khandan (1942). Even during the periods of 1950 to (almost) 1955 and then at the end of the career years 1967-1968 she commanded a respectable fan following.

As such, the common period of peaks of Talat Mahmood and Shamshad Begum can be seen to be between 1950 to 1955., beginning with Babul (1950- Lead actors – Dilip Kumar, Nargis and Munnavar Sultana – Music: Naushad). As the fate would have it, even after the stupendous success of Babul, Naushad had started shifting to Mohammad Rafi (for Dilip Kumar) and after success of Andaz (1949), he had already moved to Lata Mangeshkar as the lead female playback singer. Even in Babul, Shamshad Begum was playback singer for ‘parallel’ lead heroine Munnavar Sultana only. So Shamshad Begum could have capitalized on that success sonly if films with similar star configurations would have been lined up! Other major, first-line music directors, like S D Burman, Shankar Jaikishan< C Ramchandra, Madan Mohan, Roshan etc. who were using Talat Mahmood very successfully in those years were not using Shamshad Begum as lead singer. O P Nayyar was the only one who did use her as lead singer, but then he did not use Talat Mahmood as his preferred male singer.

The result is that we have (just) 10 duets of Talat Mahmood and Shamshad Begum, including 3 triads. Of the 10 duets, Babul itself had 2 duets + 1 triad. Rest of the seven songs are distributed among six music directors, all of them generally considered as not belonging to the front-line music directors (the only exception here being that of Vinod).

Coming back to the subject of the present episode, we commemorate the memory of Talat Mahmood in the month of his birth by taking 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,

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

In 2021, Talat Mahmood: Duets with Geeta Dutt, from  1954 to 1957, with one duet even in 1972.

Presently, we take up Talat Mahmood’s duets with Shamshad Begum.

Milte Hi Aankein Dil Hua Diwana Kis Ka – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

Shamshad Begum easily matching the softness of Talat Mahmood is one major reason that has made the song evergreen.

Duniya Badal Gayi Meri Duniya Badal Gayi – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

Elaborate orchestration by Naushad, effortless of pathos in Shamshad Begum’s delivery of her part and the natural tranquility of Talat Mahmood’s voice easily draw the listener into the mood of the song.

Nadiya Mein Utha Hai Shor, Chhayi Hai GhaTaa Ghanghor,  Jaana Door Hai …. Nadi Kinare Saatha Hamaare Sham Shuhani Aayee – with Mohammad Rafi and chorus – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

It is more of a technicality that song has to be classified as a triad, since Mohammad Rafi chips in more as part of support system that makes the song basically a ‘boat song’

Chhod Babul Ka Ghar Aaj Mohe Jaana Pada –   Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

This song is technically not classified as a duet because primarily it is Shamshad Begum solo being played a credit title song. But, in later versions, Talat Mahmood sings only one line before the song is transformed into Shamshad Begum plus chorus playful dance song. In one more version, the song comes up as slow paced Talat Mahmood solo, The song comes again at the end of the film wherein Mohammad Rafi takes the song to a very high scale crescendo to match the rising pain of the tragedy of the story of the film.

However, irrespective of the way the song has been used in the film, the song is a classic example of the way Shamshad Begum and Talat Mahmood’s voices can blend with each other, if so desired.

Jawani Ke Zaamane Mein Jo DIl Na Lagega – Madhubala (1950) – Lyrics: Rajendra Krishan – Music: Lachhiram

Here is a very pleasing composition wherein even Talat Mahmood comes up so naturally in playful mood.

From all the accounts, the songs of the film had met with good deal of success at that time. However, even with the lead star cast of Dev Anand and Madhubala, the film was a disaster at box office, and the song, unfortunately remains among fading from the memory category now.

Laila Laila PukaruN Main Ban Mein – Mr. Sampart (1952) – Lyrics: Pandit Indra – Music: Balkrishna Kalla

The song comes up in the film as clips of different shots of the films that the heroine has enacted as part of the story (based on R K Narayan’s famous story, Mr. Sampat, The printer of Malgudi. As such, Talat Mahmood and Shamshad Begum sing each of the clips as solos.

O Mruganayani Madhubahini Menka Tum Ho KahaaN – Mr. Sampat (1952) – Lyrics: Pandit Indra – Music: Balkrishna Kalla

The duet is presented here with a disclaimer that some sites mention P G Krishnaveni and Geeta Dutt as the singers,

Bura Hua Jo Inse Hamare Naina Lad Gaye Ji – Laadla (1954) – with Mohammad Rafi and Asha Bhosle – Lyrics: Raja MahendI Ali Khan – Music: Vinod

This is a typical ‘noNk-joNk’ genre song but is unique for two pairs of couples involved in the melee of repartee.

Mohabbat Bas Dil Ke Itane Se Afsane Ko Kahete Hai -Mangu (1954) – Lyrics: S H Bihari – Music: Mohammad Shafi

Mohammad Safi has deftly used harmonium in this ‘qawwali’ style song. Talat Mahmood gracefully plays cheerful mood. Shamshad Begum’s voice is usually very thin.

Aside: The film did have O P Nayyar as a n additional music director, but the credit of using Talat – Shamshad in a duet remains with Mohammad Shafi, who had introduced Suman Kalyanpur in this film, while O P Nayyar had used Asha Bhosle for the first time for his song.

Kehana Mera Maan Le Ye Yaar -Shaan-E-Haatim (1958) – with Balbir – Lyrics: Raja Mahendi Ali Khan – Music: A R Queresh

The song is credited as triad, however the clip available has only Balbir’s voice. The film and the song are so obscure, that no further information seems to be available.

I am not able to trace the digital footprint of the song, Dekho Baras Rahi Barsaat – Titli / For Ladies Only (1951) – Lyrics; Sahrai – Music Vinod, on the net.

The utterly short association of Talat Mahmood and Shamshad Begum is so strongly overshadowed by their songs from Babul (195) that the range and variety wich can be seen in the other duets probably remains unappreciated. Well, that is the irony of fate of HFM, with which we have learnt to live with.

We will take up Talat Mahmood’s duets with Asha Bhosle in the next episode in this series.

Centenary Celebrations

Sahir’s Songs of Romance : 18 Films Association with S D Burman

The much-needed nourishing touch that seeded-in-1948- career of poet-lyricist, Sahir Ludhianvi would have dreamt, and the equally much needed escape velocity providing boost that S D Burman’s seeming to be steadying career required came in the form of Thandi Hawaein Lahera Ke Aaye (Naujawan, 1951 – Lata Mangeshkar), boosted further by Tadbeer Se Bigadi Hui and Suno Gajar Kya Gaye (Baazi, 1951- Geeta Dutt) and Tum Na Jaane Kis Jahaan Mein Kho Gaye (Sazaa, 1951 – Lata Mangeshkar) in the same year. What followed was a seven-year phase that this unique combination of two extremely talented and perhaps equally strong-willed personalities of the golden era of the Hindi film industry gave us music that we all so fondly remember in one of the most remembered 18 films association of a music director who believed in primacy of melody and a lyricist who sore by the importance of lyrics to make a film song meaningful.

S D Burman (10 October 1901 | 31 October 1975) was known to refuse films where the filmmaker wanted ‘hit’ songs, he would firms stand by his motto, “I compose only good songs”. S. D. Burman won only a few ’popular’ awards – because he never cultivated them – but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. S D Burman changed that theory. The tune first, the lyrics later. How S D Burman and Sahir Ludhianvi would have worked together with their totally contrasting approach on this aspect is not known, there is no denying the fact that their 18 films association remains a golden chapter in the history of Hindi film music.

Starting from first film with S D Burman Naujawan (1951) to 18th and the last film, Pyasa (1957), with him, Sahir Ludhianvi penned songs for 16 films with other music directors.  In comparison to this, in the same period, S D Burman did only nine films with five other lyricists.

I have selected one, relatively less heard, song from each of the 18 films that S D Burman and Sahir Ludhianvi worked together, except Radha Krishna (1954) which was a devotional theme film and Taxi Driver (1954), Devdaas (1955), House No. 44 (1955), Munimji (1955), Funtoosh (1956), Pyasa (1957), because the songs from these films are so well known.

Dekh Ke Akeli Mohe Barkha Sataye, Gaalo Ko Chume Kabhi Chhittein Udaye Re, Tip Tip Tip ……. ….. – Baazi (1951) – Geeta Dutt

chali naa jaye chal lachaku jaise dal
saadi bhigi, choli bhigi, bhige gore gal

lute har shingar paapi jal ki dhar
khuli sadak pe lut gayi logo main albeli naar

paanv phislata jaye tan hichkole khaye
aise mein jo hath pakad le mann uska ho jaye
bas ho jaye

aise me jo hath pakad le mann uska ho jaye

Are Kahaan Leke Jaihho Ram… O Zulmi Naina… …. ….  …  Dekho Arre Dekhoji Kuchh Bhi Kar Lo Jeet Hamari Hai – Naujawan (1951) – Lata Mangeshkar, Kishore Kumar

o zulmi nainaa waalon
tum daaman laakh bachaa lo
hamse bachnaa hai mushqil
ye nainon ko samjhaa lo
jahaan chaloge sang chalenge
ban kar tumhri chhaayaa

tum aisi qismat laaye
ke ham jaison ko paayaa
aur ham wo qismat waale
ke tumne khud bulwaayaa
arre kyaa daataa ki den hai dekho
raah mein heeraa paayaa

o nainon ke matawaale
dheere-dheere ye man
huaa teraa sajan
din aaye milan waale
….   ……   ….. …

….   ….. ….  ….. ….
jeet kahaan ki haar kahaan ki
dil khoyaa dil paayaa

Chori Chori Meri Gali Aana Hai Bura, Aayeja, Aake Bina Baat Kiye Jaana Hai Bura, Aayeja– – Jaal (1952) – Lata Mangeshkar

achchhe nahi yeh ishaare, pedon tale chhup chhupaake
aao na do baatein kar le, najaron se najarein milaake
din hai pyaar ke mauj bahaar ke
dekho bhole bhaale, ji ko tarsaana hai bura

dil aa gaya hai toh pyare badnaam hone ka darr kya
ishq aur wafa ki gali mein, duniya ki ghum ka gujar kya

din hai pyaar ke mauj bahaar ke
dekho bhole bhaale ji ko tarsaana hai bura

Preet Sataye Teri Yaad Na Jaaye…. Dil Deke Gam Le Liya – Lal Kunwar (1952) – Suraiya

jahar bhari ye kaisi baji shahnaai
thes jiya pe lagi aankh bhar aayi
aa re balam tere gam ki duhai

ruthe nasiboN ko kaise manayein
chhota sa dil aur lakho balayein
ghut ke gam se kahiN mar hi naa jaye

MaiN Pankh Lagake Ud JauN, Aur Phir Naa Palat Ke AauN – Armaan (1953 – Asha Bhosle

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
ambar ki chhati se lag kar sapnoN mein kho jauN
anjani raho mein chhup kar anjani ho jauN
aur khud bhi khoj naa pauN

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
badali banakar ban ban ghumuN bijli ban muskauN
jharnoN ki jhalar mein baithi geet suhane gaauN
duniya ko najar na aauN

Hamare Munder Bola Kaga Sakhi Ri, Bichhde Balam Ghar Aayengein – Babla (1953) – Rajkumari

ghunghat mein sansein lahakegi
mori suni ratiyaN mahakegi
sakhi birha ke gam sabhi bhulenge
hum sunke unke kadam ko

jab wo aangan mein aayengein
more sapne sach ho jayenge
leke man mein umang maiN
to khelungi rang piya pyare ke sang

jab un bahoN mein jhulungi
maiN jag ke sudh budh bhulungi
aaj main huN magan
mera man hai magan
leke jivan ka dhang

Lag Gayi Ankhiyaan Tum Se Mori. O More Saajan Tum Se Mori Akhiyaan – Jeevan Jyoyi (1953) – Geeta Dutt, Mohammad Rafi

sharm kho hi gayi laaj kho hi gayi
main to duniyaa se hi aaj kho hi gayi
ahaa haa haa ye kahaani nayi sun lo
saari duniyaa se hi main to kho gayi
par kisliye, o lag gayi ankhiyaan

aaj meri nazar ko chamak mil gayi
dil ko ik mithi mithi kasak mil gayi

man ke taaro mein laharaayi masti ki dhun
anaginat paayalein baj uthi chhun chhunan chhun chhunan
o more baalam o mere sanam
o sanam tumpe mori lag gayi ankhiyaan

Jaam Thaam Le, Jaam Thaam Le, Sochte Hi Sochte Na Bite Saari Raat – Shahenshah (1953) – Shamshad Begum

saj ke aayi hai shishe ki pari
dhundh ke laayi hai diloN ki khushi
jannat se kudarat ne bheja tere liye inam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

dunia ke har dukh ka daru ek sunahari jam

subah dur hai rat ki qasam
dil ki maan le mere sanam
masti ki in ghadiyoN mein kya soch samajh ka kam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

zulfoN ke saye mein nadaN kar bhi le aaram

Gori Ke NainoN Mein Nindiya Bhari, Aa Ja Ri Sapno Ki Nilam Pari, ….. . Arre O Mere JakhamoN Ki Fitkari, Aa Bhi Jaa KyoN Der Itni Kari – Angarey (1954) – Shamshad Begum, Kishore Kumar

o nilam pari ruth jaungi maiN, kiya toh naa aaungi maNi
khamosh rahne mein hai behtari
aati huN, aati huN, dam lo ghadi,

aa bhi ja kyoN der itni kari

too hur hai aur maNi langur, too hur hai aur maiN langur huN
ulfat ke hathoN se majabur huN
gussa naa kar, naa kar, gussa naa kar
o meri besuri, o meri besuri, aa bhi ja kyoN der itni kari

Dil Nahi To Na Sahi Aankh To Milao Ji, Sawan Ki Raat Hai – Society (1955) – Asha Bhosle, chorus

us taraf gagan pe kale badaloN ka shor hai
badaloN ka shor hai
is taraf diloN mein mast dhadkanoN ka dour hai
dhadkanoN ka dour hai
ruthane ki rut gai ab to maan jao ji

kachhi kachhi bundiyon ki ras bhari fuhar mein
ras bhari fuhar mein
aur hi maja hai do dilo ki jeet haar mein
do dilo ki jeet haar mein
jindagi ki har khushi daav par lagao ji

kho na jaye ye sama is samay mein kaam lo
..  ….. …..   ….   ….   ….  …  ….   .  .  .
jisse mil gaya ho dil uska hanth tham lo
.. … ..  .  .  .  .  .
mast hoke do ghadi khud ko bhul jao ji

Till we get another opportunity to revisit Sahir Ludhianvi – S D Burman association, we move on to another 18 films association, that with N Dutta in our next episode.