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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs :January 2022

Jaidev: Brilliant, But Underrated, Composer1974 -1975

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

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

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

Till now, we have covered, the years

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

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

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

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

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

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

Aalingan (1974)

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

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

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

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

Faslah (1974)

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

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

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

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

Parinay (1974)

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

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

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

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

Asides:

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

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

Ek Hans Ka Joda (1975)

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

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

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

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

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

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

Andolan (1975)

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

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

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

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

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

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

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

Aside trivia:

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

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

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

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

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

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

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Fading Memories….Unforgettable Songs Remembering Mohammad Rafi

Fading Memories…. Unforgettable Songs: December 2021

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

1947-1948

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

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

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

1947

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

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

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

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

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

There is a male-female duet son too.

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

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

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

Part 1:

Part 2

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

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

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

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

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

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

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

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

1948

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

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

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

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

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

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

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

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

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

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

This is a thoroughly enjoyable fun song.

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

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

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

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

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

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

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

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

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

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

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

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

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

Mohammad Rafi very deftly handles a medium spaced composition.

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

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

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

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

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

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

Mohammad Rafi is a minor partner in this MM triad.

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

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

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

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

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


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


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


 

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : November 2021

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

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

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

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

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

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

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

Madhumati (1958)

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

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

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

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

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

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

The full song is available its audio form

Aside Trivia:

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

Similarly, the lines of the second stanza

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

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

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

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

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

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

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

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

Aside Trivia:

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

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

Heera Moti (1959)

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

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

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

Honeymoon (1960)

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Parakh (1960)

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

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

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

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

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

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

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

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

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

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

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

Usne Kaha Tha (1960)

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

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

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

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

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

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

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

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

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : October 2021

Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1955 -1956 (Part)

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987 – was one of the genius composers of the famous duo Shankar Jaikishan. Shankar had a long stint of training in classical music. He was a tabla player at the core, but went onto learn several rhythm and string instruments successfully in the initial period of struggle He got the basic training in the nitty-gritty of film music composition as assistant to Ram Ganguli in Raj Kapoor’s maiden venture, Aag (1948)

When Raj Kapoor took up his next project, Barsat (194) he invited Shankar to take charge of the music direction. Shankar roped in Jaikishan as his partner. During the decades of 1940s, 1950s and 1960s several composers dominated Bollywood films. Naushad Ali, S D Burman, C Ramchandra, Vasant Desai, Salil Chowdhury, Roshan, Madan Mohan, OP Nayyar, Ravi etc. all had the class, and style of their own. Among these stalwarts, Shankar Jaikishan created their own space – with RK and other leading banners, critics as well as common fans – and went on to compose music in almost 195 films in that golden age.

Shailendra (a.k.a. Shankardas Kesarilal, B:  30 August 1923 – D: 14 December 1966) ‘s poetry and films songs reflected his temperamental proximity to the common man. In the famous quartet of Shankar Jaikishan Shailendra and Hasrat Jaipuri, Shankar and Shailendra worked as one part of the team with Hasrat Jaipuri, and Jaikishan made up the other half. Apart from the personal preferences and proximity related to friendship, this division of work was more in accordance with the inherent composition patterns of the two composers. Shankar always loved composing serious thematic songs with a lot of emotional content that only Shailendra could do justice to whereas Jaikishan was more into composing light- hearted romantic stuff that came so naturally to Hasrat.

To commemorate the birth anniversary of Shankar Singh Raghuvanshi, we have commenced the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for 1955 and part of 1956. The variety of the film subjects and the corresponding song compositions, coupled with the steeply increasing the numbers of the films in a year clearly indicate the beginning of the upsurge in the wave that Shankar Jaikishan created in the ocean of Hindi film music. In fact, 1956 had as many as 7 films under the baton of Shankar Jaikishan with a staggering total of 61 songs, distributed between Shailendra and Hasrat Jaipuri as 46 and 15 songs respectively.

Seema (1955)

Seema had 6 songs, with Shailendra and Hasrat Jaipuri scoring lyrics for three songs each. Hasrat Jaipuri’s one song runs into two parts whereas Shailendra’s Tu Pyar Ka Sagar Hai appears twice, in different contexts, in the film. None of the songs from the film can ever be classified as the Fading from The Memory category. Therefore, I have picked up one song that I like more than other songs.

Man Mohana Bade Jhoothe, Haar Ke Haar Nahi Maane – Lata Mangeshkar

Based on Raag Jaijaiwanti, the song is all the way a Shankar Jaikishan song. The composition, though sounds so simple and pleasing, was so difficult to render that Nutan chose to attend the recording session to note the way Lata Mangeshkar negotiates the nuances of the song, so that she herself can truly reproduce these on the screen. Shailendra is at full simplicity blossom when he says –

Bane the khiladi piya, nikale anadi,
Mo se beimani kare, mujhse hi roothe

… … … … …
… … … … …

Tumhari ye bansi kanhaa, ban gai fansi
Taan sunake mora, tan man loote

Aside Trivia: One for more film with the title Seema was made in 1971, for which music director was Shankar Jaikishan!

Shree 420 (1955)

Shree 420 remains one of the most celebrated of RK Productions’ films, with seven of nine songs of the film remaining quite popular even today. Shailendra scored lyrics for

Shaam Gayi Raat Aayi Ab To Sanam Aa Ja , TaaroN Ki Barat Aayee Ke Balam Aa Ja  – Lata Mangeshkar

The song opens with prelude that has faint resemblance with famous ‘Albela’ (1951) song Bholi Surat Dil Ke Khote, Gujarati folk dance garba based, notes before Shankar Jaikishan’s signature base rhythm of dholak picks up the song. Such a melodious song remained relatively less known as compared to other songs, perhaps because it has not been included in the film.

Halaku (1956)

Directed by D D Kashyap, Halaku was a period film. It had Pran in the title role of emperor of Iran. The film revolves around his love for a common citizen beauty, who in fact is deeply in love with other young man. Halaku had 8 songs, of which Shailendra scored lyrics for 5 songs and Hasrat Jaipuri that for the other three.

Of the five songs of Shailendra, three duet songs – Aaja Ke Intzar Mein, Jaane Ko Hai Bahar Bhi (Rafi, Lata); Dil Ka Na Karana Aitbar Koyii, Bhule Se Na Karana Pyar Koyi (Rafi, Lata) and Aji Chale Aao, Tumhein AankhoN Se Dil Ne Bulaya Hai (Lata, Asha) – were quite popular.

Yeh Chand Yeh Sitare, Yeh Saath Tera Mera, Shab-e-Jhindagi Ka Na Ho Ab Savera, O Dilruba, O Dilruba – Lata Mangeshkar

In sync with the background of the story of the film, Shankar Jaikishan has composed the song mainly on the strength of the string instruments, both in the rhythm and in the interlude and obbligato orchestra support.

Teri Duniya Se Jaatein Hai Chhupaye Gam Apana., Liye Jaateein Hai AankhoN Mein Kisi Ke Pyar Ka Sapna – Lata Mangeshkar

Shankar Jaikishan once again follow different than their usual style of composition in the song.

The song was ultimately not included in the film.

Kismat Ka Khel (1956)

Kismat Ka Khel, directed and written by Kishore Sahu was so total failure as a film that its music also ha been packed off to a dust bin with its reels! Film had 7 songs, 5 of which were by Shailendra and two by Hasrat Jaipuri.

Aside Trivia: Kismat Ka Khel is a (just) the fourth film of Sunil Dutt’s career, the earlier three being, Railway Platform (1955) Kundan (1955) and Ek Hi Rastaa (1956).

Kismat Ka Khel Hai Janab-e-Ali…. Aapke Paas HaiN Moti Khazane Aur Apni Jeb Khali – Lata Mangeshkar

In those days, one would just a small opening to let in a song in the film. Here, the protagonists, Vyjayanti Mala and Sunil Dutt seem to be travelling in train, but obviously have no money for the ticket. On being asked to pay the penalty by the TTE, the lady proposes to sing a lilting dance song (in an obviously crowded train coach of those times!) to collect the required sum……!!!

Na Bure Na Bhale Hum Gareeb Gam Ke Pale, Tum Kya Jaano Basti Hamari Rajaa, Ladli Zindagi Apne AnsooN Mein Dhali – Lata Mangeshkar, chorus

The song is presented as a grand presentation of the basti, where Anokhi (Vyjayanti Mala) reigns and Prakash (Sunil Dutt) takes shelter, is the main arena for the film story. It is this situation that makes Shailendra to blossom out in the only stanza the song has:

hamari bhi gali me muskaraye chandani
badal jhumke gaye rasili ragini
tumhare mahal se kuch kam
nahi ye basti hamari

Arz Hai Aapse Aur Apse, Bhed Ki Baat Hai ApanoN Se Kahi Jaati Hai …… Balam Aayega…. – Lata Mangeshkar

The song is some occasion for Vyajayanti Mala to present herself as a damsel waiting the arrival of her beloved, of course in the form of a dance!

The song opens with a sakhi, which has harmonium in the obbligato support

Tu Maane Ya Na Maane Balam Anajaane, Bedardi Tere Liye… Nache Meri Zindagi – Lata Mangeshkar, chorus

The song is presented as a street-side tamaasa dance, but the appears very synthetic. The compositing seems to be set to mid-east Asian culture but lacks the melodious touch of SJ music.

Chalo Le ChaluN Mein Taaron Mein Rang Rangeele GulzaroN Mein – Asha Bhosle

The stage dance song begins with gorgeous prelude and then goes onto become a fast-paced song.

Basant Bahar (1956)

Shankar Jaikishan’s bag of variety of film subjects for the year 1956 had Basant Bahar as a major challenge since the subject revolved around the life and travails of a n astrologer’s son who is keenly interested in music. As such the film had to have songs based on either classical raags or should have a classical core.

The challenge was to stand up to the unprecedented success of music of Baiju Bawara. Success would have placed them in the first row of the then top class music directors and failure would have branded them as ‘also ran’ club membership. Shankar Jaikishan responded the challenge with as many as nine songs. Of these nine Shailendra scored lyrics for eight songs. Forcefully selecting one for the present episode, all other seven bore the class as well as mass popularity. These were: Ketaki Gulab Champak Ban Phoole (Manna Dey, Bhimsen Joshi); Sur Na Saje Kya GaooN Main and Bhay Bhanjana Vandana Sun Hamari (both, Manna Dey); Nain Mile Chain KahaaN (Manna Dey, Lata Mangeshkar); Badi Der Bhayi and Duniya Na Bhaye (both, Mohammad Rafi) and Ja Ja Ja Ja Re Balamwa (Lata Mangeshkar). Even the only one song by Hasrat Jaipuri, Main Piya Tori Tu Mane Ya Na Mane (Lata Mangeshkar) is not a shade less than the other eight.

Kar Gaya Re Kar Gaya Re Kar Gaya Mujhpe Jadoo Sanwariya – Lata Mangeshkar, Asha Bhosle

The dancing, outspoken, one lady spells out her feelings in the form of the second line of the song, Ye Kya Kiya Re, Gazab Kiya Re, Chor Ko Samaji Main Sadhu, which the other, rerved one, shuns to use is the subtle way to set the tone of two competing ladies for the love of Bharat Bhushan. Shankar Jaikishan has very deftly weaved in the two differing appeals in the form of Asha Bhosle singing a dance sequence and Lata Mangeshkar singing a pensive mood sequence. So has Shailendra, by so aptly choosing the lyrics for each mood.

We will foreclose the other four films – New Delhi, Rajhath, Chori Chori and Patarani – the year 1956 for continuation in the next (year) episode, because of sheer variety of each film and listening load of son=me very popular and some not so popular but meritorious songs.

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September 2021

(Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1962

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – was versatile poet and lyricist. He wrote a poetry that was accessible to the common man. Critics may not put him in the same roll of honor as Sahir Ludhianvi or Kaifi Azmi or even his long-time associate Shailendra. But his simple lyrics appealed the commos listener. His poetry was simple but the message it contained used to be quite deep. Many of his pure romantic songs carried most intimate and intense feelings. Hasrat Jaipuri also has written screenplay for ‘Hulchul (1951). His career spanned for the first film ‘Barsat’ in 1949 till his last, Hatya: The Murder (2004).

Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] is sometimes not equated with the music qualities of life-long partner Shankar. But his innate sense of melody lent a totally different dimension to the style of orchestration that made Shankar Jaikishan songs stand out quite distinctively. They led the trend of creating orchestrion style which as easily recognized as unique signature style of the music director.

The primary division of of who will compose which song would be worked out at very initial stage between Shankar and Jaikishan, based on the demands of the situation and their own inherent inclinations. Then, Shankar was considered to generally compose Shailendra’s songs and Jaikishan that of Hasrat Jaipur. And yet, the four were very close as friends in personal lives as well. Hasrat Jaipuri wrote ‘Geeton Ka Kanhaiya Chala Gaya when Jaikishan passed away in 1971.

In this month of Jaikishan’s birth and Hasrat Jaipuri’s death, we have commenced remembering (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform since 2017.Till now we have covered

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019, and

1960 -1961 in 2020

Presently we take up Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan during the years 1962. We have selected relatively less remembered songs from among all the available songs. The order of presentation of the film is set to the first, English, alphabetical letter of that film’s title.

1962

1962 had 6 films of Shankar Jaikishan. Hasrat Jaipuri’s share of songs was 21 songs. Each of the song was well received then and many remain still well-known.

Nashili Raat Hai, Saare Charag Gul Kar Do, Khushi Ki Raat Mein Kya Kaam Hai JalanewaloN Ka…….Lo Aayi Milan Ki Raat Sahaani Raat… NainoN Se Kisi Se Ke Nain Mile HaathoN Mein Kisi Ka Haath – Aashiq (1962) – Lata Mangeshkar

The song opens with prelude of sharp strains of violin ensemble, followed by a sakhi (couplet) and then the mukhada presents us the situation.

This one song epitomizes all that SJ-HJ combination has been offering in abundance- sensitive, rich orchestration, Hasrat Jaipuri’s signature sakhi and simple word that deliver profound message. The song apparently describes the happy situation of marriage but the deeper meaning of each lyric and every note of orchestration, as well Lata Mangeshkar’s subdued delivery, in fact, conveys the pathos of the protagonist (Padmini). (Shankar) Jaikishan’s signature touch is reflected in Lata Mangeshkar hitting high pitch at those lyrics of pain…

Pyar Ka Saaz Bhi Hai Dil Ki Awaz Bhi Hai, Mere GeetoN Mein Tum Hi Tum Ho, Mujhe Naaz Hai ……Chheda Mere Dil Ne Tarana Tere Pyar Ka, Jisne Suna Kho Gaya, Pura Nasha Ho Gaya – Asli Naqli (1962) – Mohammad Rafi

Here is another typical example of SJ-HJ combination – an easy, pleasing song with no complicated lyrics or orchestration and yet catchy enough.

Asli Naqli had 7 songs of which 5 songs are penned by Hasrat Jaipuri and 2 by Shailendra. Hasrat Jaipuri’s Tujhe Jivan Ki Dor Se Bandh Liya Hai (Mohammad Rafi, Lata Mangeshkar) was quintessential romantic duet, Gori Jara Has De Has De Tu Has De Jara (Mohammad Rafi) was a simple, lilting children song and Lakh Chhupao Chuup Na Sakega Raaz Ho Kitana Gehra.(Lata Mangeshkar) is a title song. We, thus, get to see full panorama of Hasrat Jaipuri’s versatility and how imaginative treatment (Shankar) Jaikishan has given to each composition.

Let us take one more song in detail:

Ek But Banaunga Tera Aur Pooja Karunga, Arre Mar Jaunga Pyar Agar Main Duja Karunga – Asli Naqli (1962) – Mohammad Rafi

Use of the word ‘But” which has two meanings, a statue and a beloved one, is a typical master stroke of Hasrat Jaipuri in a song which essentially is about the hero trying to please his beloved and assure her she has neither anyone else in mind nor will ever have one.

Once the mukhada gets free form this difficult word for the meter and melody, the song moves into an easy-paced song even though the subject of all through remains the statue. (Shankar)Jaikishan too have smartly chosen to repeat the line ‘Arre Mar Jaunga Pyar Agar Main Duja Karumga’. The song opens with a very melodious violin ensemble that seems to bring the thoughts from the deep imagination of the mind to the lips.

Even if the song did not become as popular as other songs of the film, perhaps because SJ and HJ moving along an experimental track, it retains all the charm of SJ-HJ combination..

Najhar Bachakar Chale Gaye Woh, Varana Ghayal Kar Deta, Dil Se Dil Takra Jata To Dil Mein Agni Bhar Deta  – Dil Tera Deewana (1962) – Mohammad Rafi

I like very unusual opening note of the prelude of the song in an otherwise a quint essential, very pleasing to listen to, SJ-HJ-Rafi songs tailor made for Shammi Kapoor.

Dil Tera Diwana had 7 songs – 4 by Shailendra and 3 by Hasrat Jaipuri. Dhadakane Lagata Hai Mera Dil Tere Naam Pe (Mohamma d Rafi) seems to turn on a Mehmood song on the screen but

Masoom Chehara Ye Qatil Nigahein Ke Bemaut Mare Gaye Hum Bichare – Dil Tera Diwana (1962) – Mohammad Rafi and Lata Mangeshkar

Unfortunately got hidden the razzle dazzle glare of the two other duets – Dil Tera Diwana Hai Sanam and Mujhe Kitana Pyar Hai Tumse (incidentally Shailendra songs) – but is the one that would remain more etched in the minds to a discerning SJ fan with Lata Matching higher scale notes to Rafi’s natural high-note style – for which Lata Mangeshkar always had a (sweet) complaint against Jaikishan..

Kho Gaya Hai Mera Pyaar….Dundhata Hun Main Mera Pyar – Hariyali Aur Raasta (1962) – Mahendra Kapoor

In line with the trend of those times, Shankar Jaikishan’s most of the songs would have been either filmed on the main character(s) or any other character which has major role in the film. The present song is not only an exception to that norm, but also one of the rare Shankar Jaikishan – Mahendra Kapoor song.

Hasrat Jaipuri’s lyrics amply express the message in the boatmen’s songs to the hero and Shankar Jaikishan has set the song to a very fast, relatively hitch pitched scale to reflect the heightened turmoil of thoughts and emotions in the mind of hero.

Hasrat Jaipuri has a rather minority quantitative share of 4 songs out of a staggering 11 songs in the film, Hariyali Aur Rasta, but having a title song Bol Meri Taqdeer Mein Kya Hai (Lata Mangeshkar, in happy and sad versions) and a song starting with an exceptionally heavy Urdu phrase Ibtida-e-Ishq Mein Ham Saari Raat Jaage hitting the top of the charts qualitative more than made for the quantitative share.

Ye Umar Hai Kya Rangeeli, Ye Najhar Hai Kya Nashili, Pyar Mein Khoye Khoye Nain, Hamara Rom Rom Bechain, Hamara Bhi Jamana Tha – Professor (1962) – Manna Dey, Asha Bhosle, Usha Mangeshkar

In an otherwise truly light-mood, foot-tapping song, Hasrat Jaipuri comes up with a profound message when he writes

jiwan kya hai haste rahna, man maujoN mein bahte rahna
chupke baitho mane na hum
chupke baitho mane na hum batein wo purani
ye umar hai kya rangili

Aye Gulbadan…PhuloN Ki Mahak, KaatoN Ki Chubhan, Tujhe Dekh Ke Kaheta Hai Mera Man, KahiiN Aaj Kisi Se Mohabbat Na Ho Jaye – Professor (1962) – Mohammad Rafi

With so romantic lyrics, so easy yet very rich musical composition and Mohammad Rafi at his full care-free flow, it was no wonder that this had caught the minds of the youth of those days. However, the beauty of the effect of entire composition is that one would like to listen to the complete song every time one gets to listen the song, even now.

Aawaz Deke Hamein Tum Bulao, Muhobbat Mein Hamko Na Itana Saataao – Professor (1962) – Mohammad Rafi, Lata Mangeshkar

The third song from Shankar Jaikishan – Hasrat Jaipuri combination – set to Rag Shivranjani, in which Shankar Jaikishan have composed some of their best ever songs –  yields a totally different outcome, that one may be tempted to attributing to Shankar (Jaikishan)- Shailendra combination.

Chau Chau Bombaiyana Ishq Hai Marz Purana, Dil Ki Dafli Se Sabhi Gaate Hai Yeh Gaana – Rungoli (1962)  – Manna Dey, chorus

Hasrat Jaipuri takes up the opportunity to put in the ‘right’ message(s) in an apparently a comedy song that is meant to spell out the worries and gloom –

humne jahaN bhi dekha mile haiN diloN ke rogi
apna hi raag alape shayad mohabbat hogi
tere mere dil ka juda hai afsana

duniya mein jab tak rahna
gham ko na aane dena
ban jana mast kalander
jeena ho hans ke jeena
badi badi ankhiyoN mein aansu nahiN lana

On this note of philosophical light mood, we bring curtains to the present episode, to continue our journey of Shankar (Jaikishan and Hasrat Jaipuri’s songs fading from the memory.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2021

Shailendra’s Songs with Sardul Kwatra and Mukul Roy

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966) body of work beyond Shankar-Jaikishan and the other two music directors S D Burman and Salil Chaudhuri remains quite varied and interesting. There have been films where he has just one or two songs too.

We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

In 2020, songs with SN Tripathi, Anil BIswas and C Ramchandra

Presently we will take up Shailendra’s songs with Sardul Kwatra and Mukul Roy, with who he had two films each.

Shailendra – Sardul (Singh) Kwatra

Sardul (Singh) Kwatra – 1928|2005 – was a master of Punjabi folk songs. His maiden Hindi film Ek Teri Nishani-49. That film failed at the box office. However, Sardul Kwatra composed music for 22 Hindi and 15 Punjabi films during his active career. Sardul Kwatra’s music in Mirza  Sahiban (1957) had caught attention of the cinegoers.

Pipili Saheb (1954)

The film had 9 songs of which had three lyricists – Hasrat Jaipuri – 6, Verma Malik -1 and Shailendra 2

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Fagun Aaya – Usha Mangeshkar, Meena Mangeshkar, Shaminder Pal

A folk tune-based dance song that is set to a very pleasing tune and simple orchestration.

Chand Sitaro Mein Kaun Bulaye Re …. Pahalu Se Dil Uda Jaaye Re – Lata Mangeshkar, Shaminder Pal

Shaminder hailed from a well-to-do agriculturist family of Punjab. After Sardul Kwatra gave him the break, he did get to sing with a few other music directors as well.

When he came to Bombay, it was Shaminder’s dream to sing a song with Lata Mangeshkar. This is Shaminder’s dream come true.

Tees Maar Khan (1955)

The film had 10 songs. Prem Dhawan penned all other songs.

Jinki Nigahon Ne Chheena Hai Dil Mera Dekhoji Unka Nishana KahiN Aur Hai – Lata Mangeshkar

The protagonist happily mulls her love. The song has verve that catches the mood of the lyrics so vividly.

I could not find the other song Dhoondhati Hai Tujhko Nigahein (Asha Bhosle) on YT.

Shailendra – Mukul Roy

Mukul Roy (B: 16-8-1926 to 8-11-2009) was the elder brother of Geeta Roy (Dutt). He composed music in only 3 Hindi films, 2 Bangla films (Grihpravesh and Kay hiner kahini). He also gave music to one Gujarati film.

Sailaab (1956)

Mukul Roy produced the film and Guru Dutt was the director. The other lyricists for the film were Majrooh Sultanpuri (4), Hasrat Jaipuri (2) and Madhukar Rajasthani (1).

Yeh Rut Yeh Raat Jawaan Bekal Dil Ke ArmaaN Aise Mein Tu Kaha Mere Dibar Aa – Geeta Dutt

The song appears to a club dance song, with Geeta Dutt at her usual mellifluous intoxicating mood.

Aa Gayi … Re Raat Rangbhari Aa Gayi…. Bachpan Ka Hath Chhoota – Geeta Dutt

Geeta Dutt comes up with a very different tonal variation.

Detective (1958)

Shailendra was the sole lyricist for this mystery thriller genre film. Shakti Samanta was the director.

Aankhon Pe Bharosa Mat Kar Duniya Jadu Ka Khel Hai – Mohammad Rafi, Sudha Malhotra

Protagonists play tricks to please the lady.

Mohammad Rafi sings for Pradeep Kumar whereas Sudha Malhotra sings for the child artist Daisy Irani.

Kal Talak Hum Thik Tha Aaj Hamien Kya Ho Gaya – Mohammad Rafi, Geeta Dutt

The song is filmed on Johnny Walker and Bimla Kumari (not to be confused with Hawa Mein Udata Jaye Bimala Kumari).

Shailendra has deftly weaved in the colloquial Anglo-Indian diction for the lyrics enacted by Bimla Kumari, befitting her role in the film.

Chhodiye Gussa Huzoor Aisi Narazagi Bhi Kya – Mohammad Rafi

Here is a the then popular roothana-manana genre song.

Aaja Kar Le Muqabla Ye Baji Pyar Ki – Mohammad Rafi, Geeta Dutt

Johnny Walker masquerades as a matador and Bimla Kumari as bull in the stage play as the mystery seems to deepen in the background.

Mujhko Tum Jo Mile, Ye Jahan Mil Gaya – Hemant Kumar, Geeta Dutt

The song comes up as a mandatory duet.

Hindi Geetmala mentions of solo in Geeta Dutt’s coice, too, which may be a small piece used in the film.

Raahi Chal Sambhal Sambhal Ke Bada Katheen Hai Rasta – Asha Bhosle

On the face of it, this is a street song, but the lyrics are laded with meaning for the ‘The Detective’ to remain guarded against the machination of the villains. Visuals of furtive movements by the villains makes it easier  for the lay public in the cinema hall to appreciate this ‘between the lines’ message.

Do Chamakti Ankhon Mein Kal Khwaab Suhana Tha Jinka – Geeta Dutt

The beloved is whittling out time in clubs and the poor heroine is shedding tears at home. The formula-drama of a Hindi cinema, irrespective of the theme of the screen play is ploy to create a space for a female song of pathos!

Geeta Dutt is her at most expressive best in this song, which is enshrined in the front-row of her top songs.

With curtain call for the present episode, please remember that our journey of the memory lanes of Shailendra’s song for “other” music directors continue…..

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: July 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1944-1946

To commemorate the memory of Mohammad Rafi on his birth anniversary, December 24, 1924, @ Kotla Sultan, Sindh and death anniversary, July 31, 1980 @ Mumba, we have had taken up Mohammad Rafi’s first solo song with a music director, from December 2016 till 2020. The present series of Mohammad Rafi’s First Duet Song with the Music Director is the natural follow-on series.

The series is quite simple at its core. Mohammad Rafi’s exceptionally long career is divided in five-year periods, pick up the first ever association with music director(s) in the chronological order in that five-year slot and then pick up the first film which has the first duet song of the music-director – Rafi combination. If the film has more than one duets, then we take up the least heard one for a closer look and take note of the others. The primary focus would be male-female duet, but we will take due note of first male-male duet or even triads from that combination if and as and when they come up in later years. We will limit the scope of the present series till the year 1969.

I do not have any pretense of evaluating influence of different music director on Mohammad Rafi’s singing style or the contribution of each other to the furtherance of each other’s careers Our goal is quite simple: refresh our memories of Mohammad Rafi’s fading-from-the-memory-duet-songs and bring them on one page and enjoy them on the call.

1st Five-Year Period: 1944 -1948

That Mohammad Rafi’s talent was first taken note of in 1937 in public function whereat he sang for K L Saigal, his initial introduction with music director Shyam Sundar are now a matter of folklore. Shyam Sundar recorded the first ever film song of Mohammad Rafi in Punjabi film Gul Baloch (which was released in 1944) in 1942. As is well-known now, that was a duet, with Zeenat Begum – Pardesi…Sohneys Oye Heeriye Oye. The song had become an instant hit, well before the film was released. The records also show that that film had one more duet, composed by Dhani Ram, with Munnavar Sultana – Achhanve – too.  

1944

Once Mohammad Rafi reached Bombay (as it was then known) from Lahore, after Shyam Sundar gave him an introduction letter, the way Mohammad Rafi could meet Naushad are the events very vividly covered in Mohammad Rafi’s biographies. For the purpose of our present series, the story begins after Mohammad Rafi got his first break in Hindi films under Naushad, which happened to be a chorus song – Hindustan Ke Hai Hum, Hai Hindustan Hamara; record # GE3416 – in the company of Shyamkumar, Allauddin Naved and B. M. Vyas in the film Pahele Aap.

The year 1944 has one more landmark in Mohammad Rafi’s personal life- his marriage with Bilquis Bano.

Naushad’s association with Mohammad Rafi took some time before it turned into a Fevicol bond. Naushad–Mohammad Rafi combination has yielded around 149 songs to the Hindi film industry.

Tum Dilli Main Agre, Mere Dil Se Nikale Haye Fasla Sau Kos Ka, Humane Sawan Bito Jaaye – Pahle Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3419]

A close listening to the lyrics indicates that Mohammad Rafi seems to be singing for an actor who plays a female role in this nautanki song.

We will make an exception here and listen to another duet from this film –

Ek Bar Unhein Mila De, Phir Meri Tauba Maula… Ab To Lagi Booja De, Phir Meri Tauba Maula – Pahele Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3417/19]

Mohammad Rafi seems to have been given a second fiddle in comparison to more experience Shyam Kumar, but that has not deterred the budding singer a bit.

1945

We have four music directors opening their relationships of duets with Mohammad Rafi in the year 1945.

Shyam Sundar is always remembered for his meticulous choices of instruments (Kis Tarah Bhoolega Dil; Gaon Ki Gori, 1945), wonderful composition (Mausam Aaya Hai Rangeen; Dholak, 1951) and choice of singers (Saajan Ki GaliyaN Chhod Chale; Bazar, 1949).

Jab Dil Ho Kaabu Mein to Dildar Ki Aisi Taisi… Tauba Tauba Husn Ke Sarkar Ki Aisi Taisi.. – Gaon Ki Gori, a.k.a. Village Girl – with G M Durrani, an unknown male singer – Lyrics:  – Wali Sahab – Music: Shyam Sundar

This song is on record number GE3596, i.e. later in then the Pahle Aap songs here above,  but is widely considered as Mohammad Rafi’s first Hindi film song.

Incidentally, during his very initial years, G M Durrani was Mohammad Rafi’s role model for singing. As fate would have it, it was Mohammad Rafi who played back to GM Durrani  in Unke Khayal Aaye To Aate Chale Gaye (Lal Paththar, 1971; Lyrics:  Hasrat Jaipuri; Music – Shanker Jaikishan)!

H P Das (1905 – 1989) was one of the leading Bangla music directors who was successful in Hindi films as well.

Dil Diye Chalein… Hum Jiye Chalein Aise – Begum – with Mohantara Ajinkya – Lyrics: G S Nepali – Music – H P Das

We have a very pleasant, fast-paced song. Mohammad Rafi sounds so young.

Gobind Ram was a versatile music director of 40s. He is considered to have great influence in shaping the Hindi film music of 40s.

Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya – Hamara Sansar – with Shamshad Begum, Zohrabai – Lyrics: Ramesh Gupta – Music: Govind Ram

Mohammad Rafi sings in lower scale to begin with then raises the scale to higher octave.

Asides: Mohammad Rafi acted in a cameo role in Laila Majnu song Tera Jalwa Jisne Dekha (with S D Batish and chorus; Lyrics: Tanvir Naqvi- Music: Gobind Ram)

Alla Rakha (a.k.a. A R Qureshi) would need any introduction to those who have even rudimentary exposure to the classical music. He was basically the famous tabla player, who composed music for around 30 films between 1943 and 1958.

Topi Wale Babu Ne Dil Chheena Re Mora Man – Kul Kalank – with Amirbai Karnataki – Lyrics: Roopbani – Music: A R Qureshi

For relatively new entrant, Mohammad Rafi exudes fair amount of confidence.

1946

Mohammad Rafi’s career wagon seems to be picking up the momentum, wih 8 muisc directors using his voice for the duets.

Firoz Nizami was the first music director who gave Rafi popularity in Lahore by offering him a chance to sing for AIR at its Lahore radio station.

Main Jab Chhedun Prem Tarana Naache Mere Saath Jhamana– Amar Raj – with Mohantara Ajinkya – Lyrics: Pandit Fani – Music : Firoz Nizami

Interestingly HFGK mentions ‘other singer’ to accompany Mohantara Ajinkya.  Shri Sudhir Kapur explored the matter in details and what comes out is truly unbelievable. The details can be read@ Main jab gaaun geet suhaanaa

Asides: It would be opportune to enlist the song on the side 2 of that fateful record GE3795 – a solo by Mohammad Rafi

S Quereshi is not a familiar name among the music directors.

Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne – Arab Ka Sitara – with Ameerbai Karanataki – Lyrics: Shewan Rizvi – Music: S Quereshi

HFGK does not have names of the singers identified for the songs of the film. I have selected the song from one of the highly authentic-considered spreadsheet compilations of Mohammad Rafi’s filmography by Mauveen. However, when we listen to the song, female voice is accompanying in mukhada and then is part of the chorus, only. So, for all practical purposes, the song is a Mohammad Rafi solo only.

Shankar Rao Vyas was a classically trained vocalist and musician. He had 35 Hindi, 5 Marathi and 3 Gujarati films to his credit in the career spanning 1937 to 1955.

Naino Se Mad Madira Pilaakar Tumne Humein Deewana – Ghunghat – with Nirmala – Lyrics: Ramesh Gupta – Music: Shankar Rao Vyas 

We have here a romantic song that begins in form of exchange of dialogue that is acceptance of mutual love.

S N Tripathi[1] who worked under the baton of legendary Saraswati Devi was a versatile artist a music director, director, and actor.

Jai Hind…Ye Hind Ki Kahaniyan… Sansar Ke Itihas Ki Ye Hai Amar Kahaniya – Mansarovar – with Geeta Dutt, Binapani Mukhrjee – Lyrics: Saraswati Kumar Dipak – Music: SA N Tripathi

HFGK lists the singers as ‘Chorus’ only. However, Geetadutt.com and other reliable sites mention Geeta Dutt and Beenapani Mukherjee as co-singers along with chorus.

Premnath has had formal training of music in his formative years. Rangbhoomi is his maiden film as an independent music director. He has given four songs to Mohammad Rafi, one with chorus and three duets with Shamshad Begum.

Khud Samajh Lo Iletajha Kya Hai, Hum Hi Keh De To Phir Maza Kya Hai – Rangbhoomi – with Shamshad Begum – Lyrics: Arzoo  Lakhanavi – Music Premnath

Mohammad Rafi sings in a typical vintage era style here.

Other duets are: Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar (with Shamshad Begum – Lyrics: Arzoo Lakhanvi) does not seem to be available on YT and Jo Aage Badhe Use Peechhe Hata Do with Shamshad Begum – Lyrics: Pandit Fani) – a second part of the Rafi and Chorus song Sue Manzil Badhaye Chala Chal. – is available together in one clip@ https://youtu.be/KHAk87nu8w8

Hanuman Prasad is known mostly for the discovery of Geeta Roy, when she was 16, and gave her few lines in foiur songs of film Bhakta Prahlad (1946). He is also director of the present film, Raseeli.

Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun – Raseeli – with Shamshad Begum- Lyrics: Hanuman Prasad – Music: Hanuman Prasad

Here is the song that is inherently poignant, as Rafi and Shamashad render it in low octaves. It must have been quite an experience to the budding Rafi!

The film has another Shamshad – Rafi duet, Yah Nayan Kyun Sharma Gaye (Lyrics: Gaafil Harnaalvi) where Rafi can be heard in early raw tone.

Bulo C Rani is a leading vintage era music director.

Jaao Jaao Na Bolungi Main Accha Ji Hato Hato – Saalgirah – with Kaumudini Deekshit , an unknow female singer – Lyrics: Wali Sahab – Music: Bulo C Rani

This a mischievous mood romantic song, where Mohammad Rafi indulges in music-director guided ‘harkats’ of interrupting with Aisa Kya and all. In the later years, Mohammad Rafi was known to do so spontaneously to make the songs lively.

Taufil Farooqi (1916-1988) is fondly recalled as creator of the original Zumka Gira Re (Dekhoji, 1947 – Shamsahd Begum).

Baithe Hain Tere Dar Par Kuchh Karke Uthenge – Sona Chandi – with Shamshad Begum – Wali Sahab – Music: Taufil Farooqui

This can be considered maiden Chhed Chaad song for Mohammad Rafi.

We will make an exception to include another duet –

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – with Amirbai Karnataki – Lyrics: Khawar JamaN – Music: Taufil Farooqui

Here we have a totally romantic duet. Mohammad Rafi quite easily matches sur-by-sur with experienced Amirbai.

We will take up Mohammad Rafi’s First Duet with a Music Director for the years 1947 and 1948, of the First Five-Year Period: 1944-1948, in our December 2021 episode.


[1] S N Tripathi’s Unremembered Songs from 1941 to 1968

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: June 2021

Dattaram – Mere AansuoN Pe Na Muskuraa

Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) unfortumately, popular as the rhythm arranger for Shankar Jaikishan’s orchestra and for his ‘dattau’s thekka’, and not as an independent music director, in the Hindi film world circle. Many stories and theories have been written on how great he was in so far as rhythm is concerned or whether he was creative enough to be a music director or was he commercial-minded enough to build on his early success and so on. Even when his career as independent music director does not have many (successful) films, it was apparent that his talent had not weathered away with the strikes of misfortune.

We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.

Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in In 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

Dattaram did not have any film in 1964. Many of his films seemed to be not doing well on the box office. This would have affected flow of whatever offers Dattaram would normally have been receiving. So, Dattaram seemed to have done what anyone perhaps would have done under the circumstances. He signed C grade films, so that his name remains active as independent music director. The year 1965 has three films, More Man Mitwa, in the Magahi language and two Daara Singh starrers – Rakaa and Tarzan comes to Delhi.

We will take all the available YT songs from the three films for which Dattaram composed music in 1965 for the present episode.

Morey Man Mitwa (1965)

The regional language film More Man Mitwa was a social drama, with Naaz, Sudhir and Sujit Kumar in the lead roles.[1]

Kusum Rang Lehnaga Managde Piyawa Ho – Mohammad Rafi, Asha Bhosle – Lyrics: Harshchandra Priyadarshi

The song has weaved in all the local flavors of the subject of demands, and ready acceptance thereof, for a colorful dress and all the paraphernalia that goes with it. Dattaram has used a strong dholak-based rhythm for a folk-dance tune.

More Mann Mitwa Suna De O Gitwa Balamawa Ho Pritava Jagai He More Man MaN – Mukesh, Suman Kalyanpur

The song is a simple romantic duet, set to a lusty rustic flavor.

Mere Aansuon Pe Na Muskuraa Kai Khwab The Jo Machal Gaye – Mubarak Begam – Harishchandra Priyadarshi

Dattaram has scored a scoop here as this song remains one of the most remembered Mubarak Begum songs. This song can easily throw away all the theories of good banner, reputed lyricist or a top-rung singer and popular artistes on the screen to become a song a popular while earning a nod from the critics as well.

One would certainly not miss the easy glide path Mubarak Begum takes to reach a high octave at the beginning of each stanza and then smoothly revert back to the low scale, so fluently maintains control over the diction as well as melody through the entire passage.

Raaka (1965)

After the stunning box -office success of initial few movies, Daara Singh was flooded with a string of movies in this period. Each of the film had the then struggling, but undoubtedly highly meritorious music directors. Daara Singh never claimed any histrionic talents, nor he would have aspired for such an unexpected flow of films while honing out his wrestling skills. Most of the music directors or Daara Singh’s co-female stars could not attain the escape velocity that could take them to a higher orbit of A grade films, except the Laxmikant Pyarelal (from amongst the music directors) and Mumtaz (from amongst the lead female artists).

Asad Bhopali was the lyricist for the film.

Aadmi Majbur Hai Taqdeer Par Ilzam Hai, Baat Kehne Ki Nahi, Ye Sab Tera Hi Kaam Hai – Mohammd Rafi

The song is apparently being sung as a matter of a discourse by a monk to the devotees to the temple. But, close-up shots of the female protagonists, Mumtaz and Ganga, the two ends of a love triangle around Daara Singh (Raaka),seem to reveal the deeper meaning that these words have to their lives.

Dattaram has cleverly used the presence of devotees as chorus for the interlude music.

Aside Trivia: While surfing through a relevant post on Atul’s Song A Day, I learnt the Ganaga, the other female artist in the song, also has played another major heroine’s friend role in Padosan (1968). She smells rat in the singing of the song Kahena Hai Aaj Tum Ko Ye Paheli Baar, by Sunil Dutt and clears off the smoke veil to reveal that it is in fact Kishore Kumar who is real the playback voice on the screen.

Hum Bhi Naye Tum Bhi Naye Dekho Sambhalna – Manna Dey, Mohammed Rafi, Kamal Barot, Asha Bhosle 

The song is a typical public dance song arranged in the films which have dacoit or similar background.

Dil Ki Betabiya Le Chali Hai VahaN, Zindagi Hai JahaN, Hal-e-dile Puchho Na – Lata Mangeshkar

The song is filmed on Ganga, the female actress, that we talked in detail, in the previous song,

Dattaram has used flute as the key instrument through this happy mood song.

Bolo Na, Koi Mila Raah Mein, Achha, Aur Dil Kho Gaya, Phir Kya Hua, Are Haye Gajab Ho Gaya – Asha Bhosle, Chorus

Asad Bhopali’s out-of-the-box use of a quick enquiry-explanations session among the lead actress and her friends has very cleverly been weaved into the song by Dattaram. Dattaram also has very smoothly raised the pitch in the last line of the stanzas to match the meaning of the lyrics and mood.

Teri Meharbani Hogi Teri Meharbani, Haye Badi Meharbani – Mohammad Rafi, Asha Bhosle

Dattaram comes up with one of best-in-the-genre qawwali composition, with Mohammad Rafi and Asha Bhosle adding their won theatrics to add the greater effect to the lyrics of Asad Bhopali.

Ho Nain Se Nain Ulajh Gaye Re SaiyaN, Dil Ki Baat Samajh Gaye Re SaiyaN – Asha Bhosle

Dattaram has deftly blended use of western rhythm instruments in the opening and interlude pieces with that of dholak in the singing parts of mukhada and stanzas. The song does not lose cacophonic even though it is a very fast paced composition.

Tarzan Comes To Delhi (1965)

The Indian version of Zimbo came on the silver screen with a 1958 film, wherein Azad, a Parsee body-builder as the hero. The film had struck chord with a very wide cross section of population in the urban and rural North India. That led to the entry of another the then big name in the wrestling – Daara Singh – to the films. A torrent of various Tarzan and Kin Kong movies were reeled off in quick succession, with each film yielding excellent returns to the investments.

Anand Baxi is the lyricist.

Sun Re Sun Albele Kabse Hum Hai Akele…. Pyar Jata Ke Hari Dil Mein Bula Ke Hari, Ab To Aaja Aa Aa Aa – Suman Kalyanpur

Induction of Tarzan to the ways of modern civilization cannot be complete without a visit to a professional cabaret dance on a hotel dance floor!

Husn Iqrar Kare Ishk Inkar Kare, Aise Nadan Se Ab Kaise Koi Pyar Kare – Lata Mangeshkar

The song gives vent to the sweet tangs of frustration of the heroine who has not been able to get the hero, Tarzan, to the civilized way of falling into love to a beautiful lady. Dattaram comes up with a sweet composition even while all western instruments in the composition.

Kari Kari Ankhiyo Se Pyari Pyari Batiyo Se, O Sajna Balma Haye O Sajna Balma Haye, Kahe Meri Nindiya Churaye Haye – Mohammad Rafi, Asha Bhosle

Master Bhagwan joins the danseuse BelaBose to a duet dance song to enliven the evening of a community event.

Dil Lagale Dilwale Tujhe Samjhate Hai, Ye Umar Phir Na Aayegi – Asha Bhosle, Usha Mangeshkar

A hip-swing dance seems to have been organized to entice Tarzan to some designs of the villain!

Nigahe Char Karu Ye Meri Tamanna Hai, Kisi Se Pyar Karu Ye Meri Tamanna Hai – Asha Bhosle

The suave urban belle makes a direct, singing -dancing approach to the jungle Hero, in his own ecosystem!

Chham Chham Baje Payal Matwali, Kabhi Jiya Ghabraye Kabhi Nain Sharmaye, Piya Kaisi Najar Tune Dali – Asha Bhosle, Usha Mangeshkar

The song seems to be another enticing way to mend the ways of Jungle Hero. Dattaram has successfully experimented with a long drum prelude in the song that seems to recreate the African atmosphere.

We will continue our journey with Dattaram’s bold musical efforts to keep his independent music identity afloat in the present series……


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

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


[1] Part 1 and  Part 2

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2021

Manna Dey – Chale Ja Rahein Hai…. – 1954 – 1955

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) had sang more than 4000 songs in all languages. He has had some phenomenally successful romantic songs with almost all major actors of his times. But the lady luck seemed to bend upon ensuring him a ‘next-best’ place to him. The Hindi film industry considered Manna Dey too good for his own good. And in an industry once you are cast in a die, you remain stuck to that mold.

We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the2020 episode.

In the present episode, we will take up his les heard songs for the year 1954 and 1955. As far as possible, we have studiedly avoided his songs from the mythological films.

Even after success of Awara (1951) and Boot Polish and Do Beegha Zamin (both 1953), the flow of non-romantic songs has not ebbed during the year 1954.

Shamo Sahar Hai Sahar Hi Sahar – Danka (1954) – with Asha Bhosle and chorus – Aziz Hindi – Arshi Ajmeri

This is an inspirational song, one more of a genre for which Manna Dey was to be typecast.

Jhini Jhini Re Bhini Chadaria – Mahatma Kabir (1954) – Anil Biswas – Kabir (Traditional)

Anil Biswas has imparted his own touch to this traditional bhajan.

Sangeet Hi Shakti Iswar Ki … Bhagat Ke Bas Mein Hai Bhagwan, Mango Milega Sab Ko Daan – Shabab (1954) – Naushad – Shakeel Badayuni

This again is bhajan, set to semi-classical tune. Naushad, in a rare use of Manna Dey’s voice, has used Manna Dey’s voice quality to a telling effect.

Jati Jati Hai … Aaj Naiya Meri…. Nila Hai Akash Dharati Hari – Baadbaan (1954) – Timir Baran S K Pal – Uddhav Kumar

We have selected this song over more traditional bhajan, Jai Deva Ho (with Asha Bhosle), because it being based on a Bengali folk tune.

Ye Jag Rain Basera Bande, Na Tera Na Mera – Ilzaam (1954) – Madan Mohan – Rajinder Krishna

We have a film from Madan Mohan’s early part of the career.

A singer is seen passing on the road singing this song. However, that voice has struck some chord with Meena Kumari, who runs after the singer.

As such, we see even a relatively new entrant like Madan Mohan too using Manna Dey for such ‘niche’ song.

1955 had two another great success to Manna Dey’s credit – Shree 420 and Seema. Each of Dil Ka Haal Sune Dilwala, Pyar Hua Ikrar Hua and Mud Mud Ke Na Dekh represented a different genre and Manna Dey as Raj Kapoor was playback, as well as singer, was hugely popular in  each of these songs. Tu Pyar Ka Sagar Hai can be classified as prayer, for which Manna Dey was already in the process of being typecast. So, the great success of the song only went ton to fortify the strength of the cast.

Murli Manohar Krishna Kanhaiya, Jamuna Ke Tat Par Viraje Hai – Jhanak Jhanak Payal Baje (1955) – With Ustad Amir Khan Saheb, Lata Mangeshkar – Vasant Desai – Diwan Sharar

Vasant Desai Has been using Manna Dey’s voice for a variety of songs. The present song is a semiclassical piece that has been used as a dance song. Manna Dey sings @ 4.48, for Gopikrishna who plays Krishna in this dance song.

The film had several more of Manna Dey songs. Of these, Mere Aye Dil Bata can be considered to be leaning towards romantic genre, while Gurur Brahma…. Rut Basant Aayi  Ban-Ban Upvan has more classical base even when the base feeling is that of Romance.

The music of the film was indeed highly successful, but that success was normally considered as an add-on to the over success of the film. So, neither Vasant Desai or even singers could make much of this success into far-reaching commercial success.

Chal Chal Paani Hamari Zindgani, Ye Chal Ke Rukna Jane Na – Amanat (1955) – with Asha Bhosle – Salil Chaudhury – Shailendra

Here too we have not considered a vicarious song, Chet Re Murakh Chet Re Avsar Bita Jaaye….Re Murarkh Tu Kya Jaane, filmed on an alms-seeking old man and his young companion couple . Such songs typically contain a message for the main character in the film.

The present song represents typical small celebrations in in a poor rural rea. Manna Dey comes in with alaap @1.40 and then takes over the next stanza on behalf of a village tradesman.

Aan Milo Aan Milo Shyam Sawarey – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

Here we have typical example of Manna Dey not being used as main singer in the film. In fact, he along with Geeta Dutt, seem to have been selected because the song is based on Baul Bengali folk tune.

Saajan Ki Ho Gayee Gouri – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

This is song which is being rendered by the same Boul singers as in the previous song, but Paro has now grown as an adult. The songs reflect the feelings of adult Paro, in the song by these singers. Manna Dey and Geeta Dutt very deftly reflect the mood the song.

Hosh Me Aa O Murakh Bandey – Kundan (1955) – Ghulam Mohammad   Shakeel Badayuni

This essentially a background song which leaves a vicarious inspirational message to the key protagonist. That seems to be the reason why Ghulam Mohammad, who has not used Manna Dey much, seems to have leaned towards choosing Manna Dey as playback voice for the song.

Ha Main Lanka Naresh …. Mere Dus Hai Shis – Insaniyat (1955) – with Mohammad Rafi – C Ramchandra – Rajinder Krishna

Here again Manna Dey sings for a character that plays Ravan in the is belle. The song has Agha in the focus, but he lip-syncs playback of Mohammad Rafi.

Naino Me Neer Liye, Hriday Mein Peer Liye – Oonchi Haveli (1955) – Shivaram Krishna – Bharat Vyas is again a background genre song for which I could not locate a YT link.

Similarly, Bharat Mata Ke Laadlo Mein Hove Na Ladai – Teen Bhai (1955) – with Laxmi Shankar – Arun Kumar – Bharat Vyas is an interesting composition, which is based on Baul folk music, deriving its main message form A Ramayana episode.

Manna Dey is his usual best even in these non-romantic songs. It seems that perhaps it was this versatility that led him to be cast a niche-singer who was perceived as being too versatile for the lead actor who was supposed to sing songs on the screen that common man on the street can also easily sing.

For Manna Dey fans, these songs are a treat to remember and for others these offer a glimpse of hidden treasure of Manna Dey’s songs


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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned  around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. Even though the widespread impression is that along with Shailendra, his major work was Shankar Jaikishan, he has done sumptuous work with many other music directors. With Shankar Jaikishan, as would be obvious, all the available situations in a film would be shared Shailendra. That would offer Hasrat Jaipuri ample spare time. It is also said that he was also worldly wise to spread his eggs among many baskets. That seems to have made himself open to be associated with other music directors. He is even said to carved out other streams of income with the help of savings generated from the income of songs-writing. 

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for the year 1959, with Roshan, Dattaram and Kalyanji Virji Shah. Except for two films with Dattaram, Hasrat Jaipuri was neither the sole nor the major lyricist in the films discussed herein. Whether he was chosen for a situation for which he would prove to be a better choice, what sort of rates he would have charged are some of the questions for which it would be interesting to know the reasons.

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

Ik Baat Sun Matwale Kahate Hai Nazar Ke Pyale – Asha Bhosle

This is a signature club song. Roshan has successfully tried hand with using western rhythm instrument in Mukhada and then switching over to Dholak as rhythm instrument in the main lines  Anataras, ending with western instrument rhythm instrument. Hasrat Jaipuri has penned lyrics pregnant with the message enshrouded for those whom the song is actually addressed.

Akiyon MeinDil Khoya Batiyon Mein Dil Khoya, Main Ise Dhoondh Loongi Baabu Asha Bhosle

We have here a club song that is peppier. The song is straightforward a tantalizing one

Dattaram

Qaidi No.911 (1959)

Hasrat Jaipuri was the sole lyricist for the film. Meethi Meethi Baton Se (Lata Mangeshkar) and
Pyar Bhari Yeh Ghatayein (Manna Dey, Lata Mangeshkar) are two well-known songs.

Tere Teer Ko Hamne Pyar Se Dil Mein Rakh Liya – Lata Mangeshkar, chorus

This time Dattaram comes up with club song. However, playback singer is Lata Mangeshkar, who might have agreed to sing the song to help bolster Dattaram’s career.

Tune Mera Maine Tera Dil Le Liya … Do Nain Mila Ke Haye Diwana Kar Diya  – Lata Mangeshkar

This one is street-play genre song. This genre was also a popular genre in those days. Dattaram smartly blends his ‘theka’ with the orchestration pieces of harmonium.

Yeh Khile-Khile Taare Hamare Hain Ishare Aaja Re Aaja – Lata Mangeshkar, Mehmood

This is again a peppy club song that is a blend of tantalization that is impregnated with hidden message to a particular client – dressed up as an Arab, which itself can be a masquerade.

Santan (1959)

Hasrat Jaipuri is sole lyricist here too. Kehta Hai Pyaar Mera (Twin version – Lata Mangeshar  + Hemant Kumar). Dil Ne Use Maan Liya (Mukesh) and Bole Ye Dil Ka Ishaara (Manna Dey, Lata) are the well-known songs.

Aside Trivia: There are at least three other films with this title, a 1946 film (Music: Ramchandra Pal; Lyrics – Anjum Pilibhiti), a 1976 film, which also has Hasrat Jaipuri as sole lyricist with Laxmikant Pyarelal as music director and a 1993 film9 Music: Anand Milind; Lyrics – Sameer).

Chhoti-Si-Dulahaniya Ke Shaadi, Pyari Si Dulhaniya Ki Shadi – Lata Mangeshkar, chorus

Here we have a (all-kid girls) party song so ably created by Dattaram and Hasrat Jaipuri weaving in simple events with meaningful lyrics of a marriage function.

Chham-Chham Mein Naachu Jhumati Bahar Mein, Jane Kis Khayal Mein Baje Man Ke Taar –  Lata Mangeshkar

The young heroine is bubbling with the first acceptance of her love –

Jane Kyu Ye Jiya Lehraye
Raz Hi Samajh Na Aaye….
Haye Re Sharm Si Lagi Haye Re Na Bola Jaye
Haye Re Na Bola Jaye Chhalke Hai Pyar Haye

Jeene Wale Khushi Se Jiye Ja Apne Ansoo Tu Khushi Se Piye Ja – Mohammad Rafi, chorus

Dattaram had so masterfully used choir chorus in the counter melody in this background song. Hasrat Jaipuri dutifully pens lyrics that fits the situation like a T. Mohammad Rafi is his usual theatrics best for such songs.

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

The film had six songs, penned by four lyricists Gulshan Bawra, Indeevar, Shor Niyazi and Farooq Qaiser, with one song each, in addition to two songs by Harat Jaipuri. No less than eight playback singers have been deployed for these six songs.

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

Baabu Na O Baabu Na … Dil Maange Dil De DooN, Jaan Maange Jaan De DooN, Teri Ada Pe Main Cheen Aur Japan De DooN – Manna Dey, Mahendra Kapoor, Suman Kalyanpur

The use of Baabu Na (No Please O Baabu) is a very clever ploy. The opening lines of the song set stage for the two competitors, at a club performance, by openly bidding for the common prize of a beauty.

Satta Bazaar (1959)

That Gulshan Bawara (3 songs), Indeevar (2 songs) and even Shailendra (1 songs) are the other lyricists, indeed makes the film as an ideal case to know why these lyricists were chosen for the film. Interestingly, it is also noteworthy that after Anandji joined his elder brother. And the duo was well established, Hasrat Jaipuri has worked with Kalyanji Anandji off and on in films like Jee Chahta Hai (1965, sole lyricist), Ghar Ghar Ki Kahani (1970, 2 songs), Rakhwala (1971, 1 song), Apradh(1972, 1 song) etc.

Aside Trivia: The present film was produced by Ravindra Dave under his production banner ‘Nagina films’. Laxmikant was the assistant to the music director, Kalyanji Veerji Shah – thus both hyphenated respective partners – Pyarelal and Anandji- have to yet to join the respective duo teams.

Kaheti Hai Meri Aankhein, Ye Jaadu Bhari Aankhein, Hua Hai Tum Se Pyar…., Tumhari Yaad Aaye Jiya Ko Tadpaye.- Lata Mangeshkar

Hasrat Jaipuri’s signature beginning with the initial couplet- Sakhi – is seamlessly joined with the principal opening line Teri Yaad Aaye.. in this mujra song

Zara Thehro Ji Abdul Gaffar Rumal Mera Le Ke Jaana… O Main To Layi HuN Jamun Se Bahar, Rumal Mera Leke Jaana – Mohammad Rafi, Suman Kalyanpur

Kalyanji has set the song to the Gujarati folk tune of a garba in this essentially a street play song, rendered by the two Pathani-dressed artists. Hasrat Jaipuri has successfully weaved in the lyrics that spell sweet tit-a-tat between the two protagonists – Sabita Chatterji and Johnny Walker.

Aside Trivia: The sad-faced hero is Suresh, who may be better recalled as an actor who had sung Suhani Raat Dhal Chuki (Mohammad Rafi; Dulari, 1949; Music – Naushad; Lyrics- Shakeel Badayuni)

We will continue with Hasrat Jaipuri’s songs for other music directors in our next (year) episode.


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

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