Fading Memories…. Unforgettable Songs: November, 2018

Salil Chaudhury and Shailendra’s Songs Fading From the Memory – 1

Salil Chaudhary (10 November, 1922 – 5 September, 1995)is considered to be belonging to the unorthodox style of music composition even he had manifested marked influence of folk tunes of his native Bengal, had been attracted by the western classical music through the works of Bach, Beethoven or Mozart and adapted Indian classical Ragas too very comfortably. He could play many Indian and Western instruments, and he was an acclaimed writer, playwright, choir conductor, composer and lyricist during his first innings during 40s- till early ‘50s, in Calcutta. His second innings in Mumbai, with his maiden Hindi Film, Do Bigha Zameen, brought him in contact with another genius- Shailendra.

Whether it was Shailendra’s knowledge of Bengali, his capability to write poetic lyrics, fully reflecting the situation in the film, even when presented with a tune or his own background of working as a proletariat, the simple fact remains that, after Shankar Jaikishan, Shailendra has written around 108 songs for around 19 Hindi Films under the baton of Salil Chaudhary, which works out to almost one fourth of the Hindi films for which Salil Chaudhary composed music.  Salil Chaudhary used to prefer compose tune first and would expect his lyricist to write the lyrics in that spirit. Shailendra’s songs under his composition have retained Shailendra’s poetic touch even under these constraints.

 

In our series of annual articles, we will cover Shaildendra’s songs composed by Salil Chaudhary We will take a closer look at the songs that seem to receding from the memory while we take note of the songs that remain quite popular even now. For this purpose, we will traverse their films in chronological order.

Do Bigha Jamin (1953)

This is the film for which his script is based on his own short story. As per the original design he was being called in to write the script, and fate landed music composition too in his account. He also composed music for another Bimal Roy directed in the same year – Biraj Bahu. There is not much documentation available how was Shailendra was called in as a lyricist for the film. Nor does it matter, as we have all evergreen songs form this pair’s maiden joint venture:

We will listen to Aaja Ja Ri Aa Nindiya (Lata Mangeshkar) in details here.

Meena Kumari, who was the leading lady of a 1953 Ashok Kumar’s production, and Bimal Roy directed, Parineeta, appears in a cameo role for this lullaby. This remains the only occasion wherein Meena Kumari has perfumed such a cameo role in her entire career.

Naukari 1954

A Nepali tune based happy version o Chhota Sa Ghar Hoga (Kishore, Sheila Belle )  overshadows other songs of the film Salil Chowdhury has experimented with Hemant Kumar for the sad version of this song.

Ek Chhoti Si Naukri Ka Talabdar Hun – Kishore, Shankar Dasgupta, Shyamal Mitra

Shailendra has so wonderfully laid down expectations of an educated youth, which remains universally true at all the times. Salil Chaudhary establishes his prowess to compose light tunes in an unconventional style.

Arji Hamari Ye Marji Hamari, Jo Soche Bina Thukraoge Dekho Bade Pachhataoge – Kishore Kumar

The song opens with what appears to be a simple recital of the application for the job, but soon cleverly gets transformed in an application for a space in mind of the beloved.

Jhoome Re Kali Bhanwara Ulajh Kaanton Mein – Geeta Dutt

Salil Chaudhary has opted for Geeta Dutt’s voice to convey the bubbling pleasure of formal acceptance, with the self, of the budding love relation. Shailendra’s poetic imagination matches every note of the song that expresses the subdued pleasure of the very young girl in the conservative times of a traditional society.

O Man Re Na Gham Kar, Ye Aansoo Banege Sitare, Judai Mein Dil Ke Sahare  – Lata Mangeshkar

Salil Chaudhary had so high respect for Lata Mangeshkar’s singing prowess that he would come up with difficult than normal composition for her songs. In the present song, he has used harmonica in the prelude and orchestration of violins with flute in the interludes to create the feeling of train motion. In the process, he has synchronized the director’s use of metaphor of the train movement to indicate the anticipation of much awaited momentum in hero’s life. Shailendra’s lyrics truthfully convey the pang of partition while Sheela Ramani ruefully bids him the farewell.

Amaanat (1955)

Ho Jab Se Mili Tose Ankiyan Jiyara Dole Re (Hemant Kumar, Geeta Dutt) and Meri Wafaye Tumhari Jafaye, Aansoo Likhenge Fasaana Pyar Ka (Asha Bhosle) qualify as more known than the other songs of the film. The former duet is an Assamese folk tune based song, which reelect the feelings of the lead pair. The later Asha Bhosle solo would be immediately recalled by the fans of Asha Bhosle, even if the song has receded from the memory after the onslaught of OPN – Asha deluge in the later years. The songs is a signature Salil Chaudhary composition.

Chet Re Moorkh Chet Re Awsar Beet Jaye Re – Manna Dey, Asha Bhosle

An old saintly beggar and his young keeper singing a song that contains the deep message for the principal protagonists was a popular genre of Hindi Films in that period, and Manna Dey required lot of luck and hard work to get of this cast..

Chhal Chhal Paani Hamari Zindagani Ye Chal Ke Rukana Jaane Na – Manna Dey, Asha Bhosle, chorus

The song depicts a cheering group of young children taking out water from the wheel with the help of a bucketed water-wheel. The water flowing into the trough spurs them to the song which the sings the beauty and power of flowing water. The village belle and the working artisans also flow into the mood of the song. Shailendra, too, fully utilizes the opportunity to present the idea of a utopian world!

Baanki Adayein Dekhna Ji  Dekhna Dil Na Churaye Dekhanaji  – Geeta Dutt

Salil Chaudhary once again uses mellifluous silken charm of Geeta Dutt’s soft voice to express the feelings of Chand Usmani, on the piano, through the lips of her friend, Asha Mathur, in this party.

Jab Tumne Mohabbat Cheen Li Kya Milega Bahroon Se – Asha Bhosle

Salil Chaudhary has, inexplicably, chosen Asha Bhosle for this pathos song. In what is now emerging as his individual style, he has gone onto compose quite complex tune. Asha Bhosle rises to the challenge and does full justice to the confidence invested in her. However, the song become so difficult for an ordinary listener to sing the song on her own, that song does not attain the popularity.

Aawaz (1956)

Awaz was a Mehboob production, directed by the lyricist Zia Sarhadi. It had popular songs penned by lyricists other than Shailendra, like Dil Tere Liye Dole, Dhitang Dhitang Bole (Prem Dhawan), Dil Diwana Dil Mastana Mane Na and Aaraa Ram Taara Ram Duniya Ke Kaise Gam (both by Zia Sarhadi). Shailendra was one of the four lyricists and has penned three of the total 10 songs.

Baba Teri Sone Chiraiya, Jaaye Anajane Ki Nagariya   – Lata Mangeshkar

The song is a marriage song wherein bride’s friend try to tone down the pall of gloom that is imminently felt because of the departure of the bride from her parental home. The interlude music has very cleverly interwoven the traditional band party music played during the bridegroom procession.

The other two songs have Mohammad Rafi. Therefore, that makes a very opportune placement to traditionally our post with relevant Mohammad Rafi song(s):

Aayi Baraat Baje Gaaje Se…… Aaj Mera Dulha Kam Nahi Kisi Raje Se – Mohammad Rafi, S.Balbir, chorus

This is the song that friends of the bridegroom sing when they take him on their shoulders to the marriage podium. If the previous genre songs have an undercurrent of pathos, these types of song have loud boisterous tone.

Lo Bhor Hui Panchi Nikle …. Talash Mein Dane Dane Ki, Insan Bhi Lo Ghar Se Nikla, Dhun Roti Kamane Ki – Mohammad Rafi

The song is typically the voice of the proletariat class, which is the basic theme of the film, as evidenced by the title. Shailendra has again taken the opportunity to place his own deep-felt ideals into the poetic mound the lyrics of the song. The song has been very innovatively been placed as the title-credit song, too. Rafi’s very soft delivery of the song also is quite noteworthy.

In these four films, we have been able to look at multiple facets of Salil Chaudhary’s music composing styles and the degree of Salil Chaudhary – Shailendra tuning. The wait till the next year may appear to be too long, but if you consider these songs as the gourmet wine, then that time is indeed required to allow the songs to mature into our minds.

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

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

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Fading Memories…. Unforgettable Songs: October, 2018

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory 1949 – 1953

We are now running a series on Shailendra’s songs with other than Shanker Jaikishan songs, similarly the songs of Hasrat Jaipuri with other music directors too. We have also taken up Shamker-Jaikishan’s songs written by Hasrat Jaipuri, which essentially focus on Jaikishan’s compositions. So the only one person who does not seem to have received his due was Shankar (Singh Raghuvanshi) October is the month of Shanker’s birthday (25 October 1922 — 26 April 1987). So, we cannot have a better occasion to institute a series on Shanker(-Jaikishan)’s compositions that have been penned by Shailendra.

Top: Left Shanker, Right – Jaikishan;
Bottom: From L to R: Hasrat, Shailendra, Dattaram, Sebastian

Shanker-Jaikishan debuted with Raj Kapoor’s Barsaat in 1949. By the time fate would bring in Shailendra in this team, all except two songs were ready. Shailendra is said to have first written, fatefully or as his wont, meaningfully

Barsat Mein… Sajan Ham Se Mile Tum.. Barsat Mein – Lata Mangeshkar

The other one that Shailendra wrote was

Patli Kamar Hai Tirchhi Nazar Hai – Mukesh, Lata Mangeshkar

That seems to set the tone of Shanker-Jaikishan’s approach to what they will present as their unique identity in a highly completive word – innovative orchestration to essentially Indian tunes..

Even as Mohammad Rafi had his entry in the team in Barsaat itself, for the purpose of the scope of our present series, we will have to wait till 1951 to make the big picture complete.

Naiya Teri Majdhar – Awara 1951 – Mohammad Rafi, chorus

From Awara onwards, Mukesh shall be the playback voice of Raj Kapoor was a  settled affair. However, Shanker Jaikishan invariably had one Mohammad Rafi song in each of RK Films till Mera Naam Joker, except of course, Aah, and Jis Desh Mein Ganga Baheti Hai.

Pavitra Sitamai Ko Tune Diya Banwas – Awara (1951)   – Mohammad Rafi, Lata Mangeshkar, chorus)

This songs metaphorically sets the stage for the film’s narrative, by drawing from Ramayana, wherein Ram tells Sita to leave Ayodhya, knowing fully well that she in the advanced stage of pregnancy. The story of “Awara’ has one more agenda – to prove that a progeny of the upper class will always remain upper class and vive versa.

Anmol Pyaar Bin Mol Bike – Badal (1951) – Lata Mangeshkar

Whether by design or by the circumstances, Shanker Jaikishan’s first few films have a very high degree of skew tilting towards Lata Mangeshkar.

Illa Belle..Din Hai Pyare Pyare – Kali Ghata (1951) – Lata Mangeshkar

Shailendra deftly weaves fil title in the song, if not in the first couplet (mukhada), then in the first stanza. Interestingly Kishore Shahoo has carried the accordion to, probably, bring in a sense reality to the presentation of the song!

Dekho Aaya Yeh Kaisa Zamana – Daag (1952) – Lata Mangeshkar, chorus

Here we have a song that is set to classic Marathi folk tune.

Kya Bataoon Mohabbat Hai Kya – Parbat (1952) – Mohammad Rafi, Lata Mangeshkar, Geeta Dutt

There are not as many songs of Geeta Dutt from Shankar-Jaikishan’s stable, and then a trio of Geeta Dutt, Lata Mangeshkar and Mohammad Rafi is even rarer. The film itself is far less heard of. The soft composition of the song adds to the rarities.

O O My Dear Aao Near – Nagina (1952) – Mohammad Rafi, Shamshad Begum

To the most of Nagina was film where Nutan was not permitted entry during the premier because she was not yet an adult, that this was the first film after Nasir Khan had returned from a highly unsuccessful move to permanently migrate to Pakistan, that Shanker Jaikishan had dared experimenting the lead male song in the voice of C H Atma and had also presented their maiden haunting melody in Lata Mangeshkar’s voice. SJ also have successfully risen to the challenge of simultaneously presenting very light songs as well, the other one being Humse Koi Pyar Karo Ji. Both these light-tones songs are filmed on Gope and Mohana.

The year 1953 has as many as 9 films within the scope of our series, which in itself would be able to provide the material for one independent post. However, I have chosen to include three films here, because one song from each of the two films provides us variety – of singers and of the song situation. Third one has two great Mohammad Rafi songs that would fit into our tradition of ending each our post with Mohammad Rafi song related to the subject of the post.

Chhoti Si Yeh Zindagani Re Char Din Ki Kahani Teri – Aah (1953) – Mukesh

Mukesh also plays a caeo role of the horse cart driver in this song. The clip here is the one in which the films ends on a happy note. Originally, at the end of the song the hero passes away and is not able to meet her beloved.

This is what is supposed to be the original end.

Chahe Naina Churao Chahe Daman Bachao Pyar Ho Ke Rahega – Aas (1953)  – Talat Mahmood, Lata Mangeshkar

When the main protagonists cannot directly communicate what they want to convey to each other, the hind films would adopt a set of street players to come in and convey that thing through a song. Here is on such song.

And here are those two Mohammad Rafi songs:

Nanhe Munne Bacche Teri Mutthi Mein Kya Hai – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Here is a song that fits like T to a traditional proverb – to get a slope when you want to run. Mohammad Rafi gets free hand in enacting an old man, Asha Bhosle gets to enact an adolescent girl, Shailendra gets to dream of future that he would like the new generation to enjoy and Shankar Jaikishan have a situation that naturally bends their inherent composition style.

Tumhare Hain Tumse Daya Maangte Hain  – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Beggar songs has been one of the most experimented genre in Hindi Film songs. However subtle use of pieces of flute lifts the songs from an ordinary orphanage fund collection tune. Mohammad Rafi depicts subtle pathos in delivering the song’s message but when it comes to express their necessities he depicts an unmistakable spirit of not begging something but expecting to share what the haves have.

We will continue our journey of refreshing Shanker (Jaikishan)’s songs of Shailendra on once year basis article every October.

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

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

Fading Memories…. Unforgettable Songs: September, 2018

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1955 – 1957

As long as all four were alive Shankar – Jaikishan did not work with any other lyricists than Hasrat Jaipuri and Shailendra, even as Hasrat Jaipuri and Shailendra did work with other music directors in that period, with probably two exceptions. One is O O Mujhe Kisi Se Pyar Ho Gaya from ‘Barsat’ (1949) and the other being Arzoo 1965). However, our topic of the present discussion is not this matter.

September is the month of death anniversary of Jaikishan [4 November, 1929 – 12 September, 1971) and Hasrat Jaipuri [15 April, 1922 – 17 September, 1999].  In our present series we have been covering the songs written by Hasrat Jaipuri that have been composed by Shankar-Jaikishan in the month of September. In September, 2017 we had covered the (S)J-HJ songs from 1949 to 1954.

The quartet had very smoothly carved out a seamless division of work – who would compose whose songs, which situations will be handled by whom etc. In that arrangement Jaikishan and Hasrat Jaipuri worked in tandem.

For our present episode, we have covered (S)J-HJ songs from 1955 to 1957. As I started compiling the list for the post, the songs that came up from the initial films happened to be the songs that had been rendered by Lata Mangeshkar. Therefore, I went on to only select the (S)J-HJ_LM songs for the rest of the present episode, save of course the traditional end-of-the-post Mohammad Rafi song(s)..

Baat Baat Mein Rutho Na, Apane Aap Ko Loota Na – Seema (1955)

Here is typical Jaikishan composition, opening up with a melodious stroke of piano accordion that continues well into the first and the second interlude. Hasrat Jaipuri matches his lyrics well with the mood of the songs, but has not missed the chance to show his soft, poetic feelings in the lyrics.

O Jaanewale Mud Ke Zara Dekh Ke Jaana – Shree  420 (1955)

Here is one of the relatively-less-heard song from the film but is a signature HJ composition which begin with couplet. The second stanza of the song had been edited out in the film.

Main Piya Teri Tu Maane Ya Na Maane – Basant Bahar (1956)

Shailendra had lion’s share of songs for ‘Basant Bahar’, but the ones that HJ penned have also been equally melodious and well-remembered ones. The use of flute pieces in the orchestration add to the melodious effect.

Us Paar Sajan Is Paar Dhare Le Chal O Maaji Kinare Kinare – Chori Chori (1956)

The present video clip has very rightly captured the first few moments of the songs wherein Nargis is seen frantically swimming out in the sea. Jaikishan has captured the motion with a very quick stokes of violin ensemble. And the, Nargis seems to have reached a safe distance, symbolized the beginning of a chorus by the fishermen-women on the boats.

HJ has also additionally contributed one of the most iconic Manna Dey – Lata duets  (Aa Ja Sanam), or  a very lilting Lata song (Panchhi Banu Udati Pheeru) on one hand and a very light Rafi-Lata duet (Tum Arabon Ka Her Pher Karanewale) in the film.

Usse Mil Gayi Nayi Zindagi.. Jise Dard-e-Dil Ne Mita Diya – Halaku (1956)

Hasrat Jaipuri had a minor share of songs in this film too. The other two songs are also Lata Mangeshkar numbers – O Sunata Ja and Bol Mere Malik. Each of these three songs are written for totally different situations.

Koi Mere Sapnon Mein Aaya , Dheere Man Mein  Samaya – New Delhi (1956)

(S)J comes up with a complex tune that is orchestrated equally richly.

Saat Samundar Paar– Patrani (1956)

One more complex tune by (S)J.

I had originally selected “Nadiya Kinare Phiru Pyasi, Haay Pi Bin Jiyara Taras Taras Reh Jaaye” from Raajhath (1956). However, I could not locate audio / video link for this song. So, we move on to the next best choice.

Anatar Mantar Jantar Se Maidan Liya Hai Maar – with Usha Mangeshkar – Rajhath (1956)

As per the general understanding of the outsiders, the dance numbers were usually composed by Shankar. However, in this case, it is difficult to guess who would composed the tune and set it to orchestra.

Gori-Gori-Gori Main Pariyon Ki Chhori… Chham Chham.. Karati Aayi Hun Main Saat Aasma Se – Begunah (1957)

We have one more song wherein a very complex set of bass rhythm has been set, orchestrated over a multiple instruments simultaneously.

(S)J-HJ combination’s duet – Din Albele Pyaar Ka Musam (Manna Dey, Lata) – in the film is a very typical SJ tune.

So Ja Re So Ja Mere Raj Dulhare So Ja Taare Bhi So Gaye Dharati Ke Sitare So Ja– Kathputli (1957)

For Hindi Film lullabies this is very complex tune, perhaps befitting the mood the situation in the films

We conclude our each episode with a relevant Mohammad Rafi song. For the present episode I have picked one of the two songs from – Seema- and one from – Raaj Hath.

Hamien Bhi Dedo Sahara Ke Besahara Hai  – Seema – with chorus.

In terms of the poetical quality of the lyrics of Hasrat Jaipuri songs would go, this song perhaps would occupy top row.  (S)J have also excelled in composing the tune and setting supporting orchestration to the tune.

Aaye Bahar Ban Ke Lubha Kar Chale Gaye, Kya Raaz Tha Dil Mein Chhupa Kar Chale Gaye – Raaj Hath (1956)

(S)J – HJ have grabbed every opportunity to compose a ghazal in Mohamamd Rafi’s voice and we have had excellent scores to cherish. Here is one more that immediately comes to my memory – Teri Zulfo Se Judai To Nahi Maagi Thi  

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

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

Fading Memories…. Unforgettable Songs: August, 2018

Shailendra and Roshan

Shankardas Kesarilal, born on 30 August 1923, popularly known as Shailendra, was known to conjure up songs on a spark after waiting for days on end to write the first line. These songs were always full of meaning, sentiments and yet were never too difficult to comprehend.

Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known by his first name Roshan for the sheer melody of his tunes.

We pay our tribute to these two most cherished names of HFM today, by recalling their less remembered songs. These songs belong to a period when Shailendra had just attained the fame, but Roshan was still in the process of carving out a space for himself.

It may not therefore be a matter of sheer (commercial) chance that films for which Shailendra wrote songs to Roshan’s compositions number just after Shanker Jaikishan, S D Burman and Salil Chaudhary.

Last year, in our article in the present series, we had a Roshan – Shailendra song  Mere Dil Ki Dhadkhan Kya Bole [Anhonee (1952); Talat Mahmod, Lata Mangeshkar]. We take over our journey of Roshan+Shailendra songs from that point of their co-work. For our present article, I have chosen those songs for which I could not recollect the song by just reading the initial words of the song. I have also tried to include as many playback singers as possible while applying the first filter.

Kajraari Matwari Madhbhari Do Ankiyan – Naubahar (1952) – Rajkumari

The song has been placed in the film to convey the real negative feeling which the protagonist (Kuldeep Kaur) had when she was presented to meet a very bright, but a blind, son of a rich man. The song has been set to a mujra dance, which has all the external forms of a very expressive art, but socially carries a negative connotation.

Preet Nibhani Balma Tum Kya Jano O Sajana– Sanskar (1952) – Meena Kapoor

We have only an audio clip available here.

Mil Jhul Ke Kaaton Logon Gareebe Ke Fande – Aagosh (1953) – Hemant Kumar, Indra Meerchandani, chorus

The song gives a call to the people to unitedly fight the poverty and usher in the poverty. The lyrics of the song have been closely aligned with the work of log cutting being carried out by teams of the workers.

Jhilmil Taare Kare Ishaare – Maashuqua (1953) – Mukesh, Suraiya

This is lullaby duet, which is a rather uncommon format for the genre. The song has interwoven the touch of pathos about the ways of the world.

Dil Ki Shiyakat Nazar Ke Shiqve Ek Jhubaan Aur Lakh Bayaan, Chhupa Na Sakun Dikha Na Sakun Mere Dil Ke Dard Bhi Hue Jawan – Chandani Chowk (1954) – Lata Mangeshkar

This song belongs to letter (‘chitthi’) genre of songs. The song has an ebullient, very young, pre-tragedy queen Meena Kumari in the process of writing down her thousands of tales (‘bayaan’) through one pen….

Jawan Ye Zindagi Pyaar Ka Sama – Coffee House(1957) – Asha Bhosle

This is the only song written by Shailendra for this film. In fact Hasrat Jaipuri has written one more and all other were written by Prem Dhawan

Ho-Ho Hone Laga Ye Dil Mein Dard Kaisa…Mitha Mitha Kisi Ke Pyar Jaisa – Aji Bas Shukriya(1958)  – Asha Bhosle

The vivacious Geeta Bali is her at effervescent best, well-supported by rollicking lyrics composed to a very unorthodox tune..

Ik Din Ye Aansoo Banenge Sitare, Kabhi Na Kabhi Din Aayenge Hamare – Heera Moti (1959) – Lata Mangeshkar

Shailendra translates the dream of the adolescent girl of realizing a day that would be her own. Roshan has finely woven the cautious optimism in the composition of the song.

Bata Do Koi Kaun Gali Gaye Shyam – Madhu (1959) – Lata Mangeshkar ║Manna Dey
A very well-known bhajan, cast in a twin song style.

Jaise Court Mein Haakim Ki Chale Re Kalam, Ter Sang Mein, Ho Tere Sang Mein Chaloongi Chaloongi Baalam – Soorat Aur Seerat (1962) – Asha Bhosle

The song is lady’s promise to be a fully-involved co-traveler on the roads of the life. Why Shailendra would have chosen a mundane metaphor of a judge’s pen delivering a judgement for so sentimental a commitment being conveyed remains unfathomed.

To end our present episode with a Mohammad Rafi song we have one more very unique experiment by Shailendra – Roshan combination –

Na Ro Bhai Na Ro,. Main Tera Banadar Dug Dug Naachu –Deep Jalte Rahe(1959) – Mohammad Rafi, Vijaya

The song brings in the essential philosophy of moving on among all the negative circumstances. The song has used metaphor of the servants of the home baby-sitting the toddler who then goes up into a young boy.

When we look back these ’pieces’ of choices of the song, we see a totally new Roshan emerging from the lyrics of Shailendra.  The pattern obviously not conducive to being commercially successful, but nonetheless provides a fine insight into the deep creativity of both, Roshan as well as Shailendra.

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

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

Fading Memories…. Unforgettable Songs : July, 2018

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1954 -1955

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have planned to take up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.

Till now we have covered the first slot of 1944 – 1948 in Part I and Part II in December, 2016,  the second five-year-slot of 1949 – 1953 in our July,201710th December, 2017 and 17th December, 2017 articles.

Presently, we will take up the years 1954 and 1955 of the third five-year-slot of 1954-1958.

[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]

1954

The year 1954 has 44 Hindi solo songs of Mohammad Rafi.  There are many repeat-music directors like  SN Tripathi, Salil Chaudhary, Naushad, Hansraj Behl, Shanker Jaikishan, Chitragupt, Ghulam Mohammad, Madan Mohan, Nissar Bazmi etc, wo composed music for one or more than one film in the year. The films ranged from successful to obscure films.

As a result, with every passing year, we now observe less number of songs that would meet the criteria for our present series, since most of the music directors have had used Mohammad Rafi for a solo song in the years reviewed till now.

Year 1954 is to yield 7 music directors who had a maiden solo song composed for Mohammad Rafi.

Roshan had made his debut in Hindi Films in 1949 with Neki Aur Badi. His first ever use of Mohammad Rafi, wasa Rafi Asha duet Mohabbat Ke Maaron Ka, in Baware Nain (1950).. Then he has used Rafi in a Rafi- Kishore Kumar-Ram Kamlani triad and a Rafi-Kishore Kumar duet, materialized only in Malkin (1953). The first solo comes up now, in 1954. Since then, Roshan’s association with Mohammad Rafi has gone on to become stronger and richer.

Zameen Bhi Vahi Hai Vahi Aasma, Magar Ab Wo Dilli Ki Galiyan Kahan  – Chandni Chowk – Lyrics: Majrooh Sultanpuri

This is a background song. The only male solo – Hamein Aye Dil Kahin Le Chal – filmed on the lead male actor has Mukesh for playback.

Datta Davjekar has had one solo – Main Teri Tu Mera – with Mohammad Rafi in 1947 for Aap Ki Sewa Mein. Incidentally, Lata Mangeshkar had had her first solo playback song – Paa Lagun Kar Jori Re, Sham Mose Na Khelo Hori Re – too in this film. However, we now have a film in which Datta Dvajekar and Jagganath share the credits as music directors, hence our present song.

Saheedo Amar Hai Tumhari Kahani, Watan Par Luta Di Jinhone Jawani – Golkonda Ke Qaidi – Lyrics: Anjaan

The film has had three music directors – Datta Davjekar, Jagganath and Kundan Lal – and three lyricists. HFGK records Datta Davjekar’s statement that all songs for the film were in fact composed by him.

There is one more Rafi solo in the film – Uthake Sar Chalo Jawani Shaan Se

Hemant Kumar probably brought in Mohammad Rafi for this song because it is was possibly Rafi only who could effortlessly scale vertically up while delivering ‘Uttho Chhalang Mar Ke Aaksh Ko Chhoo Lo’ and then in the very next line ‘Tum Gaad Do Gagan Mein Tiranga Uchaal Ke’ come back to the normal scale.

Hum Laaye Hai Tufan Se Kashti Nikal Ke Is Desh Ko Rakhana Mere Bachchon Sambhal Ke – Jagriti – Hemant Kumar – Pradeep

In a very rare Hemant Kumar – Mohammad Rafi combination, Mohammad Rafi does full justice to the confidence invested in him.

Shailesh Mukherji, is one of those Bengali music directors who could not comfortably last longer in the Hindi Film world.

Kismat Ka Likha Na Tale Na Koi Bas Chale, Yah Kya Hai Zindagi Haye Yah Kya Hai Zindagi – Parichay – Lyrics: Keshav Trivedi

We have Mohammad Rafi singing a background song in what is now established his signature style.

Sudhir Phadke has used Mohammad Rafi very selectively. In fact, he has used Kishore Kumar also very selectively, but for the film under discussion, Pahli Taarikh, he has created one of the most iconic KK song – Khush Hai Jamana Aaj Pahli Taarikh Hai….

Kahun Kya Ki Kaun Hoon Kya Hoon Main, Kisi Raste Ka Chirag Hoon, Mujhe Jisne Chaha Jala Diya…Gareebon Ki Duniya Mita Denewale  – Paheli Tareekh –  Lyrics : Qamar Jalalabadi

This also seems to be a background song.

Lachchiram (Tamar), composed music for around 20 films.  For most of the Hindi Film fans, the name of this music director would itself, perhaps, be a forgotten name. But his songs – Dhalati Jaaye Raat, Karale Dil Ki Baat (Razia Sultan, 1961), Gori Tere Nain Nainva Kajar Bina Kare, Sab Jawan Sab Haseen Koi Tumsa Nahin, and solo and duet versions of Tu Shokh Kali Main Mast Pawan (all from, Main Suhagan Hun, 1964) – would easily be recognized.

Akaash Ke Aanchal Mein Sitara Rahega – Shaheed E Azam Bhagat Singh – Lyrics: Shauquat Pardesi

Mohammad Rafi exudes nationalistic fervor in every word that he sings in this rally song.

Hafiz Khan is credited as the music director who created a qawwali – Aanhein Na Bhari Shiquaw Na Kiye  (Zeenat, 1945; Noorjehan, Zohrabai, Kalyani) which has the distinction of being the oldest among all the well-known qawwaalis of Hindi movies.  

Apne Diwano Se Daaman Na Chhuda, Bekhabar Hosh Mein Aa – Watan – Lyrics: Shevan Rizvi

We have one more background song…

1955

The year 1955 had 76 songs solo songs of Mohammad Rafi, of which we have 2 solo songs each of B S Kalla and N Dutta and one solo of Bipin Babul from one film each from their respective maiden association with Mohamamd Rafi.

B(alkrishna) S Kalla is quite an unknown name. From various records, we observe that prior to 1955, he has also jointly composed for films like Mangala (1950), Mr. Sampat (1952),  Bahut Din Huye (1954), which were all produced by the then known Tamil banners. Do Dulhe is his solo music direction film.

Naam Hai Mere Baap Ka Soda, Uski Surat Dekh Ke Aata Mujhko Bukhaar – Do Dulhe – Lyrics: Pt. Indra

The present song is a very good comedy genre song. The song is filmed on mentally challenged persons, and had parodied a couple of known songs. Mohammad Rafi has another solo song – Hal Na Kar Paaye Jise Tu Kaun Si Mushkil Hai Wo – which appears to be background song, one duet with Geeta Dutt and a triad with Geeta Dutt and Sarla Devi.

N Datta (a.k.a. Dattaram Baburao Naik) commenced his career as an assistant to S D Burman in films like Bahar, Sazaa and Ek Nazar (1951), Jaal (1952), Jeevan Jyoti (1953) and Angarey (1954), before his got his maiden assignment in Milaap (1954), which was also maiden directorial venture of Raj Khosla.

Ab Woh Karam Kare Ya Sitam Main Nashe Mein Hun – Marine dive – Lyrics: Sahir Ludhyanavi

His early association with Sahir when N Datta was an assistant to S D Burman seems to be continuing and continuing well. In the present song N Dutta comes out in the true elements of his abilities – very soft orchestration, a smooth composition which has some typical twists.

The film had two Mohammad Rafi – Asha Bhosle duet songs, one of which is what is known as Beggar Song genre song in Hindi films – Bata Ae Aasmanwale Tere Bande Kidhar Jaye and another one is a romantic duet – Muhabbat Yun Bhi Hoti Hai.

Bipin (Dutt) and Babul Started their career as assistants to Madan Mohan, Thiers is one more case of a capable music director who did not ring success to the cash box. They have composed two highly respected Rafi songs – Tum Poochhate Ho Ishq Bhala Hai Ke Nahin Hai and Chheda Jo Dil Ka Fasana Hansa Zor Se Kyon Zamana in Naqli Nawab, 1962.

Rukh Se Parda To Hata Zara Nazrein To Mila – Shahi Mehmaan – Lyrics: Anjum Jaipuri

The composition of the song is more on the Sufi style.

While ending the present episode, I am not able to resist the temptation of presenting one of my most favorite Mohammad Rafi songs (for 1954), even at the cost of repeating a music director.

Hai Baski Har Ek Unke Ishare Me Nishan Aur, Karate Hai Muhabbat To Guzarata Hai Guman Aur – Mirza Ghalib (1954) – Ghulam Mohammad

We will take up the years 1956 to 1958 of the third five-year-slot of 1954-1958 in the month of December, 2018

Fading Memories…. Unforgettable Songs: June, 2018

Dattaram – Ab Dilli Door Nahin??

Dattaram (Lakshman Wadkar) –   [?-?-1929  /8-6-2007] belongs to the illustrious Goa Club of Arrangers  of Hindi Film Music. It was their association at gym that had attracted Shankar’s (of SJ duo) attention to Dattaram’s tabla-playing prowess. As would the dice of chances roll, that association got transformed into a very long relationship when Shankar Jaikishan got the breakthrough as music directors. Dattaram is said to have assisted Sajjad Hussain for about three months before joining SJ team

Dattaram did get fairly good commercial appreciation for the songs that he composed, and the songs that he has composed have etched their space in the history of HFM, But the success was not enough to provide escape velocity to propel him into the big league. Even as he graduated as an independent music director, he continued to assist Shanker – Jaikishan – more than 50 films in this capacity – till he decided to hang his gloves. He has done 19 films as independent music director.

His very atypical style of playing tabla was called Dattaram Theka (bit). Couple of the most known examples that comes to my mind, at the sheer speed of reflex action, are bits of dholak in Masti Bhara Hai Sama (Parvarish) or duff in Mera Naam Raju Gharana Anaam (Jis Desh Mein Ganga Behti Hai). Dattaram remains the important member of the Golden Years’ Music Director Club who would compose simple but hummable tunes.

Even as we will consciously pick up two relatively less heard songs from his films in this annual series on Dattaram, we shall also take note of the songs that have been quite popular too.

Ab DIlli Door Nahin (1957) was Dattaram’s maiden film, made under RK Films banner, had almost all actors who were not well-known names and additionally did not have Raj Kapoor in the cast, its subject that was very idealist, In other words, it was not a ‘mass’ film. Chun Chun Kar Ke Aayi Chidiya and Ye Chaman Hamara Apna Hai had set the cash registers ringing even then.

Jiyo Lal Mere Tum Lakho  Baras – Ab Dilli Door Nahin (1957) – Lata Mangeshkar – Hasrat Jaipuri

This is the first ever song, set to Japtal in Bahiravi, Dattaram recorded as an independent music director. As recorded by other knowledgeable bloggers have noted, the song is picturized on Meena Fernandes, with Master Romi, a very young Vijaya Chaudhary and Motilal also visible in the picturisation.

Mata O Mata Agar Tum Aaj Hoti – Ab Dilli Door Nahin (1957) – Sudha Malhotra 0 Shailendra

Sudha Malhotra’s voice truly reflects the childlike vocal chords of an adolescent protagonist.

Parvarish (1958) had two songs Aansoo Bhari Hai Jivan Ki Raahein (Mukesh) and Masti Bhara Hai Sama (Manna Dey, Lata Mangeshkar) which were popular enough to have provided the push to Dattaram  that could have leap frogged into the big league. But the fate seemed to have different ideas.

Jhoome Re…Ho Meri God Mein Taare Jhoome – Parvarish (1958) – Asha Bhosle – Hasrat Jaipuri

There would be many who would consider Lalita Pawar playing kind mother as an abnormal event in Hindi Films, but she lip-synching when she switched to character roles is too quite rare.

Jaane Kaisa Jaadu Kiya Re Bedardi Balam – Parvarish (1958) – Sudha Malhotra, Asha Bhosle – Hasrat Jaipuri

Dattaram, who had used Sudha Malhotra for a song on the child or Asha Bhosle for a song by a mother, now uses both the singers for mujhra dance. Raj Kapoor plays the table player on the screen.

Beliya Beliya Beliya Beliya Bheegi Si Bahoron Mein, Tumne Isharon Mein, Dil Mera Le Liya,,,,,Femiya Femiya Femiya Femiya Dekho Ji Hazaron Mein TumneIsharon Mein, Dil Mera Dil Mera Le Liya – Parvarish (1958) – Manna Dey, Lata Mangeshkar – Hasrat Jaipuri

Of all the Dattaram’s Manna Dey- Lata Mangeshkar duets that appear in this post, this probably is the only one that may remain the grey area of Very Popular to Not So Popular Songs. It is so light, so very fast and yet quite a hummable tune, set to very distinct theka not only in the rhythm but also in the orchestration.

For the records, other knowledgeable bloggers have identified the actress with Raj Kapoor on the dance floor as Jennifer Murray.

Quaidi No. 911 too had at least two songs that were quite popular – Mithi Mithi Baaton Se Bachana Jara – happy version and a sad version – (Lata Mangeshkar) and Pyar Bhari Ye Ghataye (Manna Dey, Lata Mangeshkar):

Ye Khile Khile Taare Hamare Hai Ishare… Aaja Re Aaja…Aa Bhi Jaa – Quaidi No, 911 (1959) – Mehmood, Lata Mangeshkar – Hasrat Jaipuri

Dattaram presents a club song in Lata Mangeshkar’s voice !

Tune Mera Maine Tera Dil Le Liya …Do Nain Mila Ke Haaye Re Diwana Bana Diya – Quadi No. 911 – Lata Mangeshkar – Hasrat Jaipuri

Here Dattaram has deftly experimented with street song .

Year 1959 had another film – Santaan – under Dattaram’s belt. Here too he has given a Manna Dey, Lata Mangeshkar duet Boley Ye Dil Ka Ishara and a happy and a sad twin version song, Dil Ne Use Maan Liya, Jiska Andaz Naya in Mukesh’s voice.

Kehta Hai Pyar Mera O Mere Ladle – Santaan (1959) – a twin cradle-song in Hemant Kumar’s and Lata Mangeshkar’s voices – Hasrat Jaipuri

We have one more song to add to the variety of situations that Dattaram could so deftly handle.

Chhoti Si Dulhaniya Ki Shaadi, Pyari Si Dulhaniya Ki Shadi – Santaan (1959) – Lata Mangeshkar – Hasrat Jaipuri

This is a party song that is based on theme of a marriage song. Note the use of harmonium / accordion’s small stroke at the very beginning. This is used with a slight variation across the songs.

We will end today’s post with two Mohammad Rafi songs composed by Dattaram. First one is not-so-unknown duet with Manna Dey and the second one is an unknown solo. Both songs further validate Dattaram’s virtuosity in handling vastly different situations.

Mama O Mama … Gharwale Khaye Chakkar, Aisa Hai Apana Chakkar, Chakkar Mein Tum Nahin Aana – Parwarish (1958) – Hasrat Jaipuri

The song moves at almost the breathless pace….and if Raj Kapoor and Mehmood are very comfortable with dancing at that pace, Dattaram has been as comfortable in retaining the melody of his theka too. Records indicate that this song had stood 21st in Binaca Geetmala in 1958

Murakh Bande..Jeenewale Khushi Ke Liye Jiye Jaa, Apne Aansu Tu Hans Ke Piye Jaa – Santaan (1959) – Hasrat Jaipuri

The available clip essentially is an audio clip. But that does not leave any doubt that the song is a ‘background’ genre song.

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

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

Fading Memories…. Unforgettable Songs: May, 2018

Manna Dey – Chale Jaa Rahein Hai….:1942 – 1946

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) is considered as one of the most versatile and a highly talented playback singers of Hindi Film Music. In his school days, he was getting trained to become a wrestler. He even reached the finals of the All Bengal Wrestling Competition. But destiny has scripted a different career path for him.  in 1942, he tagged along to Bombay with his paternal uncle, K C Dey and opened up gate way to a very long career of playback singing. He has given voice to 4000+songs in Hindi, Bangla, Bhojpuri, Awadhi, Punjabi, Assamese, Oriya, Gujarati, Konkani, Marathi, Kannad, Malayali, Sindhi etc. He has been associated with more than 102 music directors in Hindi films and had had sung duets with most of his contemporary singers.

It is said that his career got a real boost with Upar Gagan Vishal (Masahal, 1950). It got the further momentum to reach the escape velocity, by his two duets in Do Bigha Zameen (1953) under the baton of Salil Chaudhary. In the intervening years he had had excellent songs with Shankar Jaikishan (Aawaraa, 1951) too. He has recorded as many as 758 songs in the period off 1953 to 1969 – more than half of his entire Hind Film songs in an active career that spanned from 1942 to 1992.

There would be no dearth of his very poplar, as well as highly-quality-merited songs to run a long series of annual articles to commemorate his memory. However, in the spirit of bringing up of one page the songs that have faded up in the deep recess of memories, we will take up Manna Dey’s less heard or simply lost in the memory songs.

We begin our journey of remembering Manna Dey’s songs that have faded away from our memories with his maiden (duet) song from Tamanna (1942).

Jaago Aayee Usha Panchhi Boley – Tamanna (1942) – with Suraiya – K C Dey – S K Kalia

Suraiya, barely 13 years old in 1942 had already a hit song – Panchhi Jaa Pichche Raha Bachpan Mera (Sahrda, 1942) in her record book. Their simultaneous rendering of line @ 00.40 in the present song, blends Suraiya’s very adolescent voice with that of Manna Dey in very low octaves.

Gayi, Tu Gayi, Tyagmayi, Tu Gayi, Teri Amar Bhavna Amar Rahi – Ram Rajya (1943) – Sahnkar Rao Vyas – Ramesh Gupta

It is said that Prakash Bhatt, producer, and Shankar Rao vyas, music director, of the film, Ram Rajya, had come to K C Dey to sing the songs for the film. K C Dey did not sing for others, so the songs went to Manna Dey.

The film has two more solos of Manna Dey – Ajab Vidhi Ka Lekh Kisi Se Padha Na Jaye and Dur Dur Nagariya Teri.

Bhula Bhatka Path Hara Man Sharan Tumhari Aaya, Kah Do He Gopal – Jwar Bhata (1944) – With Parul Ghosh – Anil Biswas – Narendra Sharma

“Jwar Bhata’ is the maiden film of Dilip Kumar. Manna Dey also gets into the orbit of the-then known music directors, like Anil Biswas, but is yet to get to sing for the main lead actors.

O Prem Diwani Sambhal Sambhal Kar Chalna – Kadamabari (1944) – Anil Biswas – Narendra Sharama

Anil Biswas seems to have commenced experimenting with Manna Dey’s voic, in line with his strategic intent to evolve a totally different modern style of music as compared to the theatrical style of the Vintage Era.

Kyun Jaane Apne Banten Hain Begaane -1 & 2 – Meena 1944 – with unidentified female singer – Hari Prasanna Das – Pandit Phani

The songs has very distinct Manna Dey’s now-well-known own singing style.

Ye Rang Birangi Dor Hai – Mazdoor (1945) – with Ammrbai Karnataki –  H P Das – G S Nepali

Mannaa Dey has been made to revert to typical vintage era style of singing.

Hai Gagan Mein Badal Theare Hue – Vikramditya (1945) – With Rajkumari – Shankar Rao Vyas – Ramesh Gupta

The song had been quite popular in those days. The heavy bass of female singers of Vintage Era is so evident in Rajkuamri;s voice too, whereas we get to listen Manna Dey’s voice that we have known in 60s.

Ek Chakori Dev Se Apne – – Vikramditya (1945) – Shankar Rao Vyas – Ramesh Gupta

The association with Shankar Rao Vyas has now yielded Manna Dey position of the principal lead male playback singer. The film has 4 more Manna Dey solos and one group song which is a prayer.

The soft digital copies of these other songs are not available on net.

Priye Ek Baar Man Mandir Mein Tum Rum Zum Karati Aana – Mera Geet (1946) – with Geeta Roy – Shankar Rao Vyas – Ramesh Gupta

Ye Jag Matlab Ka Hai Dera Kyon Kahata Hai Mera Mera – Rupa (1946) – Govind Ram – Ram Murty

Manna Dey sings a religious-flavored ‘filler‘song in vintage style.

Ram Naam Se Man Ke Ho Jaat Hai Shudhdha Vichar – Valimiki (1946) – Shamkar Rao Vyas – Mahesh Gupta M A

Shankar Rao Vyas has used Manna Dey’s voice in background.

I have sourced soft links of following songs from ‘mannadey.weebly.com/’:

Har Ek Kadam Sochke – Bisvin Sadi (1945) – Pannalal Ghosh

Pardes Musafir Jata Hai, Utha Hai Abodana – Dil (1946) –[Manna Dey gets credit as Prabodh Dey] –  Zafar Khursheed – Shams Lakhanavi

Allah Khata Kya Thi – – Dil (1946) – [Manna Dey gets credit as Prabodh Dey] – Zafar Khursheed – Shams Lakhnavi

Naino Ke Badal Baras Rahe – Insaf  (1946) – H P Das – D N Madhok

  • O Duniya Jara Sun Le – Kamla (1946) – With Amirbai Karnataki – Gyan Dutt

The songs for which I could not locate YT or other soft links:

  • Yeh Prem Ki Reet – Kavita (1944) – Shankar Rao Vyas – Ramesh Gupta
  • Raj Dwar Pe Baj Uthi Sahanai – Maha Kobi Kalidas (1944) – SreedharPalsekar – Ramesh Gupta
  • Din Aaye, Din Jaaye – Maha Kobi Kalidas (1944) – Sreedhar Palsekar – Ramesh Gupta
  • Kya Julm Kabhi Jeet Gaya.. Jeet Hamari Hai – Mazdoor (1945) – H P Das – G S Nepali
  • Paritranayam Asdhunam…Avtar Liya Jug Jug  – Prabhu Ka Ghar  (1945) – Khemchand Prakash – Pt. Indra
  • Tum Nath Ho Phir Main Anath Hun Kyon –  Jug  – Prabhu Ka Ghar (1945) – Bulo C Rani – Pt.Indra
  • Kyun Rooth Gayi Maa Dharti – Dharti (1946) – Bulo C Rani – Pt. Indra
  • Dil Churaney Ke Liye – Door Chalein (1946) – [Manna Dey gets credit as Prabodh Dey] –  K C Dey
  • O Ji More Balamwa – Insaf (1946) – with Raj Kumarri
  • Aye Naujwan Veerat Ki Hai Kasauti Aaj – Mera  Geet (1946) – Shankar Rao Vyas –Ramesh Gupta

In our established tradition of the ending each of our post with a relevant Mohammad Rafi song, I have located a Sonik-Omi composed duet with Manna Dey from an unreleased film. The song does not strictly belong to the period that we have chosen for the present post. :

Hamane Maana Ki Ham Hai

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

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