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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs :January 2022

Jaidev: Brilliant, But Underrated, Composer1974 -1975

The career of Jaidev (Varma)B: 3 August 1919 – D : 6 January 1987 – right from his first foray in 1933 till his own death in 1987 has been a sad tale of fate’s cruel treatment to such a gifted music director. It is so difficult to imagine that someone who had composed so melodious, and hugely popular as well, album was consigned to the ‘art-film music director’ tag by the turn of the decade. The popularity of his songs of 60s could not fetch a Filmfare award for him, but the art film yielded three national awards – a record for Hindi films that that remains unsurpassed in so far as music directors of his generation.

Perhaps the very specific limited ‘class’ audience that the art films sough to cater to, his music too had meet the basic demands of the film. So, one may argue, that that music was never meant to be popular at the mass level. And even when it could have been, the lack of strong marketing push to the film itself, to expect that songs would get that kind of support is probably wishful thinking.

The core creative artist of Jaidev used the constraints of art-film music composition into an opportunity to freely experiment with a wide variety of singers to create songs that could pride any music industry.

Till now, we have covered, the years

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.

In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,

in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971, and

In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973

in the form of our commemorative annual series in the month of Jaidev’s remembrance anniversary month.

Presently, we will cover Jaidev’s compositions from what is popularly termed as ‘parallel cinema’ films Aaligan, Faslah and Parinay (all of 1974) and Ek Hans Ka Joda and Aandolan (of 1975). By recalling the songs of these films gives us clear opportunity to see the freshness of his compositions and the charm of his experimentation.

Aalingan (1974)

Hamaare Dil Ko Tumne Dil Bana Diya – Mohammad Rafi, Asha Bhosle – Lyrics :Jaan Nisaar Akhtar

The prelude song creates the feeling of speed that the couple riding motor-bike would expectedly feel that they would bring to their singing. The song is set to faster waltz rhythm. Jaidev has also used Mohammad Rafi and Asha Bhosle’s creativity of singing to the hilt.

Pyaas Thi Phir Bhi Taqaazaa Na Kiya – Manna Dey – Lyrics: Jaan Nisaar Akhtar

Manna Dey begins softly in the first line and then gradually goes onto higher scale exemplifying the increasing intensity of feelings that such intimate environment induces. Use of saxophone further adds to the escalation of the intensity of the feeling.

Faslah (1974)

Aa Utha Le Apna Jaam Kya Tujhe Kisi Se Kaam – Ranu Mukherjee – Lyrics: Kaifi Azmi

Jaidev experiments with Ranu Mukherjee’s heavy tonal qualities to set up the enchanting atmosphere of a club song.

Zindagi Cigarete Ka Dhuan, Ye Dhuan Jaata Hai Kahan Ya KahiN Jaata NahiN Ye Socho, Na Socho Meri Jaan – Bhupinder – Lyrics: Kaifi Azmi

Jaidev, Kaifi Azmi and Bhupinder team up to create a motivational song that does its assigned role in the lighter mood.

Parinay (1974)

Jaise Suraj Ki Garmi Se Jalte Huye Tan Ko – Deen Bandhu Sharma, Ramananad Sharma, chorus – Lyrics: Ramanand Sharma

The measure of this devotional composition in Raag Jaunpuri can be gauged by the fact that this one song has become the identity of the Sharma Brothers quartet who were otherwise also well known in the devotional program circuit.

Mitwa Mitwa Morey Man Mitwa – Manna Dey, Vani Jayram – Lyrics: Naqsh Llayalpuri

Jaidev recreates a 50s period melody in this duet. As can be expected, the duet was well received by the Manna Dey fans and other discerning film music fans.

Asides:

Parinay won the 1974 Nargis Dutt Award for Best Feature Film on National Integration (known as the “Rajat Kamal Special Award for the Best Feature Film on National Integration” at that time).

The film was directed by Kantilal Rathod, who also has another award winning (Gujarati) feature film Kanku (1969) and a children’s documentary film Cloven Horizon (1965)

Ek Hans Ka Joda (1975)

Saathi Milte Hain Badi Mushqil Se Kisika Sath Na Chhodana – Kishore Kumar –Lyrics: Indeewar

Jaidev has very rarely used Kishore Kumar as playback even during second innings of both. In this soft piano song, he has Kishore Kumar signing equally soft lower scale or slightly elevated scale at the end of lines.

Ek Hans Ka Joda Jisne Pyar Mein Har Bandhan Toda – Ajit Singh – Lyrics: Gauhar Kanpuri

Jaidev’s experimental streak with his melodious core could not have been more manifested than in this credit title song, where in he has used pope singer Ajit Singh to sing a pop-style song with soft strings of guitar and wind instruments to the rhythm of drums.

Mere Dil Mein Teri Tasweer Sada Rehti Hai – Bhupinder Singh, Asha Bhosle –  Lyrics: Indeewar

In this asymmetric duet, Bhupinder chips in with a saakhi that would take the heroine into retrospective pensive mood.

Andolan (1975)

Dar-o-Divaar Pe Hasarat-e-Nazar Karte Hai Khush Raho Ahal-e-Vatan Ham To Safar Karte Hai – Bhupinder – Lyrics: Ramprasad ‘Bismil’

From the very brief information available, it is gathered that Andolan is a film based on the freedom struggle period. Directed by a highly talented, and successful commercial film director, Lekh Tandon, the film, has been consigned to the status of ‘parallel cinema’ probably because,, except Nitu Singh, all other major actors belong to the ‘art cinema’ stream.

The ‘saakhi, first two lines, is taken from a Nawab Wazjd Ali Shah’s poignant poem which he seems to have composed when he was exiled from Lucknow to a faraway Calcutta dungeon.

Mazloom Kisi Kaum Ke Jab Khwaab Jaagte Hain – Manna Dey – Lyrics :Verma Malik

Jaidev has chosen Manna Dey’s strong tonal quality to capture the brave mindset of the freedom fighters maintain their spirit in the face of brutal physical torture.

Panch Rupaiya Arre Panch Rupiaya De De Balamva Mela Dekhan Jaungi – Minu Purushottam, Krishna Kalle – Lyrics: Jan Nisar Akhtar

The street ‘tamasha’ song genre has one oft-intended use of a red-herring, as is the case of the present song.

Aside trivia:

The bespectacled person with beard siting on the ‘charpoy’, as can be seen clearly @3.41 is none other than vintage era front-line male playback singer, G M Durrani

Piya Ko Milan Kaise Hoye Ri MaiN Janu Nahi – Asha Bhosle – Lyrics: Meerabai

Here we have a musically very rich, but somehow lacking the easy melody of similar difficult and equally melodious songs like, Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar) – both from Reshma Aur Shera, 1971) or Yeh Dil Aur Unki NaigahoN Ke Saaye (Lyrics: Jan Nissar Akhtar) and  Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai (Lyrics: Prema Sachdev) (Prem Parabt, 1973) that we normally associate Jaidev with.

We rest here with one more very interesting page of Jaidev’s music direction career before moving on to the next phase, in our next 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.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Eight Films Association

The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.

Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music director.it was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.

For Sahir, this may have been natural ground for his poetry to Persianized Urdu poetry to flourish, but that also unleashed the Roshan’s potential in the form of composing ghazals, mujhras and qawwalis. The bond had been mutually so strong that when pure Hindu culture-based songs were to be composed for Chitralekha, Sahir brilliantly came up with chaste Hindi lyrics, including for the run-of-the-mill comedy song,  to Roshan’s classical raag based tunes.

Presently, we take up just a few representative romantic songs from this extremely rich treasure of Sahir Ludhianvi’s Eight Films Association with Roshan.

Maine Shayad Pahle Bhi KahiN Tumhein Dekha Hai – Barsat Ki Raat (1960) – Mohammad Rafi

ajnabi si ho magar gair nahiN lagti ho
vaham se bhi jo ho naazuk vo yakiN lagti ho
haay ye phul sa chehra ye ghaneri zulfein
mere sheroN se bhi tum mujhko hasiN lagti ho

dekhkar tumko kisi raat ki yaad aati hai
ek khaamosh mulaaqaat ki yaad aati hai
jahan me husn ki thandak kaa asar jagataa hai
aanch deti hui barasaat ki yaad aati hai

jiski palkein meri aankhoN pe jhuki rahti hai
tum vahi mere khayaaloN ki pari ho ki nahiN
kahiN pahale ki tarah phir to na kho jaaogi
jo hameshaN ke liye ho vo khushi ho ki nahiN

Salam-e-Hasrat Qubul Kar Lo, Meri Mohabbat Qubul Kar Lo – Babar (1960) – Sudha Malhotra

udas najrein tadap tadap kar, tumhare jalwoN ko dhundhti hai
jo kwab ki tarah kho gaye, un hasin lamhoN ko dhundhti hai
…..    …….   …….  …… …..
agar naa ho nagwar tumko toh yeh shikayat qubul kar lo

tumhiN nigahoN ki justju ho, tumhiN khayaloN kaa muddaa ho
tumhiN mere waste-sanam ho, tumhi mere waste-khuda ho
….. ……     …….   …….   …. . 
meri parastish ki laj rakh lo, meri ibadat qubul kar lo

tumhari jhukti najar se jab tak na koyi paigam mil sakega
naa ruh taskin pa sakegi, naa dil ko aaram mil sakega
….  ……     ……     …..   ……
gam-e-judayi hai jan leva, yeh ik haqiqat qubul kar lo

Tum Ek Baar Muhabbat Ka Imtahaan To Lo, Mere Jhunun Meri Vahshat Ka Imtahaan To Lo – Babar (1960) – Mohammad Rafi

salaam-e-shauq pe ranjish bhara payaam na do
mere khaloos ko hiras-o-havas ka naam na do
meri vafa ki haqikat ka imtahaan to lo

na takht-o-taz na laal-o-guhar ki hasarat hai
tumhare pyar tumhari nazar ki hasarat hai
tum apne husn ki azmat ka imtihaan to lo

maiN apni jaan bhi de duN to aitbaar nahiN
ke tum se badhke mujhe zindagi se pyar nahiN
yuN hi sahi meri chahat ka imtihaan to lo

Tumhari Mast Nazar Gar Idhar NahNi Hoti, Nashe Mein Chur Fiza Is Qadar NahiN Hoti – Dil Hi To Hai ((1963) – Mukesh, Lata Mangeshkar

tumhi ko dekhne ki dil mein aarzuein haiN
…..  …..   ……   …. .   .
tumhare aage hi oonchi, nazar nahiN hoti

khafa na hona agar badh ke tham luN daaman
….   ……   …….   …  ….
ye dil fareb khata, jaan kar nahiN hoti

tumhare aane talak ham ko hosh rahta hai
….   ……   ….  ……. ….
phir us ke baad hamein kuchh khabar nahiN hoti

Churaa Le Naa Yumko Ye Mausam Suhaana Khuli VaadiyoN Mein Akeli Na Jaana, Lubhaataa Hai Mujhko Ye Mausam Suhaana Main Jaaungi Tum Mere Pichhe Na Aana – Dil Hi To Hai (1963) – Mukesh, Suman Kalyanpur

lipat jaayega koi bebaak jhokaa
javaani ki rau mein naa aanchal udana

mere vaaste tum pareshaN Na Hona
Mujhe Khub Aata Hai Daman Bachana

ghata bhi kabhi chum leti hai chehara
samajh soch kar rukh se zulfein hatana

ghata mere nazdik aakar to dekhe
in aankhoN ne sikha hai bijli girana

PaoN Choo Lene Do PhuloN Ko Inaayat Hogi, Varana Hamko NahuN Inko Bhi Shikayat Hogi – Taj Mahal (1963) – Mohammad Rafi, Lata Mangeshkar

aap jo phul bichhaaye unhe ham thukraaye
 ….. …..  ……   ……
hamko dar hai ke ye tauhin-e-muhabbat hogi

dil ki bechain umangoN pe karam farmaao
…..   …..   …….   ……  …..
itna ruk ruk ke chaloge to qayaamat hogi

sharm roke hai idhar, shauk udhar khichein hai
….   ……   ……. ….. 
kya khabar thi kabhi is dil ki ye halat hogi

sharm gairoN se hua karti hai apnoN se nahi
…..   …..   …..  ….
sharm ham se bhi karoge to musibat hogi

Chand Takata Hai Idhar Aao KahiN Chhup Jaayein, KahiN Laage Na Najhar, Aao KahiN Chhup Jaayein – Dooj Ka Chand (1964) – Mohammad Rafi, Suman Kalyanpur

phul sakhoN se jhuke jaate hothoN ki taraf
jhoke bal khaake mude aatein hai
ho mude aate haiN julfoN ki taraf
…..    …..   …..   …..
chhod kar inki dagar aao kahiN chhup jayein

maiN hi dekhuN sajan duja na dekhe tohe
kya khabar kaun sautaniya tora
ho sautaniya tora man mohe
….   …..   ……   …….
dil pe dalo na asar aao kahiN chhup jayein

sari najroN se pare sare najaaroN se pare
aasmanoN pe chamakte hue
ho chamakte hue taroN se pare
…   …..   …..    …..   …
odh kar lal chunar aao kahiN chhup jayein

Sun Aye Mahjabin Mujhe Tujhse Ishq NahiN, – Dooj Ka Chand (1964) – Mohammad Rafi

yuN maiN tera Qayal huN, Qayal huN
naaz-o-adaa par mayal huN, mayal huN
….. …… ……
jalwoN ka dam bharta huN
chhup-chhup dekha karta huN
par aye pardanashNi mujhe tujhse ishq nahiN

tu wo dilkash hasti hai, hasti hai
jo kwaboN mein basti hai, basti hai
….  …… …..
tu kah de to jaan de duN
jaan to kya imaan de duN
par aye khaslagi mujhe tujhse ishq nahiN

Chhaa Gaye Badal Nil Gagan Par, Khul Gaya Kajhara Saanj Dhale – Chitralekha (1964) – Mohaamd Rafi, Asha Bhosle

dekh ke mera mann bechain
rain se pehle ho gayee rain
aaj hriday ke swapna phale
ghul gaya kajara sanjh dhale

rup kee sangat aur ekant
aaj bhatakta mann hai shant
keh do samay se tham ke chale
ghul gaya kajara sanjh dhale

andhiyaro kee chadar taan
ek honge do vyakul pran
aaj naa koyee dip jale
ghul gaya kajara sanjh dhale

Aise To Na Dekho Ke Bahak Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN hum, Haaye Aise Na Kaho Baat Ke Mar Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN Hum – Bheegi Raat (1965) -Mohammad Rafi, Suman Kalyanpur

angdaai si leti hai jo khushboo bhari zulfein
girti hai tere surkh laboN par teri zulfein
zulfein na teri chum le ae mahjabiN hum
aakhir koik insaN hai farishta to nahiN hum

sun sun ke teri baat nasha chhaane laga hai
khud apne pe bhi pyar sa kuchh aane laga hai
rakhna hai kahNi paanv to rakhte haiN kahiN hum
aakhir koik insaN hai farishta to nahiN hum

bheega sa jo hai naaz ye halka sa pasina
haaye ye naachti aankhoN ke bhaNvar dil ka safina
socha hai ke ab dub ke reh jayein yahiN hum
aakhir koik insaN hai farishta to nahiN hum

Log Kahete Hai Ke Tum Se Kinaraa Kar Lein, Tum Jo Keh Do To Sitam GaNvaaraa Kar Lein – Bahu Begam (1967) – Mohammad Rafi

tumne jis haal-ae-pareshaN se nikala tha hamein
aasra de ke mohabbat ka sambhala tha hamein
sochte hai ke wahi… …… ….. haal dobara kar lein

yuN bhi ab tumse mulakat nahiN hone ki
mil bhi jao …  ….  …. ..  to koi baat nahiN hone ki
aakhri baar bas ab …. ….  jikr tumhara kar lein

aakhri baar khayalo mein bula le tumko
aakhri baar kaleje se laga lein tumko
aur phir apne tadapne …. …. …. ….  . ka najara kar lein

Saahir Ludhianvi’s Eight Films Association with Roshan can best be explored in more than one article, may be at next opportune occasion(s) in the future. For the present, we ready up for Sahir Ludhianvi’s 18 films dream-like association with S D Burman in the next episode.

Categories
Remembering Mohammad Rafi

Mohammad Rafi’s Non-film Hindi Geets and Ghazals – Kya Yaad Tumhein Hum Aayenge

A tribute to Mohammad Rafi on his 97th Birthday

In the 30s and 40s, it was a normal practice for the recording companies to contract the singers with exclusive rights. That would require other companies to launch non-film songs with other singers to make their presence felt in the market. That probably laid the foundation of the practice of publishing the records of non-filmi songs. By the turn of 40s, the singers turned freelancers, hence the major recording companies took up to buying the rights of all songs for majority of the films. That again led the smaller players to approach the singers for recording the non-film songs. In decades of 50s, 60s and thereafter, the market forces kept changing the rules, but non-film songs had created such a niche for itself that the genre has survived and thrived.

Even when considered to be playing the second fiddle to the more known film-songs genre, non-film songs have been pursued quite sincerely by almost all the playback singers. For many of the frontline singers of film-song school of 50s, the changing pattern of film compositions in the early 60s created a situation where the film songs ceased to yield inner satisfaction. In that situation, it was non-film songs that helped them to go back to their basic creative core.  Many of such songs remain enshrined as the iconic renditions in the overall portfolio of a singer.

Mohammad Rafi (b. December 24, 1924 – d.  July 31, 1980) was one such singer. Mohammad Rafi is credited to have rendered over 4,500 songs during his active career spanning almost four decades. The estimate of his non-film songs varies from as low as around 300 to as high as over 700. We also often get to read in well-publicised articles that around 70 to at best 100 (only) of his non-film songs are available easily.

+                  +                  +

I seriously started listening to the (Hindi) film music in the second half of ‘60s. Radio Ceylon, Vividh Bharati and a few programmes on the local AIR stations were the only sources to whet that newfound interest. That pursuit took more serious roots when I had purchased a basic (HMV) record player and four records from my first salary in July 1973. Not before long, I was to land upon the then fast-selling, for more than a decade, vinyl LP, record ‘This is Mohammad Rafi’ that contained non-film geets and ghazals on one side and devotional songs on the other side. Each of the song was composed by Khayyam with his exquisite magic touch. It is said that, in the melee of fast-paced run-of-the-mill songs at the advent of 60s, Mohammad Rafi was seriously concerned that he is losing the natural melody in his voice. He approached Khayyam to help him overcome his cause of concern. The joint efforts of these two resulted in the form of this LP album.  One can find many versions of what (may have) happened around this theme. To make different stories associated with this theme short for the purpose of the present article, I will note here that it was that record that opened my ears to the genre of non-film songs in real earnest. I had purchased a few more of Khayyam-Rafi non-film songs records and cassettes as well as those of Manna Dey, Talat Mahmood, Suman Kalyanpur etc. Of course, I did not pursue the matter of collecting the records of Mohammad Rafi’s NFSes as a serious curator.  But that was my inertia as an amateur fan, and hence my loss. That inertia may also be reflected in the selection of the songs in the present article too.

Since my source for the songs presented herein is presently limited to only YT and few other songs sites, I have not been able to ascertain the year of release / publication of these songs. As such, it would be apt for to begin with one representative song from the LP record ‘This is Mohammad Rafi’:-  

Poochh Na Mujhse Dil Ke Fasane, Ishq Ki Baatein Ishq Hi Jaane – Lyrics; Jan Nissar Akhtar – Music: Khayyam

With such easy-to-understand, and yet thoroughly literary lyrics and the matching soothing composition, Mohammad Rafi soulfully renders the feelings of someone who has totally been immersed into the ocean of love.

No wonder, this record not only remained on the top-selling list for almost a decade of its release, but it also reset the pride of place to the non-film songs genre in what was considered to be decade of growth of new generation listeners who had marked preference for easy, fast-paced film songs.

Before we explore more of different lyricist-music director combinations who have also recorded equally absorbing non-film songs with Mohammad Rafi, one more of representative non-film compositions by Khayyam would be in order:

Tum Aao Rumjhum Karati Payal Ki Zankar Liye, Nain Bichhaye Baitha Koi Phulo Bhari Bahar Liye – Lyrics: Madhukar Rajasthani – Music: Khayyam

Here Mohammad Rafi creates that intimate romantic touch to this Madhukar Rajasthani’s sentimental geet.

Before we dwell deeper into lyricist-music director combinations, it would be opportune to take note of extremely rare example of a non-film song wherein all the creative stakeholders – the lyricist, the music director, and the singer – are well known names of Hindi films.

Is Dil Se Teri Yaad Bhulai Nahi Jaati, Ye Pyar Ki Daulat Hai Lutai Nahi Jaati – Lyrics: Rajinder Krishna – Music: Hansraj Behl

Hansraj Behl – Mohammad Rafi have given us some of the most memorable Hindi film songs. They team up with Rajinder Krishan here to come up with this NFS gem. Rafi plays with ‘yaad’ in the mukhada and ascends-descends the scales in each stanza in what is now his familiar style to us. His ‘taan’ at ‘ye pyar ki dualat….. hai’ can also be categorised as his oft-used vocal ‘harkat’. However, and in spite of these, the song retains the charm of an NFS.

One interesting feature of Mohammad Rafi’s non-film songs is that most of the compositions have come from what can at best be classified as unknown-to-average-listener music directors. These songs may have either been drawn from the published works of known ghazal and poetry writers or from the unknown-to-average-listener poets. Taj Ahmed Khan and his Mohammad Rafi’s non-film songs fall in this category. Even as one can find many Taj Ahmed Khan’s composition on internet, next-to-no information is available about this music director.

Dil Ki Baat Kahi Nahi Jaati…. Chupake Rahena Thana Hai, Haal Agar Hai Aisa Hi To … Jee Se Jaanah Jaana Hai – Lyrics: Mir Taqi Mir – Music: Taj Ahmed Khan

Here we have a ghazal from an 18th century Urdu poet, Mir Taqi Mir, who commands respect almost equal to Mirza Ghalib.

Just to get an idea of how different music directors extracted best of Mohammad Rafi for the non-film songs genre, we should listen to another famous rendering of this ghazal by Begum Akhtar.

Please note this not an exercise of comparison between the two renderings but is simply an illustration of how differently Mohammad Rafi NFSes have been carved out.

We will now take up Mohammad Rafi’s NFSes created by less (or practically not known) lyricist or music director or both. Here, too, there are enough songs available on internet to enable a separate study or listening pleasure. I have picked representative songs for the purpose of present article.

Kya Yaad Tumhein Hum Aayenge Itni Si Baat Bataaenge – Lyrics: Madhukar Rajashthani – Music: Vinod Chatterji  

The song also begins with a precise strokes of sitar in the prelude to pave the way for Mohammad Rafi to come up with a very brief alaap picking up the initial lyrics ‘Kya Yaad Humein Bhi…’ . Harkats of very fondly playing with ‘yaad’ and then ‘aayenge’ are the simple master strokes of the composition. As the song proceeds we get several such glimpses on the way, with an extended ‘s…..ab….’ @2.25 as an icing on the cake! Music director and singer have done great justice to the lyrics of the song.

This is one of those Mohammad Rafi NFS you yearn to listen again and again.

Note: I had sought the help of several knowledgeable friends @SoY to conclusively locate names of lyricist and music director of this song. Shri Arun Kumar Deshmukhji has provided this information with the help of his friend Shri Dipak Chuadhari, who has the record (#N88276) of this song in his possession (WOW!!). My most sincere thanks to both..

Hansa Beech Gagan Roye, Komal PankhoN Par Ye Murakh Dekho Parbat Dhoye – Lyrics: Shyam Sharma – Music: Shyam Sharma

Shyam Sharma was the regular employee of HMV. HMV and some of the older record companies then headquartered in Calcutta had very strong music departments of their own. This in-house resource also has contributed to score of non-film song records.

Kash KhwaboN Mein Hi Aa Jao, Bahut Tanha HuN – Lyrics: Saba Afghani – Music: Iqbal

How earnestly Mohammad Rafi puts through the request to the beloved to appear in the dreams and break the spell of loneliness! With extra soft beginning of the first line of the stanza, where the feelings are more intense, the entire song is rendered more as a soliloquy with one’s own self!

Jeenay Ka Raaz Maine Muhabbat Mein Paa Liya, Jiska Bhi Gam Hua Use Apna Bana Liya – Lyrics: Muzaffar Shahjahanpuri – Music: Iqbal Quershi

Deep alaap and soft rendering of Jeeney Ka Raaz Maine……sets the tone for pensive mood of the song.

Main To Rahon Mein Pada Paththar Hun Sab Mujhe Chupchap Raundhake Chale Jaate Hai – Lyrics: ? – Music: Kamal Rajasthani

Right from the first note, we find a very close resemblance to the song Main tooti hui ek naiya hun (Aadmi, 1968; Lyrics: Shakil Badayuni- Music: Naushad). Of course, I have no authentic information of year of publication on the present non-film song, so would not hazard any guess whether either one is the inspired version.

Be that as it may, the song is composed to Mohammad Rafi’s deep tonal chords, except in the last stanza when the lyrics take the shape of sharp pain. Mohammad Rafi raises his scale to the top, before coming down to the original scale.

With a candid the disclaimer that sequencing of the following song is not intended after the above song, I conclude the present article, in full concurrence to what Naushad has to say for Mohammad Rafi before the start of the song in the following clip –

Beete Dino Ki Yaad Satati Hai Aaj Bhi.. Kya Jhamane Wapas Kabhi Na Aayenge, Kya Ham Tamaam Umr Yoonhi Roye Jaayenge – Lyrics: Shakil Badayuni – Music: Naushad

Mohammad Rafi does not sound loud even when he sings at a high scale all through the song.

I plan to continue the series on all other future anniversaries of Mohammad Rafi. As such, I have reformatted and shortened up the article which is published on Songs of Yore on December 24, 2021.

I hereby record my sincere thanks to Songs of Yore for publishing the article, Mohammad Rafi’s Non-film Hindi Geets and Ghazals.

Categories
Fading Memories….Unforgettable Songs Remembering Mohammad Rafi

Fading Memories…. Unforgettable Songs: December 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948

1947-1948

The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.

The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.

As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.

1947

Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.

In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.

Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.

Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal

The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting  ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..

There is a male-female duet son too.

Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal

Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Aside Trivia:

Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.

Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar

Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.

C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.

Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A

The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..

The film has one more duet Main HuN Jaipur Ki Banajaran, Chanchal Mera Naam, with Lalita Deulkar (Lyrics: Qamar Jalalabadi) and two triads, Hum Banjare Sang Hamare Dhoom Macha Le Duniya (Lyrics: Moti B A) and Sambhal Sambhal Ke Jaiyo Banjare, Dilli Door Hai (Lyrics: Ram Murti Chaturvedi) with Lalita Deulkar and Geeta Dutt (Roy).

Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein …….  Marne Ki Duaein KyoN Maangein  . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).

Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?

We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.

Part 1:

Part 2

Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.

Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma

This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.

K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films

Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi

HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.

Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi

HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale  in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.

1948

In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)

1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.

Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,

Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.

The visuals of the song can be seen with a typical Raj Kapoor touch.

Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.

Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari

The song seems to be some type of beggar or a fakir song.

Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra

This is a thoroughly enjoyable fun song.

The film had two more duets of Mohammad Rafi and Beenpani Mukherjee – Kya Yaad Hai Tumko Wo Din Ji (Lyrics: Sewak) and Mera Dil Ghayal Karke Bairi Jag Se Dar Ke (Lyrics: Surjeet Sethi).

Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.

TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok

On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.

Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar  … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.

Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna

This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone

Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.

Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan

The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.

Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.

Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’,  wherein Mohammad Rafi had two solos and three duets in the film.

Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori

Mohammad Rafi very deftly handles a medium spaced composition.

Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti

In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale singing.in this very small clip that is available.

Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti

Mohammad Rafi gets to sing a qawwali composition early in his career.

Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.

Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’

Mohammad Rafi is a minor partner in this MM triad.

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song.  Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan

Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.

Our journey of Mohammad Rafi’s first duet with a music director continues……


Both episodes of the 1st Five-Year Period of Mohammad Rafi’s First Duet with a Music director – 1944-1948 can be downloaded as one file by clicking on the link.


All 12 episodes from January to December 2021 of the series Fading Memories, Unfading Songs-2021 can be read /downloaded by clicking on the hyperlink.


 

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.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Seven-films Associations

Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.

Somewhere, his love for individual would transcend to the whole humanity.

Zindagi sirf mohabbat nahin kuch aur bhi hai
Zulf rukhsar ki jannat nahin kuch aur bhi hai…
Maine tum se hi nahin sab se mohabbat ki hai

Somewhere else his love would be tinged with deep pathos or unconcernedness: This is best reflected in his ghazal, Kabhi Kabhi Mere Dil Mein Khayal Aata Hai, published in his first anthology, TalkhiyaN.

The ghazal can be read Devanagari script here or heard here

Sahir easily transformed this poem of pathos to complteley romantic mood for the film Kabhi Kabhi. It was this range of his passions, as captured in his poetry as well as the lyrics of Hindi film songs that played critical role in Sahir Ludhianvi’s transition to the changing pattern of Hindi film music during ‘70s, which also happens to be the subject matter of the present episode.

Laxmikant Pyarelal and Khayyam (2.0) are the two music directors with whom Sahir Ludhianvi had long 7 Films Associations...

Laxmikant (Shantaram Khudalkar | 1937-1998) –Pyarelal (Ramprasad Sharma |1940) combination can be said to be a rare instance of excellent instrumentalists rising to become one of the most successful music directors of their time. They easily filled up the vacuum that Jaikishan’s death had created. However, their music had gradually shifted to  predominance of rhythm, may be in tune with the trend of the times. The 3,000-odd songs they composed in about 500 films sent several producers laughing to the bank.

Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.

Ye Dil Tum Bin KahiN Lagta NahiN Ham Kya Karein, Tassawur Mein Koi Basta NahiN Ham Kya Karein, Tum Hi Kah Do Ab Aaye Jan-e-Wafa Ham Kya Karein, Lute Dil Mein Diya Jalta Nahin Ham Kya Karein – Izzat (1968) – Lata Mangeshkar, Mohammad Rafi

kisi ke dil mein bas ke dil ko tadpana nahiN achha
nigahoN ko jalak de de kar chhup jana nahiN achha
ummiNdoN ke khile gulshan ko jhulsana nahNi achha
hamein tum bin koi jachata nahiN, ham kya karein

mohabbat kar to leN lekin, mohabbat ras aaye bhi
diloN ko bojh lagte haNi kabhi julfoN ke saye bhi
hajaroN gam hai is dunia mein apne bhi paraye bhi
mohabbat hi ka gam tanha nahiN, ham kya karein

bujha do aag dil ki ya ise khulkar hawa de do
jo iss ka mol de paye, use apni wafa de do
tumhare dil mein kya hai bas hamein itna pata de do
ke ab tanaha safar katta nahNi, ham kya karein

Kya Tum Wahi Ho, Kya Tum Wahi Ho, Jo NindoN Mein Chori Se Aata Raha Hai,  Jo SansoN Mein Chhup Chhup Ke Gata Raha Hai, Mere Anchuae Jism Ko Jis Ka Saya Bade Pyar Se Chhu Ke Jata Raha Hai, Kya Tum Wahi Ho, Kya Tum Wahi Ho – Man Ki Aankhen (1970) – Suman Kalyanpur, Mohammad Rafi

main jiske liye phul chunti rahi huN
tammanaaoN ke har bunti rahi huN
dhadakte hue dil se shehnaiyoN mein
sada jis ke kadmoN ki sunti rahi huN
kya tum wahi ho……

vo surat jo dil mein machalti rahi hai
nigahoN mein karwat badalti rahi hai
vo tarasha hua jism parchhaiN jiski
sada mere humrah chalti rahi hai
kya tum wahi ho ….

Woh Koi Aaya Lachak Uthi Kaya Ki Dil Mera Bas Mine NahiN, SharamauN Lakh Bal KhauN, Ki Jaise Par Bina MaiN Udti JauN …….  Ki Dil Mera Bas Mein NahiN – Dastaan (1972) – Asha Bhosle

jiske liye jindgi phul chunti thi
jiske liye maiN sada khwab bunti thi
ratoN ko maiN dhadkanein jiski sunti thi
aaya woh murade liye jadu bhare wade liye
nachuN machal kar gauN ki dil mera bas me nahiN

moti bharuN aaj main apne balo mein
taroN ke lau jag uthe naram galo mein
aaya hai din aaj ka kitne saloN mein
sochuN to lahak uthuN phuloN si mahak uthuN
nachuN machal kar gauN ke dil mera bas me nahiN

Hum Aur Tum Tum Aur Hum, Khush Hai YuN Aaj Milke  Jaise Kisi Sangam Par Mil Jayein Do NadiyaN Tanha Bahte Bahte  – Daag (1973) – Kishore Kumar, Lata Mangeshkar

mudke kyun dekhein pichhe chahe kuchh bhi ho
chalte hi jayein nayi manziloN ko
raste aasan hai nahiN aaj hum do
tu meri baahoN mein main teri baahoN mein
lehraye raahoN mein chale jhumte
hum aur tum hum aur tum …..

zulfoN ko khilne do saansoN ko ghulne do
dil se dil tulne do
deewane ho jaye kohre mein kho jayein
milke yuN so jayein
jaise kisi parwat par mil gaye do baadal tanha udte udte
hum aur tum hum aur tum …..

Tumako Dekha Toh Samajh Mein Aaya, Log Kyun But Ko Khuda, Maanate HaiN – Deedar-e-Yaar (1982) – Lata Mangeshkar

but mein butgar ki jhalak hoti hai
isko chhukar use pehchaanate hai
pehale anjaan the ab jaanate hai
tumako dekha toh samajh mein aaya

taaj chhode gaye aur takht lute
aiso farhaad ke afsaane bane
pehale anjaan the ab jaanate hai

jinaki angadaayiyaN par tolati hai
jinake shaadaab badan bolate hai
pehale anjaan the abb jaanate hai

dil-e-ulfat mein yahi rasm chali aayi hai
log ise kufrr bhi kehate ho toh kya hota hai
pehale anjaan the abb jaanate hai

Hathapai Na Karo Umra Abhi Kacchi Hai, Jhuth Kahti NahiN Main Baat Meri Sacchi Hai, Sirf Dekho Humein ….. Chhune Ki ……..Tamanna Na Karo – Jiyo Aur Jeene Do (1982) – Asha Bhosle

phul ke rang se khushbu se taluk rakho
phul ki pattiyaN bikhra ke, bikhra ke tamasha na karo

husn ke naaz uthane ki bhi aadat daalo
sirf apni tamannaoN ka charcha na karo

ye badan aankhoN ki garmi se pighal jayega
isko baahoN mein jakadne ka, jakadne ka irada na karo

Mohammed Zayur ‘Khayyam’ Hashmi (1927- 2019) was one of the rare music directors who never agreed to compromise his art at the alter of commerce. He was from that rare breed who was as much steeped in the literature as in his music. Khayyam’s leaning towards poetry connected him with many lyricists like Majrooh Sultanpuri, Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.

It is said that when Yash Chopra took up Kabhi Kabhi (1976), his second film under his own YashRaj banner, Sahir again suggested that music for a film based on life of poet be entrusted to none other than Khayyam. Khayyam had done a few, unsuccessful, films earlier in his second innings. Thus it must have been only Sahir’s word that must have tilted the Yash Chopra to take up Khayyam in place of Laxmikant Pyrelal who already had scored a successful score for Daag (1973).

That Kabhi Kabhi went on to become a big hit is matter of historical lore. It also gave Khayyam a new spark to score some of his most memorable work in the second innings.

We have remembered Sahir’s romantic songs composed by Khayyam in pre-1970 years in the earlier episode Two Films Association. We now take up five films they did together post 1970. Of the five, two films (Chetan Anand’s) Kaafir and Pyasi Dharti were not released.  

Kabhi Kabhi Mere Dil Me Khayal Aata Hai Ke Jaise Tujhko Banaya Gaya Hai Mere Lliye, Tu Ab Se Pahle SitaroN Mein Bas Rahi Thi KahiN, Tujhe ZamiN Pe Bulaya Gaya Hai Mere Liye – Kabhi Kabhi (1976) – Mukesh

kabhi kabhi mere dil mein, khayal aata hai
ke ye badan ye nigahein meri amanat hai
……    ……  …..   ….   …..  …  .
ye gesuoN ki ghani chhaoN hai meri khatir
ye hoth aur ye bahein meri amanat hai

kabhi kabhi mere dil mein, khayal aata hai
ke jaise bajati hai shahnaiyaN si rahoN mein
……    ……  …..   ….   …..  …  .
suhag rat hai ghunghat utha raha hu main
……    ……  …..   ….   …..  …  .
simat rahi hai tu sharama ke apni bahoN mein

kabhi kabhi mere dil mein, khayal aata hai
ke jaise tu mujhe chahegi umar bhar yuN hi
uthegi meri taraf pyar ki nazar yuN hi
main janata huN ke tu gair hai magar yuhiN
……    ……  …..   ….   …..  …  .
kabhi kabhi mere dil mein, khayal aata hai

The song went on to beg Filmfare awards for Best Music Director, Best Lyricist and Best Male singer.

The (Mukesh) Lata Mangeshkar version has same lyrics that of Mukesh version.

The version which Amitabh Bachchan recites in the film is part of the original ghazal written by Sahir Ludhianvi.

Aside Trivia: The song was originally created by Khayyam for an unreleased film, Kaafir, made in 1950 by Chetan Anand. The song was recorded by Geeta Dutt and Sudha Malhotra. However, this song was never released. The tune was nearly the same as the one that was released later.[1]

Aapki Mehki Huyi Zulf Ko Kahtein Hai Ghata, Aapki Madbhari AaNkhoM Ko KaNval Kahtein Hai, Main To Kuchh Bhi NahiN Tumko HasiN Lagati HuN, Isko Chahat Bhari NajhroN Ka Amal Kahtein Hai ………– Trishul (1978) – Yesudas, Lata Mangeshkar

ek ham hi nahiN sab dekhanewale tumko
….  ……   …. ..
sang-e-marmar pe likhi sokh gajal kahte haiN
….  ……   …. ..   ….  ……   …. ..

aisi batein na karo jinka yakin muskil ho
….  ……   …. ..
aisi tarif ko niyat ka khalal kahte haiN

meri taqdir ke tumane mujhe apna samjha
….  ……   …. .. ….  ……   …. ..
….  ……   …. ..
isko sadiyo ki tamnaoN ka fal kahte hai

Simati Huyi Ye Ghadiyaan Phir Se Na Bikhar Jaayein …  …. Is Raat Mein Ji Le Ham Is Raat Mein Mar Jaayein – Chambal Ki Kasam (1980) – Mohammad Rafi, Lata Mangeshkar

ab subahaa na aa paaye
aao ye duaa maangein
is raat ke har pal se
raatein hi ubhar jaayein

duniyaa ki nigaahein ab
ham tak na pahunch paayein
…….   ……..   …..   .  …  …
taaroN mein base chalakar
dharati pe utar jaayein

haalaat ke tiroN se
chhalani hai badan apane
…….   ……..
…….   ……..   …..   .  …  …
paas aao ke sinoN ke
kuchh zakhm to bhar jaayein

aage bhi andheraa hai
pichhe bhi andheraa hai
apani hai wohi saansein
jo saath guzar jaayein

bichhadi huyi ruhoN kaa
ye mel suhaanaa hai
…….   ……..   …..   .  …  …
is mel kaa kuchh ahasaan
jisamoN pe bhi kar jaayein

tarase huye jazaboN ko
ab aur na tarasaao
…….   ……..   …..   .  …  …
tum shaane pe sar rakh do
ham baanhoN mein bhar jaayein

We will take up Sahir’s Romantic Songs composed by Roshan in their Eight Films Association in our next episode.

[1]Feel privileged to have sung his beautiful lyrics’

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : November 2021

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1958 to 1960

Salil Chowdhury – 10 November 1922 – 5 September 1995 – had had natural attraction towards to folk music and studied inclination towards the Western Classical music. He could also play several musical instruments. In fact, it is said that any instrument that he could lay his hands on he would be able to play it very comfortably. It was the combination of the effect of these music influences that made his compositions always melodious, even when quite complex in the structure. His orchestration was always symphonic with blend of intricate use of the different instruments.

His music never got molded into any pattern. His flair for experimentation always lent his own signature originality to his composition. He was so deeply committed to his personal, social values that he never let his music be driven by the competitive market forces. For him melody was so sacrosanct that strongly believed in composing the tune first and then would want his lyricist to pen lyrics that suit the tune – in metre as well as spirit. Since he was also a poet, he would fine tune his tune with his own (dummy) lyrics. Many a times the official lyricist would love to simply take over Salil Chowdhury’s lyrics as a base to build the lyrics for the song.

It was perhaps the unique skill of Shailendra (B: 30-8-1923/ D: 14-12-1966) to come up with lyrics that fitted the tune and the mood that so easily made Salil Chowdhury comfortable working with him. Coupled with this, it was Shailendra’s knowledge of Bengali language and the earthen-closeness and selection of easy and natural words that Shailendra required to express deep emotions that also would have weighed in building the strong bond between the two. In fact, from the films that Shailendra wrote songs beyond Shankar-Jaikishan quartet team, Salil Chowdhury- Shailendra combination share is almost one third.

To commemorate the memory of Salil Chowdhury, we have been devoting our November episode to Salil Chowdhury’s compositions receding from our memory. We had remembered Salil Chowdhury’s Hindi Film Songs in Other Languages in 2017. We then commenced a series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory, wherein we took up their films together in the chronological order of release for remembering the songs receding from the memory from these films.  Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

Presently we will take up relatively less heard songs from Salil Chowdhury-Shailendra combination for the years 1958 till 1960. 1958 had only one film Madhumati, 1959 had one song from only one film – Heera Moti- and 1960 had 3 films, Honeymoon, Parakh and Usne Kaha Tha.

Madhumati (1958)

Salil Chowdhury created his own space with his maiden Hindi film Do Bigha Jameen (1953). His subsequent forays with Shailendra, Naukari (1954), Jagate Raho (1956) and Musafir (1957) were well received as far as the music of these films was concerned, but the much-respected roaring commercial success of the films that Bolywood Hindi film arena required for a music director to be in demand still eluded him. Madhumati was that proverbial deliverance of the destiny. As can be recollected from a book by Bimal Roy’s daughter, Rinki Roy Bhattacharya, Bimal Roy’s Madhumati: Untold Stories from Behind the Scenes (published by Rupa Publications India Pvt. Ltd) – an excerpt from which can be read here – till Madhumati finally happened as it was, it was not very smooth sailing for the Salil Chowdhury-Shailendra duo. In fact, had it not been Bimal Roy’s closeness with and faith in Salil Chowdhury, destiny would have taken different turn. Well, the grand success of Madhumati and its music, in the face of extremely intense competition with a huge successful music of an exceptionally large number of other films during 1957 and 1958 can be better viewed form the fact that for the year 1958, Filmfare awards for Best Music Director and Female Singer being bagged by Madhumati (Aja Re Pardesi, Main To Kab Se Khadi Is Paar), Shailendra got Best Lyrics award for Ye Mera Diwanapan Hai (Yahudi) even when Suahana Safar Ye Mausam HasiN was also nominated in the category.

I have been able to pick up only two songs for the present episode, since all other songs continue to remain hugely popular even today.

Hum Haal-e-Dil Sunayenge Suniye Ke Na Suniye, Sau Bar Muskarayenge Suniyre Ke Na Suniye – Mubarak Begum

This gem of a mujra song, in the voice of Mubarak Begum, has only sakhi-

tumhaaraa dil mere dil ke baraabar ho nahin saktaa
wo sheeshaa ho nahin saktaa ye patthar ho nahin saktaa

and the above lines of mukhada in the film, before the extremely agitated hero, Dilip Kumar opens the door of the hall where this dance was being performed and the lady on the dance floor stops, so naturally, in her steps, It is to the credit of director Bimal Roy and editor Hrishikesh Mukherjee that songs to comes to a dead stop, much against the well-established tenet of the hero’s entry to take place only after the whole song has been played out.

The full song is available its audio form

Aside Trivia:

The couplet (sher) used as Opening Couplet (Sakhi) in this song is picked up from a Daag Dehlvi ghazal.

Similarly, the lines of the second stanza

“Ajab Hai Aah Meri, Naam ‘Daag’ Hai Mera
Tamaam Shahar Jala DogeE Kya Jala Ke Mujhe’

Is also ‘lifted’ from the last sher of the same ghazal by Daag Dehlvi

Moreover, Shailendra has used lines Rahega Ishq Tera of the first stanza again as sakhi in the song. Aa Aabhi Ja Raat Dhalane Lagi (Teesri Kasam, 1966; singer: Lata Mangeshkar; music – Shankar Jaikishan)

(This information is courtesy a comment on the post on this song @ Atul’s Song A Day)

Kancha Le Kanchi Lai Lajo, Ban Ko Baato Laltin Lai Baalera  – Asha Bhosle, Sabita Chowdhury, Ghulam Mohammed

The sakhi and repeated use of the same in song is in Nepali language, which probably Salil Chowdhury would have heard.  This is a folksong narrating the tale of a girl who has, in all probabilities, eloped. Shailendra easily takes over from there and weaves in relevant stanzas.

Salil Chowdhury has gleefully set up several experiments in the composition.

Another noteworthy point in this song is use of Ghulam Mohammed, who was a role model of Mohammad Rafi during Rafi’s initial days. Ghulam Mohammed had fallen on bad times by 50s. This song may have been offered to him as gesture of help.

Aside Trivia:

Here is the rough translation of the lyrics of Nepali lyrics, courtesy a comment by Jeta Sankrityayana on this song @Atul’s Song A Day:

(kaanchha ) the young boy took away (kaanchhi) the young girl
(Ban ko baato) along a forest road (laltin lai baalera) after lighting up a lantern…

Heera Moti (1959)

Naach Re Dharti Ke Pyare Tere ArmanoN Ki Dunuya Saamne Hai Tere  – Hemant Kumar, Lata Mangeshkar, Chorus

This was the only song composed by Salil Choudhary in this movie, all the other songs were composed by Roshan. As noted by World of Salil Chowdhury, just before recording of the song,  Roshan, who was on a cultural mission to Russia was taken ill. He sent a telegram to the director Krishan Chopra to advise him to request Salil Chowdhury to compose the Title music and the opening song.

The song seems to be based on folk tradition.  World of Salil Chowdhury notes that It is a great pity that the song “aay re o pousali bataasey (the air of month of Posh is in the winds) “- the original Bengali version of the present song – was never released. This is one of Salil’s earlier compositions from the ’40s during the IPTA days.

Honeymoon (1960)

The film was directed by Lekhraj Bhakri, who is cousin of Manjo Kumar 9 The hero in the film) and brother of well-known lyricist of 40s, Mulkraj Bhakri. He has used Salil Chowdhury in Tongawali (1955) previously.

The film did not seem to have done well at the box office, but all the songs were extremely melodious. Except two songs – Saanj Bhayi Sun Ri Sakhi and Duniya Na Dekhe Zamana Na Jane – all other songs have Bengali version (which can be accessed at Honeymoon (1960) on World of Salil Chowdhury.

Aside Trivia:

Shri Arunkumar Deshmukh notes that this was the last film of Kuldeep Kaur, one of three leading ladies in the film. She died of a tragic death thereafter. Her life story can be read at KULDIP KAUR: A SPOILED RICH PUNJABAN ACTRESS.

Saanj Bhayi Sun Ri Sakhi Man Chhine Kisaki Bansi – Lata Mangeshkar, Usha Mangeshkar

Look at the way Salil Chowdhury has played with flute first in the mukhada and then in the form of dance beat vocals, as well as the opening notes of interlude orchestration, The song has flute as the central instrument, but used as ensemble orchestra pieces.

Aaha Re Magan Mera Chanchal Man Nis Din Gun Gun Kuchh Apni Hi Dhun Mein Gaye – Lata Mangeshkar

On the face of it this a simple stage-show dance song, a situation very frequently used in Hindi films in those days. But with Salil Chowdhury and Shailendra one can expect interesting experimentation. The song composition runs in almost one breath, with Shailendra deftly using the lyrics making that possible for the singer to sing.

Such a composition can perhaps materialize only when melody comes first and the body of lyrics is built around it to result into a piece of beauty.

Mere KhawboN Mein KhayaloN Chhupe Meet Mere Meri Gali Chalein Aayengein – Mukesh, Lata Mangeshkar

Documented as duet, the song, in fact, is a symmetric duet. Sail Chowdhury has used as humming alaap in the interlude pieces. From Salil Chowdhury’s standard, the song is relatively easier one to sing, and as such had gained wide acceptance.

The solo version by Lata Mangeshkar does not seem to have been released on the records, but we have an audio version on YT. Interestingly, the order in which the lyrics have been used in the interludes has been interchanged here. The song was remade by Salil Chowdhury in Bengali for the film Raktaako Bangala (1972), a film produced in Bangladesh.

Duniya Na Dekhe Zamana Na Jane Chalo KahiN Dur Chalein – Dwijen Mukherjee, Lata Mangeshkar

Salil Chowdhury has his own style for the horse-beat Tonga songs. Flute, his favorite instrument, again is the key instrument in the song.

Chhuo Na Chhuo Albele Mere Saiyan Main To Nazuk Badan Chhui-Mui – Mukesh, Sabita Banerjee

In the delight mood  duet, the song opens with first line as if the heroine would be in the trot when she sings the line. This line is played in same way across the whole song.

Tum Jo Mile To Khila Hai Gulab… Piya Tum Tod Na Dena, Khwab Ye Mere Dil Ka….-  Sabita Banerjee

The heroine playfully acknowledging the bud of love germinating is also frequently used situation for a song in Hindi films. Salil Chowdhury brings out that joy in this difficult composition.

Parakh (1960)

Billed as one of the best films directed by Bimal Roy, Parakh (the test of the identity) brings out lighter and satirical side of Bimal Roy’s film-making art. Not surprisingly, Bimal Roy received the Filmfare award as the best director a hattrick with Madhumati and Sujata being the earlier two. The story of the film is written by Salil Chowdhury and the dialogues by Shailendra. The lead male actor, as paired with the heroine in the Hindi film mold is a Bengali actor Basanta Chowdhury (who also went on to become sheriff of Calcutta), but the real hero is Motilal, in the role of a ‘lame’ postman, who lays the script on the screen. He won the Best Supporting (!?) Actor Filmfare award. Parakh was the in the list of 1-core box-office revenue roll for the year 1960. The film was ahead in time in many ways.

The three solo songs, in the voice of Lata Mangeshkar  – O Sajana Barkha Bahar Aayi (Bengali version, an NFS rendered by Lata Mangeshkar), Mila Hai Kisi Ka Jhumka (Bengali version, having the same lyrics in the opening line, in Sabita Chowdhury’s voice), Ye Bansi Kyon Gaaye (Bengali version, also a Lata Mangeshkar rendition NFS, having same opening lyrics) – remain the everlasting highlights from Salil Chowdhury’s baton.

Kya Hawa Chali Re Baba Rut Badli, Shor Hai Gali Gali Sau Sau Chuhe Khake Billi Haz Ko Chali  – Manna Dey

The village postmaster, who finds his life change dramatically when he receives a cheque for Rs. 5 lakhs from a certain Sir J.C. Roy. The cheque comes with a rider – the money would go to the most honest man in the village, someone who would use the wealth for the benefit of the people.

The song represents that search. Salil Chowdhury has fallen back on Bowl folk tradition of rural Begal, but Shailendra gets a clear ground to present his core egalitarian philosophy, as can be seen here:

pahle log mar rahe the bhukh se abhaw se
ab kahiN ye mar na jaye apni khaw khaw se
are mithi bat kadwi lage galiyaN bhali

aaj to jahan ki ulti har ek bat hai … ….  …
are hum jo kahe din hai bhai log kahe rat hai ….. ….
ret me bhi khil rahi hai pyar ki kali

aam mein uge khazur neem mein fale hai aam
dakuoN ne jog liya chor bake ram nam
hosh ki dawa karo miyaN fazal ali

Mere Man Ke Diye… Yunhi Ghut Ke Jal Tu Mere Ladle – Lata Mangeshkar

Salil Chowdhury and Shailendra weave poignancy in the song, so soulfully rendered by Lata Mangeshkar and presented by Sadhana on the screen. Salil Chowdhury has so skillfully used choir chorus in the counter melody as well as in the interlude orchestration music pieces.

Kamal Bose’s catches the song as a classic in B&W cinematography.

Usne Kaha Tha (1960)

Usne Kaha That was a Bimal Roy Production banner film, directed by his one-time assistant in films like Do Bigha Zameen, Madhumati etc, Moni Bhattacharya. The film was cinematic adaption of Chandradhar Sharma Guleri’s renowned Hindi short story by same name[1]. The film adaption somewhere missed out the perfect characterization and development of story plot of the original story. It is actually the tale of love, valor and sacrifice with an underlying melancholy refrain. Set against the rural background of Amritsar and Ambala, it seems the Bengali production unit could neither catch the earthy flavor of the locale of the story nor its nuances of interwoven into the title Usne Kaha Tha.

However, Salil Chowdhury’s melodious music and Shailendra’s appropriate playful lyrics were the redeeming features of the film. Salil Chowdhury exceptionally came up with compositions with natural Punjabi touch, while maintaining his signature symphonic orchestration style.as can be seen in the popular songs, Machalti Arzoo Khadi Baahein ((Lata Mangeshkar) and  Aha Rhimjim Ke Ye Pyare Pyare Geet Liye (Talat Mahmood, Lata Mangeshkar)

Chalte Hi Jana Jahan Tak Aaj Ye Rah Chale…   – Mohammad Rafi, Manna Dey, chorus

Salil Chowdhury blends a tonga song with gay abandon of Punajbi youth. Such a song requires not only power of diction while maintaining the speed of rhythm. As such, having once chosen Mohammad Rafi and Manna Dey, Salil Chowdhury takes the full advantage of the range of their singing and each one is given lines that require rendition in base scale of the higher octave. Salil Chowdhury’s mastery over chorus orchestration also is evident when he makes the chorus also to sing in the similar fashion.

Balkhati Sharmati Aaja LehroN Si Lehrati Aaja, Balkhati Sharmati Aaja, – Mohammad Rafi, Lata Mangeshkar, chorus

Here is one song that epitomizes Salil Chowdhury’s versatility. Someone identified as the music director with penchant for Bengali- Assamese folk tunes and Western classical orchestration styles, Salil Chowdhury perfectly creates Punjabi rural atmosphere in the song.

With these songs Salil Chowdhury-Shailendra combination seems to have reached the peak of quality, and range as well as the popularity. On that note, we continue our journey of Salil Chowdhury and Shailendra’s Songs Fading From the Memory….

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.

[1] चंद्रधर शर्मा गुलेरी की कहानी उसने कहा था @ Kahani Suno

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : MY Top Music Director(s)

As the journey of (Micro Review of) Best Song of The Year moves forward in its backward count of the years, the challenge of making any sensible statement about My Top Music Director for the year has now become almost insurmountable. I have no idea about how the music of the films was received by the common public or the critics in those years. Nor do I have good enough knowledge of the different elements of film music that I can bank upon to arrive at some basis of the overall quality of music by simply listening the songs for the year, a couple of times during the course of the present Micro Review.

The year 1944 having a couple of films by the music directors who also thrived into the next stage of Golden Era makes even the process of arriving at any judgement more unrealistic, since the present view of picture being seen under the Micro View becomes coloured with the acquaintance of those music directors during my formative years of the cultivation of the taste for the Hindi Film Music. The process is further complicated by the fact that the year 1944 has several songs that have also remained popular enough during my those formative years.

As such, by deploying the various empirical tools that I have been using during the previous Micro Reviews can only help bring into the view the music directors who remained more visible during the Micro View of Best Songs for the year 1944. To that extent, the title of the ‘My Top Music Director’ is also a gross misstatement. I have still retained it only to maintain the consistency of the format of the Micro View exercise.

With these disclaimers, here is the The Music director-wise Quantitative view My Top Solo songs of Male Playback Singers, Solo songs of Female Playback Singers and the Duets, respectively, in no particular order –

Music Director Male Solos Female solos Duets
Subal Dasgupta 1
Khemchand Prakash 1 1 1
Bulo C Rani 3
Husnlal Bhagatram 1 1 1
Pt. Amarnath 2 1 1
Anil Biswas 1 3 1
Mir Sahab 2 1 1
Naushad Ali 1 1 3
C Ramchandra 1 1
G A Chisti 1 1 2
Pankaj Mullik 1 1
Pannalal Ghosh 1
Pt. Govardhan Prasad 1
Firoz Nizami 2 1
Hanuman Prasad 1
Ghulam Haider 2 1
Gulshan Sufi 2 1
Sajjad Hussain 1
Veer Sinh 1
Alla Rakha 1
Gyan Dutt 1

Songs of Yore, in its comprehensive review of music directors,  does a similar exercise for the ‘Best Songs’ in each of the above category and notes that Khmechand Prakash, Naushad Ali , Pankaj Mulik and Mir Saheb get the high share of visibility in the form of songs. .

If we had carried out a similar exercise for the songs, we had listened to in each category during the respective Micro View stage, we may get some more names, with a different score.

However, each of such analyses only present a partial pitcture because the impact that music directors like Bulo C Rani (Carvan) or Husnlal Bhagatram (Chaand), Anil Biswas (Jwar Bhata, Char Aankhein) and the likes would have been able to create is lost with passage of time and is not captured in these skeletal numbers.

In my opinion, this forum has been created not to judge the Best in its apparent dictionary meaning, but to relive the songs of these years in the present times, and thereby get the opportunity not only to refresh our memories but also to widen our perspective of looking at / listening to the film music. With the help of great dedicated and creative efforts of all those who have found out the songs and uploaded them on YT, we have been beneficiaries of getting to listen to these songs.

SoY has also presented an exhaustive analysis to arrive at ‘fairtest outome’ for adjudging the Best Music Director spot for the year 1944 in its Best songs of 1944: Final Wrap Up 4, jointly, in favor of Naushad, Khemchand Prakash and Pankaj Mullik.


P.S.

All the episodes of Micro View of Best Songs for 1944 @SoY can be read / downloaded from one file, by clicking on the hyper link.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Five Film Association

By now in the present series, it is abundantly evident that Sahir Ludhianvi was easily able to blend his poetry with the demands of the situation-based lyrics of Hindi films. As a result, even what could best be described as ‘masala’ fillers situations, his songs retained the watermark of his style of poetry – use of simple but chaste Urdu lyrics from his broad range of vocabulary that his revolutionary thoughts and romantic emotions would call for. As such, he firmly believed that if his lyrics has enough power, the song will work.

O P (Om Prakash) Nayyar – B: 16 January 1926 | D: 28 January, 2007 – though not formally trained in music composed audacious variety of tunes with such rare texture of rhythm and melody that producers were forced to print his name above the names of the stars on the film publicity materials. He so uniquely blended the Punjabi spirit with western music, that in no time he had risen to the ‘rhythm king’ who was one of the highest paid music directors of his time. It is even said that many music directors were coerced by the producers to copy his style, in the hey days of O P Nayyar.

By the time, in 1957, when Sahir and O P Nayyar teamed up for the first time, both had had a rich – in terms of different shades poetry and rhythm-based melody, respectively – legacy, success, and of course the style of their own. However, Sahir Ludhianvi and O P Nayyar association is statistically speaking if Five Films Association, but one of the films, Tumsa NahiN Dekha, has only one song that they have created together because Sahir reportedly developed strong differences with the director Nassir Hussain, However, it was this song that not only powered the success of the film, but also gave Shammi Kapoor his identity and charisma.

Naya Daur, released earlier than Tumsa Nahin Dekha, had all songs on the top of the chart billing. If the O P Nayyar’s signature-to-become horse-beat duet Maang Ke Saath Tumhara or Punjabi folk tune based Ude Jab Jab Jab Zulfien Teri or Reshami Salwar Kurta Jaalidaar, or motivational Saathi Haath Badhana Saathi Re or Johnny Walker song Main Bomabai Ka Babu or  all-time great Mohammad Rafi devotional song Aana Hai To Aa Raah Mein Kuchh Der NahiN Hai had contributed to the roaring success of the film, these songs also brought out hitherto probably hidden qualities of Sahir or O P Nayyar’s repertoire.  I selected the only song that did not become a hit, perhaps because it was finally not included in the film, So, is the case with 12 O’clock, where I have finally chosen the song that perhaps can be considered as relatively less famous.

However, such wide range of subjects for the songs, perhaps catalysed the differences of each one’s highly individualistic nature and pride of their work to surface sooner than later. Sahir went on to become permanent member of BR banner, but O P Nayyar’s association with BR banner ended with this film.

With this prelude, here is my selection of Sahir Ludhianvi’s Romantic Songs in Five-film Association with O P Nayyar, with the films arranged in alphabetical order:

JahaN JahaN Khayal Jata Hai VahaN VahaN TumhiN Ko Pata Hai….. Ye Kab Hua Ye Kyun Hua Ye Kya Hua Mujhe – Bade Sarkaar (1957) – Mohammad Rafi, Geeta Dutt

zulfein hai ke reshami ghatayein hai
aankh hai ke manchali sadayein hai
hoth hai ke patiyaaN adhkhile gulab ki
jism ki hadein hai ya ke bastiyaN hai khwab ki
….    ……   …..   …..   ….. …..

mera har singar hai tere liye
husn ki bahar hai tere liye

Jawani Jhumti Hai Dulhan Banke Ji Banthan Ke, Na Jane Kiske SapnoN Mein …. – Bade Sarkaar (1957) – Asha Bhosle

rut firi gulsan khile
ban gaye naye dil khile
lachke chal man deke taal
kahuN kya main haal kya hai

kaun ye mujhe bha gaya
kispe ji mera aagaya
na jane kiske sapnoN mein
dil ka saj kare mujhpe naj
vo ajib raaj kya hai

Jab Hum Tum DonoN Razi To Kya Karega Kazi, SaiyaN Humse Lada Le Ankhein Mele Ke Bazar Mein – Bade Sarkaar (1957) – Asha Bhosle

kyuN duniya ke pichhe bhage
kuchh nahiN duniya dil ke aage
…  ……    ……   …..   …..
dekh nazara pakad ke hath humara
samajh le dil ka ishara jama le rang zara

le le koi is rut ki nishani le le koi is rut ki nishani
dekh ye ghadiyaN phir nahi aani
…  ……    ……   …..   …..
chhod jhamaila balam kyuN phire akaila
laga hai rup ka maila jama le rang zara

man marzi se reh le pyare
kuchh sun le kuchh keh le pyare
…  ……    ……   …..   …..
jiye jawani o mere dilbar jani
zara kar le man mani jama le rang zara

Ek Diwana Aate Jate Humse Chhed Kare, Sakhi Ri Wo Kya Mange, Jab Bhi Mere Pass Se Gujre Thandi Saans Bhare, Sakhi Ri Wo Kya Mange – Naya Daur (1957) – Asha Bhosle

din dekhe na raat wo
pakde mera hath wo
kabhi sharmauN main kabhi ghabrauN main
samjh na pauN main

teeloN ke us paar se
mujhe pukare pyar se
rashte mein ruk ruk
mud mud chhup chhup
dekhe mujhe tuk tuk haye

Yun To Hamane Laakh HasiN Dekhe Hai, Tumasaa NahNi Dekhaa – Tum Sa NahiN Dekha (1957) – Mohammad Rafi

tum bhi hasiN rut bhi hasiN
aaj ye dil bas mein nahiN
raaste khaamosh hai
dhadakanein madahosh hai
piye bin aaj hamein chadaa hai nashaa

tum na agar bologe sanam
mar to nahiN jaaegein ham
kyaa pari yaa hur ho
itani kyun magarur ho
maan ke to dekho kabhi kisikaa kahaa

Female version in Asha Bhosle’s voice

uf ye nazar uf ye ada
..  ….  …. …. ….. …
kaun na ab hoga fida
zulfein hai ya badliyaN
aankhein hai ya bijliyaN
jane kis kiski aaegi kazaa

Dekh Idhar Ae Hasina June Ka Hai Mahina, Dal JhulfoN Ka Saya Aa Raha Hai Paseena Dekh Idhar Ae Hasina – 12 O’clock (1958) – Mohammad Rafi, Geeta Dutt

sun le kabhi dil ki sada o najani ji na jala
bimar-e-gam huN shafa mujhko de daman se apne hawa mujhko de
—- —-  —-  —– —– —–  —–
hoye main huN madam marina aure fat fat fati na
dur se baat karna pas aana kabhi na, maiN huN madam marina

lakhoN hi jab aahein bharein tum hi kaho hum kya karein
kis kis ke dil ki khabar koi le kis kis ke gam ka asar koi le

mudat se huN barbad maiN shirni hai tu farhad main
ye na samjhana ki ghar jaunga, main teri chokat pe mar jaunga

SaiyyaN Teri AnkhiyoN Mein Dil Kho Gaya, Dil Kho Gaya Ji Mera Dil Kho Gaya – 12 O’clock (1958) – Shamshad Begum

haye re main kahe tujhe tak ke haNsi
tak ke haNsi to tere jal mein faNsi
nazarein churana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

tir tune feinka aisa chalte huye
rah gayi main to hath malte huye
khud ko bachana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

nindiya na aaye mohe kal na pade
jabse ye naina tere naino se lade
ratiyaN bitana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

Pyaar Par Bas To Nahi Hai Mera Lekin Phir Bhi Tu Bata De Ke Tujhe Pyaar Karun Ya Na Karun – Sone Ki Chidiya (1958) – Talat Mahmood, Asha Bhosle

mere khwaabon ke jharokhon ko sajaane waali
tere khwaabon mein kahin mera guzar hai ke nahin
pooch kar apni nigaahon se bataa de mujhko
meri raaton ke muqaddar mein sahar hai ke nahin

kahin aisa na ho paaon mere tharra jaayein
aur teri marmari baanhon ka sahaara na mile
ashq bahte rahein khaamosh siyaah raaton mein
aur tere reshmi aanchal ka
kinaaraa na mile

Solo Version – Asha Bhosle

tune khud apni nigahoN se jagaya tha jinhein
un tamannaoN ka ijhar karuN ya na karuN
tune jis dil ko bade pyar se apnaya tha
usko shikwoN ka gunahgar karuN ya na karuN

jis tamanna ke sahare pe thi jeene ki ummid
wo tamanna bhi pasiman hui jati hai
zindagi yuN to hameshaN se pareshaan si thi
ab to kuchh aur bhi viran hui jati hai

Sach Bataa Tu Mujh Pe Fidaa, Arre Kyun Huaa Aur Kaise Huaa; Maar Gayi Teri Baanki Adaa, Yun Huaa Aur Aise Huaa – Sone Ki Chidiya (1958)  – Asha Bhosle, Talat Mahmood

naazaniN main hi nahi hai yahaan laakho hasin
mujhase hi tujhe pyaar kyun huaa
dil pe nazaroN kaa vaar kyun huaa

chand si surat teri, mohani murat teri
…  ….  ….  …..   ….. …   ….
teri dhun mujhe be-sabab nahiN
aur jalavoN mein ye gazab nahiN

shukariyaa, ae meharabaan
mil gaye mujhe do jahaan
…  ….  ….  …..   ….. …   ….
…  ….  ….  …..   ….. …   ….
besaharaa thi tum nahiN mujhe
aaj duniyaa kaa gam nahiN mujhe

On a broader scale Shahir Ludhianvi and O P Nayyar’s association 4 films 1 song-in-a-film may appear to be too short, but there is no iota of doubt that that has given us some of most everlasting romantic (as well as meaningful) melodies

Our journey of Sahir Ludhianvi’s Romantic songs will again change track and switch over Seven Film Associations with Laxmikant Pyarelal and Khayyam (2.0) in the next episode.

Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : MY Top Duet Songs

At the cost of repletion, I will stae, for the records, that the duets that I have short-listed here are the ones that I liked at the first listening. As such, they are the boutcome of no rational bias of the merit of the different elements of a duet composition and simply bear my own personal bias.

The songs are listed hereunder in no order of preference:

KL Saigal & Amribali Karnataki – Kya humne bigada hai kyun humko satiate ho – Bhanwara- – Kidar Sharma – Khemchand Prakash

Shyam, Zohrabai Ambalewali –  Aaja kahin door chalein  – Pahle Aap – – D N Madok – Naushad Ali

Karan Diwan & Zohrbai Ambalewali – Saawan ke baadlo unse ye ja kaho – Rattan – – D N Madok – Naushad Ali

Shyamkumar & Amirbai Karnati – O janewale baalamwa laut ke laut ke aa   – Rattan – – D N Madok – Naushad Ali

Mukesh and Kusum – Zara boloji, kya logi is dil ka kiraya – Us Paar – Pt. Madhur – Firoz Nizami

Jeenat Begum, Gulam Haider – Sajan Aa Jaa, Rajan Aa Ja, Khelein Dil Ke Khel – Bhai – Khan Shatir Gazanvi – Gulam Haider

Naseem, Ashok Kumar – Chamko Chamko BijaliyaN HaaN BijaliyaN – Chal Chal Re Naujawan – Pradeep – Gulam Haider

Jeenat Begum, G M Durrani – Aaye Hai Balamawa Pyare Pyare Ab Jaage Bhag Hamare – Chand – Qamar Jalalabadi – Husnlal Bhagatram

Vanmala, C Ramchandra – Main Kisse KahuN Apani Kahani, Hai Dard Bhari Meri Kahani – Dil Ki Baat – Ram Murti – C Ramchandra

Parul Ghosh, Manna Dey – Bhula Bhatka Path Haara Main Sharan Tumhare Aaya – Jwar Bhata – Narendra Sharma – Anil Biswas

Leela Sawant, V Bhatkar – Sajan Paas Bula Lo….., Nayanan Bich Basa Lo – Kaliyan – Kedar Sharma – G A Chisti

Malaka Amir Jan, Gulshan Sufi – Meri Uthati Jawani Ki Dekho Dekho Bahar – Mauji Jeewan – Baba Pagal – Gulshan Sufi

G M Durrani, Rajkumari – Chale Prem Ke Desh Pujari – Maya Nagri -? – Veer Sinh

G M Durrani, Rajkumari – Khole Re Kaun….  Mere Man Ke Dwar – Maya Nagri -? – Veer Sinh

Leela Sawant, Lalita Parulkar – Sakhi Ri Ab Ke Sawan Aaye – Kaliyan – Kedar Sharma – G A Chisti

Amirbai, Rajkumari – O I See, Ye Dekho Duniya Ke Rang – Maa Baap – Roopbani – Alla Rakha

Sheela, Rajkumari – Aao Chalein Us Paar Sajani, Kah KaruN Man Mane NahiN – Pattharon Ka Saudagar – Gaafil Haryanvi – Mir Sahab

Shyam Kumar, Mohammad Rafi – Tum Dilli main Aagre mere dil se nikle haye  – Pahle Aap – D N Madok – Naushad Ali

G M Durrani, Amirbai, Hamida – Ham Aage Badhate Jaein, Duniya Peechhe Peechhe Jae Re – Anaban – Pt. Madhur – Gyan Dutt

SoY has presented Best songs of 1944: Wrap Up 3 for the wrap up on duets for 1944. The three duets jointly adjudged as Best for The Year are:

  1.  Saawan ke baadlo unse ye ja kaho Rattan – Karan Diwan, Zohrabai Ambalewali – D N Madhok – Nausahd Ali
  2. Kya humne bigada hai kyun humko sataate ho – Bhanwara – K L Saigal, Amirbai Karanataki – Kidar Sharma – Khemchand Prakash, and
  3. O jaanewale balamwa, laut ke aa laut ke aa Rattan – Shyam Kumar, Amirbai Karnataki – D N Madhok – Nausahd Ali
Categories
I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : The Duets – Female – Female Duets | Male – Male Duets | Triads (+)

Female – Female Duets (+)

Parul Ghosh, Amirbai Karanatai, Chorus – Prabhu Charan Mein Dep Jalao, Man Mandir Ujiyala Ho – Jwar Bhata – Narendra Shrama – Anil Biswas

Leela Sawant, Lalita Parulkar – GaiyaN Ghar Laye Girdhari – Kaliyan – Kedar Sharma – G A Chisti

Leela Sawant, Lalita Parulkar – Sakhi Ri Ab Ke Sawan Aaye – Kaliyan – Kedar Sharma – G A Chisti

Amirbai, Rajkumari – O I See, Ye Dekho Duniya Ke Rang – Maa Baap – Roopbani – Alla Rakha

Sheela, Rajkumari – Aao Chalein Us Paar Sajani, Kah KaruN Man Mane NahiN – Pattharon Ka Saudagar – Gaafil Haryanvi – Mir Sahab

Male-Male Duets

Shyam Kumar, Mohammad Rafi – Tum Dilli main Aagre mere dil se nikle haye  – Pahle Aap, covered in Memorable Songs of 1944 list is considered as Naushad’s extended test case in so far as Mohammad Rafi is concerned.

Rewashankar, Chitalkar – Dheere Dheere Chal Tangewale, Baithi Tere Tange Mein Bulbul Ek – Lalkar – Pt. Madhur – C Ramchandra

Triads (+)

Shyam Kumar, Mohamamd Rafi, Allauddin Naved, BM Vyas etc. – Hindostan hain hum hain hindostan hamara – Pahle Aap, covered in Memorable Songs of 1944 list is considered as Naushad’s breakthrough to Mohammad Rafi, more perhaps as a test case.

G M Durrani, Amirbai, Hamida – Ham Aage Badhate Jaein, Duniya Peechhe Peechhe Jae Re – Anaban – Pt. Madhur – Gyan Dutt