Categories
Centenary Celebrations

Sahir’s Songs of Romance – Four-film Associations

Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%.  By the turn of ‘60s GenNext music directors were in the process of  taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).

The two leading music directors of GenNext breed, R D Burman and Laxmikant Pyarelal had adapted almost contrasting styles of music direction during the decade of 70s. Our journey of Sahir Ludhianvi’s Romantic songs brings us to Sahir’s association of four films with R D Burman, ,one of these two music directors,  in our present episode.

R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.

Tera Mujhse Hai Naata Koi YuNhi NahiN Dil Lubhata Koi…. Jane Tu Ya Jane Na, Mane Tu Ya Mane Na – Aa Gale Lag Ja (1973) – Kishore Kumar

dhuaN dhuaN tha wo sama
yahaN wahaM jane kahaN
tu aur main kahiN mile the pahle
dekha tujhe to dil ne kaha
jane tu ya jane na

dekho abhi khona nahiN
kabhi juda hona nahiN
abke yuNhi milte rahenge dono
wada raha ye is sham ka
jane tu ya jane na

The song has another version, in the voices of Shushma Shreshtha and Kishore Kumar. Sahir Ludhianvi has altered the lyrics in sync with the new situation. This version had earned acclaim of the critics too.

dekho abhee khona nahiN, kabhee juda hona nahin
ab khel mein yuNhee rahenge ham dono
vada raha yeh is sham kaa
yuNhi nahiN dil lubhata koi

vade gaye batein gaiN, jagi jagi rateein gai
chaha jise mila nahi, to bhi hamein gila nahNi
apna to kya jiye marein chahe kuch ho
tujhko to jeena ras aa gaya
jane too ya jane naa

O Thehro Meri Jaan, Waada Karo NahiN Chhodogi Tum Mera Saath , Jahan Tum Ho, Wahan Main Bhi Hoon…..Chhuo NahiN Dekho Mera Haath, Zaraa Peechhe Rakho Haath, JawaaN Tum Ho JawaaN Main Bhi HuN – Aa Gale Lag Ja (1973) – Kishore Kumar, Lata Mangeshkar

suno meri jaan, haNske mujhe yeh keh do
bheege laboN ki narmi mere liye hai
ho, jawaaN nazar ki masti mere liye hai
hasiN ada ki shokhi mere liye hai
mere liye leke aayi ho yeh saugaat

mere hi peechhe aakhir pade ho tum kyuN
ek main jawaan nahiN hoon, aur bhi to hai
oh, mujhe hi ghere aakhir khade ho tum kyuN
main hi yahaN nahiN hooN aur bhi to hai
jaao jaake le lo jo bhi de de tumhein haath
jahaN sab hai, vahaN main bhi hooN

Kaanp Rahi Main Abhi Jara Tham Jaanam, Baaki Hai Raat Abhi, Haanf Rahi Main, Le LuN Jara Dum Jaanam, Na Kar Ye Baat Abhi  –  Joshila (1973) – Asha Bhosle

tune, o re mere jaani
jo hai ji mein thani
usse daruN main, daruN main …
tu jo, pass mere aaye
jaan meri jaye
aahein bharuN main
th th trak trak th ra
th th trak trak th ra
jane de re, rok jara hath abhi
kaanp rahi main

abhi, gul hai diye sare
pass aa ja pyare
ban ja diwana, diwana
jara, mast main bhi holuN
to ye tujhe boluN
tu hai nishana
th th trak trak th ra
th th trak trak th ra
main bhi huN, tu bhi hai sath abhi
kaanp rahi main

Maine Tujhe Maanga Tujhe Paya Hai, Tu Ne Mujhe Maanga Mujhe Payaa Hai … Aage Hamein Jo Bhi Mile, Mile Na Mile Gila NahiN – Deewar (1975) – Asha Bhosale, Kishore Kumar

chhanw ghani hi nahiN, dhoop kadi bhi, hoti hain rahoN mein
gam ho ke khushiyaN ho sabhi ko humein lena hain bahoN mein
yuN dukhi ho ke jinewale, kya ye tuze pata nahiN
maine tuze manga, tuze paya hai

jhid hain tumhein to lo lab pe na shikawa kabhi bhi layenge
has ke sahengeN jo dard ya gam bhi jahaN se payengein
tuzako jo bura lage, ayesa kabhi kiya nahiN
maine tuze manga, tuze paya hai

Meri Najhar Hai Tujhpe Teri Najhar Hai Mujhpe Isi Liye Rehate HaiN Dono Khoye Huye…. Tere Bina Jiyra Mane Na Lagi Agan Hai Ye Kaisi Haye Jane Na Manwa, Ho Sajna, Ho Tere Bina Jiyra Mane Na – The Burning Train (1980) – Asha Bhosle

tere liye kaliyaN maiN chunti rahuN
aashaaoN ki malayein bunti rahuN
jage mein bhi sapno mein khoi rahuN
sote mein bhi aahat si sunti rahuN
o sajna balma mujhko kya ho gaya
ho januN na januN na, tere bina jiyra mane na
lagi agan hai ye kaisi haye janae na balam ho sajana
meri najhar hai tujhpe teri najar hai mujhpe

….. …… …… …… …… ….

bichhad ke unse na jab dil kisi tarah bahla
sharabkhane ka rukh
sharabkhane ka rukh ekhtiyar hamne kiya
na aanewaloN ka kyuN
na aanewaloN ka kyuN intajhar kyuN hamne kiya
na aanewaloN ka kyuN intajhar kyuN hamne kiya
kisi ke vade pe kyuN, aitbar humne kiya

If R D Burman has maintained his unique style, Sahir Ludhianvi, too, has, retained the basic character of his poetry, in this era of film songs in the era of more predominance of action over the content, resulting in a unique combination of two different styles blending into a creative association.

In our next episode, we will again change the track from ‘70s to the earlier decades, with Sahir Ludhianvi’s five-film association with O P Nayyar.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Three Film Associations

Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with  anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.

Jaidev (B: 3-8-1918 | D: 6-1-1987) and Sahir Ludhianvi, both, had a common period  of their youth spent in Ludhiana. So, when they got together in Joru Ka Bhai (1955) it was expected to a reunion which would be very fruitful. But, the prides of both the talented artists created the situation where the relationship remained soured from the first stage. Fate gave them another chance in Hum Dono (1961). Their work together in this film revived the hopes. But the egos clashed again in the next outing, Mujhe Jeene Do (1963), and the paths separated out. Fate intervened once again in Laila Majnu (1976) when Jaidev took up the unfinished work of Madan Mohan. But that was too late to fill up the chasm of the separation of minds.

Surmai Raat Hai Sitare Hai, Aaj Dono Jahaan Hamare Hai, Subah Ka Intezaar Kaun Kare – Joru Ka Bhai (1955) – Lata Mangeshkar – Music: Jaidev

phir yah rut yah samaaN mile na mile
aarzu kaa chaman khile na khile
vaqt kaa aitabaar kaun kare

le bhi lo ham ko apani baahoN mein
ruh bechain hai nigaaho mein
iltejaa baar baar kaun kare

nayi raat dhalati jaati hai
ruh gam se pighalati jaati hai
teri zulfoN se pyaar kaun kare

Surmai Raat Dhalati Jaati Hai, Ruh Gam Se Pighalati Jaati Hai, Teri ZulfoN Se Payar Kaun Kare, Ab Tera Intezar Kaun Kare – Joru Ka Bhai (1955) – Talat Mahmood – Music: Jaidev

tumko apna bana ke dekh liya
ek baar aazma ke dekh liyaa
baar baar aitbaar kaun kare

ae dil e zaar saugwar na ho
unki chaahat mein beqaraar na ho
badnaseeboN se pyaar kaun kare

Abhi Na Jao Chhod Kar Ke Dil Abhi Bhara NahiN – Hum Dono (1961) – Mohammad Rafi, Asha Bhosle – Music: Jaidev

abhi abhi to aai ho, bahaar banake chhaai ho
havaa zara mahak to le, nazar zara bahak to le
ye shaam dhal to le zara, ye dil sambhal to le zara
maiN thodi der ji to lun, nashe ke ghunt pee to luN
nashe ke ghunt pee to luN
abhi to kuchh kaha nahiN, abhi to kuchh suna nahNi

sitare jhilamilaa uthe,
charaag jagamagaa uthe
bas ab na mujhako tokanaa …..
na badhake raah rokna
agar maiN ruk gayi abhi to jaa na paaungi kabhi
yahi kahoge tum sadaa ke dil abhi nahiN bharaa
jo khatm ho kisi jagah ye aisa silsilaa nahiN

adhuri aas, adhuri pyaas chhod ke, adhuri pyaas chhod ke
jo roz yunhi jaaogi to kis tarah nibhaaogi
ki zindagi ki raah mein, javaaN dilo ki chaah mein
kai mukaam aayenge jo ham ko aajmayenge
buraa na maano baat kaa ye pyaar hai gila nahiN

haaN, yahi kahoge tum sadaa ke dil abhi nahiN bharaa

haaN, dil abhi bharaa nahiN nahiN nahNi nahiN nahiN

Maang Mein Bhar Le Rang Sakhi …Anchal Bhar Le Taare Ke Milan Ritu Aa Gayi….Jaegi Tu Un Sang Jo Tohe Lage Pyare, Milan Ritu Aa Gayi – Mujhe Jeene Do (1963) – Asha Bhosle, Chorus – Music: Jaidev

koi chandi ke rath mein aya hai
mere babul, mere babul ki rajadhani mein
maiN use dekhati huN chhup chhup kar
ek halachal si hai jawani mein
tadake ek ek ang sakhi re
aaj khushi ke mare, milan ritu aa gayi

surkh chudaa hai meri baaho me
surkh jodaa mere badan par hai
sab ki nazarein hai mere chahare par
aur meri nazar sajan par hai
machali jaye umang sakhi ri
dhadakan kare ishaare, milan ritu aa gayi

meri doli saja rahe hai kahar
phul bikhare hue hai raahoN mein
phul bikhare hue hai raahoN mein
jinki baho ki arazu thi mujhe
jaa rahi huN maiN unaki bahoN mein
angna lage tag sakhi ri
piya jab banh pasare, milan ritu aa gayi

Raat Bhi Hai Kuchh Bhigi Bhigi, Chand Bhi Hai Kuchh Madhdham Madhdham, Tum Aao To Aankhein Khole Soyi Hui Payal Ki Chham Chham – Mujhe Jeene Do (1963) – Lata Mangeshkar – Music: Jaidev

kisko bataaeN kaise bataaeN
aaj ajab hai dil kaa aalam
chain bhi hai kuchh halkaa halkaa
dard bhi hai kuchh maddham maddham

tapte dil par yu girati hai
teri nazar se pyaar ki shabanam
teri nazar se pyaar ki shabanam
jalate hue jangal par jaise
barakhaa barase ruk-ruk tham-tham

hosh mein thodi behoshi hai
….   ……  ……..   ……. …..
behoshi mein hosh hai kam kam
….   ……  ……..   ……. …..
tujhko paane ki koshish mein
….   ……  ……..   ……. …..
dono jahaaN se kho gae ham
….   ……  ……..   ……. …..

chham-chham, chham-chham

Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff[1] kise pesh karuN in the set of three ghazals in the same film, Ghazal (1964), viz.

Nagma-o-sher Ki Saugat Kise Pesh KaruN – Lata Mangeshkar

Ishq Ki Garmi- e-jaazbat Kise Pesh KaruN – Mohammad Rafi, and

Rang Aur Noor Ki Baraat Kise Pesh KaruN – Mohammad Rafi

Each one is as exquisitely penned by Sahir as is composed Madan Mohan.

Chand Madhdham Hai AasmaN Chup Hai, NeeNd Ki God Mein JahaaN Chup Hai – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

door vaadi mein doodhiyaa baadal
jhuk ke parbat ko pyaar karte hain
dil mein naakaam hasratein lekar
ham teraa intazaar karte hain

in bahaaroN ke saaye mein aajaa
phir mohabbat javaaN rahe na rahe
zindagi tere naamuraadoN par
kal talak meharbaaN rahe na rahe

roz ki tarah aaj bhi taare
subah ki gard mein na kho jaayein
aa tere gham mein jaagti aankhein
kam-se-kam ek raat so jaayein

Jiya Kho Gaya Ho Tera Ho Gaya, Main KahuN To Kaise KahuN, Jiya Kho Gaya – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

gair hai phir bhii tu mujhko apna lage
terii har baat chahat ka sapna lage

uthate uthate jhukuN, jhukte jhukte uthuN
aur takra gai do nigahein
phul se khil gaye dil se dil mil gaye
jaise milti hai manzil se rahein

mujhko apne pe bhii laaj aane lagii
main akele mein chhup chhup ke gane lagi

Mujhe Ye Phool Na De Tujhko Dilbari Ki Qasam, Ye Kuchh Nahi….Tere HothoN Ki Tajhagi Ki Qasam –  Ghazal (1964) – Mohammad Rafi, Suman Kalyanpur – Music: Madan Mohan

najhar hasiN ho to jalve hasiN lagte hai
main kuch nahiN huN mujhe husn ki qasam

tu ek saaz hai chheda nahi kisi ne jise
tere badan mein chhupi narm ragini ki qasam

ye ragani tere dil mein hai mere tan mein nahi
parkhne wale mujhe teri sadgi ki qasam

gazal ka lauch hai tu najam ka shabab hai tu
yakin kar mujhe meri hi shayri ki qasam

Unse Nazarein Mili Aur Hijhab Aa Gaya, Zinagai Mein HasiN Inquilab Aa Gaya – Ghazal (1964) – Lata Mangeshkar, Minoo Purushottam – Music: Madan Mohan

bekhabar the umar ke taqaazoN se ham
hamko maalum na tha aise bhi din aayege
aayina dekhe to aap apne se sharamaayege
…..    ……  ……   …… ……
bekhabar the umar ke taqaazo se ham
aaj jaana ki sach much shabaab aa gaya

aankh jhukati hai kyoN saans rukati hai kyoN
in savaalo ka khud se javaab aa gaya

dil ke aane ko ham kis tarah rokate
jispe aana tha khaana kharaab aa gaya

Is Reshami Pazeb Ki Zankar Ke Sadquay … Jisne Yeh Pehnai Hai Us Dildar Ke Sadquay – Laila Majnu (1976) – Mohammad Rafi, Lata Mangeshkar – Music Madan Mohan

us jhulf ke qurbaN lab-o-rukhsar ke sadquay
har jalwa tha ik shola husn-e-yar ke sadquay

jawani mangati thi yeh hasin jhankar barsoN se
tamanna bun rahi thi dhadakno ke tar barsoN se
…..   ……    ……  …… 
chhup-chhup ke aanewale tere pyar ke sadquay

jawani so rahi thi husn ki rangin panaho mein
chura laye ham unke najani jalwe nigaho mein
….. ……   ……    …… ……….
kismat se jo huwa hai us didar ke sadquay
…       …..          …….  ……        ……..

us jhulf ke qurban lab-o-ruksar ke sadquay

najhar lahra rahi hai jism pe masti si chhayi hai
dubara dekhne ki shauk ne halchal machai hai
…..   ……   …….    ……….  ……
dil ko jo lag gaya hai us ajhar ke sadquay

Ye Diwane Ki Zid Hai…Apne Diwane Ki Khatir Aa – Laila Majnu (1976) – Mohammad Rafi – Music: Jaidev

jahaN mein quais jhinda hai
to laila mar nahiN sakati

ye da’awaa aaj
duniya bhar se
manwane ke liye aa

….  ….. ….. .   ….. …..    ……

tere dar se main khali laut jauN
kya qayamat hai
tu meri ruh ka kaa’aba
meri jaan-e- ibaadat hai

jhabeen-e-shauq ke
sajdon ko apnaane
ki khaatir aa

Sahir’s lyrics also spans over two decades with the common link of 1976 film Laila Majnu However, the subject of the film, Laila Majnu, and support of music of two music directors – Jaidev and Madan Mohan  – who could  truly lend music to his poetry, provide ample opportunity to Sahir Ludhiyanvi to maintain his elements in his lyrics even after the quite transformed period of HFM in the second half of ‘70s.

In the next episode, we will take up Sahir Ludhianvi’s romantic songs composed by R D Burman for four films they did together.

[1] Radiff (Arabic: رديف) is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a Ghazal, the second line of all the couplets (bayts or Shers) must end with the same word/s. This repeating of common words is the “Radfif” of the Ghazal. (Source: Wikipedia)

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Two Film Association(s)

Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem.  His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:

hazār barq gire laakh āñdhiyāñ uTTheñ
vo phuul khil ke raheñge jo khilne vaale haiñ

Let thousands ice fall, lakhs of dust-storm rise
The flower shall blossom that is so destined.

Sahir Ludhianvi’s association with as many as 31 music directors, for the 122 films for which he penned songs, certainly provided Sahir to blossom into as many different shades that he was destined to blossom into.

Presenly, we will take up Sahir Ludhianvi;s Songs of Romance with the music directors with who he did films in his career. These music directors re, in the sequence of their first year of association, are: Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty

Usha Khanna (B: 1942), is a member of the rare elite club of female music directors in the Hindi films. Her first ever Hindi film was Dil Deke Dekho (1959).the two films where she worked with Sahir Ludhianvi are Hum Hindustan (1960) her second film and then Lakshmi a good 22 years later.

Hum Jab Chale To Ye Jahan Jhume, Aarzu Hamari AasmaN Ko Chume – Hum Hindustani (1960) – Mohammad Rafi – Music: Usha Khanna

Sahir has penned only this song for ‘Hum Hindustani’!

hamse hai fizaoN meein rang-o-bu
ham hai is jamiM ki aarzu
nadiyo ki ragini hamse hai
har taraf ye tajhgi hamse hai
hum chale to chal pade jhindagi

Halat Se Ladna Mushkil Tha, Halat Se Rishta Jod Liya– Lakshmi (1982) – Asha Bhosle – Music: Usha Khanna

The song is set to a mujra composition, but the lyrics have a profound sense of regret for not having been able to fight the circumstances. As such, this is not a song of romance that has happiness of love, but has the quintessential poetic bitterness of reality, and hence would stand excluded from the present series.

However, as noted in the preamble to the preamble, Sahir ‘s film songs sound a very different note even when they depict the bare realities of the world. Here is one such illustration.

chunri ranga li maine bindiya sajali maine
….. ….   …    ….. …
jhumar ki mang patti dil se saja li maine
…. ….  ….. …..
kar liye solah
kar liye solah singar singar singar
najro ki pyas bujhalo jamane walo
jalwo se dil bahlalo jamane walo

Rashid Attre (a.k.a. Abdul Rasheed Attra, B: 15 February 1919 – D: 18 December 1967) possessed varied musical talents.  His initiation to Hindi films took place in Calcutta in 1942. He moved to Bombay (as it was then called) in 1943 and worked successfully till 1947 when he migrated to Pakistan. His last film in Bombay was Shikayat, which was released in 1948. In his second innings at Pakistan, he composed for as many as 80 films.  Rashid Aatre and Sahir Ludhianvi have combined in two Pakistani films – Solah Anne (1960) and Farangi (1964). In the absence of the authentic source for the songs, I have refrained from presenting any song here.

Chitragupt (a.k.a. Chitragupt Shrivastava -B: 16 November 1917 – D: 14 January 1991) has composed music for more than 150 films, in a career spanning from 1946 to 1988 (his one film was released posthumously in 1998) but does not seem to have received the credit duet to him. Chitragupt’s two films with Sahir Ludhianvi are Vaasana (1968) and Sansar (1971).

I have picked up two songs each from Vaasna and Sansar, each presenting different mood within the shade of romance.

Ye ParabatoN Ke Dayare, Ye Sham Ka DhuaaN, Aise Mein Kyon Na Chhed De Dilo Ki DastaaN – Vaasana ((1968) – Mohammad Rafi, Lata Mangeshkar – Music – Chitragupt

jara si zulf khol do, fiza me itr ghol do
najar jo baat kah chuki woh baat munh se bol do
ki jhum uthe nigaah me bahaar ka sama

yeh chup bhi ek savaal hai, ajib dil kaa haal hai
has ik khayaal kho gaya, bas abb yahi khayaal hai
ki fasala na kuchh rahe hamaare darmiya

yeh rup rang yeh paban chamakte chaand sa badan
bura na mano tum agar toh chum lu kiran kiran
ki aaj hausalo me hai bala ki garmiya

Itni Nazuk Na Bano.. Had Ke Andar Ho Nazakat To Adaa Hoti Hai… Had Se Badh Jaye To Apni Sazaa Hoti Hai – Vaasana (1968) – Mohammad Rafi – Music: Chitragupt

jism kaa bojh uthaaye nahi uthta tumse
zindgaani kaa kada bojh sahogi kaise
tum jo halki si hawaao me lachak jaati ho
tez jhonko ke thapedo me rahogi kaise

koi rukta nahi thahre hue raahi ke liye
jo bhi dekhega voh katraake guzar jaayega
hum agar vaqt ke hamraah naa chalne paaye
vaqt ham dono ko thukraake guzar jaayegaa

Mile Jitni Sharab Main To Peeta HuN, Rakhhe Kaun Ye Hisaab Main To Peeta HuN – Sansar (1970) – Kishore Kumar – Music: Chitragupt

koi apna ager ho to toke mujhe
main galat kar raha huN to roke mujhe
kise dena hai jawab …..
main to pita huN

Raja Jani Raja Jani Na Maro Nayanawa Ke Teer Re – Sansar (1971) Krishan Kalle – Music: Chitragupt

abhi nadan hu mai najuk jan hu
mujhe aise na maro yuhi halkan hu
mujhe aise na maro aise na maro
tikhi tikhi nazroN se dekho na sawriya
…  …..   ….  …
sah na sakungi abhi kachi hai umariya kachi hai umariya
maro na katari do dhari uthe teer re raja jani dilbar jani

Kalyanji Anandji carved their path of success in the face of stiff competition from the array of top-line music directors. They have composed music for over 250 films. With Sahir Ludhianvi, they have two films – Nanha Farishta (1969) and Shankar Shambhu (1976).

O Re Sharabi Tujh Mein Ek Kharabi… Sikha Na Tune Kisi Se Pyar Karana… Tujhe Aa Main Pyar Sikha DuN – Nanha Farishta (1969) – Asha Bhosle – Music; Kalyanji Anandji

ho sake to samjhle raat kya kah rahi haiN
raat kya kah rahi hain
ye dhadkati khamoshi baat kya kah rahi haiN
kya kah rahi haiN
thoda sa ishaara ho to palbhar mein
abhi laakho rang luta duN
aa main pyar sikha duN

Bheege Hue JalwoN Par Aise Na Najhar Dalo, Dil Chahe Idhar Rakhkho Par Aankh Udhar Rakhkho.. – Shankar Shambhu (1976) – Lata Mangeshkar, Mohammad Rafi – Music: Kalyanji Anandji

in garam nigaho se jajbat bhadakte hai
ahsaas sulagta hai arman dhadkate hai
ruk jao ruk jao
ruk jao abhi dil par itna na asar dalo

soyi hui dhadkan ko khud tumne jagaya hai
sanso se pukara hai najro se bulaya hai
mat apni khatao ko
mat apni khatao ko ab aur ke sar dalo

kab hamne kaha tumse hum tum pe nahi marte
tum kuch bhi kaho tum par ilzam nahi dharte
beraham ho beraham ho
beraham ho katil ho ye katal bhi kar dalo

Sapan Chakravarty (a.k.a. Swapn Chakraborty), though known more as assistant to R D Burman, and two of the more known songs in his voice – Mere Saath Chale Na Saya (Kitab,1977) and Preetam Aan Milo (Angoor,1982) – has composed music for 5 Hindi and 15 Bengali films.

Jaaney Aaj Kya Hua Aisa Kabhi Hua Na Tha, Sanso Mein Ghule Nasha Jaisa Kabhi Ghula Na Tha, Tumhi Bolo Kya Karein Aisa Hoga Pata Na Tha – 36 Ghante (1974) – Kishore Kumar, Asha Bhosle – Music: Sapan Chakravarty

chhaya chhaya dur tak
rango ka gubbar hai
aisa toh na tha jahan
ho na ho yeh pyar hai
khawabo ka sama saja
jaisa kabhi saja na tha

Tum Bhi Chalo Hum Bhi Chale, Chalti Rahe Zindagi, Na ZamiN Manzil Na AasamaN, Zindagi Hai Zindagi – Zameer (1975) – Kishore Kumar, Asha Bhosle – Music Sapan Chakravarty

behte chale hum masti ke dhaaroM mein
gunje yahi dhun sada dil ke taaroN mein
ab ruke na kabhi pyar ka kaarwa
neet nayi rut ke rang mein dhalti rahe jindagi

Before we end our present episode, a detour to Sahir Ludhianvi- Khayyam’s two films – out 7 they did together – is in order. Phir Subah Hogi (1958) and Shagoon (1964) are the films belonging to the Golden era period of Hindi films whereas other five films belong to the post-golden era period.

Phir Na Kije Meri Gustakh Nigahi Ka Gila
Dekhiye Aapne Phir Pyar Se Dekha Mujhko

Main Kaha Tak Na NigahoN Ko Palatane Na Deti
Aapne Kai Baar Pukara Mujhko – Phir Subah Hogi (1958)- Mukesh, Asha Bhosle – Music: Khayyam

Is kadar pyar se dekho na hamari janib
dil agar aur machal jaye to mushkil hogi

tum jahaN meri taraf dekh ke ruk jaaoge
vohi manjil meri taqadir ki manjil hogi

ek yunhi si nazar dil ko jo chhu leti hai
kitne armaan jagati hai tumhe kya maalum

ruh bechain hai kadmo se lipatne ke liye
tumko har saans bulati hai tumhe kya maalum

har nazar aap ki jazbaat ko uksati hai
maiN agar hath pakad luN to khafa mat hona

meri duniya-e-mohabbat hai tumhare dam se
meri duniya-e-mohabbat se juda mat hona

Itane Qareeb Aake Kya Jaane Kis Liye
Kuchh Ajanabi Se Aap haI Kuchh Ajanabi Se Hum

Woh Ek Baat Thi Jo Faqat Aap Ke Liye
Woh Ek Baat Kah Na Sake Aap Hi Se Hum – Shagoon (1964) – Talat Mahmood, Mubarak Begum – Music Khayyam

aisi to koi qaid nahi dil ki baat par
apas ki baat hai to dare kyo kisi se ham

tum dur ho to maut bhi aaye na ham ko raas
tum paas to jaan bhi de de khushi se ham

maut ek vaham, aur haqikat hai zindagi
ik dusare ko maangege is zindagi se ham

Shagoon has two more romantic gems – ParabatoN Ke PedoN Par Sham Ka Basera Hai (Mohammad Rafi, Lata Mangeshkar) and Tum Chali Jaogi ParchhaiyaN Rah Jayegi (Mohammad Rafi).

As we once again traversed across the whole career span  of Sahir Ludhianvi, it is observed that Sahir has been able to maintain the quality of lyrics across each different music directors, even during the last, post-Golden Era. One may presume the pressures changing tastes of the cine-going public. However at no time one can say that he got away with ‘filmy-style’ lyrics even for Sahir’ songs in’70s..

We end here our present episode of homage to Sahir Ludhianvi, through his romantic songs with the five (plus one) 2-film-association music directors.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – One Film Association(s)

This is the year of Sahir Ludhianvi’s birth (March 8, 1921) centenary. As can be expected, there was an avalanche of articles in magazines, newspapers and blogs in the month of March 2021. At first glance, that gave me the impression that everything that needs to be said about Sahir Ludhianvi has been already covered in all these articles. One easily remembers many of his 724 songs, particularly of his most productive decades of 50’and ‘60s, too. As such, I was not able to figure an approach where I can get to know Sahir’s songs, in more details, more intensely, and more systematically.

As I kept pondering through the commemorative articles, two aspects attracted my attention –

  • One, apart from the Golden Era music directors S D Burman, N Dutta, Ravi, Roshan, O P Nayyar, Madan Mohan, Khayyam, Jaidev or Kalyanji Anandji, Laxmikant Pyarelal and R D Burman of second generation, or Rajesh Roshan of the still next generation of music directors, he has worked with many other music directors as well.
  • Two, he is generally remembered for his poems of rebel. However, as a lyricist he would certainly have written songs of pure romance as well.

These two aspects have led me to pen the present series of articles under the title, Sahir’s Songs of Romance. I plan to cover all music directors with whom Sahir Ludhianvi has worked in his career spanning from his inception to the world of HFM in 1948 till his passing away, including the films which were either released thereafter or even not released.

I have selected the songs that have different happy forms of expressions of love, whether sublime or mundane. Thus, the songs that have feelings of pathos or bitterness are excluded. I have also chosen not include qawwalis here.

I have studiedly maintained my intervention to the minimum. I have selected as much of the lyrics of first lines of the song that Sahir uses to set the tone of romance in the song. Then, I have also presented the selected lines from each song, which in my view, manifests Sahir’s versatility as poet and as a lyricist. Listening to the YT clip provides the charm of the entire song.

We will begin the series with Sahir’s Songs of Romance, composed by the music directors who had only one film association with Sahir Ludhianvi and then will proceed with ascending numbers of associations.

One Film Association(s)

Sahir Ludhianvi has penned lyrics for 122 films, spanning his association with 31 music directors. Of these 31 music directors, as many as fourteen music directors have had one film association with Sahir. Sahir’ first step into the Hindi Film Music world was in 1948, which, incidentally, happens to be a one film association with music director G D Kapoor. In his most prolific decade, 50s, Sahir had six one-film associations, the highest for any decade. Of these, three films were in 1953 only, just as he was settling into a successful association with S D Burman. 60s have only two one-film associations. The decade of 70s when Sahir had done 26 films, four were one-film associations. 80s has one one-film association. Thus, the present episode also provides us a vintage view of the entire career of Sahir Ludhianvi’s entire carrier.

Here, I have not been able to include any song, composed by G D Kapoor (Azadi Ki Raah Par, 1948), Nirmal Kumar (Lal Nishan, 1959) and Robin Chatterjee (Masoom, 1960). Azadi Ki Rah Par and Masoom had subjects wherein a romantic film had, in fact, no place. Lal Nishan has only one Sahir song, which is a qawwali. As such, the music directors of these films, G D Kapoor, Robin Chatterjee and Nirmal Kumar are not represented in this episode.

Meri NaghmoN Mein …. Un Mastaanaa Aankhon Ki Kahaani Hai, Mohabbat Hi Mohabbat Hai Jawani Hi Jawani HaiAlif Laila (1953) – Talat Mehmood – Shyam Sundar

Mohabbat meri duniya hai
Mohabbat shaayari meri
Mohabbat mera naghmaa hai
Mohabbat zindagi meri
Mohabbat ke sahaare…
ek nayi duniyaa basaani hai

mohabbat hi mohabbat hai
jawani hi jawani hai……

Kisi Ne Nazar Se Nazar Jab Mila Di…..Meri Zindagi Ha Ha Meri Zindagi, Jhum Kar Muskara Di Meri Zindagi – Humsafar (1953) – Talat Mahmood, Asha Bhosle – Ali Akbar Khan

zubaN se to hum kuchh na bole the lekin,…

nigahoN ne dil ki kahani suna di

.. har ek sans masti me dubi huyi hai….
khuda janta ki kya se pila di

meri taza duniya pe rang aa gaya hai
kisi ne khayalo ki mehfil saza di

Ye Mausam Ye Hawaye Ye Rut Suhani Fir Na Aayegi…. Jawani Mauj-e- Dariya Hai Jawani Jo Laut Ke Na Aayegi – Shole (1953) – Hemant Kumar, Geeta Dutt – Dhaniram

nigahe mila or ek jam lele …

jawani ke sir koi lizam lele….

nigahe mila….

nigaho ke saaye me palti hai duniya….

hasino ke hamraah chalti hai duniya…

hasino ke pehlu me aaram le lo…nigahe mila…..

Aaj Kisi Ke Dil Ke Haatho Ne, Dil Ke Taaro Ko Chhed Diya – Savdhan (1954) – Asha Bhosle – Vasant Ramchandra

aaj meri tanhaai apne aap se bhi sharmaane lagi
dil ki dhadkan nagama bankar, hontho par lahraane lagi

jo saahil ko saath baha le
un dhaaro ko chhed diya

har jhokhe se mujhko unake saath ki khushbu aati hai
tanman mein ek thandi thandi aag bikharti jaati hai
jaane kisaki shokh najar ne…

angaaro ko chhed diyaa

Dil Ki Duniya Mein Aa Ke Na Jaana … Tujhe Meri Qasam Na Rulana, Ya Rabba Teri Teri… Yaad.. – Chingaari ( (1955) – Lata Mangeshkar, Unknown male voice – Manohar

aaja pyar ke tarane gaye…
aaja aisa ek jaha basaye

chand ka diya ho
jismein tare loriya sunaye….
sapno ke dole mein jhula jhulaye hamein bag-e- sama

bhigi bhigi rat ye najare
dil ki bat kahte hai sitare
aankho me nur bhar de dil me sarur bhar de

arzu yahi hai meri justzu yahi hai
na ja dilbar na ja ankhyio me aake
o mere dilruba mere dil se
na ja hai ye dil ki dua

Kashti Ka Khamosh Safar Hai, Shaam Bhi Hai Tanhayi Bhi, Dur Kinare Par Bajati Hai Laharo Ki Shahnayi Bhi ….. Aaj Mujhe Kuchh Kahena Hai – Girl Friend (1960) – Kishore Kumar, Sudha Malhotra  – Hemant Kumar

kabse tumhaare raste pe main phul bichhaaye baithi huN
kah bhi chuko jo kahna hai mani aas lagaaye baithi huN

dil ne dil ki baat samajh li, ab munh se kya kahana hai
aaj nahi to kal kah lenge, ab to saath hi rahna hai

kah bhi chuko, kah bhi chuko jo kahna hai

chhodo ab kya kahna hai

Umr Huyee Tumse Miley Phir Bhi Jaane Kyun Aisa Lage Pahli Baar Mile HaiN – Bahurani (1963) – Lata Mangeshkar, Hemant Kumar – C Ramchandra

jhum uthaa tan, man me ek aisi baat aa gai
jiski thi lagan, ….
aaj vo milan ki raat aa gai

akele rah gaye, akhiyaan bah gayi

umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai

Chor Hamne Fasaya… Haye…. Ke Bach Na Paya, Aaha…. Pakad Mein Aaya – Bhai Ho To Aisa (1972) – Lata Mangeshkar – Sonik Omi

haye re kabhi nain ghumaye kabhi hoth chabaye
maine iska pyar bhadkane ko sabhi teer chalaye
maiN thi tak mein

kabse fasa aaj sabab se
ho ab to chakha du maja

Ab Se Pehle To Ye Dil Ki Haalat Na Thi…Aaj Kya Ho Gaya … Zindagi Dusaro Ki Amanat Na Thi – Nawab Sahib (1978) – Usha Mangeshkar – C Arjun

apne andaaz par naaz karte the hum

humko apni qasam
gair se baat karne ki fursat na thi

aaj kya ho gaya

Baahon Mein Teri Masti Ke Ghere, Saanson Mein Teri Khushboo Ke Dere – Kala Patthar (1979) – Lata Mangeshkar, Mohammad Rafi — Rajesh Roshan

khvabo me jisako tanha javani baraso se takati thi,

tu vahi hai

chhune se jisako sine me meri lau jag sakati thi,

tu vahi hai

kuchh khvab mere, kuchh khvab tere

 yun milate jate hai

dil khilate jate hai,

lab gun-gunate hai

sason me teri, khushabu ke dere khushabu ke dere

Ye Aankhein Dekhkar Hum Saari Duniya Bhool Jate Hain – Dhanwaan (1981) – Lata Mangeshkar, Suresh Wadkar – Hridaynath Mangeshkar

tum apni mahki mahki julf ke pecho ko kam kar do
musafir in mein girkar apna rasta bhul jaate hai

… …..  … …. ….. …. …

bahut kuch tumse kahne ki tamanna dil me rakhte hai
magar jab saamne aate ho to kahna bhul jaate hai

Mohabbat mein zuba chup ho to aankhein baat karti hai

ye kah deti hai vo baate jo kahna bhul jaate hai

With this we come to the end of the present one-film association phase of Sahir Ludhianvi’s collaboration with different music directors. As can be expected, the range of music directors, films and film subjects, is very wide. Even the span of years also spreads over Sahir Ludhianvi’s entire career. Apparently, the duets – one of the most popular and universal formats for expression of romance on the screen – is predominant in the present episode. However, we easily get to feel Sahir’s creativity, his range of words, ease of use of different languages and different forms specific to such languages. 

We wil take up Sahir’s Songs of Romance with two-film association music directors in our next episode.

Categories
Centenary Celebrations

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

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

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

Kavi Pradeep

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

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

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

Chitalkar

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

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

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

Ravi

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

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

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

Aside:

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

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

Balbir

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

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

Mukesh – In a Version Song

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

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

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

Asides:

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

Anil Kumar

Hardly anything is known of this singer.

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

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

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

Yesudas

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

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

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

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

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

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


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


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

 

Categories
Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions: Male songs – [2] – Kishore Kumar | Manna Dey

Kishore Kumar and Manna Dey were the other two mainstream Hindi playback singers for whom Hemant Kumar composed songs when it seemed to the THE choice that was available.

Kishore Kumar

The songs that Hemant Kumar has composed in Kishore Kumar’s voice have two have two essential variants – one is the songs for the films wherein Kishore Kumar was also acting, and the other is where Kishore Kumar has been playback singer to some other actor on the screen.

Here are a few representative songs, each representing a different mood, each one representing three different phases of Hemant Kumar’s career in Hindi films as music director.

Ek Roz Hamari Bhi Daal Galegi – Bandi (1957) – Lyrics: Rajinder Krishna

The opening lines follow a parody form of popular folk lyrics, Kishore Kumar freely improvising his frustrating progress with cooking the food. The couplet ends with Kishore Kumar’s signature style of parodying of some of the classics, K L Saigal’s Panchhi Kahe Hot Udaas in the present case. The song then moves in, providing enough space to Kishore Kumar’s antics.

Aaj Rona Pada Toh Samjhe, Hasane Ka Mol Kya Hai – Girl Friend (1961) – Lyrics: Sahir Ludhyanvi

The song ranks as one the Kishore Kumar classics. Composed with minimal orchestration support, the composition fully brings into play the beauty of Kishore Kumar’s vocal cords.

Gaana Na Aaya Bajana Na Aaya, Dilbar Ko Ana Bana Na Aaya – Miss Mary (1957) – Lyrics: Rajinder Krishna

Here is a song that has all the trappings of Kishore Kumar’s natural mischievous mannerisms. The net effect is that he indeed sounds so out of tune.

Hawaaon Pe Likh Do Hawaaon Ke Naam – Do Dooni Chaar (1968) – Lyrics: Gulzar

The prelude to the song, mainly in the form of base-tone humming and slightly-higher-scale short alaaps by Kishore Kumar sets the pensive mood of the song.

Aside trivia: The child artist in the frame @0.57, subsequently shown strolling with goat cub, accompanying Kishor Kumar in the whole song is Baby Neetu Singh.

Woh Shaam Kuchh Ajeeb Thi – Khamoshi (1969) – Lyrics: Gulzar

This is one song that is enshrined in the roll of honors in the Kishore Kumar’s filmography. In fact, it may not be exaggeration to say that the song helps to lift the mood of the situation – ruefully reminiscing those moments when the protagonist was with his beloved in the present.

Vaidh Ke Palle Pade , Kaise Vaid Ke Palle Pade, Marta Mar Jaaye Rog Se Rogi, Vaidh Se Kaun Lade Raahgeer (1969)  – Lyrics : Gulzar

This comedy songs is to the tune of the famous prayer Om Jai Jagdeesh Hare.

Manna Dey

Even as Hemant Kumar has used Manna Dey very sparingly, he has fully exploited the flexibility and range of Manna Dey’s singing prowess.

Ek Bade Baap Ki Beti Kal Ghar Ke Munsi Sang Dekha Gul Mil Batiya Karte – Bandi (1957) – Lyrics: Rajinder Krishna

The ‘common men’ are enjoying behind-the-back jibes at ‘bade log’ and their lifestyles.  The song is filmed as a street nautanki performance, and Hemant Kumar too also has composed it as such and then let Manna Dey do the rest of the job.

Rehne Ko Ghar Do – Biwi Aur Makaan (1966) – Lyrics: Gulzar

The song seems to be tailor made for Mehmood’s signature theatrics on the screen.

Dost Kahan Koi Tumsa, Tumsa Nahi Koi Mister – Khamoshi (1969) – Lyrics: Gulzar

This is a typical mandatory song that must be assigned to a comedian in the film. In most the cases, music directors, lyricists and singers have turned such occasions into presenting a song that, at the minimum, ensures that the public in the cinema hall remains seated during the song.

In the third and concluding part, we will take up Hemant Kumar;s Male Songs in the voices of  Other Singers.

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

 

Categories
Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions: Male songs – [1] – Hemant Kumar | Mohammad Rafi

Every time the topic of Hemant Kumar’s Hindi Film Songs in Male voice comes up, the discussion usually gets marooned in the question – was he a great composer who also sang well or was he a great singer who also made some memorable music?

This article essentially is a part of the overall portrait of Hemant Kumar as a music director. Therefore, it is incumbent of the spirit of the article that we remain focussed on the first part of the question only and leave the answer to the second part to the judgement of the readers.

The distribution curve of Hemant Kumar’s male solo song compositions is, perhaps naturally, more skewed towards his own songs. However, as a music director, he seemed to be aware of the needs of the situation of the song and those of the market forces while choosing to use the voice of other male playback singers for his male songs.

Talat Mahmood and Mukesh, being nearer his own voice quality, Hemant Kumar perhaps did not seem to have felt much need for solo songs in these voices. Also, the Hemant Kumar did not get to compose music for the films for those heroes for whom thier voices would have been the order of the day. The case of use Manna Dey appears to be beyond discussion in an article like this, in the absence of availability of any major back-up, dependable, reasoning. In any case, Manna Dey was getting almost a similar treatment in the industry. We need to rest with the fact that he was used, very, sparingly.

As such, the tail of Hemant Kumar’s male solo compositions remains skewed in favour of Mohammad Rafi, and then to a lesser degree in favour of Kishore Kumar.

For the purpose of our article, we shall stick to basic tenet that a music director knows which voice would do justice to his composition. Our role is here to cast our net wide across the breadth of Hemant Kumar compositions in the films for which he was music director and dig out all possible male songs on the table. Once done, the selection of songs is so filtered such that picture that emerges presents us a very representative retrospective of the range of Hemant Kumar as a music director.

Hemant Kumar

Hemant Kumar’s compositions in Hemant Kumar’s own voice would easily call for a special, stand-alone, wholesome treatment to have the complete picture over different moods, for different actors and for the lyrics penned by different lyricists. Presently, I have selected songs from three different periods, in three different moods.

Dil Chhed Koi Aisa Nagma, Geeton Mein Zamana Kho JaayeInspector (1956) – Lyrics: Rajinder Krishna

This is a song of pensive mood. Hemant Kumar’s soft, baritone voice ideally suits such moods.

The song has a twin Lata Mangeshkar version as well. The video clip here has both versions.

Sawan Mein Barkha Sataye Pal Pal Chin Chin Barse – Biwi Aur Makaan (1966) – Lyrics: Gulzar

Here is a song that is sheer romance, expressing a strong feeling for belonging with the beloved one when it is raining. The throw of lyric – Sawan Mein – at the very beginning of the song,or scaling up the up the delivery of lyrics midway in each stanza, present the creativity of Hemant Kumar as music director as well as his flexibility in the singing as a singer.

Tumhare Nain Dekh Ke Suna Hai Log Jogi Ho Gaye – Rahgeer (1969) – Lyrics: Gulzar

The poem composed by Gulzar, with long, narrative stanzas, would be a challenge to a music director to yield a melodious song.  For a singer also to sing all these lines without loss of breath is equally an imposing challenge. Hemant Kumar, in the dual role of the music director and the singer, has so deftly handled both the challenges.

Mohammad Rafi

Hemant Kumar’s choice of Mohammad Rafi as a second highest male singer is ample testimony of his true role play of a music director. Hemant Kumar’s solo song compositions in Mohammad Rafi’s voice also is a subject for a separate, full-fledged analysis, as he has used Rafi’s voice from lead actors to character actors; from romantic songs to comedy songs to pathos moods songs to pensive songs, set to a wide range of situations.

Paase Sabhi Ulat Gaye, Dushman Ki Chaal Ke…..Ham Laaye Hain Tufaan Se Kashti Nikalke – Jagriti (1954) – Lyrics: Pradeepji

Being a patriotic song, the initial couplets open on high scale, gradually coning down to the regular singing scale. The tone of the delivery is that of firmness of conviction of a loving, soft-natured, teacher. This is the tone in which the main song begins.

As the song progresses, the message keeps on being more and more intense. Topics like atom bombs reflect the heightened concerns. When it reaches @ 3.50, the teacher tells his wards that the time is now ripe to stop dreaming the idealism or live in the luxuries, as now is the time to go in for a quantum jump to touch the highest of ambition, of firmly and positively unfurling the tricolour of an independent nation from the top of Himalayas all over the world.  As can be expected, anyone will be carried away with these emotions. Song also suddenly jumps up in scale, remains there till the message is clear, and then returns to its normal flow.

Pradeepji has so clearly spelt out the message in his meaningful, crisp lyrics, Hemant Kumar has weaved in the mood of the song at every stage of the song. And who else could do full justice to such a song, other than the versatile Mohammad Rafi!

Ab Mori Binati Suno Bhagwan – Taj (1956) – Lyrics: Rajinder Krishna

This is a prayer song, which has the earnestness in the base tone of the song, but as the new stanza begins, there is a sense of heightened urgency in the request. In the end, this request reaches a crescendo. Since he himself has rendered the other songs, Hemant Kumar seems to have specifically chosen Rafi for this song. Mohammad Rafi very naturally handles these variations.

Phoolon Se Dosti Hai Kanto Se Yaari Hai, Aise Majhe Ke Pyare Zindagi Hamari Hai – Duniya Jhukati Hai (1957) – Lyrics; Rajinder Krishna

This is one of the famous songs among the ‘tonga songs’ genre of Hindi film songs. Hemant Kumar has very innovatively composed interlude orchestration pieces.

Today when I see the video clip, I note that Sunil Dutt is wearing a loud-stripped T-shirt. In those days striped T-shirt was dress code for small time ‘gunda’ or mawaali’ (ruffians or scamps) characters on the silver screen! One may even recall that David was shown wearing such a T-shirt in Boot Polish’ (1954), probably to epitomise that people who live in that kind of surroundings always have indecent ways of living. The film then goes on disprove this beief.

O Gawalan KyuN Mera Man Teri Chitawan Le Gayi – Champakali (1957) – Rajendra Krishna

Even as Mohammad Rafi, perhaps, comes in as default playback singer for Bharat Bhushan, The song is quite atypical for a Hemant Kumar composition.

Yeh Mard Bade Dil Sard Bade, Chalo Ji Maana, Mardon Ka Phir Bhi Ghulam Hai Zamana – Miss Mary (1957) – Lyrics: Rajinder Krishna

Miss Mary, a remake of Misamma in Telugu or Missiamma in Tamil, was a light mood film. It was one of the big box-office grossers in those days. Its songs had also become extremely popular. Hemant Kumar has very deftly made subtle changes in the composition, as compared to the original Telugu or more or less similar Tamil version, which has made the song very melodious while retaining its comedy elements. As a result, it looks more natural that Jamuna could have been induced to dance at the music while relishing the delivery of satire in the lyrics!

Side Notes:

The Telugu version – Telusukonave Chelli (filmed on N T Rama Rao, Savitri and Jamuna)

The Tamil version – Therinthu kollanum penne (filmed on Gemini Ganeshan, Savitri and Jamuna)

Pyari Bole Bulbul, Padosan Boli kauwa….. Kisi Ko Main Chhaila, Kisi Ko Main Hauwwa…– Hum Bhi Insan Hai (1959) – Lyrics: Shailendra

Hemant Kumar has so easily composed this comedy song, which fits Mohammad Rafi like a T.

Side Notes:

In the same year in a Bengali movie, ‘Khelaghar’ Hemant Kumar gave Mohammad Rafi two Hindi songs penned by S H Bihari. One of the two songs had the same mukhda – Pyari Bole Padosan ….

Kehti Hai Mujh Ko Duniya Deewana Nashe Mein Ha

Woh Kaunsi Mushkil Hai Jo Na Ho Sake Aasaan – Maa Beta (1962) – Lyrics: Prem Dhawan

Other music directors have often chosen Hemant Kumar’s baritone voice as background song. The song here is about the underlying confidence to overcome the present adversities.  Hemant Kumar easily opts to choose Rafi for his capability to express such feelings even when singing at a lower scale. And once again, as Rafi has been called into the play, why not take the advantage of scaling higher notes to express the surge in confidence!

Mareez-e-Ishq Hoon Aye Jaan-e-Man Meri Dua Lena – Bin Badal Barsaat (1963) – Lyrics: Shakeel Badayuni

Under the regular circumstances, this could have been a poem recital, but here we have a signature Mehmood comedy song, with all the strappings of Rafi – scaling high scales at the beginning of each stanza and then reverting back to the normal scale, or some choice words, like Mareez-e-ishq being delivered in a different style each time it repeats in song.

Tera Husn Rahe Mera Ishq Rahe, To Ye Subah-o-Sham Rahe Na Rahe – Do Dil (1965) – Lyrics: Kaifi Azmi

A song in the praise of the (beauty) of the beloved has emerged as a very distinct genre in the Hindi films. As it so happens, Mohammad Rafi has a virtually a monopolistic presence in this genre.

Prior to Do Dil, Biswajeet had had a string of films under other banners, wherein it was Mohammad Rafi who was his playback voice. Songs from those films had been quite successful too. That, perhaps, has weighed in in the use of Mohammad Rafi for all Biswajeet songs in this film!

In the Second Part, we will take up Hemant Kumar;s Male Songs in the voices of Kishore Kumar, Mannadey and Other Singers.

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

 

Categories
Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions : Female songs – Bengali female playback singers

We have covered Hemant Kumar’s Female compositions in the form of Lata Mangeshkar, Geeta Dutt and Asha Bhosle’s song  and ‘Other’ Singers’ songs previously.

Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Pratima Banerjee, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.

Ratna Gupta

Ratna Gupta was the wife of film director, Hemen Gupta.  She has rendered songs only in the films which Hemen Gupta had directed, viz.– Bhuli Nai (1948) in Bengali and Ferry (1954) and Taksaal (1956; Music by Roshan) in Hindi

Yehi Hai Mere Sapno Ka Sansar – Ferry (1954) – Lyrics: Rajinder Krishna

Geeta Bali, with her two children, is on a joy tour to her beautiful world of dreams. Ratna Gupta’s pleasant Bengali-intoned voice adds to the refreshing charm of the situation.

The song also has a sad, twin, version.

In the clip here, we get to listen a soft call of a boatmen to keep pushing the boat – the metaphor for the life – in the voice of Hemant Kumar. The main song is composed on a high scale, to reflect the anguish of Geeta Bali as the moments of her past happy family life flash in her memory.

Pratima Banerjee

Ek Baat Kahu Tumse….. Mehfil Men Tere Husn Ke Diwane, , –  Sahara (1958) – Lyrics: Bharat Vyas

Kamal Barot and Nileema Chatterjee

We have one more just one- off experiment in so far as use of these two singers is concerned.

Main Laal Laal Gujkoonn – Majli Didi (1967) – with Lata Mangeshkar – Lyrics: Neeraj

The song is a children’s song, based on quiz game. Kamal Barot sings lines for a child artist who we can now recognise as Baby Sarika. Nileema Chatterjee sings for a boy, identified as Master Khalid.

Ranu Mukherjee

Hemant Kumar has used Ranu Mukherje’s voice in different moods, in different situations, at different stages of her age.

Nani Teri Morni Ko Mor Le Gaye – Masoom 1960 – Lyrics: Sahir Ludhyanavi

Ranu Mukherjee must be five/six years old when the song must have been recorded. So, the natural childlike discordant notes in her voice can be felt, but otherwise this as virtuoso performance as any professional would have rendered!

Mera Qatil Hai Jee Qatil JavaN Qatil Hai – Farar(1965)  – Lyrics: Kaifi Azmi

This is mother of all scoops. Just five years after that childlike innocent song, Ranu Mukherjee comes up with this full-fledged western club song, in an equally virtuoso performance.

Ab To Muskuraiye, Muskuraiye Zara, Aapki Sharatein Gul Khila Chukee – Do Dooni Chaar (1968) – Lyrics: Gulzar

Hemant Kumar’s bag of scoops has still more surprises. Three more years down the line, and Ranu Mukherjee now comes up trump as a lead singer – in a film that is pure comedy, giving playback to a vivacious, mischievous sister-in-law character so lively enacted by Tanuja and, to enliven the lyrics of Gulzar with that correct throw of a given word.

Ranu Mukherjee had two more, equally interesting, solos in the film.

Asides Trivia for the records: Gulzar seemed to have made up his mind to remake this Shakespeare’s play, ‘Comedy of Errors ‘-inspired version under the banner of Bimal Roy Production. He went to onto make a classic, in the form of Angoor (1982).

Bela Mukherjee

It should be redundant to state that Bela Mukherjee is the wife of Hemant Kumar and quite a singer on her own. Hemant Kumar has used her voice for just handful songs which at best can be classified as special situation songs.

Ae Din Dayal Daya Do Hame – Farar (1965) – Lyrics: Kaifi Azmi

This is a school prayer song. Hemant Kumar has deftly used voice of Bela Mukherjee for a, boy, child artist

Bula Gupta

There is reference to a name Bula as ‘Baby Bula’ in Ferry (1954). Knowledgeable co-bloggers had identified her as daughter of the director of that film Hemen Gupta. In fact, there is mention of a child duet song in that film, where in this Baby Bula has joined Master Jayant (Hemant Kumar’s son). If we put two and two together, this Bula Gupta seems to be the same person, now a young lady.

Jaam Utha Ke Tod Ke Tauba Pee – Us Raat Ke Baad (1970) – Lyrics: Gulzar

Hemant Kumar has persisted with experimenting with Bengali singers to sing ‘special’ songs. Hemant Kumar has blended use of mid-east string instruments with western instruments in the orchestration.

Aarti Mukherjee

Aarti Mukherjee is a trained singer, who has worked as playback singers more in Bengali films then in Hindi films.

Billi Bajaye Baja, Gaye Chuhiyon Ka Raaja, Nache Bandariya Lahenga Dal Ke– Sahara (1958) – with Lata Mangeshkar – Lyrics: Bharat Vyas

After Aarti Mukherjee won the All-India Murphy Metro Music contest held in Mumbai, in 157, this is her reward. She was in the school in those days, so she gets to sing for the child artist in this song.

Do Do Pankh Laga Ke Panchi Banenge – Rahgeer (1969) – with Hemlata and chorus – Lyrics: Gulzar

It seems the song may have been rendered by some character in the adolescent age on the screen.

Aaj Ki Raat Chargon Ki Raat – Khamoshi (1970) – Lyrics: Gulzar

The film carries a shortened version of the song

Sharon Prabhakar

Love’s Reflections – Love in Canada (1980) – Lyrics: Sharon Prabhakar

Love in Canada is the swan song of Hemant Kumar in so far as Hindi film music is concerned, but his experimental streak is still as alive and as sharp as ever.

Hemant Kumar’s female songs has so many shades that one article by any one person will never be able to do full justice to the subject. If I were to do this article once again, even I may choose some other songs over what I have chosen here. There is always that hope for that next time…..

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


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

Categories
Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions: Female songs – ‘Other’ Singers

We have covered Hemant Kumar’s Lata Mangeshkar, Geeta Dutt and Asha Bhosle’s songs earlier.

We now move over to the ‘Long Tail’ of the skewed distribution of Hemant Kumar’s female songs. Hemant Kumar has used the ‘other’ known Hindi female playback singers more as an exception only. Raj Kumari had one dance number in Anand Math (1952). Shamshad Begum has two solos and two FF duets, Sudha Malhotra has one solo, one FF duet and one (an iconic) MF duet – that we will take up discussion separately- and Suman Kalyanpur has two FF duets, and Usha Mangeshkar has one solo and two FF duets. We also have a very rare Mubarak Begum, Sulochana Kadam FF duet and a song by a classic trained singer Lakshmi Shankar, as well

Rajkumari

Dil Ka Paimana Hai, Ulfat Ka Hath Hai – Anand Math (1952) – Lyrics: Hasrat Jaipuri

Sheila Ramani is so gracious as lead dancer in this court dance song.

Laksmi Shankar

Kaisi Lagi Karjeawa Mein Katar – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar has used a classic trained singer for Mujra Song. From the initial dialogue in the clip, it seems that the song is seen by the daughter (Geeta Bali) as her mother has to perform for such mehfils

The song is in two parts. The second part has Geeta Bali singing the song on the screen. The feeling of pathos is very clearly felt in the way song is rendered in this part. The context of this change would be clear only when one has seen the film.

Usha Mangeshkar

Kaisi Lagi…..Jiya Jaye To Jiya Jaye – Ek Hi Rasta (1956) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri

The song is a duet dance song, so typically planned to celebrate special occasions.

Pyasi Hai Mamata Meri Aaja Dheere Dheere Aa – Maa Beta (1962) – Lyrics: Prem Dhawan

Hemant Kumar has so melodiously weaved lathos of mother being away from her offspring in this lullaby.

Shamshad Begum

Hemant Kumar has used Shamshad Begum for four songs, of which a duet, with Ravi, from ‘Daku Ki Ladki” (1954) do not seem to be traceable on the internet

Meri Itni Araj Hai Huzur Se, Pyar Karna Magar Door Door Se – Hamara Watan (1956) – Lyrics: S H Bihari

We have here a classic mujra song.
https://www.youtube.com/watch?v=zik26guG66o

Hum Kisi Se Na Kahenge Chup Chup Se Rahenge– Yahudi Ki Ladki (1957) – with Geeta Dutt – Lyrics: S H Bihari

The song is set to what has now become familiar Arabic dance tunes (thanks to n-number of films based on stories from that milieu) to the listeners of Hindi film songs. Both the singers have been accorded freedom to sing in their natural range.

Pyar Jata Ke Lalchaye Mora Balama –- Hum Bhi Insaan Hai (1959) – Lyrics: Shailendra

This seems to a mujra-styled dance song. Shamshad Begum is her at vintage best, even in 1959.

Sudha Malhotra

Mujhe Tarke Taaluk Samjaya Jaata Hai – Sahara (1958) – Lyrics: Bharat Vyas

Hemant Kumar has so easily been able to present a signature mujra song – with prominent tabla thaaps (beats),  beginning of the stanza without the support of any instruments and of course the use of most ubiquitous instrument of a mujra music – the sarangi.

Suman Kalyanpur

Suman Kalyanpur is present in only two FF duets. Both the duets are perfectly composed FF duets, but have differently blended the inherent vocal qualities of different singers in the respective songs.

Kabhi Aaj Kabhi Kal, Kabhi Paraso – Chand (1959) – with Lata Mangeshkar – Lyrics: Shailendra

The song appears to be public dance stage show. As such, both the performers are expected to move and sing in perfect synchronisation. Hemant Kumar has achieved this synchronization in the vocal part of the songs by perfectly blending almost similar sounding voices of Lata Mangeshkar and Suman Kalyanpur.

Phulwa Band Maheke Dekho Dali Dali – Ham Bhi Insaan Hai (1959) – with Geeta Dutt – Lyrics: Shailendra

Shailendra has captured the two points of views of friends in the song, who seem to be visiting the flower garden – both see different hues in the same settings in which both are present together. Hemant Kumar has enlivened this effect by using two naturally different voices – those of Geeta Dutt and Suman Kalyanpur.

Aside Trivia:

The song seems to have been inspired from Meghla Bhanga Rod Utheche (The Sun Rises in the Clouded Sky) – Tar Aar Par Nei. – Pratima Badopadyay – composed by Nachiketa Ghish, lyrics: Pulak Banerjee

Mubarak Begum, Sulochana Kadam

Bharat Ke Lok Geet (Fashion, 1959) is collection of folk songs from different regions.

The song can be heard by clicking on this link

https://gaana.com/song/bharat-ke-lok-geet

Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Pratima Banerjee, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.

We will take up Hemant Kumar’s songs of ‘Other’ (Bengali Female Singers in the next episode.

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

Categories
Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions – Songs of Lata Mangeshkar, Geeta Dutt and Asha Bhosle

Hemant Kumar (16-6-1920 | 26 September 1989) had already shown flare for music composition from his early childhood. Even though his formal career did commence as a singer, his talents as a composer also did not have to wait longer to get formal recognition. Of course, in so far as Hindi Films is concerned, the first ever film for which he got to compose the music was good eight years after he sang his first film song. He then went on to compose music for 50+ films for next 27 years.

Hemant Kumar’s start as music director in Anadmath (1952) was on a reasonably high note. It soon reached peak with Nagin (1954) and Shart (1954). Both these films had excellent run on box office mainly on the backing of the songs of the film. Hemant Kumar then continued to score at least one musical hit for every two or their films for which scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office has had longer recall value in the minds of the listeners. These are the songs that have normally cemented the image of Hemant Kumar as the composer in our minds.

The full spectrum of Hemant Kumar’s range as a composer has four distinct shades of grey – his solo songs in his own voice, his songs in the voice of female singers, his solo songs in the voice of other male singers, his own duets and his duets in the voice of other singers.

Presently, we will take up the segment of Hemant Kumar’s female songs to explore breadth and depth of Hemant Kumar’s compositions

In terms of the singers, the solo songs of Lata Mangeshkar, Asha Bhosle and Geeta Dutt, in that order, occupy more that 80 % of the female-singers-spectrum of Hemant Kumar’s compositions. Hemant Kumar mostly used Lata Mangeshkar as his lead singer when he did not use Geeta Dutt. Quantitatively and qualitatively, he had still had enough room for using Asha Bhosle’s talent fully. One major impact of this heavy skew in the distribution of the female solo songs was to lead me to explore Hemant Kumar’s musically relatively less successful films to dig out songs of the other female singers. In the process, I had excellent opportunity to listen to many forgotten Lata/Geeta or Asha songs from these films as well.

These deep-sea explorations have resulted into a several large catches of songs of these three singers. I, therefore, have luxury to choose from the less heard songs of the less remembered films to present a different perspective of the rich legacy of repertoire of Hemant Kumar’s female song compositions.

Lata Mangeshkar

Like his other contemporary Bengali music directors, S D Burman or Salil Chowdhury, in the Hindi Film world of that period Lata Mangeshkar was the clear first choice of Hemant Kumar. The natural melody of the Lata Mangeshkar’s voice was a logical and obvious choice for the soft Bengali tone of these music directors.

Hemant Kumar’s compositions in Lata Mangeshkar’s voice, normally, keep being published at regular frequency on several social media. So, I have picked up only one song from an early film and other one from his few of the last films, to present as encompassing as possible range of Hemant Kumar’s female songs

Kahan Se Le Ke Aayi Hai Kaha Majburiya Meri….. Meri Taqdir Ke Mailk Mera Kuchh Faisala Kar De – Shart (1954) – Lyrics: S H Bihari

The song opens with a couplet that epitomises the helplessness of the protagonist. Hemant Kumar deploys short pieces of violin ensemble that accentuates the pathos mood of the song.

Mitwa Re Bhul Gaye The Rahein Mitwa – Rahgir (1969) – Lyrics: Gulzar

This song also renders the mood of pathos – caused by the separation of the lovers. Hemant Kumar has used high scales of Shehnai in the interlude, to immediately follow the line wherein chorus also joins the song. The song is classic Gulzar poetry which is always a challenge for the music director. However, Hemant Kumar’s natural bent for melody returns with a complex, and yet a melodious composition.

Geeta Dutt

Hemant Kumar did use Geeta Dutt as lead female voice in his maiden film Anandmath (1952) – 5 songs. He then used her voice as lead singer in only Laalten (1956) – 6 songs; Police (1958) – 6 songs and of course, Sahib Bibi Aur Ghulam (1960) – 3 songs. He did keep using her off and on, in solos or duets,  in films like Ferry (1954)- 2 songs;  Samrat (1954) – Songs; Shart (1954) – 2 songs; Bahu (1955) – 3 songs; Bhagwat Mahim (1955) – 1 song; Arab Ka Suadagar (1956) – 2 songs; Bandi (1957) – 3 songs; Ek Jalak (1957) 3 songs; Fashion (1957) – 2 songs; Hill Station (1957) – 3 songs; Kitana Badal Gaya Insaan – 3 songs; Miss Mary (1957) – 1 song; Yahudi Ki Ladki – 5 songs; Hum Bhi Insaan Hai (1959) – 2 songs and Duniya Jhukti Hai (1960) – 1 song. If some of the songs are remembered even today, some were lost quickly.

Aa Re Bhanvare Aa, Maheki Meri Man Ki Bagiya – Anand Math (1952) – Lyrics: Shailendra

Since Geeta Bali seems to be on an espionage or a luring mission into the British camps, she resorts to amorous gestures, matching her singing to her physical movements. Geeta Dutt supports such gyrations with matching variations of her singing. Hemant Kumar has so vividly woven an earthy folk-based composition with the situation.

Rangili Rangili Chhabili Rani Nindiya, Aa Mere Raja Ki Ankhiyo Mein Aa – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar sets the lullaby to a soothing, soft orchestration.

Agar Pyar Mein Muskuraaye Na Hote – Laalten (1956) – Lyrics: Kaif Irfani

Hemant Kumar has set Geeta Dutt’s voice to a tone that exudes pathos, and then goes on to support that with short pieces of orchestrations.

Aaja Zara Mere Dil Ke Sahare – Ek Jhalak (1957) – Lyrics: S H Bihari

I always had an impression that this song is only a duet of Hemant Kumar and Geeta Dutt. This solo twin version is a find of the work for this episode.

Aside: The song is considered to have been inspired from Cherry Pink and Apple Blossom White (1955) song.

Koi Door Se Awaaz De, Chale Aao, Chale Aao – Sahib Bibi Aur Ghulam (1962) – Lyrics: Shakeel Badayuni

After the success of Bees Saal Baad (1960), Hemant Kumar and Shakeel Badayuni again team up here. The deep-from-the-memory, haunting, softly echoing, sound of the song in the voice of Chhoti Bahu draws Guru Dutt to the place where he finds the bangles of the Chhoti Bahu. The film goes into the flash back. (@.4.14 to 5.38 of the film soundtrack). The short, soft, sounds of violin in the background in the following frames speak volumes for Hemant Kumar’s creativity as a composer.

Incidentally, it is in this opening that the Hindi version dramatically differs from the Bengali version of the film.

The present song returns at the end of the film to encapsulates the haunting melancholy of the loneliness of Chhoti Bahu

Asha Bhosle

Asha Bhosle, technically for the most part, did not enjoy the status of a lead singer in Hemant Kumar’s scheme of things. But Hemant Kumar has always done full justice to the range of her voice, in terms of number of songs that he gave to Asha Bhosle, as well in terms of variety of the music content. As a result many of Hemant Kumar -Asha Bhosle songs, like De Di Hame Azadi Bina Khadag Bina Dhal (Jagriti, 1954), Yaad Rakhana Pyar Ki Nishani Yaad Rakhana (Nagin, 1954), Sakhi Ri Sun Bole Papiha Us  Paar (Miss Mary, 1957)  or Bhnwara Bada Nanadan and Saaqiya Aaj Mohe Nend Na Ayegi (Sahib Bibi Aur Ghulam (1962) are respectfully placed in Asha Bhosle’s most respected songs ever.

I have selected a few representative songs here, as a sample of the wide range of Hemant Kumar’s Asha Bhosle songs.

Chalo Chale Maa, Sapno Ke Gaon Mein – Jagriti (1954) – Lyrics: Pradeepji

The song is a twin version song. The first version has strong undercurrent of hope of good tidings to come. Hemant Kumar has epitomised the high hopes by setting the opening scale of each stanza on a high note. The second version has pensive pathos mood. Hemant Kumar reframes the initial high notes of the stanza by extending them over the whole line.

Bade Bhaiya Laye Hai London Se Chhori, Dila Do Hamein Bhi Dulhan Gori Gori – Ek Hi Rasta (1956) – Lyrics: Majrooh Sultanpuri

Hemant Kumar conjures a beauty in the form of a children song. He seems to have taken all care to use only those instruments that are mostly seen being used on the screen in the song.

Hemant Kumar’s ingenuity as a composer is evidenced in the second stanza, wherein the song switches over to qawwali style singing because the lyrics talk about the Baarat (bride’s marriage procession).

The transition from qawwali back to the original marching rhythm is also very deftly managed @ 3.39

An interesting Trivia : @1.00 to 1.5 we get to listen a piece on harmonica which is the theme of another great Hemant – Lata duet from the film – Sanwale Salone Aaye Din Bahar Ke

We fast-forward to the later part of the Hemant Kumar’s musical filmography.

Bin Badal Barsat Na Hogi – Bin Badal Barsat (1963) – Lyrics: Shakeel Badayuni

Hemant Kumar has chosen to base the  composition of this dance song on a folk tune, but the interlude orchestration has all the elements of a mystery-film song, since there seems to be some hidden story that connects the protagonist (Nishi) on the dance floor with the key spectator– Biswajeet. Asha Bhosle’s delivery of the song is also so composed that the elements of mystery and underlying melancholy of the main protagonist’s feelings remain evident.

Kyun Mujhe Itni Kushi De Di, Ki Ghabarata Hai Dil – Anupama (1966) – Lyrics: Kaifi Azmi

Here is a dance song staged on the screen as a party song. Hemant Kumar has again successfully used Asha Bhosle’s voice to blend the two moods, one obvious mood of joy,  befitting what can be seen on the floor and the other a hidden underlying mood of the protagonist (Shashikala) in sync with lyrics of the song

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

We will take up Hemant Kumar’s Hindi Song Compositions in Other Female Voices in the Second Part