Fading Memories…. Unforgettable Songs: April, 2017

Hasrat Jaipuri – Beyond Shanker Jaikishan

Hasrat Jaipuri (April 15, 1922 – September 17, 1999), born as Iqbal Husaain, recorded Jiya Beqaraar Hai as his first solo song for Hindi films for Barsat (1949). His second song (and first duet) was Chhor Gaye Baalam for the same film. Ever since, Hasrat Jaipuri, and for that matter his conjugate lyricist Shailendra, are considered inseparable element of the Shanker Jaikishan songs.

However, It is no secret that Hasrat Jaipuri, and Shailendra too, have written many songs for other music directors as well. Hasrat Jaipuri has penned songs for Sajjad  Hussain to C Ramachandra, to  golden era’s Madan Mohan, S D Burman and to the 90s ear music directors like Nadeem Shravan, Jatin Lalit too.

As our tribute to Hasrat Jaipuri, in the present episode, we will recollect his songs for other music directors. The period under our present consideration is from the beginning of his career till 1953. We will restrict ourselves to one song for each of the (other) music director in this period.

The first film is Wafa (1950). HJ has three songs in the film. Two songs are composed by Vinod and one by Bulo C Rani.

Armaan Bhara Dil Toot Gaya – Wafa (1950) – Mukesh, Lata Mangeshkar – Bulo C Rani

This song strongly establishes that HJ’s sensitivity seen in the lyrics of Barsat songs is not once in a blue mood affair.

In 1951, HJ’s filmography lists Bade Sahab for which Nisar had composed the music. As of now, our highly resourceful net-friends do not seem to have located the songs, so we do not have been to locate link to the digital version of the songs.

There is one more film, the unreleased one in 1951 – Imaan. The film had four songs from HJ – three solos by Asha Bhosle and one duet of Talat Mahmood-Asha Bhosle.

O Julmi Nayana Roye Ja Tu – Imaan – Asha Bhosle – Pt. Motiram

This should go down as the first film where Asha Bhosle has rendered HJ’s song. HJ’s songs in Asha Bhosle’s voice should in itself be an interesting subject to explore !

1951 had one more HJ- Pt. Motiram film – Lachak, which had one song to HJ’s account – A Rafi- Asha duet.

1951 also had HJ collaborating with Sajjad Hussain too.

Khalayaon Mein Tum Ho – Sainyaa (1951) – Lata Mangeshkar, Chorus – Sajjad Hussain

This is almost a signature composition of Sajjad, in which HJ has maintained the mood by deploying not-so-complicated lyrics.

1951 has one more HJ film – Saudagar – for which Hanuman Prasad has composed two duets in G M Durrani- Asha Bhosle’s voice. Unfortunately I could not locate link to digital audio versions of the songs on net.

HJ has written one song for Anandmath (1952), a Filmisyan production of famous novel by Bankim Chandra Chatterjee.

Dil Ka Paimana Ho Ulfat Ka Hath Hai, Julfo Ka Badal Ho Jhumne Ki Raat Hai, Pine Ki Raat Hai – Anand Math (1952) – Rajkumari – Hemant Kumar

The stage is set for the king to entertain himself and his English sahibs.

Annadata (1952) has five songs from HJ’s pen, of which digital versions of G M Durrani- Shamshad duet and a Rafi-Shamshad- Lata- Meena Mangeshkar chorus songs are not yet uploaded on net. Three solos of Lata Mangeshkar are available on YT.

Baharo Ke Dole Me, Aayi Hai Jawani, Aayi Jawani, Aaj Apni Adao Pe Huyi Mai Diwani – Annadata (1952)- Lata Mangeshkar – Mohammad Shafi

Mohammad Shafi was considered to be a highly talented composer, who did not get the due favour from the lady luck of the commercial success. This song amply manifests Mohammad Shafi’s talents.

Badnaam (1952) had three songs to HJ’s account – two Lata solos and one Shankar Dasgupta solo. HJ has written songs for Basant Prakash for Nishan Danka and Saloni too in this year.

Yeh Ishq Nahin Asan – Badnaam (1952) – Shankar Dasgupta – Basant Prakash

Hamari Duniya has three songs of HJ, one solo each of Lata Mangeshkar, Geeta Dutt and Rajkumari. Geeta Dutt song does not seem to be have been posted on YT.

Raat Arman Ki Saji Hai – Hamari Duniya (1952) – Rajkumari – Shyam Babu Pathak

Jab Tak Chamke Chand Sitare, Tum Ho Hamare Saiya Hum Hai Tumhare, Apne Milan Ka Sath Na Chhute, Hatho Me Aake Sajni Hath Na Chhute – Neelam Pari (1952) – Geeta Dutt, G M Durrani – Khursheed Anwar

Neelam Pari had 4 of HJ’s songs.

Shrimatiji had HJ’s one solo.

Taqdir Ne Luta Mujhe Taqdir Ne Luta, Manjil Pe Lake Pyar Ne Begana Kar Diya – Shrimatiji (1952) – Geeta Dutt – Jimmy

Ek Dil Hazar Jhakhm Kaise Jee Sakenge Ham – Aag Ka Dariya (1953) – Talat Mahmood – Vinod

Anarkali was a landmark film, in so far as its songs are concerned.  Basant Prakash did compose one song and then all other songs were composed by C Ramchandra. Hasrat Jaipuri and Shailendra wrote two each and all other songs were written Rajendra Krishna.

Zindagi Bebas Hui Hai Beqasi Ka Sath Hai, Ek Ham Hai Is Qafas Me Ya Khuda Ki Zat Hai

O Asaman Wale Shikawa Hai Zindagi Ka …Sun Dastan Gam Ki Afasana Bebasi Ka

Both the songs are gems. So I would happily break the rule that we had set for ourselves and would most happily include the other song also as the penultimate song for our present episode.

Is Intezaar- e-Shauk Ko Janamo Ki Pyas Hai, Ik Shama Jal Rahi Hai To Wo Bhi Udas Hai

Muhabbat Aisi Dhadakan Hai Jo Samajhai Nahi Jaati

We have few more films in 1953 for which HJ has written lyrics for music directors other than Shanker Jaikishan. But, that is for the future journey.

We will end our present episode with the HJ song composed by R C Boral:

Humne To Dard-E-Dil Ko Tamanna Bana Liya – Dard-e-Dil (1953)

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.

Fading Memories…. Unforgettable Songs: March, 2017

S N Tripathi: Unremembered music director of remembered songs

There would hardly be anyone who may need reminding these songs:

But, perhaps it may need some recalling that these songs were by composed by S N (Shree Nath) Tripathi . That is because, ironically even as the songs are remembered, the films have faded out of memories. So, s-n-tripathiperhaps the name of S N Tripathi -14 March 1913 | 28 March 1988 – who has composed music for almost 250 films, he also acted in some 200 films, directed 39 films and even written screenplays for around 37 films. The destiny in its own weird wisdom chose to keep S N Tripathi in the fringe orbits of the Hindi Film Music world.

He joined the film world as a violinist in 1936. He then was appointed assistant to Sarswati Devi. The first song that he sang was Ae Re Daiya Lachak Lachak Chalo (Jeevan Naiya, 1936) for Ashok Kumar on the screen. This, incidentally, was the maiden film of Ashok Kumar too. S N Tripathi’s maiden film as a music director was Chandan(1936). The film, unfortunately, was released in 1941 only.

Nanha Sa Dil Deti Hoon – Chandan(1941) -Rajkumari, SN Tripathi  – Lyrics: Pt. Indra Chandra

For our present episode we will explore some of the S N Tripathi’s songs up to 1950.

The first film that is said to have given recognition to S N Tripathi was Panghat (1943).

Panghat Ke Ghaayalon Ka Panght Hi Thikana – Panghat (1943) – S N Tripathi – Lyrics: Pt. Indra Chandra

Here is the song that itself should have settled any and all debates about S N Tripathi’s versatility. He has acted, sung and composed this very light ‘bath-room’ song, and done so with great flare and even greater finesse.

Aayi Baloonwaali Aayi Re – Aadhaar (1945) – Geeta Dutt and S N Tripathi – Lyrics: M A Razi

Geeta Dutt was just 14 when she sang this song.

Aise Na Hamein Chhedo, Aise Na Satao, Kuchch Sun Lo Hamari – Ramayani (1945)  –  Rajkumari, Pahari Sanyal –

HFGK has not specified the singers. From the star cast of the film we can deduce that Rajkumari ought to have playedback for Nargis. The film was a social drama. Listening Rajkumari in a very light romantic song is great pleasure.

Laaj Bhare… In Nainan MeinAdhik Sudha Bharo Na.. – Uttara Abhimanyu (1946) – Ashok Kumar – Lyrics:  Roopdas, Saraswati Kumar Deepak (?)

Ashok Kumar association with S N Tripathi seems to bond very strongly. It is said that it was SN Tripathi who trained the novice voices of Ashok Kumar and Devika Rani for the song “Mein Ban Ki Chidiya Ban Ke Ban Ban Doloon Re for ‘Achhoot Kanyaa’ in 1936 under the baton of Saraswati Devi. The present song can also be considered as unique. HFGK records that this song is a pure playback by Ashok Kumar, possibly for Shahu Modak on the screen,.

Sola Singaar Main Sajaaungi.. Piya Ko Rijhaaungi – Panihari (1946) – Shanta Apte – Lyrics: Pt. Indra, Rammurty, Brajendra Gaud (?)

The poster of the film loudly proclaims: “Here she is ! New Shanta in a gay romance!” This song perhaps aptly translates the intention…..

Beet Chali Barkha Rut Site, Sudh Na Mili Tumhaari – Shree Ram Bhakta Hanuman (1948) – Mukesh – Lyrics: B D Mishra

We now seem to see an inadvertent, but unfortunate type-casting of S N Tripathi into mythological films. So was the hero who sings the song on the screen – Trilok Kapoor, who incidentally is the younger brother of Prithviraj Kapoor. Additionally, S N Tripathi also got cast into roles of Hanumaan as well!

Aao Sakhi Mangal Gao Ki Subh Din Aaye Re – Veer Ghatotkach (1949) – Saroj, Shanti Sharma – Lyrics: Ramesh Joshi

Here is playful song, filmed on a very young Meena Kumari.

Ashok Kumar or Meena Kumari did not get typed into mythological B class films, but S N Tripathi did !

Ek Naya Sanasaar Sajao, Aaj Khushi Ka Din Aaya – Veer Ghatotkach (1949)- Rohini Roy, Yahwant Bhatt and Chorus – Lyrics: Moti B. A.

Arun Kumar Deshmukh has narrated some of the history of one the singers – Yashwant Bhatt – of the song in this post.

1950 film Saudamini was a social film. The songs of the film were quite melodious and ought to have caught the attention of the fans at that time.But, perhaps not enough to turn the tide away from the mythology as afar as S N Tripathi was concerned.

Kaali Koyal Bole Matwali Koyal Bole Re – Saudamini (1950) – Mohan Tara Talpade – Lyrics: Anjum Pilibhiti

S N Tripathi has tried every possible trick to infuse variety into his songs in a social-theme film by selecting different playback singers.

Kaali Kaali Badli Chaayi Saawan Ki Ritu Aayi – Saudamini (1950) – Geeta Roy (Dutt)

Geeta Roy is at her usual vintage mellifluous self..

Kaali Ghata Hat Gayi Neel Gagan Mein Nikala Chand Hai – Saudamini (1950) – Chitragupt –

As the adequate information is not available, one may not be able to definitively state whether Chitragupt was assisting S N Tripathi for this film or not. In any case, however, the fact that S N Tripathi has experimented with Chitragupt’s voice speaks for his spirit of experimentation.

Dukh Dard Bhare Dil Ka Kahe Kisko Fasana – Saudamini (1950) – Uma Devi

For a sad song S N Tripathi has so effectively used voice of Uma Devi.

Jawani Chaand Salona Chamake Aur Choop Jaye – Saudamini (1950) – Mohammad Rafi, Zoharabai Ambalewali and chorus

Rafi commences first antara with a different beat than that of Mukhada before Zohra switches to the original tempo at the end of the anatara.

Surya Dev Dinesh Hey Mam Baar Baar Pranaam Ho -Shree Ganesh Mahima (1950)

Records do not amply state whether the song is also sang by S N Tripathi himself, which he certainly acts on the screen. The song is a rare prayer addressed to Surya, The Sun god.

We will end our present episode with the song that has the credit of being the first ever duet of Mohammad Rafi and Geeta Dutt, a wonderfully crafted song using chorus:

Jai Hind Yeh Hind Ki Kahniyan – Manasarovar (1946) – Lyrics: Saraswatikumar Deepak

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.

Fading Memories…. Unforgettable Songs: February, 2017

Some of the Talat Mahmood Duets receding from the memory

talat_other_singersAll the singing greats at the start of their careers – Talat Mahmood, Mohd Rafi, Kishore Kumar,  Mukesh, Geeta Dutt, GM Durrani, Meena Kapoor, Kamal Barot, Mubarak Begum and others

In the month of his birth anniversary (24-2-1924) as I sat down to list out Talat Mahmood’s duets that seemed to have receded from the memory, I had not expected to find enough numbers to make a full-fledged article. Nonetheless I had pre-set the conditions that not more than one song will be taken up per pairing partner and the music director. However whatever filters you set up, you can always find enough pearls from the very rich sea of duets of Talat Mahmood.  So here is my pick –

Mujhko  Apna Banaya Kisne Tune Sajania  Tune – Sampatti (1949) – Talat Mahmood,  Suprova Sarkar – Timir Burman  – Pandit Bhushan

For quite romantic banter between the two loved ones, the rhythm of the song may appear faster. But that does not impede understanding the feeling and enjoying the song.

Poochh Rahe Ve Yaar Ki Bibi Kaisi Ho – Shaadi Ki Raat(1950) -Talat Mahmood, G M Durrani, Surinder Kaur – Pt. Govindram – Sarshaar Sailani

We have a typical pre-marriage ceremony folk song from Punjab. Talat Mahmood seems to be enjoying the (musical) company of his partners.

Taqdeer Hansi Ansoo  Nikale, Ik Thes Lagi Dil Toot Gaya – Pagle (1950)  – Talat Mahmood , Rajkumari  – Snehal Bhatkar – Kabil  Amritsari

Here is a duet in which one singer is a just-settled newcomer and the other is a vintage era veteran.

Jawani Ke Zamane Mein Jo Dil Na Lagayega Pichche Pachchatayega – Madhubala (1950) -Talat Mahmood, Shamshad Begum – Lachhiram Tomar – Rajinder Krishna

Talat Mahmood easily matches the light mood of Shamshad Begum.

Tum Kaun Ho Rajkumari Ye Chanda Sa Mukhda Idhar To Karo – Rajput (1951) – Talat Mahmood, Madhubala Zaveri – Hansraj Behl –  Bharat Vyas

Technically, this is the debut film of Madhubala Zaveri. This seems to be the song of ‘swayamvar’.

Manna Dey joins Talat Mahmood and Madhubala Zaveri in this song.

Jao Jao Jao Aagayaa Bulawa Jung Ka

Damdi Damdi Paisa Paisa Jod Jod Mar Jaate Hain – Hamari Shaan (1951)  – Talat Mahmood, Kishore Kumar – Chitragupta – (?)

Talat Mahmood joins Kishore Kumar in a very unique combination. We also hear a very distinct third voice too, which may be that of Chitragupta, however this is just a guess.

Kahin Preet Se Bhara Koi Geet Gaa Raha – Paatal Bhairavi (1952) – Geeta Dutt, Talat Mahmood –  Ghantshala – Pt. Indra Chandra

This film is a remake of the Telugu film, so we see a very young NTR lip singing Talat Mamood’s playback. Geeta Dutt sings for Malathi. (Venkataeshwara Rao)Ghantshala was a highly respected music director of Telugu films.

Pyar Bhi Aata Hai Kabhi Gussa Bhi Aata Hai – Goonj (1952) – Asha Bhonsle, Talat Mahmood – Sardul Kwatra..

The song so vividly captures the small talk between the loved on matters of minor disagreements.

Chalo Chale Chalen Jamuna Ke Paar – Usha Kiran (1952) – Talat Mahmood,  Zohrabai Ambalewali, Uma Devi, Swaroop Lata – Hanuman PrasadAnjum Pilibhiti

Since we have only the audio clip, it is difficult to imagine who would be the three female actors for this song. The song certainly appears to be a group of friends singing together on some occasion, where the sole male actor sings “Aao Kar Le Karar  {Let us make an agreement)’ in response to the proposal of the female singers.

Chanda Tale Mushkurayen Jawaniya….Hothon Pe Aa Gayi Dil Ki Kahaniyan – Chandi Rani (1953) – Talat Mahmood , P Bhanumathi – C R Subrmanian, M Vishwanathan – Vishwamitra Adil

This film was made in Telugu, Tamil and Hindi. NTR is the hero and P Banumathi is the heroin. The additional noteworthy point for this film is that P Bahnumathi was also the director and (one of the) producer.

Here is the Telugu version of the song

Tu Ud Ja Panchhi Bawaare  Ja Dess Begane Jaa –  Aag Ka Dariya (1953) –  Talat Mahmood, Sulochana Kadam – Vinod  – Aziz Kashmiri

The song is set to a rather difficult rhythm, but still retained the melody.

Ek Dil… Do Hain Talabgaar Badi Mushkil Hai, Kashmakasha Mein Hai Mera Pyar Badi Mushkil Hai  – Darwaza (1954) – Talat Mahmood, Suman Kalyanpur – Shaukat Dehlvi ‘Nashad’ – Khumar Barabankvi

This is debut duet that Suman Kalyanpur recorded for Hindi films, when she was Suman Hemmady, a budding artist from AIR stable. In an interview, this is what she said about this song: “I was thrilled to sing with a singer, who was blessed with the best of aesthetics and melody. Talat Mehmood gave a divine effect to the song with his silk voice and I tried my best to match him. He was very pleased with my rendering..”

Aankhen Bhari Hui Hai Aur Dil Bhara Hua Hai – Majboori (1954) – Talat Mahmood, Meena Kapoor Robin Chatterjee – D  N Madhok

The song is set in soft tone in consonance with the words of the song. That has given full expression to Talat Mahmood’s velvety voice. Meena Kapoor matches every note.

Tera Bachpan Ek Kahani – Sangam (1954) – Talat Mahmood, Mubarak Begum – Ram Ganguli –S H Bihari

This is second of the three films that were named Sangam. This song definitely shows that Ram Ganguli was very much beyond Aag (1948).

Door Hote Nahin Jo Dil Mein Raha Karte Hai – Waris (1954) – Talat Mahood, Suraiya – Anil Biswas – Majrooh Sultanpuri

 Talat Mahmood – Suriya’s duet – Dil-e-Naadan Tujhe – from Mirza Ghalib or Raahi Matwale from this film itself have attained so high popularity that some of the other duets, like the present one, have been overshadowed.

Thandi Hawaon Mein Taaron Ki Chhaon  Mein Aaj Balam Mora Dole Jiya  – Bahu (1955) – Geeta Dutt, Talat Mahmood – Hemant Kumar – S H Bihari

In so far as I am concerned, the song has not at all receded from the memory. But A very unique combination of Hemant Kumar, Geeta Dutt and Talat Mahmood ought to yield such a sweet result!

Nazar Aa Nigahon Se Chhup Jane Wale – Piya (Unreleased film of 1950s) – Talat Mahmood, Nirmala – S Banerjee – Majnoon Lucknowi

The lady singer is none other than famous singer Nirmala Devi. The younger generation would like to know her as mother of 90’s dashing actor Govinda.

Main Padh Rahi Hoon Tumko, Mery Kitab Tum ho – Captain India (1960) -Talat Mahmood, Sudha Malhotra – Hemant Kedar – Rajaram Saki

Quite an out-of-box way of explain the fact that both the loved ones are trying to understand each other by really trying to read each other.

Jay Jay Bharat Desh – Matlabi Duniya (1961) – Talat Mahmood, Ameerbai Karnatki, Chorus – Shushant Banerjee – Jayanti Joshi

We have made one exception to our original filter because this is the only duet of  Talat Mahmood and Amirbai Karnataki together.

Tum Pe Quarban Dil…Shukria Aap Ke Pyar Ka – Sakhi Lutera (1969)  – Talat Mahmood, Usha Balsaver – B N Bali – Aziz Ghazi

The female singer and the music director are quite unknown names. The song is set to a brisk dance tune.

Mohabbat Ki Kahaniyan Sunane Lagi Hai Jawaniyan – Talat Mahmood, Lata Mangeshkar – Woh Din Yaad Karo (1971) – Laxmikant Pyarela – Anand Bakshi

Except Talat Mahmood and Lata Mangeshkar singing in a duet, we have quite a rare set of combinations in this song. If Laxmikant Pyarelal using voice of Talat Mahmood and that too at almost the fag end of his career, for Sanjay Kumar on the screen is not enough of such rare combinations, Sanjay Khan and Nada pairing as lead actors gets added to.  The song is quite different from LP signature compositions, except the orchestration of the second interlude. Of course, all other male songs of the film are in Mohammad Rafi’s voice.

Here is the full song, in audio format-

We will end our present Talat Mahmood episode with two instances of his Mohammad Rafi associations –

Ek Nazar Mein Dil Le Jaaye..Surat Ho To Aisi Ho – Baarish (1957) – Talat Mahmood, Mohammad Rafi, Franciz Vaz, Chitalkar – C Ramchandra – Rajendra Krishna

Today, this song would have been the cause of nation-wide agitations by the feminists – not one but four, clearly rogue-looking youths of the locality, serially, teasing the girl who has come to fill up her pots at the public tap.

love-and-god

The famous recording of K.Asif’s magnum opus “LOVE AND GOD”, in which Naushad got the top 7 playback singers of the film Industry to agree to sing as a chorus for one song  – TALAT MAHMOOD, MOHD. RAFI, MANNA DEY, HEMANT KUMAR, SUMAN KALYANPUR, KHAN MASTANA, and BALBIR photographed during the rehearsals of the recording! (www.talatmahmood.net)

Rahega Jahan Mein Tera Naam  – Love & God (1986) – Mohammad Rafi, Talat Mahmood, Manna Dey & Balbir –  Naushad Ali – Khumar Barabankvi

The film had got mired in several glitches and took a very long time in making. By the time film got released, two of its heroes, Guru Dutt and then his replacement, Sanjeev Kumar and K Asif, the director, had passed away.

These songs represent only a one of the many shades of Talat Mahmood’s duets. So, when we get the next opportunity, we will look at other shades of Talat duets.

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.

Fading Memories…. Unforgettable Songs: January, 2017

Dilip Dholakia: A Singer

That Dilip Dholakia (Birth: 15th October, 1921 \ Death: 2nd January, 2011) was a multi-talented music personality has been universally accepted. He was a singer, a music director, a music arranger, a lyricist, all rolled into one persona.

We have looked at the music directorial side of his talent in our article on 10th January, 2017. For our present episode we will focus on the singing Dilip Dholakia.

dilip-dholakia-youngDilip Dholakia had his first exposure to singing in his early childhood when he would accompany his grandfather to Swaminarayan temple and join the singing of the temple prayers. His father used to play flute and his grandfather used to sing songs of God’s praise and hymns at the temple. Later he learnt classical singing from Pandurang Amberkar, a disciple of Khan Saheb Aman Ali Khan. He had shifted to Bombay in his. After he was selected as an artist on All India Radio, in Mumbai, he got the offer to sing a song for the film Kismatwala (1944). The composer Ratanlal, younger brother of composer Khemchand Prakash, had Dilip Dholakia sing ‘Gori Chalo Na Sina Ubharke’ and ‘Dekho Hamse Na Ankhe Ladaya Karo’. He also got chance to sing in chorus for a K L Saigal song Thukra Rahi Hai Duniya for Bhanvra (1944). In 1946, he got to sing ‘Dukh Ki Is Nagri Mein Baba Koi Na Puchhe Baat’ in ‘Laaj’ under Ramchandra Pal’s baton.

By this time Dilip Dholakia was introduced to Snehal Bhatkar at HMV studio, Bombay. Snehal Bhatkar helped him to cut his first record. Dilip Dholakia recorded two solos, penned by Gujarat’s well-known poet and lyricist, Venubahi Purohit. These songs were[i]:

Bhint Phadi Ne Piplo Re Ugyo, Jiran Eni Kaya Re, Kankari Chuno Roj Khare Ne Dhruje Vajar Kaya Re

Aadha Tel Aur Adha Paani, Em Gujarati Jaaye Javani, Em Gujarati Aa Jindagani

Another the then emerging Gujarati music director, Avinash Vyas gave him a couple of duets with the prominent playback singer Amirbai Karnataki in Gujarati film , Sati Sone (1948). One of these two, Shravani Vadaladi Tu Ja…Ja Sandesho Lai, is available on YT:

He got his first major break with Divadandi’s(1950). Ajit Merchant’s solo composition in his voice Taari Aankh No Afini Tara Bol No Bandhani was an instant hit. It has acquired a cult status among Gujarati songs and has had have covers and versions till now. Dilip Dholakia sings the first line of the song, without any accompanying instrument, to enjoy in his bare voice:

We will listen to another duet from this film. Dilip Dholakia sings his lines in lower scales –

Vagda Vachche Talavadi Ne Talavadi Ne Kor – with Rohini Roy – Lyricist: Balmukund Dave

Apparently, Dilip Dholakia could make out that he would not be able to carve out his space in the field of playback singing. So he switched over to playing the role of assistant to S N Tripathi, when Chitragupta took to his independent career and then to even Chitragupta as well. It was during this association that he could lay his hands onto some more of playback singing assignments.

Dur Gagan Pe Chamke Sitare.. Paas Hamare Chamke Chand Hamare – Ram Hanuman Yuddha, (1957) – with Geeta Dutt – S N Tripathi – Ramesh Chandra Pandey

SN Tripathi’s one of the signature melodious tunes. Dilip Dholakia has to play with his voice in sort of an undertone to match the tonal chords of Geeta Dutt.

Aaj Agar Meri Laaj Gayi, Samaz Le Teri Laaj Gayi – Ram Hanuman Yuddha (1957) – with Lata Mangeshkar – S N Tripathi – Ramesh Chandra Pandey

Dilip Dholakia sings for a playful  king on his boat tour on a river even his queen is prayerfully demanding protection of her dutiful rights … Both the singers depict two entirely different moods, in the setting of different scales on the same tune.

Run Jhun Baaje Penjaniya – Sakshi Gopal (1957) – Chitragupta – Bharat Vyas

The song is set to a slow rhythm of a traditional stray DUHA style of Charan poets of the Kathiawar (a part of Gujarat’s Suarshatra region), obviously Dilip Dholakia’s ancestral heritage instincts influencing the composition of the song. .

Khanke Kangana Khan Khan Re, Chhanake Ghungharu Chhan Chhan Re  – Saugandh (1961) – with Lata Mangeshkar and Mohammad Rafi in the lead.

This appears to be the only Hindi song that Dilip Dholakia has chosen to sing under his own music direction. But when he has chosen to do so, not lonely music director, (Dilip Dholakia), but the lyricist (Prem Dhawan) also joins Lata and Rafi @ 2.21 to 2.24 in an innovative experiment in this song.

After a long hiatus, Dilip Dholakia he came back to singing and recording non-filmy songs only at the very end of his active career. I have picked up two representative songs from this crop.

Ten Puchhyo Prem No Marm Ne Hun Dai Betho Alingan

Dilip Dholakia seems to be rekindling memories of his visits to Swaminarayan temple in this bhajan –

Lagi Re Mohe Nain Najariya…

We will continue with our tradition of ending our episode with Mohammad Rafi Songs.

I have selected two so-well-composed Dilip Dholakia songs that not only stand out as a few of Rafi’s best everm, but do present Dilip Dholakia’s range as a music director.

One is a Bhaskar Vora’s song for Satyavan Savitri (1963) –

Mithadi Nazaroon Vaagi

[Sweet glance has hit me..]

and the other on is a non-film song, written by Barakat Virani ‘Befam’

Milan Na Deepak Buzai Gaya Chhe

[Lamps of our meeting have now gone off..]

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.

[i]  I most sincerely thank Shri Biren Kothari for providing the soft copies of these songs.

Fading Memories…. Unforgettable Songs: December, 2016

Mohammad Rafi’s Solo Song from the FIRST Film with the Music Director: 1944 – 1948: Part 1

This is month of Mohammad Rafi’s birth anniversary. [Born: December 24, 1924, Kotla Sultan Singh | Died: July 31, 1980, Mumbai]. And hence this month’s episode is dedicated to Mohammad Rafi.

mohammad-rafi-jugnu-1

All sorts of analyses have written about Mohammad Rafi. The subject that I have chosen is very simple at its core. I plan to divide Rafi’s very long career in five-year slots, look for a film that has his first association with the music director, and then pick up one solo song that seems to slip from our memories.

I do not have any pretense of evaluating influence of different music director on his singing (in the initial years of his career) or his contribution to the furtherance of a music director’s career (once he had acquired such level).  Our goal is very simple: bring some of his fading-from-the-memory-songs on one page and enjoy them on the call.

We begin our journey with the 1944-1948 five-year-period – the first five-years of Mohammad Rafi’s career, a career that was to span next three decades plus period of Hindi Film Music. As can be expected the first five-year period has a very large number of music directors who deployed Mohammad Rafi first time. One can presume that there could be n-number of reasons for Rafi being selected for the first time. It was certainly not a choice by default. As we will listen to the songs, one interesting fact that will stand out is that Mohammad Rafi sounds as comfortable as he sounded once he had settled down as a very successful singer. The period does have a few music directors who already have set a repeat relationship. The period also has a few songs that had become popular then and have remained popular since then as well.

1944

There are as many knowledgeable treatises as there are points of views on how Mohammad Rafi got to sing for the first time in a public function, how he came to down to Bombay, who all he met and how he went to record his first ever film song for a Punjabi film Gul Baloch [Sooniye Nee Heeriye Nee Yaad Ne Bahut Sataya –  duet with Zeenat Begum – Music director: Shyam Sundar ] and his FIRST Hindi film song Jab Dil Ho Kaabu Mein to Dildar Ki Aisi Taisi – a duet with G M Durrani – under the baton of Shyam Sundar for Gaon Ki Gori. The first that was recorded by Naushad in Rafi’s voice, a chorus, was from Pehle Aap.  The song was penned by Nazim Panipati. The song will also go in the records as Mohammad Rafi’s first patriotic song: Shri Arunkumar Deshmukh, while providing a good deal of other interesting information about this song has noted that Shyamkumar, Allauddin Naved and B. M. Vyas also have contributed in the song.

Hindustan Ke Hai Hum, Hai Hindustan Hamara

1945

Pandit Govindram, one of the then leading music director, teamed up with lyricist Ramesh Gupta for Hamara Sansar with what may be termed as a full-fledged 1st solo song. The experts may see that youthful rawness in Rafi’s voice but not in his singing prowess.:

Ae Dil-e-Nakaam Ab Jeene Ki Tamanna Chhod De

Firoz Nizami had three solos for Mohammad Rafi in Sharabati Ankhen. Each one was set to difficult tune and rising/dropping scales.  Tanvir Naqvi’s songs that I have selected is set to fast clip in the mukhada, but antara opens on a lower note before reverting to the fast clip.

Bahut Mukhtasar Hai Hamari Kahani… Jawani Muhabbat 

A year later Firoz Nizami will present Woh Apni Yaad Dilane Ko, in which Rafi will appear in a cameo performance on the screen. An icing on the cake will be duet with the then reigning queen Noor Jehan – Yaahan Badla Wafa Ka Bewafai Ke Siwa Kya Hai – were Rafi will match note-to-notes with Noor Jehan and thus score a first all-time hit – one of the many to come in not too distant future.

Hafeez Khan has composed a full of pathos song penned by Nakshab Jarachvi in Zeenat. Mohammad Rafi seems to bring out the feeling without being theatrical.

Haye Re Duniya …Kitni Dil Azar Hai Duniya, Jhuton Ka Darbar Hai Duniya

1946

S Quereshi has composed a slightly fast paced tune which is essentially in the nature of a traditional prayer. Shevan Rizvi has made required changes in the lyrics to suit the song to probably a 78-RPM record singing length duration. In the years to come, Mohammad Rafi will have developed a special forte for this genre.

Milta Hai Kya Namaaz Mein Sajde Mein Ja Ke Dekh Le

Shankar  Rao Vyas is quite an unknown name as far as my knowledge of Hindi Film Music goes.  In this Ghoonghat solo song written by Ramesh Gupta, we get to listen to Mohammad Rafi in his elements.

Bahoot Mayush Ho Kar Koocha-e-Qatil Se Hum Nikale

We have one more film in this year in which Shankar Rao Vyas – Mohammad Rafi combination is present. Not knowing which one would have come earlier, I have as well picked up a song written by Ramesh Gupta from Mera Geet.

Apas Ke Jhagadon Ne Dekho Bharat Barbad Kiya, Jinka Tha Mohtaj Jamana Aaj Inhe Mohtaj Kiya

Basheer Dehlvi has experimented with Mohammad Rafi’s ability to switch form very high octaves to very low octaves in the very beginning as well as in the very end of this solo song from Hawaii Khatola.

Meri Bighadi Huee Qismat Ka Naksha Dekhanewalo…. Hoton Ki Hasi Kya Hai, Kya Ashq Bahana Hai

https://www.youtube.com/watch?v=XVuyX7FsR9g

S N Tripathi has composed a Rafi solo for Mansarovar: Badhe Chalo Badhe Chalo Bahaduron . Unfortunately the soft copy of the song is still not available on net.

Rangbhoomi’s this composition by Prem Nath has been documented as a Mohammad Rafi Solo, But it has quite a distinct chorus as an accompanying component. @2.22 onwards, there is a female component also, purportedly led by Shamshad Begum.  Interesting in every antara, the beginning few words by Rafi sound quite different, till of course the line goes into what has now become Rafi’s signature style of rising to sudden high octave. The song is penned by Pt. Phani.

Kadam Suye  Manzil Badhaye Chala Jaa, Koi Saath Aaye Na AAye Tu Chala Chal  

Hanuman Prasad also opens account with Mohammad Rafi in Rasilii, but both the songs are duets with Shamshad Begum. So we will have to wait for the next opportunity to get a maiden solo as Hanuman Prasad – Mohammad combination

Rashid Atre has used Mohammad Rafi in quawwali style solo song, penned by Nakhshab Jarchvi for Room No 9

Rahe To Rahe Kaise Dil Ke Ikhtyar Mujhe,….Tum Is Nigah Se Dekho Na Baar Mujhe

Even as Bulo C Rani too has opened account with Mohammad Rafi n Salgirah, we will have t wait for their maiden solo combination since the films has a Rafi pairing with Kaumidini Dikshit.

C Ramachandra has scored a double solo in Safar. Kehke Bhi Na Aaye Tum can be treated as one of the popular among Mohammad Rafi’s early songs. So I have picked up another one, which is set to a very distinct style… These songs have been written by G S Nepali. As SoY has noted, CR went onto compose 22 more songs of Mohammad Rafi by 1949.

Ab Woh Hamare Ho Gaye….Ikrar Kare Ya Na Kare

Taufail Farookhi introduces Mohammad Rafi in a very different sur in this song, written by Shamim Jaipuri for Sona Chandi. As the mukhda progresses we get to Rafi’s voice as so well-known to us. The song is set to quite difficult rhythm-scale combination.

 Data Ji Tera Bhed Na Paya 

As was expected, the first five-year-period of 1944-48 of Mohammad Rafi’s career has many more songs then we can reasonably accommodate in one post. Thanks to Raza Abidi who has meticulously collected Mohammad Rafi’s songs on YT when he was “unknown”, we will end the first half of 1944-48 five-year-period with a song, composed by Prakash for Bikhare Phool, a film that was never released. The song does require mention because Rafi has so poignantly brought in emotions in the song with his ‘natural theatrical flair’.

Hamen Bhool Jana… Dil Na Dukhana

We will conclude this part of our journey in one more episode, on 22nd December (2016), nearer to  Mohammad Rafi’s anniversary day.

Fading Memories…. Unforgettable Songs: November, 2016

surinder-kaurWhile listening to the Songs of 1949, I had opportunity to listen to the solo songs of Surinder Kaur in great detail. I did get to listen to her duets with Mukesh, but as it appears, had missed the duet with Mohammad Rafi. The surreal appeal of her voice simply lingered on in my mind..  Hence, I sought more details. Cineplot.com and Wikipedia provide us fairly comprehensive details about her background. We come to know that this is the month of her birth (25th November, 1929).

And that made the choice for the content of our November, 2016 episode very simple – Solo Songs of Surinder Kaur from Hindi Films.

The list of songs that I could lay hands on span the period of 1948 to 1952 only. I have no idea how much these songs had become popular those days and why did she had to retreat to singing Punjabi songs only. Losing on more songs must surely mean a big enough loss to the wealth of Hindi Film music, but the songs that we already have are more than enough to make up the quantitative value.

I have chosen only one solo song per film here, and that choice is what my ears have liked. All other songs are available on YT, so those who wish to go beyond the ones here simply have to search for the film and the songs will appear easily enough.

So here we go….

Akhiyan Mila Ke Akhiyan, Roye Din Ratiyan – Nadiya Ke Paar (1948) – C Ramchandra – Moti B.A.

This is the only solo song in the film and that has gone to Surinder Kaur. What a break that should be! And she has certainly lived up to the demands as well.

Ek Nazar Woh Yaad Hai Unki, Jisne Dil Par Vaar Kiya – Nao (1948) – Gyan Dutt – D N Madhok

I have no idea whether Nao came first or it passed Nadiya Ke Paar first, but the as we cross Nadiya Ke Paar with the Nao, we get the bounty of three solos and a duet of Surinder Kaur.

The song is composed to the inherent Punjabi fair, but Surinder Kaur’s chords have certain appeal beyond the composition.

Kitne Door Hai Huzoor, Kaise Mulaquat Ho – Pyar Ki Jeet (1948) – Husnlal Bhagatram – Qamar Jalalabadi

A dholak-based rhythm again, but Surinder Kaur comes in different colours in the delivery of the songs…

Badnam Na Ho Jaaye Mohabatt Ka Afsana – Shaheed (1948) – Ghulam Haider – Raja Mahendi Ali Khan

This can be called as perhaps her most ever-known song. Shaheed was certainly a film that by its very nature of the story was heavily tilted towards the character of the hero. Therefore, it was no small achievement that Kamini Kaushal had underplayed to the hilt her role of the beloved one who remains in the shadow, but comes out with equal theatrical score at the end. That makes the responsibility if the lead female playback singer quite daunting. That Surinder Kaur was chosen for all the three solos means that the music director had invested great trust in her voice. She has risen to the best of the vintage era playback standards.

Aye Chand Tere Saath To Rehate Hai Sitare – Dada (1949) – Shaukat Hussain Dehalvi (a.k.a. Nashad) – Rafiq Ajmeri

The films had two other duets with Mukesh and one with Shamshad Begum. Surinder Kaur continues her standard that she had set in Shaheed.

Ummeedo Par Udasi Chhaa Gayi, Kya Tum Na Aaoge – Kaneez- Ghulam Haider – Harishchandra ‘Akhtar’

Ghulam Haider reposes the faith and Surinder Kaur rises so well to the challenge in a song that exudes pathos.

Dil Ke Maalik Sun, Mera Dil Toot Gaya Hai – Rooplekha (1949) – Sajjad Hussain – Khumar Barabankvi

For the purposes of records, HFGK mentions Khan Masatana as the music director for all songs of the film but one. For us it is to relish the sheer melody of Surinder Kaur’s voice in so lower octaves at a very slow spaced rhythm.

Ye Lakhon Hasaratein…Ab Jiyen Batao Kiske Liye – Sanwaria  (1949) – C Ramchandra – P L Santoshi

C Ramchandra also has chosen to allot one solo song to Surinder Kaur – Shamshad Begum has two other solos whereas Lalita Deulkar has one. Surinder Kaur so easily sounds like Shamshad Begum, with a heavier tone. Well, that is what it sounds to me. Whatever that may be, the song stands so well on its own merits too.

Chanda Re Main Teri Gawahi Lene Aayi – Singaar (1949) – Khursheed Anwar – D N Madhok

There are two more solos and a duet with Suraiya also to Surinder Kaur’s account in this film. She has played back for Madhubala in the film. In the present case, the song is set to a very soft style, befitting the mood of the scene in the film. Singing with the minimal support of the rhythm, Surinder Kaur succeeds in enacting the mood.

Tum Sang Akhiyan Mila Ke… Neha Laga Ke, Main Haar Gayi…- Sunehare Din (1949) – Gyan Dutt – D N Madhok

Gyan Dutt has not only given once again a lion’s share in the film’s songs, he seems to have gone to further experiment as well.  If this song is playful, listen to

Thandi Thandi Hawa Jo Aaye – a song so full of pathos and Surinder Kaur enlivening every possible nuance of the emotion.

Daga Baaz Kaun Bharosa Tera – Khamosh Sipahi (1950) – Hansraj Behl – D N Modhok

This time it is Hansraj Behl who takes the Surinder Kaur to very low octaves and creates the deep pathos from the emotionally-charged heaviness of her voice…

The film has one more solo to Surinder Kaur’s account and a duet each with Mohammad Rafi and Geeta Roy respectively.

More Nain Baware, Chham Chham Neer Bahaye – Sabak (1950) – A R Qureshi – D N Modhok

Heroine is physically so far away from her beloved that the she has no one to share the tears rolling down from eyes.…

For the records, Sabak has highest number of songs to Surinder Kaur in any one film – three solos, three duets with Mohammad Rafi and a chorus in duet with Asha Bhosle.

‘Shaadi Ki Raat’ (1950 has one duet with Talat Mahmood, which is so light in mood.

Duniya Se Nyaari Teri Sasural Hai, Ghar Mein Na Aata Hai Na Ghee Hai Na Dal Hai – Badi Bahu (1951) – Anil Biswas – ??

Here is a typical pre-marriage ceremony song where bride’s friends get together and tease her while playing satirical songs about her in-laws-to-be. Most of India has similar tradition, but Hindi films have standardized it to the traditional Punjabi culture. That is perhaps reason why Anil Biswas has chosen Surinder Kaur for the song.

Majhdhar Mein Kashti Doob Gayi – Buzdil (1951) – S D Burman – Kaifi Azmi

S D Burman creates Shamshad Begum-like effect with Surinder Kaur…

Main Mubarakbaad Dene Aayi Hun – Aandhiyan (1952) – Ustad Ali Akbar Khan – Pandit Narendra Sharma

For an essentially high-pitched-voice female singer, one obvious song form is a Mujhara. Surinder Kaur’s repertoire is, too, now complete.

To end, there is a very peculiar piece in Aandhiyan. Surinder Kaur’s voice has also been used for a male musician who has a feminine voice who is in the process of setting up the scale for the performance.

In order to end our episode with a Mohammad Rafi song, I have chosen the first film in which Mohammad Rafi and Surinder Kaur had a duet. The composition is set to quite lilting rhythm:

Tum Jo Ho Jao Hamre Hum Ho Jae Tumhare.. Kabhi Chandani Raton Mein – Rooplekha (1949) – Khan Mastana – Khumar Barabankvi

Surinder Kaur has had left behind a very rich legacy of her Punjabi songs also.

surinderkaur-a

We pay our humble tribute to Surinder Kaur on her ensuing birth day by promising that we will come back to her duets at appropriate occasions.

If you have more songs to share, you are most heartily welcome…..

Fading Memories…. Unforgettable Songs: October, 2016

Our October, 2016 episode of ‘Fading Memories, Unforgettable Songs’ has been carved out from the posts published on Atul’s Songs a Day which Samir Dholakia has been recommending to me over last few months.

Each of the post has its own interesting narrative. I have picked up only a key part from that narrative here. As our basic purpose is to bring up the songs that seem to have receded from the memory, our focus here would be the song that has geminated that post. A link to the original post has been maintained for the reader of this episode to whet the urge to read the whole of the original post.

Aayi atariya pe sone na sone diya – Sadanand Kamath builds up the post with a questionWhat is the main feature in three sets of songs given below?

1(i). do dilon ko ek dil milaakar banaana yaad hai – Kamala (1946)

(ii). kat rahi hai bekasi mein har ghadi tere baghair – Deewaana (1947)

2(i). wo dekho udhar chaand nikla gagan mein – Roopkumari (1956)

(ii). nigaahon mein tum ho khayaalon mein tum ho – Jaadoo Nagri (1961)

(iii). ye tan man watan par nichhawar karenge – Kunwaari (1966)

3(i). aaj mausam ki masti mein gaaye pawan – Banarasi Thug (1962)

(ii). ek chameli ke mandve tale – Cha Cha Cha (1964)

To get the answer, one needs to listen to these songs. Resultantly you will observe that all individual song in these sets have been composed, more or less, on the same tune.

The 4th in the set of songs of the repeat tune is –

Aayi Atariya Pe Sone Na Sone Diya – Mehmaan (1942) – Shamim – Khemchand Prakash – D N Madhok.

Khemchand Prakash subsequently used more or less the same tune after two years for Teri Pi Pi Ke Pukaaron Ne Dil Loot Liya in ‘Bhanwraa’ (1944) – Ameerbai Karnataki.

Balam Harjaai, Jaavo Ji Main To Preet Kiye Pachhtaai – By Sadanand Kamath

The music director was none other than Mohammed Shafi. Mohammed Shafi has been associated with Hindi film industry since 1937 and his first film as an independent music director was ‘Haqdaar’ (1946). ….It is said that the entire music of ‘Sohni Mahiwal’ (1958) was composed by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhoondho Dhoondho Re Saajna” in  ‘Ganga Jamuna’ (1961) were his creations.  The song that is presented here  was the only song Mohammad Shafi has also sung for Hindi film.

Balam Harjai, Jaavo Ji Main To Preet Kiye Pachhtaai – Shikarpuri  (1947) – Razia Begum, Mohammed Shafi – Mohammed Shafi – A Shah Aziz

Jhoolo jhoolo pyaar hindoleby Sadanand Kamath

One of Lata Mangeshkar’s rare songs of the late 40s, which she sang with Balakram.

Jhoolo Jhoolo Pyaar Hindole  – Hamaari Kahaani (1948)(UR) – Lata Mangeshkar, Balakram – Hemant Kedar

Na kisi ki aankh ka noor hoon – Sadanand Kamath

It is interesting to note that ‘Laal Qila’ (1960) was not the first film in which the ghazal ‘Na Kisi Ki Aankh Ka Noor Hoon’ was used.

Na Kisi Ki Aankh Ka Noor Hoon – Toote Taare(1948)-Rajkumari – Shaukat Dehlvi (a.k.a. Nashaad) – Muztar Khairabadi

Ho itne bade bhagwaan dilaa de makaan by Arunkumar Deshmukh

The article briefly traces the history of association of Paul Zils(1), who made a debut in Hindi Film World with this film. Like several other Germans who were very actively involved with Hind films around the WWII times, Paul Zils directed three Dev Anand films, according to documents – Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called “Shabash”, though listed in 1949, gives no details, except the film name.

Vasant Desai has composed this lengthy song in two parts:

Ho Itne Bade Bhagwan Dila De Makaan  -Hindustan Hamaara (1950)  – Surendra, Mohammad Rafi,Premnath -Vasant Desai – Dewan Sharar

Aisi chot jiyaa ne khaayi – Sadanand Kamath

‘Nirmohi’ (1952) had not one but 6 Lata Mangeshkar songs (out of 8 songs), that too all solos. The other two have been Lalit Mohan – a name that most of us would not have heard.

Aisi Chot  Jiya Ne Khaayee  – Nirmohi (1952) -Lalit Mohan – Madan Mohan -P N Rangeen

The other one – Yeh Suhana Sama   – is listed as duet of Lalit Mohan and Kavita. It seems the soft link to this song has not yet been established,

Do bol tere meethhe meethhe – Arunkumar Deshmukh

There were just 7 songs in the film, but 7 lyricists wrote one song each, In this song music director Mohammad Shafi has made use of Chorus very cleverly. The chorus gives a sort of lift to the song.

Do Bol Tere Meethe Meethe – Daara (1953) – Hemant Kumar, Lata Mangeshkar – Mohammad Shafi – Madhup Sharma

In Bhaj man narayan narayan, Arun Kumar Deshmukh has presented several anecdotes how many ambitious and daring people accidently acquired new skills and then went on become very wel known names in the respective field….. in the present case, the film is directed by Vithaldas Panchotiya, who also acted in the film. Vithaldas is yet another example of an All- rounder in films. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else!

Bhaj Man Narayan Narayan – Bhaagwat Mahima (1955) -Hemant Kumar -Hemant Kumar-Pt Madhur

In Mera Bhola Balam Ji Ki Batiyaan Ho Ram Kasam Na Jaane, Sudhir Kapoor has presented a poem that contains 22, yes, twenty two, songs of Mubarak Begum. And here is the 23rd one –

Mera Bhola Balam Ji Ki Batiyaan Ho Ram Kasam Na Jaane –Kundan (1955) – Mubarak Begum – Ghulam Mohammad – Shakeel Badayuni

Ja Re Chandr’ Jaa Re Chandr’ Aur Kahin Jaa Re by Bharat Upadhyay

Music director Roshan (another great MD) wrote somewhere about this song:

“Sublime, magical, spellbinding… and divine, these are some of the words that come to mind for this masterpiece. What a wonderful gift to the listeners from Lataji, Sudhir Phadke, and Pt. Narendra Sharma. Lataji has done complete justice to the words so characteristic of songs based on Krishna and virah ras and to SP’s delicate tune.”

Ja Re Chandr’ Jaa Re Chandr’ Aur Kahin Jaa Re  – Sajni (1956)  – Lata Mangeshkar – Sudhir Phadke  – Pt Narendra Sharma

Jaata kahaan hai parwaane – Sadanand Kamath has presented one of Suman Kalyanpur’s rare and an unusual song which amply manifests that if she was given an opportunity, she would have proved her versatility in her singing.

Jaata Kahaan Hai Parwaane – Mr Q (1958) -Suman Kalyanpur-Manohar Arora – Shyam Sarhadi

Do Nain, Bechain – Sudhir Kapoor does as many summersaults and makes us do the same too. At the end he has landed upon this as much unique combination of music director and song writer – Laxmikant Pyarelal and Asad Bhopali

Do Nain, Bechain – Boxer (1965) – Lata Mangeshkar – Laxmikant Pyaarelal – Asad Bhopali

Before we end our present episode, here is a post, Tumhin Se Hui Hai Shuru Aur Tumhin Pe Sanam Khatm Hogi Kahaani Hamaari – by Sudhir Kapoor – that has presented one of the two solos that Mohammad Rafi sings in the film out of the total six songs.

Tumhin Se Hui Hai Shuru Aur Tumhin Pe Sanam Khatm Hogi Kahaani Hamaari – Mera Dost (1967) – Laxmikant Pyaarelal – Anand Bakshi

And the other one of the two solos is our addition to the icing on the cake –

Aye Dost Kisi Roz Pachchatayega

And to the end the episode we have Aji mat poochho kuchh baat college albeli by Arunkumar Deshmukh.  The specialty of the song lies in Rafi himself appearing on screen singing his lines. Rafi sang on silver screen on few films like, Shahjehan-46, Jugnu-47 and Samaj ko badal dalo-47.

Aji Mat Poochho Kuchh Baat College Albeli –  Samaj Ko Badal Dalo (1947) – Arunkumar Mukherji, Mohammad Rafi, Manna Dey – Khemchand Prakash

YT has one more link, but unfortunately that also does not have a supporting video.

If you have songs to share, you are most heartily welcome…..


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