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I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Sardar Akhtar, Parul Ghosh, Leela Sawant

Solo Songs of Sardar Akhtar

Har Cheez YahaN ki Hai Tasalli Ka Sahara, Tum Pyare Ho Jab Dil Ko – Fashion – Arzoo Lakhnavi – Shanti Kumar

Dil Ko Dukha Ke Baar Bar, Kahate Hai Muskuraye Ja – Fashion – Arzoo Lakhnavi – Shanti Kumar

Kadwa Phal Neki Ka Nikala, Kya Samajhe The Aur Kya Nikla – Fashion – Arzoo Lakhnavi – Shanti Kumar

Jo Na Kisi Se Ban Sake – Fashion – Arzoo Lakhnavi – Shanti Kumar

Solo songs of Parul Ghosh

Parul Ghosh’s solo songs, Aye Wade Saba Ithalati Na Jaa, Mera Guncha-e- Dil To Sukh Gaya and Main Unki Ban JaauN (Hamari Baat), Papiha Re Mere Piya Se Kahiyo Jaa (Kismet), Aye Bhi Woh, Gae Bhi Woh, Khatm Fasana Ho Gaya (Namste),   are covered in the Memorable Songs of 1943.

Chashm-e-Purannam Baha Ke Dekh Liya, Haal-e_Dil Suna Ke Dekh Liya –Muskurahat – Ishwar Chandra Kapoor – C Ramchandra

HFGK does not identify the song, but the uploader, Sadanand Kamath, a well-studied follower, identifies it as Parul Ghosh

Dil Na Lagein, Mora Man Na Lagein …. Naktaiwale Babu – Namaste – D N Madhok – Naushad Ali

https://youtu.be/qBLirj3rEwE

Aao Ji Kabhi To Aoji,….. Dil Ke Sitar Par Tere Get GauN Main – Namaste – D N Madhok – Naushad Ali

https://youtu.be/SIfQwVDEpPg

Aaj Pahlu Mein Dard Sa Kya Hai – Sawaal – Wali Sahab – Pannalal Ghosh

Ajay Yuvraj Has uploaded the song along with Aaye Bhi Woh Gaye Bhi Woh

Solo songs of Leela Sawant

Leela Sawant’s solo song Soz-e-gam (Nai Zindagi) could not be traced on the net.

More Jubna Pe Aai Bahar Re, Dekho Dekho Na Laage Nazariya – Dawat – Tanvir Naqvi – Vasant Kumar

Masti Ke TaraanoN Se UmmidoN Ko Jagaa De – Mohabbat Ki Jeet – Ehsan Rizvi – Vasant Kumar

Tere Nanhe Girdhari Ne Haye Matki Mori Phodi – Nurse – D N Madhok – Gyan Dutt

Jivan Sapana Jag Sapne Ki Chhaya – Nurse – D N Madhok – Gyan Dutt

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I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Rajkumari, Kaushalya, Nalini Jaywant

Solo Songs of Raajkumari

At least one each solo song of Rajkumari from film Badalti Duniya and Khanjarwali and Nagad Narayan and two solos from film School Master (Music: Neenu Majumdar) chould not be located on YT.

Tu Mujhe Bana De Rani, Main Bani Teri Diwani  – Badalti Duniya – Mohan Sinha – /

Dard Bankar Fugaan Na Ho Jaae, Jhindagi ImtahaaN Na Ho Jaae – Dawat – Tanvir Naqvi – Vasant Desai

Mere Sune Mandir Mein Ye Kisane Deep Jalaye – Nagad Narayan – Kavi Shamim – Shreedhar Parsekar

Main To Nachoongi HaaN, Main To Gaaungi – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

Main HuN Kali Matwali Liyaqatwali – Panghat – Ramesh Gupta – S N Tripathi

Solo Songs of Kaushalya

In the caseof Kaushakya, one song each from the films Angoori (Music: Ghulam Mustafa Durrani) and Mouj (Music: Vasant Desai) and two each from films  Aankh Ki Sharm (Music: Vasant Desai) and  Kurbani (Music: Khemchand Prakash) do not seem to be available in digital formats across intenet.

Mere Naina Tujhe Dhoondhe Hai Sanwariya – Bhakta Raj – D N Madhok – C Ramchandra

Kagaz Ke Purje Dil Ka Hal Suna De – Chirag – D N Madhok – Khemchand Prakash

Jholi Meri Bhar Do Baba – Chirag – Wali Sahab – Khemchand Prakash

So Ja SoJa O Pyare Kanhaiya, Tori Maiya Leti Hai BaliyaN – Chirag – Pt. Indra – Khemchand Prakash

Kagaz Ki Hai Naav – Zaban – D N Madok – C Ramchandra

Tera GhoNsala Bhikhara Re Pankhi – Zaban – D N Madok – C Ramchandra

Solo Songs of Nalini Jaywant

One solo song of Nalini Jaywant from the film Adab Arz could not be traced in digital form

Kaheta Hai Ye Dil Baar Baar – Adab Arz – Kailash Ji ‘Matwala’ – Gyan Dutt

Kheto Pe Chale Bhaiya Kisan Re – Adab Arz – Rammurti – Gyan Dutt

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September 2022

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – is probably a lyricist who worked with maximum number of big and small composers ever since he joined RK team (and was allowed to do ‘outside’ work) till he passed away in 1999. And that never affected his bond with Shankar-Jaikishan-Shailendra team bond. It is said that his first ever song, Jiya Beqarar Hai, recorded for Barsaat (1949) was set to Music by Shankar whereas the second one Chhod Gaye Balam was composed by Jaikishan.

The success of Barsaat led to a deluge of work and division of work among each one was a necessity of the day. The inherent individual preferences lead Shankar to compose Shailendra’s songs and Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] to compose Hasrat Jaipuri’s songs.

During ‘50s too there are several films where Shankar(-Shailendra) songs outnumbered Jaikishan (-Hasrat Jaipuri) Songs. When such instances did happen, Jaikishan continued to lead his natural bent of orchestration. However, in minefield like film industry where every success would attract envy from outside competition, it cannot be expected to be unusual for strong friendship, or even professional, relationships to get infected by the natural human jealousy to weaken and fall apart.

By the 60s, extremely heavy workloads, coupled with such negative external pressures had gradually led Shankar and Jaikishan virtually work individually under the umbrella of Shankar Jaikishan brand. However, there is no denying that pair of Shankar and Jaikishan as composers, Shailendra and Hasrat Jaipuri as lyricists had almost perfect bonding as team, till first the death of Shailendra (1966) and then that of Jaikishan (1971) finally loosened up that never-to-be-loosening four-way bond. It should also be noted here that even after the death of Jaikishan Shankar continued work solo under the flag of Shankar Jaikishan brand only.

But, these inherent or otherwise internal preferences or differences is the not our subject. In the month of Jaikishan’s birth, and Hasrat Jaipuri’s death, we have undertaken to refresh our memories of (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform. After we launched the series in 2017, we have covered the years

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

Presently, we will take up (Shankar) Jaikishan and Hasrat Jaipuri’s Songs the Memory for the year 1963. Some of the songs certainly have not faded out from our memory but do need to be taken note of in the context of so-called widening rift between Shankar and Jaikishan.

1963

Shankar Jaikishan had three films – Dil Ek Mandir, Ek Dil Sau Afsane and Hamrahi – in 1963. Dil Ek Mandir and Ek Dil Sau Afsane each had 7 songs, for each of which Shailendra had 4 and Hasrat Jaipuri had 3 songs. Hamrahi had 8 songs of which Hasrat Jaipuri had 5 and Shailendra had 3.

Dil Ek Mandir was a remake of Tamil film Nenjil Ore Ayalam (1962). The whole picture was completed in just 27 days only., and probably the SJ-Shailendra-Hasrat team only could come up with such outstanding musical score in so short a time. Their one big asset was that they could deliver excellent quality despite the challenges of time or quantity. Incidentally, Rajendra Kumar and Raaj Kumar won Filmfare awards under different categories and Arjun Dev Rasq for the dialogues.

Hum Tere Pyar Mein Saara Aalam Kho Baithe Hain, Tum Kahate Ho Ke Aise Pyar Ko Bhul Jao – Lata Mangeshkar

Hasrat Jaipuri comes up lyrics that we normally would not associate with his light romantic songs. Let us look at them in details…..

panchhi se chhudakar uska ghar, tum apne ghar par le aaye
ye pyar ka pinjara man bhaaya, hum ji bhar bhar kar musakaye
jab pyar hua is pinjare se, tum kahne lage aazaad raho
hum kaise bhulaye pyar tera, tum apni jubaan se ye na kaho
ab tumsa jahaan me koi nahi hai, hum to tumhare ho baithe

is teri charan ki dhool se hum ne apni jiwan maang bhari
jab hi to suhaagan kahlaayi, duniya ki najar mein pyaar bani
tum pyar ki sundar moorat ho, aur pyar hamari puja hai
ab in charno mein dam nikle, bas itni aur tamanna hai
hum pyar ke gangaajal se balam ji tan man apna dho baithe

sapnoN ka darpan dekha tha, sapnoN kaa darpan tod diya
ye pyar ka aanchal humne to daaman se tumhare baandh liya
ye aisi gaanth hain ulfat ki, jisko naa koi bhi khol saka
tum aan base jab is dil mein, dil fir to kahi na dol saka
o pyar ke saagar hum teri laharo mein naaw dubo baithe

Here is the Tamil version of the song, Sonnathu neethaanaa.. sol sol, which incidentally too has a story of the lyricist coming up with the lyrics almost instantaneously.

Aside Trivia:

Even though such comparisons should never be done, one may still listen to Shankar-Shailendra composition, Ruk Ja Raat Thahar Jaa Re Chanda, to feel how seamlessly the quartet used to work.

Yahan Koi Nahi Tera Mere Siva Kaheti Hai Jhoomati Gaat Hawa Tum Sab Ko Chhod Ke Aa Jao – Mohammad Rafi

Decorated with rich prelude and Mohammad Rafi’s Rajendra Kumar-like histrionics the song is tailor-made to Rajendra Kuamr’s acting style

Dil Ek Mandir Hai. Pyar Ki Jis Mein Hoti Hai Puja Yeh Pritam Ka Ghar Hai – Mohammad Rafi, Suman Kalyanpur, chorus

The song opens with a high-pitched Sakhi, jane wale kabhi nahi aate jane wale ki yaad aati hai, in Rafi’s signature style. However, the rest of the song is another proof, if that is ever needed, for Hasrat Jaipuri’s depth of poetry:

har dhadkan hai aarti bandhan aankh jo michi ho gaye darshan
mout mita de chahe hasti yaad to amar hai

hum yadoN ke phul chdhayein aur aansuoN ke dip jalayein
sansoN ka har tar pukare ye prem nagar hai

Skillfully playing with ups and downs of one-an-half scale weave, the song also epitomizes Jaikishan creativity in the form of use of chorus as countermelody.

Aside Trivia:

The Tamil version of the song, Oruvar vaazhum aalayam, would also show how the SJ music team has creatively reconstructed the song in the Hindi version with their own trademark style.

Ek Dil Sau Afsane had Madhubala in the lead originally. The shooting had started in 1959, but Madhubala’s worsening heart condition left the progress of the film incomplete. Waheeda Rehman was then brought in the lead female role and all the relevant shots were re-filmed.

Ek Dil Aur Sau Afsane Haye Muhabbat Haye Zamane – Lata Mangeshkar

Hasrat Jaipuri and Shailendra easily switched to role of writing title songs as well.

Jaikishan provides the song with their trademark violin ensemble orchestration with melodious mixing with other instruments.

Urdu words mixed Hasrat Jaipuri’s lyrics do attract the attention.

dil jo na hota kuch bhi na hota, aankh na roti aur dard na uthta
apna ye daman bol bhi gata, kaun kisi ke pyar mein yuN khota

dil jo lagaya chain na paya, sare jahaN ka iljam uthaya
gake sunaye apna tarana, ye to janam janam se hota hi aaya

tu meri manjil pyar ka sahil, jauN kidhar main hai tu hi muqabil
o mere hamdam ek hai mushqil, kar ke rahenge hum tujhko hi hasil

Aside Trivia:

Shankar Jaikishan normally used to reserve one song in every film with extra-large orchestrion. In the present case, its Shankar who has composed such a song with his trademark ‘waltz’ dance rhythm , Dur Ke O Chanda Aa Meri BaahoN Mein Aa, on the lyrics by Shailendra. One more example was how seamlessly the quartet worked.

Kuchh Sher Sunata Hoon Main, Jo Tumse Mukhaatib Hain, Ek Husn Pari Dil Mein Hai, Ye Unse Mukhaatib Hai – Mukesh

In so far as the use of Urdu, the song can be easily identified with Hasrat Jaipuri. However, what is really noteworthy is its synchronization in creating the mood of a party song with an undertone of pathos – the trade mark Raj Kapoor’s depiction of Charlie Chaplin on the Hindi screen,

Aside Trivia:

Shankar- Shailendra take the role of creating a light-mood song in  Suno Ji Suno Hamari Bhi Suno

O Jadoogar Pyar Ke Ye Bata Dil Mera KyuN Tera Ho Gaya   – Lata Mangeshkar

Normally it is believed that a dance song is reserved for Shankar, but in the present case it is Jaikishan-Hasrat Jaipuri who step in the role, with all the trappings of Jaikishan’s orchestrations style.

Hamrahi (1963) may be seen as a signal in the trend of Jaikishan charting his independent course., after Jab Pyar Kis Sse Hota Hai (1961) where Shankar has composed just two songs. Of course, during 50s, there are many a film wherein Jaikishan would have a couple of songs in a film, But the rumor mill of industry had not sense anything wrong then.

Well. Well, to step into this quicksand of controversy is not our subject. So we would rather stick to our course and take up the songs for more attention.

It was perhaps Shankar Jaikishan who had provided the medium to Rajendra Kumar for rise to the level of Jubilee Kumar. These films were set to a very fixed template – Rajendra Kumar would be attracted by the charm of the heroine, sing a song in  the garden while teasing her, to which she would scorn at the beginning of the song but would fully fall into the love with Rajendra Kumar, then would follow a duet of that manifested the agreement, some or other thing would go wrong, the dual would fall apart, Rajendra Kumar would now get to sing a sad song in some forlorn place, and then everything would end well in the end.

Hamrahi was the film that used that template faithfully, and did succeed too, of course.

Main Albela Jawaan Hoon Rangila, Aye Dil Manzil Hai Pyar Ki, Jhoom Jhoom GauN NazaroN Pe ChhauN, Sanam Mehfil Bahar Ki – Mohammad Rafi

The song is supposed to set the stage for presenting us with a young man who is just care-free, even in the case of his dealings with the girls. Just as most of dames Rajendra Kumar sings the song do not fall into the trap, the poor cinegoer has to coast along with story line.

Woh Chale Jatak Ke Daman, Meri Arzoo Mitake – Mohammad Rafi

This the song genre that Shankar Jaikishan had almost patented for Rajendra Kumar’s eve-teasing formula, with Mohammad Rafi joining in with his unique- Rajendra-Kuamr-like histrionic singing style.

Mujhko Apne Gale Lagalo Aye Mere Hamrahi – Mohammad Rafi, Mubarak Begum

There many stories circulating about (Shankar)Jaikishan’s choice of Mubarak Begum for the song. However nowhere do we get a clue how Jaikishan would have ever thought of Mubarak Begum only for the song. Be that as it may, Jaikishan has not only set up a high pedestal for Mubarak Begum but has also set a higher benchmark for duets as well.

Woh Din Yaad Karo, Woh Chhupke Milna, Woh Hasana Hasana, Woh Din Yaad Karo –  Mohammd Rafi, Lata Mangeshkar

Mahmood and Shohha Khote were also a popular pir that would contribute to the box-office success of the film. They would generally be provided with a very decent song sequence too which they would enact so naturally as well.

Yeh Aansoo Mere Dil Ki Zabaan Hai, Main RouN To Ro Dein Aansoo, Main Has DuN To Has Dein Aansoo – Mohammad Rafi

The song on its own is a perfect outcome from the sad song mold that Shankar Jaikishan had designed for Rajendra Kumar.

Whether Hamrahi can be seen as early straw in the wind that portends the beginning of diminishing return for Shankar Jaikishan for their overdependence on “Shammi Kapoor” or Rajendra Kumar” image formula template?

We await for the next episodes to validate the hypothesis…..

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

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

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I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Husn Bano, Sitara (Devi) and Vatsala Kumthekar

Solo songs of Husn Bano

I have not been able to locate digital version of 3 solo songs of Husn Bano from Kaushish (Music: Bashir Dehlavi)

Pag Baje Ghungharava Piya Harajaye,,,, – Amanat – ? – Neenu Mazumdar

HFGK records the song as solo, but it seems to be duet.

Kya Jhamane Ki Kahani Ho Gayi – Amanat – ? – Neenu Mazumdar

Solo songs of Sitara (Devi)

I have not been able to locate 1 solo song from Andhera (Music: Gyan Dutt), and 4 solo songs of Sitara (Devi) from Bhalai (Music: Pannal Ghosh). Memorable Songs of 1943 has covered Sautan Ke Ghar Na Jaiyo (Abroo, Music: Pt. Govind Ram).

Pune Se Laayi Paan Re – Aabroo – ? – Pt. Govind Ram

HFGK mentions Najir as co-singer, but he joins by way of reciting dialogues.

Hamari Zindagi Kya Hai Amiro Ka Khilauana Hai Re – Aabroo – ? – Pt. Govind Ram

Ye Gam Ka Fasana Hai Koi Bhi Nahi Suanata – Aabroo – ? – Pt. Govind Ram

Naiya Hamari Paar Lagao – Aabroo – ? – Pt. Govind Ram

Haye Yaad Kisi Ki Sataye – Aabroo – ? – Pt. Govind Ram

Dukh Dard Ke Maare HaiN – Aabroo – ? – Pt. Govind Ram

GaauN Khushi Mein GaauN…  Ha Ha Ha .. – Najma – Anjum Pilinbhiti – Rafiq Ghazanavi B A

Solo songs of  Vatsala Kumathekar

One song, Teekhi Chitwan Dikha Ke Lut Liya from Aabroo (Music Govind Ram) is covered in Memorable Songs of 1943, one song from Ishara (Music: Rafiq Ghazanavi) and one from Zaban (Music: C Ramchandra) could not be traced on YT.

Saheli Bata Raat Ki Baat, KyoN Teri Bhikahr Gayi Bindiya – Ashirwad – ? – Anna Dahab

Prem Ke Hindole Dole – Ashirwad – ? – Anna Dahab

Ishq Ka Dard Suhana … – Ishara – D N Madhok – Khursheed Anwar

Meri Aankhein Hai Nashili … – Sarkari Paune – ? – Datta Daujekar

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I Liked Music from films

The Micro View of Songs of 1943 – Female Solo Songs – Amirbai Karnataki

Having completed the Male Solo Songs section of Songs of 1943 of the Best songs of 1943: And the winners are? we now move over to the Female Solo Songs.

As has been observed, the year 1943 has around 256 female solo songs for which the HFGK has been able to identify the singers. There can be a few more female songs available on YT too.

We have not repeated here the songs that have been covered in the Memorable Songs of 1943.

Solo songs of Amirbai Karnataki

Memorable Songs of 1943 has 8 solo songs of Amirbai Karnataki, of which 4 belong to ‘Kismet’  and two have Minaxi as the singer and one has Ratan Piya as the singer on th records. Here we have the songs credited to Amirbai Karnataki in HFGK and which are available on YT, except around 6/7 songs that could not traced on YT.

Hum Tumse Maangate HaiN, AahoN Ke Badale Aahein – Bansari – D N Madhok / Pt. Indra (?) – Gyan Dutt

YuN Dekhoge Agar Lag Jaaayegi Najar, O Baanke Nayanawale – Khanjarwali – Afzal – Afzal

Tore Man Mein Basoongi Ho Sajana, Tum Chanda Bano Main Chandani – Prem Sangeet – Bharat Vyas – S K Pal

Man Re Mat Ro, Mat Ro, Kaise Tujhe ManauN – Prem Sangeet – Bharat Vyas – S K Pal

KyoN Tumne Daraya, Peechhe Peechhe Prem Tu KyuN – Prem Sangeet – Bharat Vyas – S K Pal

Jeevan Ka Jug Aaya… Dekh Dekh Kar Man Lalchaya – Prithvi Vallabh – Pt. Sudarshan – Rafiq Ghazanvi

Hawa Ne Kya Baandha Hai Rang, Dekho Iski Chaal Niraali – – Prithvi Vallabh – Pt. Sudarshan – Rafiq Ghazanvi

Bholi Bhaali Ko LalachaI Re MaiN, Kaise KahuN – Shankar Pravati – Pt. Indra – Gyan Dutt

Kinko Dhundhat Nain Sakhi Ri, Kaun Tera Chitchor – Shankar Parvati – Pt. Indra – Gyan Dutt

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : August 2022

Shailendra’s Songs Composed by Kishore Kumar

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966), though formally trained as a welding specialist during the course of his study of mechanical and electrical engineering diploma, was a natural poet. Many of his songs have been inspired by small, seemingly insignificant, real-life situations. His deep concern for the basic human values then transformed those sparks of inspiration of the songs that were so meaningful and delivered through the medium of so simple lyrics, that songs of Shailendra not only were liked by the masses but were also appreciated by the critics.

Out of the total songs that Shailendra penned for the Hindi films, obviously Shanker Jaikishan’s compositions have lion’s share. Then, Salil Chowdhury, S D Burman, and Roshan also have had substantial body of work with Shailendra.  Equally interesting is Shailendra’s work with ‘other’ music directors with whom he did mostly one or at best two or three films. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

Presently, we will take up Shailendra’s songs composed by Kishore Kumar.

The core inner artist in Kishore Kumar can be seen in many incarnations of singer, actor, producer, director, music composer, dialogue writer and even a lyricist in his 1.0 phase of pre-Aradhana (1969) career. Like himself, the films he made, and therefore the songs that he composed wavered around serious, philosophical subjects and moods at one extreme to ‘loony’ clownish light subjects. Kishore Kumar composed around 120 songs for 7 films, of which lyrics for 14 songs (3 films) have been penned by Shailendra.

The songs selected here attempts to present as many varieties of compositions and moods as it tries to include variety of the playback singers.

Door Gagan Ki Chaon Mein (1964): –

Door Gagan Ki Chhaon Mein remains Kishore’s most mature artistic venture- as a filmmaker, as an actor and as a composer. It is therefore no surprise that we find Shailendra also in so natural mood in the songs for the film. If Aa Le Ke Chale Tujhe Us Door Gagan Ke Tale has undercurrent of hope, Jin Raaton Ki Bhor NahiN Hai has forlorn sense of despair.

Albele Din Pyaare Mere …. ….  Koi Lauta De Mere Beete Hue Din – Kishore Kumar

It is said that when Kishore Kumar explained the situation of the song to Shailendra it was with so much of pain and pathos that Shailendra simply walked off for a solitary stroll along the seaside. When he returned, he penned out this song. The sakhi of the song has that innate sense of nostalgia that brings up the main body of the song with an undercurrent of hope.

Kishore Kumar presents Asha Bhosle in three moods in the film – the melodious and soothing lullaby-genre Khoya Khoya Chanda Khoye Khoye Taare on one end and Path Bhoola Ek Aaya Musafir of deep pathos at the other end  with an erotic mujra dance song at the center

Chhod Meri Baiyan Balam Beiman, Aate Jaate Dekh Lega Koi – Asha Bhosle

It seem that song was finally not included in the film.

O Jag Ke Rakhwale, Humein Tujh Bein Kaun Sambahle –  Manna Dey, Kishore Kumar and chorus

Father and son find solace in the soothing words of the devotional song being sung at a nearby temple, and also place themselves at the mercy of that Almighty.

Kishore Kumar has so effectively used chorus in the composition of the song.

Rahi Tu Ruk Mat Jaana, Toofan Se Mat Ghabarana – Hemant Kumar

The song captures the essence of the story of the film, in that it enjoins the traveler that a human being must keep moving on under all types of circumstances.

Spread over three different situations in the film, Kishore Kumar has so rightly chosen Hemant Kumar for this bhatiyali-based composition.

Hum Do Daku (1967)

Hum Do Daku is a comedy film

Pag Gungroo Badh Guru Naache Re  – Kishore Kumar,chorus)

We have a here a pure parody song, which probably was not released.

Allah Allah Bande Bandagi Mein Allah – Kishore Kumar-Anoop Kumar

It seems that Kishore Kumar  and Anoop Kumar have adopted some make-over of two fakirs and then sing this song a s prank.

Ae Haseeno Nazneeno Nazar Chura-Chura – Kishore Kumar, Asha Bhosle, Usha Mangeshkar, chorus

The pranks of two masquerading comedians seems to have landed them in the club.

Door Ka Rahi (1971): –

Door Ka Rahi is in many senses what Kishore Kumar himself was, like an iceberg. Singing which was only its tip. That Kishore Kumar was far to ahead of his most popular face of a singer is evident in the titles of the film, wherein we see him as story and screenplay writer, music composer, producer, and director, and of course the actor over and above as a singer. Shailendra too moved on to his final sojourn into the world where the mortal life ends. That is why he has penned just two songs for the film, all other songs written by A Irshad. As if this was not enough, his second, Madhubbala, breathed her last while making of the film.

Chali Chali Jaaye Zindagi Ki Dagar… Kabhi Khatm Na Ho Ye Safar, Manzil Ki Use Kuchh Bhi Na Khabar, Phir Bhi Chala Jaye, Door Ka Raahi – Hemant Kumar-chorus

As we look at the video clip, we do realize the keen sense that, as a director, Kishore Kumar had to present the mood and message in the right frame. Moreover, what a composition he has been able carve out for those prophetic lyrics of Shailendra!

Ek Din Aur Gaya Haye Roke Na Ruka, Chaayaa Andhiyara Aaj Bhi Naav Na Aaai, Aaya Na Khevan Haaraa, Ek Din Aur Gaya – Manna Dey

Kishore Kumar has used Bengali folk tune to telling effect.

Aside Trivia: The Bengali version of the song was rendered by Kishor Kumar himself.

Wow! What a stunning effect Shailendra and Kishore Kumar have been able to create in seemingly so short association!

On that note, we await what our next episode of Shailendra’s songs composed by ‘other’ music directors has in store for us………….

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

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

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Remembering Mukesh

Duets(+) of Mukesh: With Male Singers

A tribute to Mukesh on his 99th Birth Anniversary (b. July 22, 1923 – d.  August 27, 1976)

Films in India, by and large, revolve around different themes of love between a boy and a girl. As such, songs come in very handy as a very strong and direct, easy-to-comprehend, medium to express the different shades of feelings of love. Traditionally, the solo songs occupied the space of prime importance. During vintage era this was more a necessity because the singers were generally actors themselves. Moreover, the recording technology also was in the development stage, which made recording a duet song with two vastly different musical qualities of pitch and timbre of a male and female voice was quite difficult in comparison to the recording of a solo song.

With the playback singers taking over the onus of singing, and advances in the filmmaking and song-recording technologies, the duets started gaining more importance in the film production considerations. Music directors also started taking this genre seriously and started creating duets that stood, almost, at par with solo songs.

Essentially, the duets are categorised as male-female duets, male-male duets, and female-female duets. As can be expected, the bulk of the duets in the films remain male-female duets. Male-male and female-female duets normally remained as duet songs that friends would sing together. However, the traditions of patriotic songs, devotional songs, or dance songs in the greater arena of music also inspired similar male-male and /or female-female songs. The subjects used to vary from manifestation of friendly affection – either positive or negative (jealousy), celebrating the festivities together, sharing of mutual concerns or one teasing/advising/counselling the other. As such, once the choice of subjects and practices of narrating the story evolved over 40s, male-male duets genre also started getting prominence. In the 60s and onwards, with more films being produced with more than one hero, the male-male genre further got more weightage. However, essentially, the core subjects have not changed as materially as that of solos.

In so far as Hindi film songs are concerned, duets of Mukesh constitute roughly 20 % share of his total film songs. Mukesh Geet Kosh also includes duet songs that have some element of chorus in the song, while taking care that these are separately identified. The male-male duets of Mukesh, including those with chorus element, constitute again around 15% of the duets of Mukesh. The male-male duets of Mukesh offer fairly wide-spread range, in terms of subjects of the songs, co-singers, year of the song, and of course, the popularity, to lead me to zero in on this subject for the post to commemorate the 99th birth anniversary of Mukesh.

Under the broader category of duets, Mukesh Geet Kosh also has separately identified songs that have some actor /actress chipping with Mukesh a line here or there in the song. I have not included such songs here. Mukesh has more than one duet with Mohammad Rafi or Kishore Kumar. I have chosen the one which I like more than other Rafi or Kishore duets. In some cases, I have included a few triads or quartets (with all male or male-female combination), where the context of the narration, or paucity of a right duet, or the need for variety of different subjects or styles or music directors so necessitated. In one particular instance of duet with Talat Mahmood, I have included, rather had to include, an NFS as well.

So here are Duets(+) of Mukesh with Male Singers, generally, in the chronological order of year of the release of the film.

With Shailesh (Mukharjee)

Rab Mere Araj Sun Meri Sharan Ab Teri – Aag (1948) – Lyrics: Saraswati Kumar Dipak – Music: Ram Ganguli

Ram Ganguli has certainly come up with a very different style of composition for a song that is essentially a devotional song.

If we would have strictly followed the chronological sequence of the release of the films, one of the two Mukesh – Mohammad Rafi duets from Chilman (1949) or Thes (1949) would have appeared here. But from the seven Mukesh-Mohammad Rafi duets, the song that liked most happens to be a duet from the film of the year 1958, So that will have to wait for a while.

With G M Durrani

Aise Mein Koi Chham Se Jo Aa Jaye To Kya Ho – Hanste Aansoo (1950) – Lyrics: Shewan Rizvi – Music: Ghulam Mohammad

Here is an exchange of arguments for pros and cons between two friends of locating the bed if a house is built on a given location – one wants to set up his bed at that very doorstep so that when some (a much awaited) beauty comes up suddenly he would not miss it. His friend warns of another extreme possibility of a high-heeled slipper to be awaiting a welcome instead.

Ghulam Mohammad has come up with so lovely enough orchestration for this composition to induce revisits to the song. If we would have seen the film, we may also have come to know what will have happened after the song is over.

I have picked up a triad next because that provides us with a new combination of singers.

With Khan Mastana

KyuN Shikwa Karein KyuN Aah Bharein – Pagle (1950) – with Talat Mahmood – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

The friends have gathered to vent their frustration of non-result bearing efforts of their pursuit to get someone to love them.

Pagle had one more triad, with G M Durrani as the third player –

Ye Aaj Kal Ke Laila Aur Majnu Pagle (1950) – with G M Durrani – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

Another song of the youthful frustration when all efforts to woo the ‘fair sex’ fail, which leads to this deep sigh, in the form of

Ye aaj kal ke Laila or Majnu
.. … …
ik haath se dil ko thamate haiN
ik hath se tata kahate haiN

It would be interesting note that Mukesh Geet Kosh has clearly identified the singers for these songs, but HFGK mentions Jagirdar, Agha and Sheri as the singers, who in fact are the actors singing the songs on screen.

With S D Batish

Jaao Sidharo Hey Radha Ke Shyam – Aarzoo (1950) – with Shamshad Begum, chorus – Lyrics: Majrooh Sultanpuri / Jan Nissar Akhtar – Music: Anil Biswas

Mukesh and S D Batish do not actually get connected through a triad here. What is treated as triad in the credits on the record N 38386, is in fact a three-piece stage show story wherein the first (penned by Majrooh Sutmapuri) and third part (penned by Jan Nissar Akhtar) are S D Batish-Shamshad Begum duets with chorus and the second part (also penned by Jan Nissar Akhtar) is a Mukesh-Shamshad Begum duet with chorus.

With Kishore Kumar

The Kishore Kumar – Mukesh combination has an interesting aspect too. Except for one triad in 1953, they did not have a proper duet during the pre-Aradhana, what is generally called as, Kishore Kumar 1.0 career phase. Then they had a triad-chorus in Satyakam (1969) the transition year. They had first proper duet in 1971, in what can be considered as Kishore Kumar 2.0. Since then, Kishore Kumar has had one more duet with Mukesh, in 1976. The duo further had one triad each with Sushma Shreshtha (Dharam Karam, 1975) and Dilraj Raj Kaur (Chor Mandali, 1983) as well as a quartet with Mohammad Rafi and Lata Mangeshkar (Amar Akbar Anthony, 1977)

Lo Mil Gayi Degree Pyar Ki – Maalkin (1953) – with Ram Kamlani – Lyrics: Rajendra Krishna – Music: Roshan

This must rank as the only song where Roshan has used Mukesh in a comedy situation.

However, the real irony of the song being treated as a Mukesh triad comes up only when we listen the full song and find that Mukesh just gets two words – first time just ‘KahaaN Bhai?’ after the first line, Din mein sau sau chakkar kate, in the first interlude stanza and then just ‘Kis ki?’ after the first line, Baithe baithe kismet khul gayi’ of the third interlude stanza!

Haal Chaal Thhik Thhaak Hai – Mere Apne (1971) – with chorus – Lyrics: Gulzar – Music: Salil Chowdhury

I have a very sweet connection with this song.

In our BITS Pilani days, we would have one, just-released, film screened every weekend. Mere Apne was one such film. Since the story is about the restlessness of students (particularly because of paucity of jobs even after proper college education), the film had been obviously very well received in the campus. When you pass near any of hostel block, particularly after dinner time, you will invariably get to listen the whistling used in the song. Also, the cleverly split first line had tremendous popularly as an informal greetings exchange among friends – Question: ‘Haal chaal? Answer: ‘Thik Thaak Hai.’ – obviously, in the lyrical mimic of the song!

With Mohammad Rafi

Mukesh and Mohammad Rafi share the maximum number of songs together – 7 duets, 6 duets+chorus, 5 triads – one with Shamshad Begum (Hanste Aansoo, 1950), two with Lata Mangeshkar (Shree 420, 1955 and Ahuti, 1978), two with Suman Kalyanpur (Dil Ne Phir Yaad Kiya, 1966 and Vishwas, 1969), and one with Hemlata (Jaaneman, 1976), and one quartet with Kishore Kumar and Lata Mangeshkar (Amar Akbar Anthony, 1977). More important. perhaps, is that the association spans almost the entire career of both of them, with first duet in 1949 (Chilman and Thes) and the last one in 1978 (Ahuti).

I have selected one duet, which I have always relished to listen to.  Just the memory of the song has helped to me ease out any tension coiled in, any time, in my mind.

Phirate The Jo Bade Hi Sikandar Bane Hue ….. Jo Bor Kare Yaar Ko Us Yaar Se Tauba… Jis Pyar Mein Ye Haal Ho Us Pyaar Se Tauba – Phir Subah Hogi (1958) – Lyrics: Sahir Ludhiyanvi – Music: Khayyam

Mohammad Rafi so lively pulls up his friend’s legs that even the Raj Kapoor’s lady love Mala Sinha cannot hide her smile. Moreover, if you close your eyes, the way Rafi goes with his part you can imagine how Rehman, otherwise an actor who plays serious roles, must be freely acting it out on screen, while lip-synching Mohammad Rafi. Every line Sahir has penned for Rafi’s part is just enough for any friend on the other side to break up the relationship!

With Mahendra Kapoor

For the records, Mukesh and Mahendra Kapoor have three duets, however the third one, from Saathi (1968) – Jo chalaa gayaa use bhul jaa, Naushad has used Mahendra Kapoor  for just a higher-scale line being heard as echo Bhul Jaa… Bhul Jaa, as haunting memory from the past that has to be forgotten.

Of the other two, both composed by N Dutta, one is for Dilli Ka Dada (1962) and the other for Holiday in Bombay (1963). I have selected the latter one.

Ye Hasin Bambai Hamein Jam Gayi …. Holiday Holiday Holiday in Bombay – Holiday in Bombay (1963) – Lyrics: Anjaan – Music: N Dutta.

The reasons I have selected this song will sound quite trivial – one: Mukesh gets to playback for the hero (Shashi Kapoor), two: one gets a virtual tour of Mumbai in the video clip, the third: you get to see a glimpse of now totally forgotten, Lambretta scooter (@4.12) and fourth of course, it has a connection with a 2018 SoY post – Bharat Darshan Songs (2) – Metros.

It would not be out of place to record here that Mukesh and Mahendra Kapoor share a triad with Rajendra Mehta, a famous ghazal singer of 60s/70s.

Mera Rang De Basanti Chola – Shaheed, 1965 Lyrics and Music:  Prem Dhawan

This would rank as one of the best patriotic songs Hindi films have recorded.

With Manna Dey

The proper duet of Mukesh and Manna Dey, very surprisingly, has come up only in 1976 for the film Das Numbri. Even Mukesh, Mohammad Rafi and Manna Dey triad also came up in only 1973, for Teen Chor. As such, I thought it would be patently safe to fall back upon a quartet and a quintet from the earlier years.

Sathi Re…. Kadam Kadam Se Dil Mila Rahein Hai Ham – Char Dil Char Rahein (1959) – with Mahendra Kapoor, Meena Kapoor, chorus – Lyrics: Sahir Ludhiyanvi – Music: Anil Biswas

The song is an inspirational song, wherein multiple singers join to playback for corresponding actor on the screen. It being an Anil Biswas composition, the composition and orchestration are ideal, so are the lyrics of Sahir. It is not surprising that the overall outcome is a song that you would like listen, again and again, for its sheer melody.

I am not able to resist the temptation of including a quintet chorus song, so well-known to me, and almost of all of us for that matter, that came up in different light when I listened to it from the point of view of the present article.

Hum Bhi Hai Tum Bhi Ho Dono Hai Amane Samane – Jis Desh Mein Ganga Behti Hai (1961) – with Mahendra Kapoor, Lata Mangeshkar, Geeta Dutt and chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

I always admired this song for several stunning features – Shankar Jaikishan and the team for conceiving and executing the rich orchestrion (of particular notice is the violin ensemble piece @ 5.35 -5.52 that so vividly creates the feeling of speed), meticulous details of choreography of Hira Lal, and so creative camera work of Tara Dutt that captures every expression of every actor so lively and the overall direction of Radhu Karamakar – RK’s otherwise default director of photography. Essentially, the song was a chorus song representing dacoits on one side and the reformer (Raju) on the other side.

However, I could now easily see a parallel under-current of a duet too running in the song, beginning with two lines that follow the opening skirmish between Raka and Raju, when Kammo and her friend Bijli charmingly declare Hum bhi haiN (@2.30), to which Raju responds, unwittingly, Dekh lo kya asar kar diya pyar ne. The visuals @0.45 to 0.51, where Kammo longingly eyes Raju, which Raka too does not miss to notice or that fleeting exchange of mutual appreciations @ 1.52 to 2.00 between Kammo and Raju corroborate the implicit germination of soft feelings for each other. The song virtually turns into a duet after the second interlude when Kammo directly intervenes the song with itana sa ye dil tu de de agar sara jag tera ho jaye. (@5.03)

As the songs moves on, the mood of festivity of all so beautifully morphs into acquiescence of love of the two.

We come back to our main track again.

With Talat Mahmood

As we have seen @ #3 here before, Mukesh and Talat Mahmood did get just one triad as early as in 1950. These two may be the only male singers of that period who did not even have one Hindi film duet in their entire career.

Fortunately, three Mukesh – Talat Mahmood NFS duets, composed by Murli Manohar Swaroop, fill up this void. We had had heard one duet, Kisi ko deke dil koi nawa_sanj-e-fughan kyun ho, in the earlier post, Mukesh’s Non-film Hindi Geets and Ghazals.

I have picked up the other one here –

Woh Jo Ruthe To Manana Chahiye …. Zindagi Se Rooth Jaana Chahiye – NFS – lyrics: Jigar Murarabadi + Mirza Ghalib – Music: Murli Manohar Swaroop

To the opening line from Jigar Murarabadi ghazal sung by Mukesh, Talat Mahmood joins by a Mirza Ghalib ghazal line Chahiye achchhoN ko jitana chahiye, ye agar chaahein phir to kya chahiye…  and so forth.

However, we can take consolation that they did have one more song in the Hindi films – an all-male quintet in 1966.

Mujhko Muhabbat Ho Gayi Hai, Bas Muhabbat Ho Gayi Hai …. Anhoni Baat Thi Ho Gayi Hai – Biwi Aur Makaan (1966) – with Joginder, Manna Dey and Hemant Kumar – Lyrics: Gulzar – Music: Hemant Kumar

Normally Mukesh and Talat Mahmood are put at the slow paced, serious film-song-moods spectrum. Another singer, Hemant Kumar also is considered to be the singer of that part of the spectrum. However, Hemant Kumar, the music director, seems to have helped Talat Mahmood switch the role and join him (in the role of the playback singer) in the fast-paced jest-cum-scolding session with that love-infested friend among the ‘five pandav’ friends who have vowed to remain unmarried till everyone gets a job. Talat Mahmood plays back to Keshto Mukhrjee who impersonates a girl along with Biswjeet who lip syncs Hemant Kumar!

I conclude here my part of the choices of Duets(+) of Mukesh with Male singers so as to start pondering over what subject we should take up for the celebration of Mukesh’s 100th birth anniversary post next year…….

Acknowledgement and disclaimer:

  1. Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
  2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

Reproduction of the article originally published on Songs of Yore on 22 July 2022

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : July 2022

Mohammad Rafi’s First Duet Song With The Music Director

Second Five-Year Period: 1949 -1953

Many historians of Hindi Film Music consider the year 1949 as the transition year when HFM can be positively seen to be entering era of Golden Period, with Lata Mangeshkar and Mohammad Rafi, the two major singers of Golden Era, occupying the undisputed center stage. One indicator which perhaps validates this hypothesis is presence of more and more music directors who remained active during the Golden period in so far as the duets of Mohammad Rafi during the presently under consideration 5-year period of 1949 to 1953.

To commemorate the birth and death anniversaries of Mohamad Rafi, we have commenced a series on Mohammad Rafi’s first duet with a music director.  Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Presently we will take up the 2nd Five-Year Period of 1949 to 1953.

1949

The year has Mohammad Rafi’s duets, almost, in the proportion of 2: 1 as compared the solos. Even with the Mohammad Rafi duets with two music directors for the year 1949 not available for these two music directors, we have been able to cover 14 music directors in 1949!

As such, we will cover the year 1949 in two parts, to be able to relish the songs thoroughly.

[1]

Naushad had composed first two duets for Mohammad Rafi in 1944 for the film Pahele Aap. Both were Male-Male duets. Naushad has since then deployed Mohaamad Rafi for the male-female duet only during 1949.  Even then, in the year 1949, for Andaz, Mohammad Rafi still was not the playback voice for major lead, Dilip Kumar, of the triangle Raj Kapoor and Nargis. However, the film did have two duets wherein Rafi plays back for Raj Kapoor. Of the two Yun To Apas Mein Bigadate Hain Khafa Hote Hain is a light composition, and is retained in the film

Sun To Dil Ka Afsana – Andaz – with Lata Mangeshkar – Naushad – Majarooh Sultanpuri

This song was finally not included in the film

Naushad had two more films in 1949 Chadani Raat and Dulari. Chandani Raat had three Rafi-Shamshad Begum duets – Chhin Ke Dil KyuN Pher Li Aankhein, Kaise Baje Dil Ki Sitar and Khabar Kya Thi Ki Gham Khana Padega whereas Dulari has two Rafi -Lata duets Mil Mil Ke Gayenge Do Dil Yahaan and Raat Rangili Mast Nazare Geet Sunaye Chand Sitare. The first two duets of Chandani Rat and both the Dulari duets had become quite popular.

Husnlal Bhagatram had as many as five duets and five triads for Rafi 1949 over. Of these we have picked up one duet with Suraiya, and one triad with Lata Mangeshkar and Geeta Dutt, so that we get as many duets  / duets+ songs different the co-singers.

Aataa Hai Zindgi Mein Bhala Pyar Kis Tarha – Baalam – with Suraiya – Lyrics: Qamar Jalalabadi

I had not heard this song before, but once I did, I liked it even though it has many strapping of vintage era. Of course, Rafi sounds his normal – what we get to hear in the 50s and Suraiya is, as always, so sweet to listen to.

Husnlal Bhagatram have two more duets with Suraiya, for the film Naach – Ae Ishq Hamein Barbad Na Kar (Lyrics: Sharshar Sailani) and Chhaya Sama Suhana (Lyrics: Kaif Irfani).

‘Jaltarang’ had one duet with Lata Mangeshkar – Zara Tumne Dekha To Pyar Ho Gaya (Lyrics: Kaif Irfani) and one with Shamshad Begum – Musafir Sada Geet Gaye Chala Chal (Lyrics: Sudarshan Faakir)

And now triads:

Lab Pe Fariyad Hai Dil Barbad Hai – Naach – with Lata Mangeshkar, Geeta Dutt – Lyrics: Mulk Raj Bhakri

It may not be inaccurate to assume that the dancing singers may be performing a street dance, because in (only) Hindi films these people can so accurately read the thought of the protagonist’s mind and put them in words on his /her behalf. The hero sems to perform the soliloquy of spelling out his mind, perhaps on the push by the force of the line these dancers sing. Even as hero is in pensive mood and the two female actresses sing in a very energetic mood, the song was well received in those days. Rafi goes in hyper-drive tone at the end!

It would be interesting to see the way the song would have been filmed.

Two other triads in the film were Kyun Karata Maan Jawani Ka (with Lata and Geeta Dutt; Lyrics: Mulk Raj Bhakri) and Namaste Ji Namaste Ji Hamara Tumhara Jeevan Beete Hansate (with Shamshad Begum and Zohrabai Ambalewali; Lyrics: Nazim Panipati).

For the songs of Hamari Manzil, HFGK mentions Geeta Dutt and Mohammad Rafi and chorus as singers for Badla Hua Duniya Mein Ulfat Ka Zamana Hai, Woh Aur Zamana Tha Ye Aur Zamana Hai and Geeta Dutt, Mohammad Rafi and other voice for Andhere Se Na Dar Kaante Banegi KaliyaN, but both these songs have S D Batish as third singer.

Shyam Sundar is widely credited with offering Mohammad Rafi his first ever song, a triad, in the Hindi films, that for Gaon Ki Gori (1945). Presently we have Shyam Sundar composing two duets for Rafi, both with Lata Mangeshkar, a triad – Chhalla De Ja Nishani Teri Meharbani (with Shamshad Begum and Satish Batra: Lyrics Qamar Jalalabadi) for Bazaar.

Ae Mohabbat Unse Milne Ka Bahana Ban Gaya – Bazar – Lyrics: Qamar Jalabadi

This as well as the other duet Apni Nazar Se Door Woh should rank among the finest duets by Rafi and Lata.

Haaye Yeh Bholi Suratwale – Chaar Din – with S D Batish, Iqbal, Rajkumari, Lata Mangeskar, Johrabai Ambalewali – Lyrics: Shakeel Badayuni

This hexad is essentially composed in qawwali style.

Hanuman Prasad is also well-known music director vintage era.

Jale Jalaane Wale Humko Jaise Mombatti – Chilman – with Mukesh – Lyrics: P L Santoshi

Two friends merrily laugh away the world’s critical view of their carefree way of living.

What a coincidence! 1949 has one more Mohammad Rafi, Mukesh duet

Snehal Bhatkar is the music director who has composed that Mohammad Rafi – Mukesh duet.

Baat To Kuchh Bhi Nahin Dil Hai Ki Bhar Aaya Hai – Thes – with Mukesh – Lyrics: Kedar Sharma

Mukesh is assigned the pathos part of the song and Rafi with the role of counseling him!

We will take up the rest of 1949’s Mohammad Rafi’s First Duet Song with eight other Music Directors in our December 2022 episode.

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

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

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I Liked Music from films

The Micro View of Songs of 1943 – MY Top Male Solo Songs

To someone like me who has been brought up in the environment of post’50s/’6os composition styles, one or two hearings of these songs appear to be not enough to appreciate the vintage era style.

Barring songs from films like Tansen, almost all the songs that I get to listen for the year 1943 are my first exposure to these songs. As such, from the year 1946 backwards, I have been following the practice of choosing the song(s) that appeals me in these limited number of hearings. I do that for each singer and then present here one song for each singer from among the ones that did appeal me. Where there is only one song, since I have no means of this intra-copmparision, I straightaway include such songs in this list.

In the case of solo songs of K L Saigal, for the film, I have purposefully not considered the songs that have remained very popular even now, and therefore I have had occasions to listen to them many times.

So here is list of the songs that I liked for a given singer, presented in the alphabetical sequence of the name of the film.

Yakub – Inhin Logon Ne Chhina Hai Dupatta Mera – Abroo – Traditional – Pt. Govindram

Pandeji (Vasant Desai) – Bhai Bhaj Le Shri Bhagwan – Aankh Ki Sharam – Pt. Indra – Vasant Desai

G M Durrani – Pee Kahan .. Gaaye Ja Baanware… – Chhed Chhad – Tanveer – Mustaq Hussain

Asit Baran – Ham Chale Watan Ki Or – Kashinath – Pt. Bushan – Pankaj Mullick

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

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

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

S N Tripathi – Panghat Pe GhayaloN Ka Hai Hai Thikana – Panghat – Ramesh Gupta / Pt. Indra(?) – S N Tripathi

Manna Dey – Ajab Hai Vidhi Ka Lekh Kis Se Padha Na Jaye – Ramrajya –  ? – Sahnkar Rao Vyas

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

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

K L Saigal – Bina Pankh Ka Panchhi Hun Main – Tansen – D N Madhok / Pt. Indra )?) – Khemchand Prakash

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

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

After a very lucid analysis – Best songs of 1943: Wrap Up 1  – the SoY Award for the Best Male Playback Singer of 1943 goes to KL Saigal for his songs in Tansen.

MY Top Male Singer for the year 1943 is GM Durrani, for the sheer number of solos that he has got this year, that also includes a variety of moods, singing styles  and even wide range of his singing. tones.

Categories
I Liked Music from films

The Micro View of Songs of 1943 – Male Solo Songs [2]

Other than KL Saigal, G M Durrani and Surendra have had high numbers of songs for the year.  If all solo songs Surendra for the films Paigham and Vish Kanya could have been traced on YT , we would have had a separate post for Surendra as well.

However, as things stand now, this post focuses on all available solo songs of G M Durrani for the year 1943.

Pee Kahan .. Gaaye Ja Baanware… – Chhed Chhad – Tanveer – Mustaq Hussain

Ae Hind Ki Sapooto, Jago Hua Sawera – Kaushish – ? – Bashir Dehlvi

HindustanwaloN…… Geeta Ke Barak Ulto – Kaushish – ? – Bashir Dehlvi

Aa Jaa…. Bichhade Hue Sajan Jis Desh Gaya Hai – Nayi Kahani – Wali Sahab – Shyam Sundar

Kya Sukh Paya Nain Mila Ke – Nayi Kahani – Wali Sahab – Shyam Sundar

Hamein Kya Hamein Kya Ab KhijaaN Aaye Na Aaye – Nayi Kahani – Wali Sahab – Shyam Sundar

Mere Dil Mein Sainkado Armaan, Bhala Woh Kya Jaane – Namaste – D N Madhok – Naushad Ali

Dil Ke Pat Khol Ke Dekho Jawani Kya Hai – Namaste – D N Madhok – Naushad Ali

Jadugar Mori Nagariya Mein Aaye – Namaste – D N Madhok – Naushad Ali

Kaun Hai Ye Dilruba, Manko Lubhaye, Sabko Suhave -Prem Sangeet – Bharat Vyas – S K Pal

Yeh Kaun Aaj Rah Rahe Ke Yaad Aa Raha Hai – Salma – Hasrat Lakhanavi – Pt. Govindram

Barato Sudeshi Bano Sudeshi – Vijay Lakshmi – / – Pt. Govindram

P.S.:

I could locate two more songs that would belong to the 1st part:

Pt. Vishnurao Chonkar – Piya Bin Swan Bhaado NahiN – Shahenshah Akbar – Pt. Indra – Ustad Jhandekhan

Surendra – Jo Dil Mein Aaye Dard Bankar – PaigamSafdar Aah, Baalam Pardesi, Pandit Indra ? – Gyan Dutt