Fading Memories…. Unforgettable Songs: Volume VIII – May 2023 Edition

Manna Dey – Chale Ja Rahein Hai…. : 1957 (1)

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013)’s classical training and ‘too clear, open’ voice seemed to not only over-qualify him to be a popular singer, but even type cast him for religious or patriotic or songs that were meant to present the joy of nature. However, use of the versatility of his voice was successfully utilized by Shankar Jaikishan in songs of different moods, like Dil Ka Haal Sune Bhai Dilwala or Pyar Hua Ikarar Hua or Mud Mud Ke Na Dekh in Shree 420 (1955). Then came the roaring success of songs of pure romance – Aa Ja Sanam Madhur Chandani Mein Hum, Ye Raat Bhigi Bhigi and JahaN Main Jaati HuN WahiN Chale Aate Ho (Chori Chori, 1956). This led to a surge in the demand for his voice as the number of songs went up to a peak of 95 in 1957 from the 56 songs in 1956. But these numbers still seemed to be not adequate to place him in the league of THE male playback for lead actor.

Our present series Chale Ja Rahen Hai is our tribute to Manna Dey to refresh the universal appeal of his voice by specifically choosing the so-called less popular, less-heard songs. Till now, we have covered Manna Dey’s less popular, less-heard songs for the years –

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020

1954-1955 in the year 2021, and

1956 in the year 2022

Even if we do not focus on evergreen songs like Kaun Aaya Mere Man Ke Dware (Dekh Kabira Roya – Lyrics: Rajendra Krishna – Music: Madan Mohan), we will certainly need several episodes to cover the rest of the songs for the year 1957.

We commence our journey on that note….

O Mister O Mister Suno Ek Baat Badi Bewafa Hai Ye MardoN Ki Jaat, Badalte Hai Rang Pal Mein Hazar Kare Inke VadoN Pe Kya Eitbar, Ye Karne Ko To Karle Ha Bhi Swikar Par Ek Hi Nazar Mein Hai Kiska Eitbar  – Agra Road – with Geeta Dutt and chorus – Lyrics: Prem Dhawan – Music: Roshan

Even as Roshan chose Mohammad Rafi as male voice for the maiden appearance of Vijay Anand in lead role, choice of Manna Dey for this waltz-based dance song is also a noteworthy enough experiment.

Tum Ko Pukarti Hai Pratap Ki Kahaniya  ….. Kya Unchai Insaan Ki  – Amar Singh Rathod – Lyrics: Bharat Vyas – Music: Sanmukh Babu

The song indeed is a background song with patriotic appeal but has a subtle blend of pathos as well.

Phir Wahi Dard Hai Phir Wahi Jigar, Phir Wahi Raat Hai Phir Wahi Hai Dar – Apradhi Kaun – Lyrics: Majrooh Sultanpuri – Music: Salil Chowdhury

The comedy genre song has been blended with the mood of drunkenness.

Hai Pyar Ke Do Matwale …. Ek Hum Aur Ek Tum – – Apradhi Kaun – with Geet Dutt – Lyrics: Majrooh Sultanpuri – Music: Salil Chowdhury

The comedians too did get to sing a romantic song in the films in those days. The way Manna Dey plays differently every time with Ek Hum Aur Tum amply validates the natural flexibility of his singing prowess.

Ek Bade Baap Ki Beti Ko Kal Ghar Ke Munshi Sang, Arre, Dekha Ghul Mil Batiya Karte Aur Jamate Rang – Bandi – Lyrics: Rajendra Krishna – Music: Hemant Kumar

Manna Dey comes into his elements as he renders the tongue-in-cheek town gossip in a folk styled street theater mood style song.

Ma Teri Mamta Kitni Pyari Kitna Pyar Jatati Hai – Bansari Baala – Pandit Phani – Kamal Mitra

Manna Dey adds softness that mother’s love evokes in the child as he sings the devotional mood song for the Mother.

Hai Bahut Dino Ki Baat Tha Ek Majnu Aur Ek Laila – Bhaabhi – with S Balbir and Mohammad Rafi – Rajendra Krishna – Chitragupta

The “classically trained”, “Bengali” Manna Dey so easily teams up with thorough Punjabi voice of Balbir and ‘versatile’ Mohammad Rafi to render a Punjabi folk tale .


Duniya Teri Tu Duniya Ka Yun Daali Mein Paat, Tera Mera Janam Janam Ka Saath – Bhakta Dhruv – with Geeta Dutt – Pandit Madhur – Avinash Vyas

In a purely mythological environment, Manna Dey creates soft mood romance with Geeta Dutt.

Din Albele Pyar Ka Mausam Chanchal Man Mein Toofan, Aise Mein Kar Lo Pyar – Begunah – with Lata Mangeshkar  – Hasrat Jaipuri – Shankar Jaikishan

Riding on the thriving success of Chori Chori songs, Shankar Jaikishan have easily chosen Manna Dey for the present romantic duet. However, such were the ways of Hindi Film Music world that when Mukesh wanted to comeback form his disastrous detour of the acting route, friendship with likes of Shankar Jaikishan did create special songs for him. As such, the wheel of Fortune has also placed Mukesh in direct competition in the form of Ae Pyaase Dil BejubaaN.

Tum Mere Swami Antaryami Maat Pita Tum Mere  – Chhote Baabu – With Usha Mangeshkar –  P L Santoshi – Madan  Mohan

Even with phenomenal success of Dekh Kabira experiment with Manna Dey, Madan Mohan has chosen the then popular Talat Mahmood for songs like Do Din KI Mohabbat Mein Hamne  or Teri Chamakti Annkon Ke Aage Ye Sitaare Kuchch Bhi NahiN

Aa Jao Rasiya Sawan Ke Din Aaye – Champakali – with Lata Mangeshkar – Rajendra Krishna – Hemant Kumar

The song is essentially a monsoon festival celebration song but has a fair dose of expression of romantic mood alongside too.

As we mull the different moods of Manna Dey, we take a break in our journey of reminiscing Manna Dey’s songs for the year 1957.

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 and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: Volume VIII – April 2023 Edition

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1961 _ Part 1

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – was a natural poet. Even after settling into the role of a demand-driven world of film lyrics, he was and remained thereafter too, a poet at his core. Even as he was known to freely use Urdu words in his film lyrics, his lyrics retained a simple character.  He remained a highly respectable of poet in Urdu literature world.

An interesting aspect of his personality was his innate commercial insight, quite unlike someone who is a poet. He used to very carefully invest the surplus from his Hind film earnings into real estate properties that would yield him, and his family, a comfortable secondary stream of income.

Though his body of work remains his partnership with Shailendra for penning lyrics to more than 190 Shankar Jaikishan films, his work with other music directors also remains as varied noteworthy.  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,

 The songs for 1958 in 2020,

 The songs f0r 1959 in 2021, and

 The songs for 1960 in 2022.

Presently, we will refresh our memories of Hasrat Jaipuri’s songs with Music Directors Other Than SJ for the year 1961. We will take up Hasrat Jaipuri’s songs for Husnlal Bhagat Ram, S N Tripathi and Iqbal Qureshi.

Husnlal BhagatRam

Film: Apsara

Har Dam Tumhi Se Pyaar Kiye Jaa Rahi HuN – Apsara (1961) – Talat Mahmood, Asha Bhosle

Here is a song that can be said to belong to the last phase of Husnlal Bhagatram and full glory height of Hasrat Jaipuri. Once we listen to the song we feel sorry for ourselves as to how could such a song get buried deep down in memory!

S N Tripathi

Jadoo Nagri (1961)

S N Tripathi could enjoy such a long career even when the Hind film world had consigned him to B / C grade films, goes on to validate that he was not only a highly multi-talented artist, but also equally a highly tenacious person, too.  Hasrat Jaipuri too has wholehearted penned lyrics under his baton, fully retaining all his signature styles without holding back anything

Aankhein Meri Jadoo Nagari, Rup Rangila Jadu gar …. Wahi Dekhe Pyar Ke Sapne Dal Du Jispe Ek Najar – Lata Mangeshkar

S N Tripathi has blended a faint resemblance with Mid-east music – in the opening lines – while fully composing the song in a fast-paced dance sequence.

Loot Liya Re …. Gori Gori Chandni Ka Khoi Khoi Kamini Ka Mithi Mithi Ragini Se Lut Liya – Asha Bhosle

S N Tripathi’s highly imaginatively composed song plays on a gorgeous dream-sequence type set.

Jadoo Bhare Tore Nain Kateele Ham Par Jhulam Karein  – Mahendra Kapoor, Asha Bhosle

S N Tripathi has so deftly presented the dance song as a duet song

Nigahon Mein Tum Ho … Khayalo Mein Tum Ho . . .. Jidhar Dekhati HuN Najhar Aa Rahe Ho – Lata Mangeshkar

Hasrat Jaipuri deplys his trademark Sakhi as opening lines of the song

Kaise Videshi Se Naina … Ek Pall Bhi Aaye Na Chain Re  –  Lata Mangeshkar

Hasrat Jaipuri was also known to waeave in odd lyrics so well into his song composition.

Dekho Aayi Basant Bahar …. Ke Jiya Mora Tum Ko Pukare Hai O Sajna – Lata Mangeshkar

Hasrat Jaipuri was also known to use very simple lyrics to express quite deep emotions.

Iqbal Qureshi

Umar Qaid (1961)

Iqbal Qureshi shined so brilliantly in the early films, e.g., Ta Thaiya Kar Ke Aana ( Lata Mangeshkar, Geeta Dutt, Panchayat, 1958); Main Apne Aap Se Ghabhara Gaya Hun (Mohammad Rafi, Bindiya, 1960);  Dar Pe Aaye HaiN Qasam Le (Mukesh, Love in Simla, 1960); Subah Na Aayi Sham Na Aayi, Woh Hum Na The Woh Tum Na The (Mohammad Rafi, Aao Pyar Karein, 1964). But then quite inexplicably he lost that charm and got suck into the vortex of less successful films, or may be vice versa.

Umar Qaid had experimental star cast – Sudhir and Nazim in the lead, Helen having more meaningful role that her usual one-off dance song roles. Each character had at least one song that had hit the counters at box office of the music company loudly ringing sweet sound of huge popularity  for example,  Mujhe Raat Din Ye Khayal Hai (Mukesh) for Sudhir, O Piya Jaane Na ….. Meri Aankon Ki Need Uda Ja Na (Asha Bhosle) for Nazima. But film failed singularly, leaving a black dot against the name of music director, Iqbal Qureshi.

Suno Ji Ek Baat Tum Hamara Dil Hua Hai Gum –  Mukesh, Suman Kalyanpur

Roothana Manana has been a very convenient method for expressing / accepting the love in Hindi films. Normally the songs are films at gardens or during picinicsetc. But here, the love birds have to be content with the terrace of the hme for their

Dil Vahan Jahan Ho Tum Aao Na KahaN Ho Tum – Asha Bhosle

Even though Helen has been in a major role in the film, the club song also follows her.

Kaisi Bekhudi Ka Samna Ho …. Dekho Apne Dil Ko Thamana Ho  – Asha Bhosle

It seems if the actress would have been other than Helen, the song may have been in set in some other setting, because the basic theme of the song is acceptance of love.

Shama Jo Jalti Hai Parwane Aa Hi Jate Hai Hum Apni Aag Mein Khud Ko Jalaye Jaate Hai ….  Dil Ka Fasana Koi Na Jaan Apni Khushi Mein Jhoome Jamana  – Mahendra Kapoor, Asha Bhosle

Opening with a Hasrat Jaipuri’s signature style ‘saakhi, the qawwali was well received on radio on those days. However, when we see the video clip now, the Mohan Choti ‘comedy’ pranks mar the joy of the song to a great extent.

Bambai Puarani Kalkatta Purana .. Jaisi Meri Naanji Waise Mere Naana  – Mohammad Rafi, Kamal Barot

If Mohan Choti pranks are discounted, the street song remains quite enjoyable with very light lyrics by Hasrat Jaipuri maintain the mood of the song.

We still have a few more films of 1961 wherein we have Hasrat Jaipuri’s songs for music directors other than Shankar-Jaikishan. We will take these songs in the next episode… next year …..

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 and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: Volume VIII – March 2023 Edition

Ghulam Mohammed and His Singers: 1953

Ghulam Mohammed (1903 – 17 March 1968) was trained as dholak player, but on the strength of his natural insight for rhythm ensured he was equally comfortable and proficient with folk percussion instruments like duff or matka. More he also had advantage of accompanying his father to various music programs. That helped him to extend his reach to melody as well. The initial years of struggle after he came down to Bombay in 1924 also worked as blessing in guise, in that his natural  talents got honed to a level of professional excellence. The cruel realities of politics of Hindi film world or the fickleness of destiny could prevent in getting Ghulam Mohammed the success commensurate with his talents but has not been able to obliterate Ghulam Mohammed’s creations in the 37 films for which he scored music as independent music director.

It to refresh our memories of multi-talented music director Ghulam Mohammed that we commenced the present series in the month of death of Ghulam Mohammed’s songs with special focus on the playback singers he chose to fructify his creations in the month of his passing away to the heavenly abode. Till now we have covered Ghulam Mohammed’s songs for the year

1943 to 1949 in 2021, and

1950-1952 in 2022.

Presently, we will listen to the relatively less heard songs of six films – Dil-e-Naadan, Gauhar, Jazar Raatein, Laila Majnu, Naina and Rail Ka Dibba – for which Ghulam Mohammed composed music in the year 1953.

Jagjit Kaur – Chanda Gaye Ragni Chham Chham Barse Chandani, Mast Jiya Lahraye Mora Mast Jiya Lahraye – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

While recognizing the talent of Jagjit Kaur, Ghulam Mohammed has so creatively used her voice for this happy song.

Ghulam Mohammed has so effectively further used Jagjit Kaur’s voice in sad song, Khamosh Jindagi Ko Ek Afazana Mil Gaya, that the song instantly got a place of honor in Jagjit Kaur’s all-time greats

Sudha Malhotra – Na Wo Humare, Na Dil Humara, Kahin Bhi Apna NahiN Thikana – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed extends his experiment to use voice of Sudha Malhotra for this solo wherein he has a slow-paced mukhada as well as first lines of Antaras to create that specialeffect of pathos.

Asha Bhosle – Lijo Baabul Hamara Salam Re, Ham To Jaate Hai Saajan Ke Gaam Re – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

The daughter is trying to assuage the helpness of father. Ghulam Mohammed has chosen the folk tune of a vidaai (bride farewell) to convey the message. He has chosen the then less known voice of Asha Bhosle for this poignant song.

Talat Mahmood – Ye Raat Suhani Raaat Nahi, Aye Chand Sitaro So Jao – Dil-e-Naadan (1953) – Lyrics: Shakeel Badayuni

Not having seen the film I do not why Talat Mahmood (the hero on the screen) is so disturbed on his first wedding night, but Ghulam Mohammed has effectively used his soft voice at a higher scale to express the mood.

Asha Bhosle, Mohammad Rafi – Haule Haule Dhire Dhire  Haule Haule, Dil Mera Leke Chale – Gauhar (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used a novel way of the singers  swinging the lyrics of mukhada to express the bubbling moods of the love birds.

Shamshad Begum – Saavan Mein Yaad Teri Aaye Jab Piya, Ho Dekho Ji Kali Ghata Baras Baras Jaye – Gauhar (1953) – Lyrics: Shakeel Badayuni

The pouring rains from the dark clouds of Saavan is a favorite metaphor for poets to express the feelings of the separation of the two birds. Ghulam Mohammed has fallen back on the veteran Shamshad Begum to enliven the pain.

Sudha Malhotra, Shamshad Begum – SaiyaN Tore PaiNYa PaduN Aa Jaa Re,  Mere Man Ki Aag Bujha Ja Re – Gauhar (1953) – Lyrics: Shakeel Badayuni

Two friends and their friends voice their youthful longings for falling into love with someone of their choice. The song is set to a folk tune.

Mohammad Rafi – Zara Sambhal Ke Beta Jamura Tu Naach Main ChheduN Tamura – Hazaar Raatein (1953) – Shakeel Badayuni

The song is essentially the traditional folk tune used by the street conjurer who moves along with his red-faced monkeys and performs on the street.

Shamshad Begum, Mohammad Rafi – Raja Ji, Raja Ji Tum Meri Kahani Kya Jaano,  Main Hun Kya, Tum Bhala Dil Ki Baatein Puraani Kya Jaano – Hazaar Raatein (1953) – Shakeel Badayuni

Ghulam Mohammed uses a folk tune, retaining  dholak as rhythm instrument and harmonium in the orchestra, smoothly weaving in violin ensemble to give the song  modern touch. He also moves away from the set pattern of antara singing by using Rafi to sing the lines in a very noel manner.

Mohammad Rafi – Milne Ki Hasrat Mein Betabi Ke Saath, Rah Gaye Faila Ke Haye Dono Haath, Ful Do Din Hans Ke Ji Bahla Gaye  Aur Ye Gam Se Bin Khile Murjha Gaye – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

In this background song, we get to hear Mohammad Rafi in deep tone set to a mildly higher scale, fully expressing the feelings of flying sands gradually covering up the bodies of Qaish and Laila.

Asides: Laila Majnu had two more songs of Mohammad Rafi, as also songs by Asha Bhosle and Shamshad Begum as well. However, in order to cover all these songs we may have to dedicate separate episodes to the cases of such films.

Mohammad Rafi, Khan Mastana – Bulbul Mein Nai Nagame Tere Gul mein Teri Bu Hai, Har Saye Mein Tera Nur Hai Har Chijh Mein Tu Hai – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

Medicants are sinigng a qawalli-styled song, probably as a prayer which so intimately reminds Qaish of his love Laila

Mohammad Rafi, Talat Mahmood – Bhar De Jholi Allah Naam Bhar De Jholi Allah Naam, Sabhi Ki Khair Mayi Baba Ki Khair Tere Banenge Sab Bigade Kaam – Laila Majnu (1953)– Lyrics: Shakeel Badayuni

The song initially depicts medicants seeking alms from Laila. Qaish also seems to have joined the group, When his turn comes up, the song goes into Talat Mahmood’s solo voice and Qaish uses the opportunity to seek a peek of Laila in the alms.

Naina (1953) had two music directors – Ghulam Mohammed composing three songs and Manna Dey four of total seven songs.

Meena Kapoor – BarbadiyoN Ne Hosh Se Begana Kar Diya, Ab AaNsuoN Ko Dard Ka Afsana Kar Diya – Naina (1953) – Lyrics: Anjum

On th efface of it the song is atypical love-torn heroine’s expression of poignancy. But, Ghulam Mohammed has experimented with voice Meena Kapoor while laying the first line of mukhada and each anatara to aver slow rhythm, thereby transforming the song into a very effective expression of pain of the torn-up love.

Geeta Dutt – Dil Unko De Diya Haye, Dil Ka Amailk Jaan Ke – Naina (1953) – Lyrics: Anjum

When it came to accepting the love, Ghulam Mohammed has switched over to the voice of Geet Dutt.

1953 had three films of Shammi Kapoor – Thokar, Laila Majnu and Rail Ka Dibba. Each one had fared poorly at the box office, ranking 21st, 22nd and 19th respectively in terms of the collections. As a result, all the good work that Ghualm Mohammed had done in composing the songs for the two later films also was swept along in the wave of the ebb of box-office failure.

Shamshad Begum – Chham Chhamaachham Paayal Baaje, Naache Mora Man Ho Naache Mora Man, Chandaa Se Gawaahi Le Le Tu Mere Saajan Ho – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

On a stand alone evaluation Shamshad Begum is at her usual gay mood in the song. But, the perplexing part is why should Ghulam Mohammed have chosen Shamshad Begum as playback to petit Madhubala in the year 1953!

Mohammad Rafi, Gandhari – Dunia Jawan Hai Dil Meharban Hai, Aise Mein Sanam Mil Jaaye Sanam Meri Qasam  – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

The song has all the mandatory strapping of a street song – harmonium taking the lead in the orchestration, Kakoo dancing with gay abandon.

Shamshad Begum, Mohammad Rafi – La De Mohe Baalma Aasmani ChudiyaN Ji Aasmani ChudiyaN – Rail Ka Dibba (1953) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has so deftly transformed the mood the traditional folk tune to enliven the playful mood of the two love birds.

Before we formally end the episode, we ough to take note of Talat Mahmood songs composed by Ghulam Mohammed in this year – the songs that remain high order of Talat Mahmood’s all time greats – Zindagi Denewale Sun, Jo Khushi Se Chot Khaye, Muhabbat Ki Dhun BeqararoN Se Poochho (with Jagjit Kaur and Sudha Malhotra) (Dil-e-Naadan), Chal Diya KarwaaN  Lut Gaye Hum YahaanBaharoN Ki Duniya Pukare, Dekh Li Aye Ishq Teri MaherbaniyaN Dekh Li ( both with Asha Bhosle, composed by Sardar Mallik), Aasmanwale Teri Duniya Se Jee Bhar Gaya.

Our journey of refreshing Ghulam Mohammed’s songs still has a long way to go…..

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 and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

Fading Memories…. Unforgettable Songs : Volume VIII : February 2023 Edition

Talat Mahmood – Duets with Asha Bhosle – 1951| 1952 | 1953

Talat Mahmood (24 February 1924 – 9 May 1998) as a singer, and actor, shone to his brightest during ‘50s, even as his career in Hindi (film) songs spanned 1945 to 1981. ‘50s was also happened to be the decade of Elvis Presley in America and Cliff Richard in UK. All these three singing stars were not only handsome, good-looking, always dressed in utmost care but their voice had very distinct magnetic charm.

Of over 750 Hindi songs of Talat Mahmood, his duets with all major female singers of his times presents Talat Mahmood in many different shades. Therefore, we have undertaken a series of his (rare) duets to commemorate the memory of Talat Mahmood in the month of his birth. Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri,

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952,

In 2021, Talat Mahmood: Duets with Geeta Dutt, from  1954 to 1957, with one duet even in 1972, and

In 2022, Talat Mahmood: Dets with Shamshad Begum.

We now turn to Talat Mahmood’s duets with Asha Bhosle.

Interestingly, Talat Mahmood and Asha Bhosle’s career followed different trajectories even when seemingly running concurrently. For Talat Mahmood, the decade of 50s was his golden period but for Asha Bhosle it was the period of her struggle to establish her own independent existence when Lata Mangeshkar’s stars were in full ascendence. The case of decade of 60s then saw swing of fortunes, with Asha Bhosle having come out of shadow of Lata Mangeshkar, it was Talat Mahmood who was losing the momentum rapidly.. Then technically, Talat Mahmood’s career , in terms of Hindi film songs, during ‘70s was already on the gasping stage of the last run.

In spite of these odds, Talat Mahmood and Asha Bhosle duets stand second to Talat-Lata duets in numbers, with period of 1951 to 1959 recording around 59 duets! However, during this period, the then first -row music directors who preferred Talat Mahmood used to prefer to work with Lata Mangeshkar. As a result, barring a few exceptions, the Talat Mahmood – Asha Bhosle duets are scored by the music directors who worked, so called, fringe of the HFM spectrum of that period. An interesting fall out of this situation is that we get to listen to a very wide range of voices of both the singers.

Presently, we will take up Talat Mahmood – Asha Bhosle duets for the years 1951 (2 duets), 1952 (1 duet) and 1953 (6 duets).

Mera Man Jhoom Jhoom Laharaye – Titli (a.k.a. For Ladies Only) (1951) –Manohar Singh Saharai – Vinod

There could not have been a more opportune opening of the account of Talat- Asha duets than this duet, composed by one of the bright but most unfortunate composer, Vinod.

Music director and bot the singers quite successfully enliven the playful mood of the song

Tum Bade Wo Ho Mohabbat Ka Maza Kya Jano – Imaan (1951) (Unreleased) – Hasrat Jaipuri – Motiram

The lyrics of the song easily convey the mood of ecstasy of being together. Talat Mahmood seems to sound a little less playful than Asha Bhosle, but overall the song, remains very pleasing to listen to.

Pyar Bhi Aata Hai Gussa Bhi Aata Hai, Tum Hi Kaho Aise Koi Chood Ke Kisi Ko Jaata Hai – Goonj (1952) – D N Madhok – Sardul Kwatra

Sardul Kwatra was another music director who had very distinct knack of blending folk tunes into his compositions, and yet his success with Hind songs remained on a rather limited scale.

Talat Mahmood is also quite playful in the delivery of the song, but, unfortunately, the duet is said to have not been released.

Kisi Ne Nazar Jab Se Mila D, Meri Zingadi … Jhoom Ke Muskara Di – Humsafar (1953) – Sahir Ludhianvi – Ali Akbar Khan

The song very effectively succeeds in conveying the mesmerized state of being together.

Talat Mahmood, interestingly, sounds to be so near to his NFS singing scale.

It would be opportune to note here that all other male songs of the film are by Kishore Kumar and female songs by either Lata Mangeshkar or Geeta Dutt.

Even though S D Burman had some excellent scores with Talat Mahmood in his own initial phase, he tended to prefer Mohammad Rafi, or Kishore Kumar, by the time his own career was on the rise. Similarly, he tended to prefer Lata Mangeshkar, except during the period when relations between S DB and Lata Remained strained. As a result, we have only one duet of Talat Mahmood- Asha Bhosle from S D Burman.

Chahe Kitana Mujhe Tum Buloege Nahin Bolungi … Bol Na Bol Aye Jaanewale Sun To Le Aye Diwano Ki – Armaan (1953) – Sahir Ludhianvi – S D Burman

‘Baabla’ and ‘Aramaan’ (1953) form the base of 18-films-at-a-strecth successful partnership of Sahir Ludhianvi and SD Burman.

The present duet epitomizes the deep pain of separation of two love birds. Asha Bhosle also so naturally matches Talat Mahmood in creating the mood of pathos.

The song has a solo version by Talat Mahmood, too.

Teri Marzi Hai JahaN Mujhe Le Chal Tu WahaN – Ghar Baar (1953) – Indeevar – Vasant Prabhu

A very well well-known exponent of Marathi Bhav Geet genre, Vasant Prabhu, has just one hind film to his credit!

The song opens with Asha Bhosle singing to a dance tune, but Talat Mahmood remaining in the pensive mood. However, as the song moves ahead, it is all the way dance-like mood.

BaharoN Ki Duniya Pukare Aa Ja …. Tere Minzir Hai Sitare Aa Ja – Laila Majnu (1953) – Shakeel Badayuni – Saradar Malik

The timeless melody belongs to the period when Shammi Kapoor was following the beaten track of serious roles with Talat Mahmood as his playback.

Dekh Li Ae Teri Maherbani Dekh Li – Laila Majnu (1953) – Shakeel Badayuni – Saradar Malik

Asha Bhosle once again comes up with a wonderful rendering of the total pathos mood of the song

Raat Chandani Saath Tumahara Rang Muhabbat Layi, Kabhi Najhar Me Tum Laharayein Kabhi Najgar Laharayi – Pehli Shaadi (1953) – Kaif Irfani – Robin Banerjee

Being together in the soft glow of moonlight is always an occasion that two young love birds to keenly keep desiring!

While searching for the Talat Mahmood – Asha Bhosle duets, I accidently landed up on a Punjabi duet of theirs. The song is composed by Dhaniram, of whom we will talk in more details when we take up Dhaniram’s another Talat – Asha duet for Dak Babu (1954). For the present recalling just one song – Main HuN Bahart Ki Ek Naar Ladane Marane Ko Jo Taiyar (Ladki, 1953) – should suffice to introduce Dhaniram’s contribution to Hindi Film Songs.

Mere Dil Di Sej Diye Raniye Ni – Laar Lappa (1953) – Punjabi – M S Sehrai – Dhaniram

Dhaniram was a classically trained music director who also very easily could blend folk tune of Uttar Pardesh and Punjab into his compositions.

The present song is just one fitting illustration of that side of his music caliber.

We will continue with Talat Mahmood – Asha Bhosle duets in our episode next year as well.

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 and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: Volume VIII : January 2023 Edition

Jaidev: Brilliant, But Underrated, Composer:  1976 – 1977 

Jaidev – B: 3 August 1919 – D: 6 January 1987 – is one music director who had established himself as creator of melodies while basing the compositions in classical or folk styles. From start at the very top with mesmerizing magic touch, as his career went on to take deep dive of the road of loss of popular appeal, he started getting epithet of ‘too niche’ music director. By the beginning of ‘70s, he even had started getting work from only those producers or directors who were stickler to the consciousness of being faithful to the core of their film subject. By this time, these films had developed its own fan following, who was also receptive to Jaidev’s music. Emboldened by such an encouraging response, Jaidev could boldly experiment with new singers as well.

Till now,

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,

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

In 2022, we listened to his melodies form relatively not so known films for the years 1974 and 1975

Presently, we will refresh our memories for the songs Jaidev composed for Laila Majnu (1976) and Aalap and Gharaonda (1977)

Laila Majnu (1976)

The love story of Laila and Majnu has always remained an evergreen subject for the Hindi films. From the first film made in 1931, every few years a new version has been made for the Hindi screens. However each version had its own distinct interpretation of the story, which gets reflected in the way the social milieus had been presented in terms of dress, living styles, language and delivery of dialogues etc. One dimension that tended to raise the standard of the film was its music.

My personal association with the present 1976 version goes back to the year 1977, when I was visiting Indore for some official work, along with couple of my colleagues. Once, when we were roaming through the roads of Indore after our dinner, we saw a cinema hall that had a poster of Laila Majnu (1976) as the current movie. We were just in time for the last show. However, we were in dilemma as to whether the film would be worth spending two and half hours. Except for the songs of Ghulam Mohammad’s compositions for the 1956 version, I had no idea how good the other versions were. But, as we saw the names of Madan Mohan and Jaidev as music directors, our initial misgivings thinned out and we bough the tickets.

It was much later that I could know that Madan Mohan had passed away when three or so songs and background score for the film were still incomplete. So, Jaidev was roped in to seamlessly fill the void., even though Sahir Ludhianvi – Jaidev and Sahir had parted ways after some very strong differences while working together for Mujhe Jeene Do (1964) – was the lyricist for the film.

Jaidev has composed four songs, of which the two Lata- Rafi duets – Kahena Ek Diwana Teri Yaad Mein Aahein Bharata Hai and Likh Kar Tera Naam JamiN Par Sajade Karata Hai – seemed to have gained popularity even as soon as the film would have been released, as can be gauged by the response of the viewers during the show.

We will take a closer look at two other songs –

Kaja Jhalim Sahi Ye Jhulm Woh Bhi Kar Nahi Sakati
Jahaan Mein Qais Jinda Hai Tab Tak Laila Mar Nahi Sakati

Ye Dawa Duniya Bhar Se Manavane Ki Khatir Aa
Ye Diwane Ki Jid Hai. ….. – Mohammad Rafi

I liked the song just when I heard it first time on that night, since it had all that one would expect from Jaidev- Mohammad Rafi songs of Jaidev’s early years of career. However, little did I know that we did not have many more years left for Mohammad Rafi to come up with so soulful rendering once again….

Laila Majnu Do Jaan The – Rajkumar Rizvi, Dilraj Kaur, Anuradha Paudwal

Jaidev has readily switched over to experiment with the current generation singers for the credit titles song

Aalap (1977)

Hrishikesh Mukherjee has depicted Amitabh Bachchan, once again as a deceptively calm volcano which is ready to erupt into sizzling hot lava, in this essentially a Bengali background story. When action movies was the order of the day, casting Amitabh Bachchan and Rekha in a serious social drama was certainly a bold experiment. Hrishikesh Mukherjee’s few preceding and succeeding movies had either S D Burman or R D Burman as music directors, However, he has opted for Jaidev for this film.

The credit titles song for the film, Maata Sarasvati Sharda (Yesudas, Lata Mangeshkar Dilraj Kaur, Madhurani and chorus) went on become a prayer at many schools.  Moreover, when Kishore Kumar was already established as Amitabh’s playback voice, Jaidev has boldly, and quite successfully at that, Yesudas for Koi Gaata Main So Jaata (Lyrics: Harivanshray Bachchan).  Other songs of the film, penned by Dr. Rahi Masoom Raja, also are based on classical styles while simultaneously experimenting with normally not heard voices for film songs.

Chand Akela Jaye Re Sakhi …. – Yesudas

The mood of the song presents Amitabh’s character as a poet deeply depicting his imaginative feelings of a poet lost in the thoughts of a lover lost in the thoughts of his love.  Hrishikesh Mukherjee has equally skillfully used the interludes to showcase the inherent angry young man nature of the character by way of emotionally charges light=toned dialogues.

Kahe Manva Nache Hamraa, Sakhi Ri Koi Ise Ab Sanajaye ….. – Lata Mangeshkar

Director has skillfully used the protagonists’ play with a beam of light to express the feelings of her heart when she keeps getting lost in the first ever feelings of her recent love.

Nayi Ri Lagan Aur Meethi BatiyaN, Piya Jaane Aur Mera Jiya – Madhurani (Giazabad), Kumari) Faiyyaz, Yesudas

Apparently, a practice session is also a vicarious medium of expressing mutual feelings between the two young ones. Jaidev has creatively experimented in use of a wel-known gazal exponent Madhurani (Faizabadi), well-known singer of Marathi Dramatics songs genre. (Kumari) Faiyyaz and Yesudas.

Aai Ritu Sawan Ki Piya Mora Jaaye Re – Kumari Faiyyaz, Bhupinder

The lyricist’ choice of pathos of the lovers being away from each other while the onset of season of monsoon showers is captured by the music director in the form of deployment of baritone Bhupinder voice.

Ho Rama Dar Lage Apni Umariya Se – Asrani

Binati Sun Le Tanik Natkhat Gori Binati Sun Le – Asrani

Music director has so creatively deployed Asrani himself to sing these parodies of traditional semi-classical songs. Kudos to the experimentally creative streak of the director as well music director!

Gharaonda (1977)

For someone known for his work in the field of animation films, Bhimsen’s directorial venture into Hindi cinema, Gharaonda, was a novel experiment of presenting an art film in the commercial mode on a subject of the lives of two young middle class youth lovers.

In order to appreciate boldness of the experiment, a brief look at Bhimsen’s core area of competence would not be out of order.

Because of his extensive work in  the field of animation films, Bhimsen has been recognized as the Father of animation film movement in India. He has to his credit a prolific work on trend-setting work in the field of animation films on the subjects of different subjects relating to the social issues. Recipient of numerous awards for his pioneering work, his animation short film for Films Division, Ek, Anek aur Ekta or his longest till now of its kind, 26-episode, TV serial Vartman (1994) are just two illustrations of his exemplary work.

The Filmfare awards for The Best Supporting Actor (Dr. Shriram Lagoo) and Best Lyricist (Gulzar for the song Ek Akela Is Sahar Mein) are two ample manifestations of success and acclaim that Gharaonda got.

The two songs – Do Diwane Shahar Mein (Bhupinder, Runa Laila) and Ek Akela Is Shahar Mein (Bhupinder) – were instant hits and continue to do so even now.

For all practical purposes, the sole credit of class and mass audience of India was introduced to the range of timbre of internationally known Bangladeshi ghazal singer Runa Laila on the strength of the afore-mentioned duet and a twin mood solo song presented her below –

Tumhein Ho Na Ho Mujhko To Itana Yakeen Hai Mujhe Tumse Pyar NahiN NahiN – Runa Laila – Lyrics: Naqsh Lyallpuri

The playfully mischievous tone of the song gives a magical touch to the voice of Runa Laila.

The sad version of the song (beginning from 5.04 of the audio clips of both versions together) presents the depth of Runa Laila’s voice, thereby presenting a wide range of tonal variations and range she so naturally possessed.

As we end the present episode, our curiosity is further aroused to know how many more hues of Jaidev’s creativity still can be expected to unfold in twilight years of his illustrious and courageous career.

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 and video clips from You Tube. All copyrights of the respective image remain with the original owner of the image/ video.

Fading Memories…. Unforgettable Songs : December 2022

Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II

To commemorate the birth and death anniversaries of Mohamad Rafi [B: 24-12-1924 – D: 31-71980], we have commenced a series on Mohammad Rafi’s first duet with a music director.  We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.

Presently we will take up Part II of the year 1949.

1949 had as many as 16 music directors who had Mohammad Rafi for the first time for a duet. We have covered six music directors – Naushad, Husnlal Bhagatram, Shyam Sundar, Hanuman Prasad, and Snehal Bhatkar – in Part I. Vasant Desai is one of the highly respected music directors who has given innumerable songs to remember forever. However, the two Mohammad Rafi- Lata Mangeshkar duets that seem to have been composed by him for the film Narsimha Avatar are not traceable on internet. Similarly, I could not find the song – Na Thehar Sake, Na Tadap Sake (with Zohrabai Ambalewali; Film – Aakhari Paigam) composed by Abid Hussain Khan)

Presently, we will take up the rest of the eight music directors.

Vinod (a.k.a. Eric Roberts) was known for his catchy tunes one end and melodious compositions on the end had had a very wide creative range. For the year 1949, for Ek Thi Ladki, he has used Mohammad Rafi and Lata Mangeshkar in three duets and two triads(+). Of the triads, Lara Lappa-… Laai Rakhada, Aadi Tappa …. (Lata Mangeshkar, Mohammad Rafi, G M Durrani; Lyrics: Aziz Kashmiri) was an instant raze and continues to remain so even now. The other triad(+) was Hum Chale Door …  Dil Hua Choor (Lata Mangeshkar, Mohammad Rafi, Satish Batra; Lyrics: Aziz Kashmiri)

Ab Hal-e-Dil Ya Hal-e-Jigar Na Puchhiye – Ek Thi Ladki – with Lata Mageshkar – Lyrics: Aziz Kashmiri

Rafi and Lata are so at ease in the conversational tone of this romantic duet. Introduction of catchy yodeling in the first interlude is typical of Vinod’s style of mixing catchy part in a serious composition or vice versa

The other two Rafi- Lata duets were:

Mohammad Shafi was a highly talented and musically trained music director. Two noteworthy records that stand on his name are – Suman Kalyanpur (Hemadi, then) sang her maiden Hindi film song, Koi Pukaare Dheere Se Tujhe (Mangu, 1954) and Hemlata debuted either with Main Jaan Ke Badale Mein or  SadiyoN Ki Nishani Main Ankahi Kahani in Iraada (1971) under his baton.

Fariyaad Na Karna Haye Kahin Fariyaad Na Karna – Gharana – with Shyama Bai – Lyrics: Alam Syahaposh

The song so effectively epitomizes Mohammad Shafi’s musical prowess – soothing opening notes, Shyama’s opening in slightly higher scale and then to settle to pathos, rounding up by Mohammad Rafi in soulful climbing up the scale and reverting to the normal scale, and ending the song with Shyama joining Rafi.

Mohammad Shafi goes onto pair Paro Devi with Mohammad Rafi in the second duet – Tu Kahan Hai Baalam Mere Aaja (Lyrics: Bahzad Lakhnavi).

S Mohinder (a.k.a. Bakshi Mohinder Singh Sarna) composed music for some 50 films, but many of his compositions have achieved the status of evergreen classics. Even though he came from a very strong classical background, he was at ease while composing easy songs that the films demanded.

Chanda Ki God Mein TaaroN Ki Chaanv Mein Ruthe Hue Hum Manaye Re – Jeevan Sathi – with Chand Wirk – Lyrics: Hamid Khumar

S Mohinder has presented with such a lilting melody, even when he has used an almost unknown Chand Wirk to pair Mohammad Rafi in this duet.

The film had one more duet with Amirbai Karanataki – Main Kaise Keh Doon (Lyrics: Surjeet Sethi) and two with Shamshad Begum – Mil Kar Jaayen Hum Preet Ke Deewane and Muhabbat Rog Bankar Dil Ki Har Dhadkan Mein Rehti Hai (Lyrics: Hamid Khumar)

Krishna Dayal is not a well-known name, but he had composed music for five films. Many keen followers of old films songs may well remember Mukesh and Suraiya duet – Badra Ki Chhaon Tale Nanhi Nanhi BundiyaN (Lekh, 1949) – that was composed by Krishna Dayal.

Kar Le Kisi Se Pyar Jawani Do Din Ki – Lekh – with Asha Bhosle – Qamar Jalalabadi

I have heard this song for the first time. The duet is set to lower scale and is difficult to sing.

We have had a triad – Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya (with Shamshad Begum, Zohrabai) – composed by Pt. Govindram for the film Hamara Sansar (1945) earlier. For the year 1949, he gives a duet of Mohammad Rafi with Shamshad Begum

Taaron Ka Ye Khazana Ye Chaandani Suhani – Nisbat – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Here is one more song that I got to listen first time. Govindram has presented both singers in quite different than the normal style we are familiar with.

Khemchand Prakash can be attributed to giving a big push to the opening up the space for the Golden Era to get into the center stage, replacing the vintage era, through Lata Mangeshkar’ Ayega Aanewala (Mahal, 1949). We have seen Khemchand Praksh using Mohammad Rafi first time, in a triad, Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli, for Samaj Ko Badal Dalo (1947).

Hawa Tu Unse Jaakar Keh De Ek Deewana Aaya Hai – Rim Jhim – with Ramola – Lyrics: Moti B A

Khemchand Prakash composing such a light-toned song should stand up as more noteworthy part of the song.

1949 had one more Mohammad Rafi duet- with Shamshad Begum- under the baton of Khemchand Prakash – Ae Dil Na Mujhe Yaad Dila Baaten Purani (Sawan Aaya Re; Lyrics: Bharat Vyas) – which was heard often on radio at least till ‘60s, when I had  taken up listening to Hindi Film Songs as a conscious hobby.

Khan Mastana was another highly respected music director as well as playback singer of the 40s period.

Tum Ho Jaao Hamare Hum Ho Jaaye Tumhaare – Roop Lekha – with Surinder Kaur – Lyrics: Khumar Barabanqvi

We have here a path breaking composition from Khan Mastana whom we know as a music director steeped in vintage era style music compositions.

Sudhir Phadke brought in Marathi folk composition styles to Hindi Film Music,

Hari Hari Mere To Shri Hari Naahi Dooja – Sant Janabai – with Lalita Deulkar – Lyrics: Narendra Sharma

Mohammad Rafi is all persona dignified as a committed devotee in the duet.


Azeez (Khan) Hindvi has had a few films in ‘40s.

Mehaman Banke Aaye The .. Armaan Ban Gaye – Shoharat – with Hamida Banu – Lyrics: Gulshan Zama / Madhup Sharma

The duet also seems to follow the composition style of the solo version. Both versions can be heard in the clip here.

We will continue with listening to Mohammad Rafi’s First Duet Song With The Music Director for the year 1950 of the 2nd Five-Year Time Period of 1949-1953 in the next episode of the 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.

All episodes of the series Fading Memories …  Unforgettable Songs – Volume VII – 2022 can be read /downloaded by clicking on the hype link.

Fading Memories…. Unforgettable Songs: November 2022

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: Char Diwari (1961)

If Salil Chowdhury – 10 November 1922 – 5 September 1995 – is said to have created his music is not design but to express himself in his own way, then Shailendra (B: 30-8-1923/ D: 14-12-1966) lyrics for Hindi films truly reflected his grasp of the context of situation which was expressed in lyrics that flowed out naturally.

rafi_recording shown to user

Shailendra’s association with Shankar Jaikishan can be considered as an accident that the destiny had planned for the benefit of Hindi Film Songs. However, the association of Salil Chowdhury and Shailendra can be said to be more a meeting of two artists who were molded in a similar template – of originality, creativity and imagination. That Shailendra knew Bangla and had the knack of creating original feelings in the lyrics that were set into a pre-cast tune further cemented the bond between the two.

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

1958 to 1960 in 2021

Presently we will take up Salil Chowdhury- Shailendra’s films for the year 1961. Salil Chowdhury had had six films – Char Diwari; Chhaya; Kabuliwala; Maya; Mem Didi and Sapan Suhaane – in the year 1961. Shailendra had penned songs for three of these – Char Diwari, Mem Didi and Sapan Suhane – films. Quite a few of the songs from these films had caught the attention of the general listening audience. However, when we look at these songs today, we find that each of the song has some or other signature impression of either Salil Chowdhury, or Shailendra or, even both. As such we will dedicate ne episode to each of these three films.

Char Diwari (1961)

Char Diwari was old-fashioned social melodrama, based on the theme of traditional role of the Indian women in the Indian society – be totally dedicated to the domestic duties of her husband’s household, even in the face of all kinds of hardships. It is the maiden movie for Shashi Kapoor as the lead actor as well as the first among many subsequent hits for the leading pair of Shashi Kapoor and Nanda

Gori Babul Ka Gharwa Ab Hai Bideshwa, Saajan Ke CharanoN Mein Hai Ghar Tera – Lata Mangeshkar and chorus

The opening line of the farewell song for the daughter (now a bride, and then a wife) sets up the tone of role of an Indian woman in the Indian society. Shailendra then immediately embeds the title of the film in the next line while further defining the aim of the woman in that life –

ho gori chaar deewaari angana atari
yehi teri duniya ye jag hai tera

Kaise Manaoon Piyawa Goon Ek Hu Mere NahiN, Ayi Milan Ki Bela GabarauN Man Maanhi – Mukesh

Shailendra once again draws up the picture of a woman’s mind as he readies herself to step into the home and life of her husband.

However, the poet at the core of Shailendra also does not miss the opportunity of vividly narrating any woman as she readies herself to the new phase of a married life –

saajan mere aaye
dhadkan badhti jaaye
naina jhukte jaayen
ghoonghat dhalta jaaye
tujhse kyun sharmaaye
aaj teri parchhaayi

Salil Chowdhury indeed has so exceedingly weaved in the tenseness and eagerness of that woman’s feelings in this background songs composition, and in the process has given Mukesh one of his best songs.

Aside Trivia:

Salil Chowdhury has used this tune and composed a NFS – Beete Dino Ke Sapne Hamein Yaad Aane Lage Hai ( Lyrics: Yogesh)  that he used to compose for Door Darshan and conduct the orchestra himself live on the TV, during his tenure with DD, Delhi, screen in sometime in ‘80s in the voice of Arundhti Holme-Chowdhury

Jhuk Jhuk Jhuk Jhoom Ghata Aye Re, Man Mora Lehraye Pihu Pihu Pihu Papeeha Gaaye – Lata Mangeshkar

Salil Chowdhury is as scintillating mood as the Indian housewife who enjoys the onset of monsoon. The song’s fast pace is so effectively accentuated by all round use of flute – Salil Chowdhury’s preferred instrument –

Akela Tujhe Jaane Na Doongi … Banke Chhaiyan … Main Sang Sang Chaloongi – Lata Mangeshkar

The young girl, be it from any society or region, sees dreams of being with her love always. The girl who will transform into a dutiful wife after her marriage can not be expectation from having similar feelings. Shailendra’s lyrics ably reflect these effervescent feelings duly composed and orchestrated by Salil Chowdhury

Neend Pari Lori Gaaye MaaN Julaye Paalana, So Ja Soja Mere Laalnaa…. Meethe Meethe SapnoN Mein Kho Ja Mere Laalna – Lata Mangeshkar

Lullaby was a very popular genre in Hindi film songs. Most of te music directors have grabbed he opportunity to compose a lullaby by fully deploying the creative skills they had had at their command.

Salil Chowdhury has so imaginatively reused the tune he had first used in Bengali NFS  Praantarer Gaan Amar[1] (Utpala Sen, 1953 / The Song of wilderness is mine) to recreate one of the most haunting lullaby.

Humko Samaj Baithi Ye Duniya Deewana …. Par Main Agar Pagal HuN to Ye Duniya Pagalkhana – Mukesh

Apparently, a drunkard song that Salil Chowdhury has transformed into a wonderfully melodic composition. Shailendra also has not missed capitalizing the opportunity to spell out his core philosophy of an egalitarian utopian world

We will take up Salil Chowdhury- Shailendra’s songs for Meme Didi (1961) 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.

[1] The song ‘Prantarero gaan amaar’ made immortal by Utpala Sen was originally recorded by Kanika Banerjee, the famous Rabindrasangeet singer. However, as Salil writes in his book ‘Jibon Ujjibon’, Biswa Bharoti didn’t allow Kanika to sing non-Rabindrasangeet and as a result Kanika’s record was never released.Utpala Sen recorded it later. Rumour has it that Kanika’s record, although never released, is still in existence. So, who knows. May be one day some fanatic collector may find it. –  Other Singers @ World of Salil Chowdhury

Fading Memories…. Unforgettable Songs: October 2022

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

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987) of Shankar Jaikishan music director duo and Shailendra (a.k.a. Shankardas Kesarilal, B:  30 August 1923 – D: 14 December 1966) of their Shailendra-Hasrat seamless pair of lyricists formed two adjacent sides of the SJ-Shailendra-Hasrat quartet.

The typical model of the films in 50s had an average of 5 to 8 songs. Where as most of the  then successful music directors were able to give two to three hit songs in each film, Shankar Jaikishan had that very unique knack which created almost all songs of each film a great hit. As a result, whereas other music directors generally handled one or two films a year, S-J started getting three to five films a year, even when they went on jacking up their fees. In the beginning, as can be expected, Shankar and Jaikishan used to devote a good time together for the conception of the music composition for each film.

Several historians have recorded that with the mounting pressure of ever increasing workload, Shankar and Jaikishan had to compose the tunes for the songs that each one had pre-selected for a given film independently. That division of labor also lead to each partner working more with a lyricist with whom each one was naturally more comfortable with.  As is very widely believed, and accepted, Shailendra mostly worked with Shankar and Hasrat Jaipuri with Jaikishan. After his marriage, it is said that Jaikishan had started composing music more from his home whereas Shankar used to work from their music studio.

The film historians also do take note of the fact that all through the 50s, even after their clear division of work there still was that great camaraderie between the two, each one improvising the other’s tune or orchestration. There have been notable instances when it is said that two had worked even with other than their normal lyricist partner.

It has been so much of personal pleasure for me to commemorate the birth anniversary of Shankar Singh Raghuvanshi, of this great S-J team, through the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018. That pleasure gets multiplied several times while recalling their more famous numbers and listening to 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

1955 and 1956 (Part I) in 2021

After an avalanche of as many as 6 Hindi films in 1953 and 5 in 1954, there was some lull during 1955, But the year 1956 had 7 films under the belt of S-J pair. Of these seven, we have covered Halaku, Kismat Ka Khel and Basant Bahar in the Part 1 of the SJ songs of 1956 in 2021. Presently, we will take up three more films of SJ duo in the year 1956, viz. Chori  Chori, New Delhi and Rajhath,

Chori Chori (1956)

As may be observed from the poster of the film, Chori Chori was romantic film (with the then most coveted lead pair of Raj Kapoor and Nargis) fairly mixed with comedy (with two big guns – Johnny Walker and Bhagwan – playing comically grey roles).

Chori Chori had nine songs, of which Hasrat Jaipuri penned 5 and Shailendra penned four, of which Yeh Raat Bheegi Bheegi (Manna Dey, Lata Mangeshkar) remains one of the most iconoic romantic songs of Hindi cinema and another sweet duet Jahan Mein Jaati Hoon (Manna Dey, Lata Mangeshkar) is my one the most favorite one.

Tum AraboN Ka Her Pher Karanewale Ramji, Sava Lakh Ki Lattery Bhejo Apne Bhi Naam Jii – Mohammad Rafi, Lata Mangeshkar

Essentially a mandatory comedy song always assigned to Bhagwan Dada in any film, stands out because very effective lyrics and equally pleasing composition by Shankar (Jaikishan).  Just note how tastefully orchestration for both interludes has been composed.


Manbhavan Ke Ghar Jaaye Gori Ghunghat Mein Sharmaye Gori Bandhi Rahe Ye Pyar Ki Dori Hamein Na Bhulana – Lata Mangeshkar, Asha Bhosle

The opportunity of entertainment stage show as part of the marriage ceremony has been converted by the music director and lyricist to weave in a traditional farewell song for the brides. Shailendra comes up with lyrics that has mix of pleasure of the friend getting married and sorrow of being away once she settles at the in-laws’ place. However Shankar(Jaikishan) uses the dance sequence to present their signature dance composition style – multiple rhythm instruments backed up multi-instruments interlude and counter-melody orchestration.

New Delhi (1956)

The story of the film moves around a newly graduated north Indian young man’s search for a rented premises to settle in his new job in New Delhi, which lands him at the doors of tradition bound South Indian family – both for home as well as his love. Kishore Kumar in the male lead and Vyjaintimala in the female lead naturally provide music directors a templated platform for light mood male songs and classical dance based female songs. Zone would certainly expect dance-based songs to be Composed by Shankar, but even majority of Kishore Kumar songs also have been composed by Shailendra-Shankar composition.

One would very easily recall Arre Bhai Nikal Ke Aa Ghar Se, Nakhrewali Dekhne Mein Dekh Lo Kitani Bholi Bhali, Milte Hi Nazar Aap Mere Dil Mein Sama Gaye (all by Kishore Kumar) Tum Sang Preet Lagayi Rasiya (Lata Mangeshkar, Choru).

Zindagi Bahar Hai Mohabbat Ki Bahar Hai – Lata Mangeshkar

One more fine example of Shankar (Jaikishan)’s own signature style composition for a dance song – rhythm by traditional Indian-rhythm instruments but orchestration of interlude music scores by multiple western instruments.

The song is filmed back-to-back with Nakharewali…

Baari Barssi Khattan Gaya Te Khat Ke Le Aaya Sotti – Lata Mangeshkar, chorus

Essentially this a traditional Punjabi folk dance. But just see how Shankar has given it a very different treatment by first listening to a song from Punjabi film

then listening to the Shankar (Jaikishan) composition.

Gori Tere Sapno Ke Sajna Aye Ter Angana Kar Le Solah Singaar Hoja Jaane Ko Ab Taiyaar Leke Doli Khade Hai Kahaar  – Lata Mangeshkar, chorus

We have one more bride farewell song that will go on to demonstrate the wide range of tunes and compositions that Shankar Jaikishan could commandeer for the same theme.


Rajhath was Sohrab Modi’s romantic fantasy drama based on a historical plot. The story, revolving the animosity being perpetrated through the generations between two empires gave Sohrab Modi to lay the plot for a costume-drama and the two children of each state falling in love provided Shankar Jaikishan a wide freedom to compose songs that would help create one more hit album. Shailendra’s songs like Chale Sipaahi Dhool Udaate (Manna Dey, chorus) Mere Sapne Mein Aana Re (Lata Mangeshkar)  Naache Ang Ang Ang Tere Aage (Lata Mangeshkar, chorus) went on to big hits at the box-office.

Aa Ja Aa Ja Nadiya Kinare TaaroN Ki Chhaiya Tujhe Kab Se Pukare – Lata Mangeshkar, chorus
The prelude to the dance song gives faint hint of tune that Shankar Jaikishan used as a full-fledged song in (possibly) in Kanhaiya (1959), which I am not able to precisely remember at this stage..

If only all the tunes the duo had composed during teir music room had been well documented, the Hindi Film music would have been far richer than what the tunes that went on to be converted in to songs or background pieces.

Kahaan Se Milte Moti Ansoo Mein Meri Taqdeer Mein – Lata Mangeshkar

A love story in a Hindi film has to mandatorily have a phase wherein the there are roadblocks to the road of love of the two protagonists, which would provide the opportunity for a couple of pathos songs to be composed by the music director.

Pyare Babul Se Bichad Ke … Ghar Ka Angana Suna Kar Ke Gori KahaN Chali Ghunghat Mein – Lata Mangeshkar, chorus

If one needed any validation test for Shankar Jaikishan’s vast range of tunes, here is one more bridal farewell song.

One more aspect of Shankar Jaikishan’s unique style that should be noted here is their use of very fast rhythms where normally other music directors would have used a slow rhythm in lower octave scale.

Aa Gayee Lo Aa Gayi Main Jhoomti… Ho AkhiyoN ko AkhiyoN Se Chumati – Lata Mangeshkar
The situations seems to be the case where Madhubala has impersonated as a native tribe girl and performs their traditional song with accompaniment of a folk-instrument (if I am not mistaken, it is Sarangi) player as a company.

Shankar (Jaikishan) seem to have game fully tried to recreate the desired effect with relyin more on use multiple flutes as the main instrument accompanying sarangi , but the composition does not come out from the shadow of their signature dance composition style – a fast rhythm with multiple instrument-orchestra.

We have one more film -Patrani – for the year 1956, but that deserves a full-scale post, Hence, we will carry forward the year 1956 to  one more 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.

Fading Memories…. Unforgettable Songs: September 2022

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – is probably a lyricist who worked with maximum number of big and small composers ever since he joined RK team (and was allowed to do ‘outside’ work) till he passed away in 1999. And that never affected his bond with Shankar-Jaikishan-Shailendra team bond. It is said that his first ever song, Jiya Beqarar Hai, recorded for Barsaat (1949) was set to Music by Shankar whereas the second one Chhod Gaye Balam was composed by Jaikishan.

The success of Barsaat led to a deluge of work and division of work among each one was a necessity of the day. The inherent individual preferences lead Shankar to compose Shailendra’s songs and Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] to compose Hasrat Jaipuri’s songs.

During ‘50s too there are several films where Shankar(-Shailendra) songs outnumbered Jaikishan (-Hasrat Jaipuri) Songs. When such instances did happen, Jaikishan continued to lead his natural bent of orchestration. However, in minefield like film industry where every success would attract envy from outside competition, it cannot be expected to be unusual for strong friendship, or even professional, relationships to get infected by the natural human jealousy to weaken and fall apart.

By the 60s, extremely heavy workloads, coupled with such negative external pressures had gradually led Shankar and Jaikishan virtually work individually under the umbrella of Shankar Jaikishan brand. However, there is no denying that pair of Shankar and Jaikishan as composers, Shailendra and Hasrat Jaipuri as lyricists had almost perfect bonding as team, till first the death of Shailendra (1966) and then that of Jaikishan (1971) finally loosened up that never-to-be-loosening four-way bond. It should also be noted here that even after the death of Jaikishan Shankar continued work solo under the flag of Shankar Jaikishan brand only.

But, these inherent or otherwise internal preferences or differences is the not our subject. In the month of Jaikishan’s birth, and Hasrat Jaipuri’s death, we have undertaken to refresh our memories of (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform. After we launched the series in 2017, we have covered the years

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

Presently, we will take up (Shankar) Jaikishan and Hasrat Jaipuri’s Songs the Memory for the year 1963. Some of the songs certainly have not faded out from our memory but do need to be taken note of in the context of so-called widening rift between Shankar and Jaikishan.


Shankar Jaikishan had three films – Dil Ek Mandir, Ek Dil Sau Afsane and Hamrahi – in 1963. Dil Ek Mandir and Ek Dil Sau Afsane each had 7 songs, for each of which Shailendra had 4 and Hasrat Jaipuri had 3 songs. Hamrahi had 8 songs of which Hasrat Jaipuri had 5 and Shailendra had 3.

Dil Ek Mandir was a remake of Tamil film Nenjil Ore Ayalam (1962). The whole picture was completed in just 27 days only., and probably the SJ-Shailendra-Hasrat team only could come up with such outstanding musical score in so short a time. Their one big asset was that they could deliver excellent quality despite the challenges of time or quantity. Incidentally, Rajendra Kumar and Raaj Kumar won Filmfare awards under different categories and Arjun Dev Rasq for the dialogues.

Hum Tere Pyar Mein Saara Aalam Kho Baithe Hain, Tum Kahate Ho Ke Aise Pyar Ko Bhul Jao – Lata Mangeshkar

Hasrat Jaipuri comes up lyrics that we normally would not associate with his light romantic songs. Let us look at them in details…..

panchhi se chhudakar uska ghar, tum apne ghar par le aaye
ye pyar ka pinjara man bhaaya, hum ji bhar bhar kar musakaye
jab pyar hua is pinjare se, tum kahne lage aazaad raho
hum kaise bhulaye pyar tera, tum apni jubaan se ye na kaho
ab tumsa jahaan me koi nahi hai, hum to tumhare ho baithe

is teri charan ki dhool se hum ne apni jiwan maang bhari
jab hi to suhaagan kahlaayi, duniya ki najar mein pyaar bani
tum pyar ki sundar moorat ho, aur pyar hamari puja hai
ab in charno mein dam nikle, bas itni aur tamanna hai
hum pyar ke gangaajal se balam ji tan man apna dho baithe

sapnoN ka darpan dekha tha, sapnoN kaa darpan tod diya
ye pyar ka aanchal humne to daaman se tumhare baandh liya
ye aisi gaanth hain ulfat ki, jisko naa koi bhi khol saka
tum aan base jab is dil mein, dil fir to kahi na dol saka
o pyar ke saagar hum teri laharo mein naaw dubo baithe

Here is the Tamil version of the song, Sonnathu neethaanaa.. sol sol, which incidentally too has a story of the lyricist coming up with the lyrics almost instantaneously.

Aside Trivia:

Even though such comparisons should never be done, one may still listen to Shankar-Shailendra composition, Ruk Ja Raat Thahar Jaa Re Chanda, to feel how seamlessly the quartet used to work.

Yahan Koi Nahi Tera Mere Siva Kaheti Hai Jhoomati Gaat Hawa Tum Sab Ko Chhod Ke Aa Jao – Mohammad Rafi

Decorated with rich prelude and Mohammad Rafi’s Rajendra Kumar-like histrionics the song is tailor-made to Rajendra Kuamr’s acting style

Dil Ek Mandir Hai. Pyar Ki Jis Mein Hoti Hai Puja Yeh Pritam Ka Ghar Hai – Mohammad Rafi, Suman Kalyanpur, chorus

The song opens with a high-pitched Sakhi, jane wale kabhi nahi aate jane wale ki yaad aati hai, in Rafi’s signature style. However, the rest of the song is another proof, if that is ever needed, for Hasrat Jaipuri’s depth of poetry:

har dhadkan hai aarti bandhan aankh jo michi ho gaye darshan
mout mita de chahe hasti yaad to amar hai

hum yadoN ke phul chdhayein aur aansuoN ke dip jalayein
sansoN ka har tar pukare ye prem nagar hai

Skillfully playing with ups and downs of one-an-half scale weave, the song also epitomizes Jaikishan creativity in the form of use of chorus as countermelody.

Aside Trivia:

The Tamil version of the song, Oruvar vaazhum aalayam, would also show how the SJ music team has creatively reconstructed the song in the Hindi version with their own trademark style.

Ek Dil Sau Afsane had Madhubala in the lead originally. The shooting had started in 1959, but Madhubala’s worsening heart condition left the progress of the film incomplete. Waheeda Rehman was then brought in the lead female role and all the relevant shots were re-filmed.

Ek Dil Aur Sau Afsane Haye Muhabbat Haye Zamane – Lata Mangeshkar

Hasrat Jaipuri and Shailendra easily switched to role of writing title songs as well.

Jaikishan provides the song with their trademark violin ensemble orchestration with melodious mixing with other instruments.

Urdu words mixed Hasrat Jaipuri’s lyrics do attract the attention.

dil jo na hota kuch bhi na hota, aankh na roti aur dard na uthta
apna ye daman bol bhi gata, kaun kisi ke pyar mein yuN khota

dil jo lagaya chain na paya, sare jahaN ka iljam uthaya
gake sunaye apna tarana, ye to janam janam se hota hi aaya

tu meri manjil pyar ka sahil, jauN kidhar main hai tu hi muqabil
o mere hamdam ek hai mushqil, kar ke rahenge hum tujhko hi hasil

Aside Trivia:

Shankar Jaikishan normally used to reserve one song in every film with extra-large orchestrion. In the present case, its Shankar who has composed such a song with his trademark ‘waltz’ dance rhythm , Dur Ke O Chanda Aa Meri BaahoN Mein Aa, on the lyrics by Shailendra. One more example was how seamlessly the quartet worked.

Kuchh Sher Sunata Hoon Main, Jo Tumse Mukhaatib Hain, Ek Husn Pari Dil Mein Hai, Ye Unse Mukhaatib Hai – Mukesh

In so far as the use of Urdu, the song can be easily identified with Hasrat Jaipuri. However, what is really noteworthy is its synchronization in creating the mood of a party song with an undertone of pathos – the trade mark Raj Kapoor’s depiction of Charlie Chaplin on the Hindi screen,

Aside Trivia:

Shankar- Shailendra take the role of creating a light-mood song in  Suno Ji Suno Hamari Bhi Suno

O Jadoogar Pyar Ke Ye Bata Dil Mera KyuN Tera Ho Gaya   – Lata Mangeshkar

Normally it is believed that a dance song is reserved for Shankar, but in the present case it is Jaikishan-Hasrat Jaipuri who step in the role, with all the trappings of Jaikishan’s orchestrations style.

Hamrahi (1963) may be seen as a signal in the trend of Jaikishan charting his independent course., after Jab Pyar Kis Sse Hota Hai (1961) where Shankar has composed just two songs. Of course, during 50s, there are many a film wherein Jaikishan would have a couple of songs in a film, But the rumor mill of industry had not sense anything wrong then.

Well. Well, to step into this quicksand of controversy is not our subject. So we would rather stick to our course and take up the songs for more attention.

It was perhaps Shankar Jaikishan who had provided the medium to Rajendra Kumar for rise to the level of Jubilee Kumar. These films were set to a very fixed template – Rajendra Kumar would be attracted by the charm of the heroine, sing a song in  the garden while teasing her, to which she would scorn at the beginning of the song but would fully fall into the love with Rajendra Kumar, then would follow a duet of that manifested the agreement, some or other thing would go wrong, the dual would fall apart, Rajendra Kumar would now get to sing a sad song in some forlorn place, and then everything would end well in the end.

Hamrahi was the film that used that template faithfully, and did succeed too, of course.

Main Albela Jawaan Hoon Rangila, Aye Dil Manzil Hai Pyar Ki, Jhoom Jhoom GauN NazaroN Pe ChhauN, Sanam Mehfil Bahar Ki – Mohammad Rafi

The song is supposed to set the stage for presenting us with a young man who is just care-free, even in the case of his dealings with the girls. Just as most of dames Rajendra Kumar sings the song do not fall into the trap, the poor cinegoer has to coast along with story line.

Woh Chale Jatak Ke Daman, Meri Arzoo Mitake – Mohammad Rafi

This the song genre that Shankar Jaikishan had almost patented for Rajendra Kumar’s eve-teasing formula, with Mohammad Rafi joining in with his unique- Rajendra-Kuamr-like histrionic singing style.

Mujhko Apne Gale Lagalo Aye Mere Hamrahi – Mohammad Rafi, Mubarak Begum

There many stories circulating about (Shankar)Jaikishan’s choice of Mubarak Begum for the song. However nowhere do we get a clue how Jaikishan would have ever thought of Mubarak Begum only for the song. Be that as it may, Jaikishan has not only set up a high pedestal for Mubarak Begum but has also set a higher benchmark for duets as well.

Woh Din Yaad Karo, Woh Chhupke Milna, Woh Hasana Hasana, Woh Din Yaad Karo –  Mohammd Rafi, Lata Mangeshkar

Mahmood and Shohha Khote were also a popular pir that would contribute to the box-office success of the film. They would generally be provided with a very decent song sequence too which they would enact so naturally as well.

Yeh Aansoo Mere Dil Ki Zabaan Hai, Main RouN To Ro Dein Aansoo, Main Has DuN To Has Dein Aansoo – Mohammad Rafi

The song on its own is a perfect outcome from the sad song mold that Shankar Jaikishan had designed for Rajendra Kumar.

Whether Hamrahi can be seen as early straw in the wind that portends the beginning of diminishing return for Shankar Jaikishan for their overdependence on “Shammi Kapoor” or Rajendra Kumar” image formula template?

We await for the next episodes to validate the hypothesis…..

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.

Fading Memories…. Unforgettable Songs : August 2022

Shailendra’s Songs Composed by Kishore Kumar

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966), though formally trained as a welding specialist during the course of his study of mechanical and electrical engineering diploma, was a natural poet. Many of his songs have been inspired by small, seemingly insignificant, real-life situations. His deep concern for the basic human values then transformed those sparks of inspiration of the songs that were so meaningful and delivered through the medium of so simple lyrics, that songs of Shailendra not only were liked by the masses but were also appreciated by the critics.

Out of the total songs that Shailendra penned for the Hindi films, obviously Shanker Jaikishan’s compositions have lion’s share. Then, Salil Chowdhury, S D Burman, and Roshan also have had substantial body of work with Shailendra.  Equally interesting is Shailendra’s work with ‘other’ music directors with whom he did mostly one or at best two or three films. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

Presently, we will take up Shailendra’s songs composed by Kishore Kumar.

The core inner artist in Kishore Kumar can be seen in many incarnations of singer, actor, producer, director, music composer, dialogue writer and even a lyricist in his 1.0 phase of pre-Aradhana (1969) career. Like himself, the films he made, and therefore the songs that he composed wavered around serious, philosophical subjects and moods at one extreme to ‘loony’ clownish light subjects. Kishore Kumar composed around 120 songs for 7 films, of which lyrics for 14 songs (3 films) have been penned by Shailendra.

The songs selected here attempts to present as many varieties of compositions and moods as it tries to include variety of the playback singers.

Door Gagan Ki Chaon Mein (1964): –

Door Gagan Ki Chhaon Mein remains Kishore’s most mature artistic venture- as a filmmaker, as an actor and as a composer. It is therefore no surprise that we find Shailendra also in so natural mood in the songs for the film. If Aa Le Ke Chale Tujhe Us Door Gagan Ke Tale has undercurrent of hope, Jin Raaton Ki Bhor NahiN Hai has forlorn sense of despair.

Albele Din Pyaare Mere …. ….  Koi Lauta De Mere Beete Hue Din – Kishore Kumar

It is said that when Kishore Kumar explained the situation of the song to Shailendra it was with so much of pain and pathos that Shailendra simply walked off for a solitary stroll along the seaside. When he returned, he penned out this song. The sakhi of the song has that innate sense of nostalgia that brings up the main body of the song with an undercurrent of hope.

Kishore Kumar presents Asha Bhosle in three moods in the film – the melodious and soothing lullaby-genre Khoya Khoya Chanda Khoye Khoye Taare on one end and Path Bhoola Ek Aaya Musafir of deep pathos at the other end  with an erotic mujra dance song at the center

Chhod Meri Baiyan Balam Beiman, Aate Jaate Dekh Lega Koi – Asha Bhosle

It seem that song was finally not included in the film.

O Jag Ke Rakhwale, Humein Tujh Bein Kaun Sambahle –  Manna Dey, Kishore Kumar and chorus

Father and son find solace in the soothing words of the devotional song being sung at a nearby temple, and also place themselves at the mercy of that Almighty.

Kishore Kumar has so effectively used chorus in the composition of the song.

Rahi Tu Ruk Mat Jaana, Toofan Se Mat Ghabarana – Hemant Kumar

The song captures the essence of the story of the film, in that it enjoins the traveler that a human being must keep moving on under all types of circumstances.

Spread over three different situations in the film, Kishore Kumar has so rightly chosen Hemant Kumar for this bhatiyali-based composition.

Hum Do Daku (1967)

Hum Do Daku is a comedy film

Pag Gungroo Badh Guru Naache Re  – Kishore Kumar,chorus)

We have a here a pure parody song, which probably was not released.

Allah Allah Bande Bandagi Mein Allah – Kishore Kumar-Anoop Kumar

It seems that Kishore Kumar  and Anoop Kumar have adopted some make-over of two fakirs and then sing this song a s prank.

Ae Haseeno Nazneeno Nazar Chura-Chura – Kishore Kumar, Asha Bhosle, Usha Mangeshkar, chorus

The pranks of two masquerading comedians seems to have landed them in the club.

Door Ka Rahi (1971): –

Door Ka Rahi is in many senses what Kishore Kumar himself was, like an iceberg. Singing which was only its tip. That Kishore Kumar was far to ahead of his most popular face of a singer is evident in the titles of the film, wherein we see him as story and screenplay writer, music composer, producer, and director, and of course the actor over and above as a singer. Shailendra too moved on to his final sojourn into the world where the mortal life ends. That is why he has penned just two songs for the film, all other songs written by A Irshad. As if this was not enough, his second, Madhubbala, breathed her last while making of the film.

Chali Chali Jaaye Zindagi Ki Dagar… Kabhi Khatm Na Ho Ye Safar, Manzil Ki Use Kuchh Bhi Na Khabar, Phir Bhi Chala Jaye, Door Ka Raahi – Hemant Kumar-chorus

As we look at the video clip, we do realize the keen sense that, as a director, Kishore Kumar had to present the mood and message in the right frame. Moreover, what a composition he has been able carve out for those prophetic lyrics of Shailendra!

Ek Din Aur Gaya Haye Roke Na Ruka, Chaayaa Andhiyara Aaj Bhi Naav Na Aaai, Aaya Na Khevan Haaraa, Ek Din Aur Gaya – Manna Dey

Kishore Kumar has used Bengali folk tune to telling effect.

Aside Trivia: The Bengali version of the song was rendered by Kishor Kumar himself.

Wow! What a stunning effect Shailendra and Kishore Kumar have been able to create in seemingly so short association!

On that note, we await what our next episode of Shailendra’s songs composed by ‘other’ music directors has in store for us………….

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

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