Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1950-1951
To commemorate Mohammad Rafi’s anniversaries, we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi with the music director. We had planned to take up one five-year slot in a chronological order to bring all the first films in which Mohammad Rafi had had a solo song with a music director. The first slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We have covered the year 1949 of the 2nd five-year-slot of 1949 to 1953.
Presently we will take up years 1950 and 1951 of this 1949-1953 period..
[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]
Mohammad Rafi had had 29 solos out of 108 songs in 1950. Of the prominent music directors who had now frequenting Rafi more, Hans Raj Behl had 3 Hindi and Punjabi films with Rafi, Husnlal Bhagatram had 5 films and Naushad had 1, which had Mukesh as lead singer. I find only Akele Mein Wo Gabarate To Honge as the only song that is most recognizable solo.
Hum Ishq Mein Barabad Hai – Aankhen – Madan Mohan – Raja Mahendi Ali Khan
Madan Mohan and Mohammad Rafi’s work together which was to open up a class of its own opens the account. The song is filmed on Shekhar.
Saahil Jo Dubo De Kashti Ko.. Saahil Ki Tamanna Kaun Kare – Baawra – Krishna Dayal – Amar N Khanna
Incidentally, this is one of those songs that Mohammad Rafi has lip-synched for Raj Kapoor.
Jalte Deep Bujh Gaye Chha Gaya Andhera – Jalte Deep – Shardul Kwatra + T K Das – M A Taaj
Here is a song that is pleasant to listen to even though cast in sad mood.
Zamana Jo Aankhe Dikhata Hai Zamana Ko Aankhen Dikhata Chale Chal– Man Ka Meet – Shardul Kwatra – Sarshar Shailani
This song is credited to Shardul Kwatra solely, hence taken up in our present list.
The lyrics do seem playful enough, but difficult to guess how the songs would have been filmed.
Naari Tere Jeevan Ki Ye Karun Kahani – Veer Babruwahan – Chitragupt – Anjum Jaipuri
After a few attempts we get a maiden Chitragupt – Rafi solo combination in this song. Apparently there is not much that would make the song to remember for, except that it is to open one more very fruitful partnership in the years to come.
We end the year with 5 music directors who had had a first solo song recorded for Mohammad Rafi.
Year 1951 has 26 solos from a total of 72 Mohammad Rafi songs. The year had Naushad switching over to Mohammad Rafi for background voice of Dilip Kumar and we have some of the top Mohammad Rafi songs in Deedar. Husnlala Bhagatram also has a twin solo for Mohammad Rafi in Afasana – Duniya Ek Kahani Re Bhaiya – which also was quite popular. Shankar Jaikishan has used Mohammad Rafi for special songs in RK’s Aawara, which is also going to be a very notable trend initself.
Dhanwano Ki Dhan Nagari Ki Sun Lo Ek Kahani – Dashavtar – Avinash Vyas – Sagar Hussain
Avinash Vyas was to use Rafi very selectively in his Hindi and Gujarati film music.
Hey Shankar Hey Pralayankar Rakho Mohe Apni Sharan – Hanuman Patal Vijay – S N Tripathi – B D Mishra
The 3rd part of Lata Mangeshkar’s solo songs for 1948 can be said to be a mixed reflection of what we heard in the earlier part #1 and # 2, in that there are songs that went to to become evergreen and that it has a fairly diversified portfolio of music directors too.
Popular solo songs
Chanda Re Ja Re Ja Re Piya Se Sandesha Mora Kahiyo Ja – Ziddi – Khemchand Prakash – Prem Dhawan
Other Solo Songs
Piya Milane Ko Aa, Main To Jeeti Hun Tere Bharose Piya – Majboor – Ghulam Haider – Nazim Panipati
Dil Mera Toda Mujhe Kahin Ka Na Chhoda – Majboor – Ghulam Haider – Nazim Panipati
Daman Hai Chak Chak Hai Mera- Ab Koi Jee Ke Kya Kare Jab Koi Ashara Nahi – Majboor – Ghulam Haider – Nazim Panipati
Dilwalo Dilo Ka Mel Dilo Ka Khel Jo Jit Gaya Wo Hara – Meri Kahani – Datta Koregaonkar – Wahid Qureshi
Nanhi Bundiya Jiya Laharaye Badal Gir Aaye – Meri Kahani – Datta Korgaonkar – Nakhshab Jarachvi
The 2nd tranche of solo songs of Lata Mangeshkar for 1948presents a bit more varied range of music directors’ works. Interestingly Anil Biswas again has a major share in this set of Lata Mangeshkar’s solos, with at least one song that has remained popular even now when as it was then.
Dil-e-Nashad Ko Jeene Ki Hasrat Ho Gayee – Chunariya – Hansrah Behl – Mulkraj Bhakari
Jab Dil Mein Tere Dard Ho Aur Rand Tera Juda Ho – Chand Sitare – Premnath – Ishwar Chandra Kapoor
Aye Dil Ka Maalik Mujhe Tose Gila Ha – Chand Sitare – Premnath – Ishwar Chandra Kapoor
On a very rough count we may be able to list not more than 40 solo songs of Lata Mangeshkar for 1948. The numbers appear neither not very insignificant nor very impressive when compared to the number of solo songs of other female singers individually and all others put together collectively.
Let us first listen to the songs:
As a most unexpected coincidence, the first two films, in the alphabetical order, happen to be the ones for which music was composed by Anil Biswas and Khemchand Prakash. They are the two big names who will appear in the names of music directors who gave the outstanding Lata solos for 1948.
Two of the Anokha Pyar songs were filmed on Meena Kapoor’s voice, but records were cast in Lata Mangeshkar’s voice. We find several theories for such an incidence. At this stage we are not very much concerned wth those stories. We have listed here Meena Kapoor versions as well .
Ek Dil Ka Lagana Baaqi That To DIl Ko Laga Ke Dekh Liya – Anokha Pyar – Anil Biswas – Zia Sarhadi.
We have so far covered Suraiya, Geeta Roy, Shamshad Begum, Raajkumari and Surinder Kaur in our Micro-View of Female Solo Songs of 1948. These are the female playback singers who had fairly extended tenure during the (so-called) Golden Era of the HFM – the period from’50s till ’60s (or some cover even mid’70s.).
We have observed that even as these singers had quite a remarkable quantitative share of the songs, the songs which did remain well-known even in the Golden Period were really very few.
With this disclaimer of my personal bias, I decided to curtail songs of other female playback singers into one post. Hence, I have chosen one song of these ‘other’ female singer each. Even the, the list is fairly large. Most of these singers have had three to more than 10 songs in their account of 1948. So collectively they form what statisticians would call a very dominant tail of normal distribution curve.
Ameerbaii Karnataki – Taqdeer Ne Hansa Ke Hamein Phir Ruladiya – Shehnaz – Ameerbai Karnataki – Dukhi Premnagari
Johrabai Ambalewali – Bus Mein Kar Ke Wo Bas Kar Gaye – Padmini – Ghulam Haider – Tanveer Naqvi
Khursheed – Pacchataynge Jo Hamein Barbad Karenge – Aap Biti – Hari Bhai – Hasrat Lakhanavi
Lalita Deulkar – Jai Bolo Mahatma Gandhi Ki – Khidki – C Ramchandra – P L Santoshi
Meena Kapoor – Boot Polish Karwa Le Babu Boot Ploish Karwa Le – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor
Meena Kumari – Aata Hai Dil Mein Pyar Kyon Chhede Hai Bar Bar Kyon – Bichchade Balam – Bulo C Rani – Narendra Sharma
Munnavar Sultana – Mera Nanha Balam Na Bole – Patjhad – Ghulam Haider – D N Madhok
Parvez Kapadia – Hum To Motor Khareed Ke Le Aayenge – Hum Bhi Insaan Hai – H P Das + Manna Dey – G S Nepali
Sulochana Kadam – Jahan Koi Na Ho Wahan Chalenge Hum – Lal Dupatta – Gyan Dutt – D N Madhok
Sitara (Kanpuri) – Dil Ki Jaban Par Aaye To Kya Karoon – Pugree – Ghulam Mohammad – Shakeel Badayuni
Uma Devi – Kahi Jiya Dole Ho Ho Kaha Nahi Jaaye – Anokhi Ada – Naushad – Shakeel Badayuni
Mrs. Vishnilal – Kisi Tarah Dil Hi Na Jab Chain Paaye – Anjuman – Bulo C Rani – Majrooh Sultanpuri
It may also please be noted that I have not included those female singers who, to the best of my knowledge, did sing some songs in 1948, but that was in the capacity of an actress in the respective film.
In the next episodes(s) we will take up solo songs of Lata Mangeshkar for Micro-View of Songs of 1948
Salil Chowdhury’s Hindi Film Songs in Other Languages
Salil Chowdhury (b: 19 November 1922; d: 5 September 1995) was as multifaceted as was talented.
We know the gems he has created as a music director. But he was a poet and playwright too. He has composed many of his Bengali poems as NFS Bengali songs. Songs like Gnaayer bodhu, which he composed at the age of 20, brought about a new wave of Bengali music. Almost every notable singer of that time from West Bengal had sung at least one of his songs. That he wrote story for Do Bigha Zameen, based on his short story Rickshawalla is now a well-known detail of his writing abilities trivia.
His interest in music made his cast his net wide from Western classics like Mozart to folk songs of Europe to folk songs of East India to enable him to innovate a d experiment. For example, his Dil Tadap Tadap Ke Kah Raha Hai (Madhumati 1958) does seem to have a very strong influence of a150+ years old Silesian (South-Western) Polish folk song Szla dzieweczka do laseczka ( The girl was walking to the forest)
He was one of the music directors of the school who would so much accord high priority to the music that they would they were insistent upon setting the music first and then set the lyrics of the song to it. Salil Chowdhury was an excellent arranger who was proficient in several musical instruments, including flute, the piano, and the esraj.
We may know that he has composed music for over 75 Hindi and over 40 Bengali films. Many of us may further know that he composed songs for around 27 Malayalam films. And of course, some of us may also know that he did compose music for even Tamil, Telugu, Kannada, Oriya, Assamese, a Marathi and Gujarati film as well.
In this tribute post to Salil Chowdhury we have chosen to bring on one page his Hindi songs that have been transposed to other languages. Such songs are so very large number that they would need several posts to cover them all. So we have chosen here the Hindi songs that have receded from our memory such that we get at least one song form each of the languages he composed songs.
(Note of credit for the core information for this post: I have sourced the other language song version-links as well description about these other language songs from the one the most complete online data base of Salil Chowdury’s work, World of Salil Chowdhury. Gautam Choudhury has so painstakingly and lovingly built up the entire collection. Gautam Choudhury himself has recorded several instrumental albums on which he plays harmonica, recorded tribute albums to Salil Chowdhury’s legacy:
So here is our tribute to Salil Chowdhury:
One of many Hindi to-from Bengali songs:
Dil Mera….Na Jaane Re Naa Jaane Re Biraj Bahu (1954) – Shamshad Begum – Lyrics: Prem Dhawan
Gayatri Basu’s “Naa Jaani re” in Bengali ‘Aaj Sandhaay’ (1954) is as haunting and appealing as Shamsaad Begum’s rendering.
(Bengali-)Hindi – Malayamam connection
Dhitang Dhitang Bolay, Dil Tere Liye Dolay – Awaz (1956) – Lata Mangeshkar – Lyrics: Prem Dhawan
The Malayalam version is “Thaiyam Thaiyam” (Neelaponman (1975) a duet by P.Susheela and P.Jayachandran.
The source for both these is a 1954 Hemant Kumar’s NFS – a Salil classic – “Dhitang Dhitang Bole” with a totally new arrangement
(Bengali-)Hindi – Telugu connection
Kai Baar Yoon Bhi Dekha Hai Ye Man Ki Jo Seema Rekha Hai – Rajanigandha (1974) – Mukesh – Lyrics: Yogesh
This one had quite a contemporary Telugu version – Nayanalu Kalise Toli Saari – a duet by P.Susheela and S.P.Balasubramaniam in Chairman Chalamayya (1974).
If this was not enough, out of nowhere appears another ‘unknown’ film called Mera Damaad (release date 1995) with another Hindi version of this song. Gautam Choudhury writes: Sometimes I think Salil just lost the track (no pun intended) of his version table! – Jhir Jhir Barse Aaj Gagan Se – Anuradha Paudwal, Sabita Chowdhury, Amit Kumar and Shailendra Singh
It seems the root source is a 1977 Usha Mangeshakr NFS, O phooler dal, in Bengali.
(Bengali-)Hindi – Kannada Connection
Naam Mera Nimmo Muqaam Ludhiyaana – Sapan Suhaane (1961) – Lata Mangeshkar, Manna Day, Dwijen Mukherji – Lyrics: Shailendra
A very fast-paced song wherein male leads Manna Dey and Dwijen Mukherjee aby support Lata Mangeshkar who so ably does the justice to the tempo and the mood of the song.
It appears that opportunity to re-use this tune came up when Kannada film had a situation for a cabaret dance. The case in point is: Dooradinda Bandhantha for film Samasayaphala (1971) by L R Eswari . The song has undergone changes in all spheres except the basic structure of the tune. Guatam Choudhury notes that a regular column writer on Kannada film songs, Sridhar Rajanna writes that: “Dooradinda bandanta sundaraanga jANa” ….is the best cabaret ever, sung by LR Eswari, has excellent rock and roll style guitar music. It is still popular in orchestras and is frequently played on A-I-R.
At the back of the tune must be some Bengal folk tune. So a Bengali version probably was called for to record the nuances of the original tune. The result is Sabita Chowdhury’s NFS of 1963 – Jhilmil jhauer boney.
(Bengali-)Hindi – Oriya Connection
Salil Chowdhury has composed music for only one Oriya film – Batasi Jhada (1981). The film had a Sabita Chowdhury song Rimjhimi Nishaa Bharaaye Raakhi.
Its Hindi version came up in an obscure 1989 film Aakhari Badla. The song was Jaane Kaisaa Jaadoo Ye Chal Gayaa. This version was too in Asha Bhosle’s voice. Its video clip shows that it is a cabaret-type dance number. That leads us to believe that Bengali and Oriya versions would have been filmed for similar situations.
(Bengali-)Hindi – Marathi Connection
The only Marathi film that Salil Chowdhury did was Sunbai (1982), produced by Hridaynath Mangeshkar. Guautam Choudhaury writes: Lata wanted to sing her favourite song once again in Marathi. She finally got to sing the same song three times in as many languages! I must say that the Marathi version ‘Preet Khule Maanjhi Soneri’ is equally beautiful.
The original Bengali song, recorded in 1961 – ‘Saat Bhaai Champaa Jaago Re’ is a classic and every Bengali knows it. This song seems to have been based on a Sihalese folk tune.
It’s slow hindi version in Mere Bhaiyaa “Pyaas Liye Manwaa” is also wonderful and also sung by Lata.
Salil Chaowdhury has done two Assamese films – Aparajeyo in 1970 and Manas Kanya in 1985. Gautam Chowdhury has not mentioned any Hindi connection to the songs of these films.
Salil Chowdhury’s only Guajarati film was Ghar Sansar (1978).
This film had a Guajarati folk tune based Prafull Dave song – Ho Halo Re Hansa- penned by a noted Gujarati poet Venibhai Purohit.
This song has only Bengali version in a 1980 film ‘Parabesh’ – O Ghoomer Moyna Paakhi by Asha Bhosle
and a Malayalam version in a 1975 film ‘Ragam’- Omanathinkal by P. Susheela .
We will end our post with a couple of Salil Chowdhaury’s Mohammad Rafi’s songs in other languages.
Zindagi Hai Kya Sum Meri Jaan Pyar Bhar Dil Meethi Juban – Maaya (1961) – Lyrics: Majrooh Sultanpuri
Salil Chowdhury had recorded a Bengali NFS – Jhar Jhar More – in the then Bengali and Hindi film hero Biswajeet. Biswajeet had made his Hindi Film debut with Bees Saal Baad.
Like his other contemporary Bengali music director S D Burman, Salil Chowdhury also had an inherent dislike for Mohammad Rafi’s natural Punjabi loudness as against a Bengali voice’s ‘tenderness’. SDB had had to use Rafi for a good many of songs from Pyasa (1957) till Aradhana (1969). In contrast, Salil Chowdhury seems to have used Rafi only when he had to. Dil Tadape Tadapaye, Unke Milan Ko Rarase Woh To Na Aaye (Poonam Ki Raat (1965) – Lyrics: Shailendra) is said to be one such case.
Salil Chaudhury had recorded this song in Bengali by Shyamal Mitra
and by Debabrat Biswas.
I personally feel that each of the singers has done justice to the delivery of the song in his own style.
We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Surinder Kaur generally would not fall into the category of well-known names of the playback singers for an average Hindi Film Song fan. We did recognise her potential when we listened to the Female Solo Songs of 1949.
Popular solo songs
Badnam Na Ho Jaaye Muhabbat Ka Fasana – Shaheed – Ghulam Haider – Qamar Jalalabadi
Taqdeer Ki Andhi Aisi Chali….Ujhada Ummedon Ka Chaman Ham Kahan Aur Tum Kahan – Shaheed – Gjulam Haider – Raja Mahendi Ali Khan
Other Solo Songs
Mere Dil Ki Ram Kahani Sun Ja Meri Jubani – Lal Dupatta – Gyan Dutt – D N Madhok
Mere Uljhe Uljhe Sapne Sulaz Na Paaye – Lal Dupatta – Gyan Dutt – Manohar Khanna
Chanchal Man Kahe Dhadake, Ruk Ja Ruk Ja – Lal Dupatta – Gyan Dutt – (??)
Akhiyan Mila Ke Akhiyan Roye Din Ratwa – Nadiya Ke Paar – C Ramchandra – Moti B.A.
Ek Nazar Woh Yaad Hai Unki, Jisne Dil Pe War Kiya – Nao – Gyan Dutt – D N Madhok
Tum Ho Na Ho Hamare Lo Ji Ham Gaye Tumhare – Nao – Gyan Dutt – D N Madhok
Kitane Door Hai Huzoor Jaise Mulaqat Ho – Pyar Ki Jeet – Husnlal Bhagatram – Qamar Jalalabadi
Aana Hai To Aa Bhi Jaao Gar AAj Bhi Na Aaye To – Shaheed – Ghulam Haider – Nakshab Jarachavi
The song for which I could not locate the soft link:
Ab Tere Bina Mera Nahi Thikana, O Pardesiya – Nao – Gyan Dutt – D N Madhok
We will take up solo songs of Ameerbai Karanatakiin our next episode in our The Micro View of the Songs of 1948 @ SoY series.