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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September 2021

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

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

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

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

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

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019, and

1960 -1961 in 2020

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

1962

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

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

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

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

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

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

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

Let us take one more song in detail:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2021

Shailendra’s Songs with Sardul Kwatra and Mukul Roy

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

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

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

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

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

Shailendra – Sardul (Singh) Kwatra

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

Pipili Saheb (1954)

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

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

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

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

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

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

Tees Maar Khan (1955)

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

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

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

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

Shailendra – Mukul Roy

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

Sailaab (1956)

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

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

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

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

Geeta Dutt comes up with a very different tonal variation.

Detective (1958)

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

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

Protagonists play tricks to please the lady.

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

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

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

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

Chhodiye Gussa Huzoor Aisi Narazagi Bhi Kya – Mohammad Rafi

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

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

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

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

The song comes up as a mandatory duet.

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

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

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

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

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

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

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

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: July 2021

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

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

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

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

1st Five-Year Period: 1944 -1948

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

1944

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

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

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

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

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

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

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

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

1945

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1946

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mohammad Rafi sings in a typical vintage era style here.

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

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

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

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

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

Bulo C Rani is a leading vintage era music director.

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

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

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

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

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

We will make an exception to include another duet –

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

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

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


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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: June 2021

Dattaram – Mere AansuoN Pe Na Muskuraa

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

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

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

1957 to 1959 in In 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

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

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

Morey Man Mitwa (1965)

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

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

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

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

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

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

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

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

Raaka (1965)

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

Asad Bhopali was the lyricist for the film.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tarzan Comes To Delhi (1965)

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

Anand Baxi is the lyricist.

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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


[1] Part 1 and  Part 2

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2021

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

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

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

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the2020 episode.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

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

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

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

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

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

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

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

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

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

Dattaram

Qaidi No.911 (1959)

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

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

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

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

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

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

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

Santan (1959)

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

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

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

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

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

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

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

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

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

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

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

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

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

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

Satta Bazaar (1959)

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

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

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

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

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

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

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

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


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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

top-post-markGhulam Mohammed (1903 – 17 March 1968), born in the family of musician in Bikaner (Rajasthan), got his early training from his father, Nabi Baksh, a tabla player and a stage artist. The career of Ghulam Mohammed is littered with ironies of fate that did give him his credit for his creation, but a little too late and far too less.

Every single piece of article written on Ghulam Mohammed would invariably focus on at least one defining characteristic. And yet, the fact that Ghulam Mohammed got to compose music for just 37 films in a career spanning almost four decades does neither tells the full story of his caliber nor it does justice to his talent. As such, in the month of his death anniversary, we commence an annual series that relives his known and less known songs.

We will begin with an overview of Ghulam Mohammed’s career in the form of songs he has composed for different singers. The choice of singers does seem to be a function of the period in which the music for the film is composed. Every song that Ghulam Mohammed created songs with each of this singer had the perfect mix of the singer and of the music director. We have adopted a conscious choice of selecting the songs that can easily be classified as the ones receding from the memory.

Hamida Bano – Ud Ja Re Ud Ja Panchhi Pee Pee Mat Bol – Mera Khwab (1943) – Lyrics: M E Ashq

Ghulam Mohammad got his first break as an independent music director in 1942 for a stunt film, Mera Khwab, released in 1943. However, some sources indicate Banke Sipaahi (1937) as Ghulam Mohammad’s debut film. There does not seem to be unanimity among film historians on this count. This was the period when he was known to be working as an instrumentalist for music directors like Rafiq Ghazanvi, Irshad Ali, Anil Biswas etc. It is further recorded that his first major break that elevated him to the status of assistant was in Sharda (1942; Music: Naushad). Their this relationship lasted till Aan (1953) even after Ghulam Mohammad had charted his own independent course in the meantime. Naushad also paid his tribute to their relationship by completing the unfinished tasks of Ghulam Mohammad swan song film ‘Pakeeza’

Zohrabai Amablewali – Tere Bina O Balam Kaise Kategi Mori Raina Bata Jaa – Mera Geet (1946) – Lyrics: Ramesh Gupta

The film had four music directors – Bal Mukund, Geeta Varma, Shankar Rao Vyas, Ghulam Miyan, Reejram – to compose as many as 16 songs. HFGK has been able to identify only a few songs for their respective composers. Even as we get to read the name is Ghulam MIyan, Cinemaazi confirms that this song is indeed composed by Ghulam Mohammed.

The song has very prominent and distinct use of dholak as rhythm instrument.

G M Durrani – Khel Nahi…Khel Nahi Gir Gir Ke Sambhalana – Doli (1947) – Lyrics: Majrooh Sultanpuri

The song is set to what is popularly known as Ghoda songs 9 singer rides a horse or a horse driven cart on the screen). The song is set to a fast pace, but runs on a very low octave, indicating that protagonist is deep thoughts as he sings the song during the ride.

Mukesh, Shamshad Begum – Tere  Naaz Uthane Ko Jee Chahta Hai – Grihasthi (1948) – Lyrics: Shakeel Badayuni

The song uses a duff (sometimes spelt as ‘daf’, too), another rhythm instrument that Ghulam Mohammed is credited with popularizing in Hindi film songs.

Knowledgeable bloggers inform us that this song was filmed on Pran and Sharda who was the sister of actor of ‘70s-‘80s Vinod Mehra

Mohammad Rafi – Nigahein Milane Ko Jee Chahata Hai – Parai Aag (1948) – Lyrics: Tanveer Naqvi

Composed to a softer, but relatively a fast, ‘qawwali’ style, and set to a soft Mohammad Rafi rendition, this easily the forgotten preceding song with the initial lyrics – Nigahein Milane Ko Jee Chata Hai. Yes, the one with better recall value is one which was used in Asha Bhosle qawwali song by Roshan (Dil Hi To Hai, 1963 – Lyrics: Sahir Ludhyanavi)

Suraiya – Mohe Mera Bachpana La De … Jawani Bhaye Na – Kaajal (1948) – Lyrics: D N Madhok

The orchestration has strong resemblance to what is used in Naushad’s songs. However, this playful song is well-remembered by Suraiya fans.

Sitara Kanpuri – Dil Ki Lagi Zubaan Par Aaye To Kya Karun – Pugree (1948) – Lyrics:  Shakeel Badayuni

‘Pugree’ is the second film that Ghulam Mohammed composed music for the production house All India Pictures, after Doli (1947). All India Pictures perhaps is the only banner that Ghulam Mohammed had under his belt as an independent music director. Other films that followed were: Paras (1949), Pardes (1950), Nazneen (1951), Guahar (9153), Rail Ka Dibba (1953), Laila Majnu (1953), Hoor-e-Arab (1955) and Sitara (1955).

Songs of ‘Pugree’ were resounding success in those days.

Shamshad Begum – Masti Bhari Bahar Ne Masatana Kar Diya – Pugree (1948) – Lyrics: Shakeel Badayuni

So ever young Shashikala lip-syncs Shamshad Begum on the screen.

Geeta Dutt – Na Tum Mere Na Dil Mera, Azab Hai Bebasi Meri – Dil Ki Basti (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed had two other solos, two male-female duets and one female-female duets in the film. However, Ghulam Mohammed has also used Lata Mangeshkar for two solos as well.

Lata Mangeshkar, G M Durrani – Do Bichhade Hue Dil Lo Aapas Mein Gaye Mil – Shair (1949) – Lyrics:  Shakeel Badayuni

‘Shair’ was also quite popular album, in the year wherein blockbusters like Andaz or Barsaat or Mahal would have occupied the memory space of the listeners.

It should be interesting to note that G M Durrani is preferred as a playback voice to the male lead, Dev Anand.

Even as I had planned to take up film-wise song later in this series, it would be opportune to listen to two other duets from Shair, for the use of different percussion instruments.

Mukesh, Lata Mangeshkar – Ye Duniya Hai Yahan Dil Ka Lagana Kisko Aata Hai – Shair (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used ‘matka’ (an earthen clay pot) in this song. Matka was another percussion instrument that is credited to Ghulam Mohammed for being popularly used in Hindi film song.

Playback voice now shifts to Mukesh, possibly because the of the pathos mood of the song

This duet was also a chart buster of those days.

Mohammad Rafi, Shamshad Begum – O More Balma…Kahe Maari Kataar…. Haye… Daiya…. Daiya – Shair (1949) – Lyrics: Shakeel Badayuni

Since my knowledge of music, and as a natural corollary, that of music instruments, is abysmally limited, I could only recognize a different instrument is used here, possibly a mix of dholak and matka, but do not which one it is!

A few strains of orchestration in the prelude seem to have faint the precursors of orchestration that we got to listen in the music of Pakeeza.

One interesting, and equally very rare as well, trivia to be observed is that Cuckoo is in the spectator’s gallery and enjoying the dance on the stage.

I plan to take up a few more singers in the next episode, before switching over to the usual format of remembering the songs from different films in chronological order.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: February 2021

Talat Mahmood: Duets with Geeta Dutt:

A Rare Blend of Velvety Voice with Mellifluous Tone

Talat Mahmood (B: 24 February 1924 | D: 8 May 1998), known for his velvety voice was more comfortable in lower scales. His voice required most of the music directors to adapt their styles to his singing. Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; B: 23 November 1930 | D: 20 July 1972) was a gifted singer who could enliven any song with her mellifluous voice. The contrasting styles of the two contemporaries should have resulted in a larger number of duets. However, the destiny seemed to have scripted a different script for the duets of these two singers.

Statistically, the number of Talat Mahmood – Geeta Dutt duets trail those of Talat Mahmood-and Lata Mangeshkar as well as Talat Mahmood and Asha Bhosle. However, as in the case of both artists’ other songs, the numbers alone do not make the full picture. How the velvety voice of Talat Mahmood so magically blended with the mellifluous tone of Geeta Dutt can be experienced only by listening their duets.

To commemorate the memory of Talat Mahmood in the month of his birth, we have taken up the theme of his rare duets. 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, and

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

Presently, we carry forward our journey into the memory lanes of Talat Mahmood- Geeta Dutt duets.

Kah Rahi Hain Dhadakane Pukar Kar, Chupake Chupake Dhire Dhire Pyar Kar – Laal Pari (1954) – Hansraj Behl – Asad Bhopali

To a good many of Geeta Dutt or Talat Mahmood fans, the song will ring special bells of memory. Geeta Dutt slides over changing scales across the song.

Muhabbat Ki Duniya Mein Barbad Rahena Magar Kuchh Na Kahena – Lakeeren – Hafeez Khan – Shewan Rizvi

Songs runs in a lower scale in consonance with the mood of poignancy.

Wah Re Wah Bhagwan…Hazar Haathwale Mandir Ke Dwar Khule Aur Tere Moonh Pe Taale – Maha Pooja (1954) – Avinash Vyas – Ramesh Gupta

Talat Mahmood opens on a high scale as he renders ‘sakhi’. The song then essentially plays in lower scale.

Avinash Vyas has used Geeta Dutt so effectively for Gujarati films. Here Geeta Dutt comes up very sharp variant of her tone, probably in line with a tone of complaint of the song..

Aaye To Kaise Aaye, Majbur Kar Diya Hai…Mil Jaye Koi Tumse Aake Sahar Nahi Koi – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

Geeta Dutt opens ‘sakhi’ on a higher scale which is supported by a crescendo of violins ensemble. Geeta Dutt continues in higher scale supported by Talat Mahmood in lower scale, thereby creating depth of mood of exasperation.

Raat Hai Aramaan Bhari….Aur Kya Suhani Raat Hai, Aaj Bichhade Dil Mile Hai, Tera Mera Saath Hai – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

The song opens with high scale singing by the chorus, probably the crew of the boat singing the tune in rhythm with pedaling the boat. But this itself is sufficient to set the mood of the song – a serene trip on calmly flowing river, in open moonlight and the two beloved ones together after a long time…

This was one of the hugely liked song then, which remains well remembered even today.

Dekho Dekho Ji Balam Deke Birha Ka Gam Mera Naha Sa Jiya Tadapana Na – Bahu (1955) – Hemant Kumar – S H Bihari

We have a very playful song which Geeta Dutt seems to be equally enjoying as she keeps climbing up and down the scales. We get to hear here a fast paced song that is so sweet all the way through vocal s and orchestration.

Thandi Thandi HawaoN Mein, TaroN Ki ChaaoN Mein, Aaj Balam Dole Mora Jiya – Bahu (1955) – Hemant Kumar – S H Bihari

The song is set to an easy flow pace, in consonance with the mood and the possible situation – the couple riding on some vehicle- mostly a horse cart, or even cycles as was very popular style in those years – in the open moon night.

Kya Paya Duniya Ne…Do Pyar Bhare Dil Tod Kyun Kya Paya Duniya Ne – Darbar (1956)  – Hansrah Behl – Asad Bhaopali / Prem Dhawan

We have a poignant song wherein the couple questions the way the world treats the innocent love of the couple. Geeta Dutt switches over to a lower scale in a melancholy tone with a questioning tone in a higher scale.

Dono Jahan Ke Maalik, Tera Hi Aasara Hai, … Raazi Hai Hum Usi Mein Jis Mein Teri Razaa Hai – Khul Ja Sim Sim (1956) – Hansraj Behl – Asad Bhopali

Incidentally, we have a totally inverse song from the same team – seeking a reprieve from the troubles of this world in the form of  a prayer in the resigned tone this time. It is Talat who scales higher scale at the beginning of each stanza.

O Arabpati Ki Chhori..Gori Gori…Dili Door Nahin  – Makhichoos (1956) – Vinod – Pt. Indra

This a song of Chhed Chaad genre, very popularly used in Hindi films, this time both the parties enjoying the mutual teasing- a way of expressing the enjoyment of stealing a few moments of togetherness. It is not only rare for Talat Mahmood to playback so light song, it is equally rare for Mahipal to sing such a song on the screen, that is in fully modern suit-tie formal attire.

Saare Jag Se Nain Chura Ke Ho Gayi Main Teri – Naag Padmini (1957) – Sanmukh Babu Upadhyay – Prem Dhwan

A lovely playful romantic song, wherein if Geeta Dutt is in her elements, Talat Mahmood comfortably matches the mood.

Dil Ko Laga Ke Bhul Se Dil Ka NishaaN Mita Diye – Doctor Z – Manohar – Akhtar Romani

Here is a song that is from an unknown film, by a hardly heard named music director that showcases strong vocals of Geeta Dutt as she effortlessly. Renders alaap to support and synthesize Talat Mahood to a improvised waltz tune. The composition is quite complex to sing, but the magic blending of the two voices makes it a gem that would like to listen again and again.

Tum Sa Meet Mila Dil Ka Phool Khila, Chalta Rahe YuN Hi Sanam, KhushiyoN Ka Kaafila – Midnight (91972) – Subir Sen – ?

A low-scale vocals high scale orchestration composition, that can be considered as the last duet of Talat Mahmood and Geeta Dutt. The film was never released. So it is really very lucky to get the song on the YT.

There is a reference to a duet – Tumhari Mohabbat Ka Badla – by Daan Singh (film – Bahadur Shah Zafar), but the song does not seem to be traceable. So is a NFS duet Chanda Hanse Hans Rahi Chandani (Music: Jimmy) not traceable on YT.

A look back at Talat Mahmood – Geeta Dutt duets reveals a pattern wherein we do not find songs by the then mainstream music directors. This can be possibly because when either singer was picked up as lead singer for major banner, the other singer would be someone like Lata Mangeshkar, or even Asha Bhosle, as female playback or Mohammad Rafi as male playback. A such what we lose in terms of numbers is well compensated by a very wide range of highly talented music directors and Talat – Geeta duets of all hues and shades, leaving us with a feeling of being fully satisfied with a high-quality fare to enjoy forever.

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.

P.S.:  Talat Mahmood: Duets with Geeta Dutt and its Gujarati version તલત મહેમૂદનાં યુગલ ગીતો – ગીતા (રોય) દત્ત સાથે can be read / downloaded by clicking on તલત મહેમૂદનાં ગીતા (રોય) દત્ત સાથે યુગલ ગીતો । Talat Mahmood: Duets with Geeta Dutt.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : January 2021

Jaidev: Brilliant, But Underrated, Composer :  1972-1973

Jaidev (Varma)B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could mold classical or folk tune in his very unique style. However, seen from a little different perspective, it was this talent that probably provided him the key to survive against the twin onslaught of unfavorable luck and the protectionist hegemony of the protective competitive strategies that were (apparently) successfully put in the practice by ‘successful’ music-directors to protect their individual production banners turfs.

In terms of basic nature of films that Jaidev got during his active career

from 1955 to 1985,  we can see four distinct phases – initial struggle (1955-1959- films like, Joru Ka Gulam, Samudari Daku, Anjai, Raat ke Rahi),

1st peak of success – 1961 to , films like Hum Dono, Kinare Kinare, Mujhe Jeene Do),

confinement to small budget films (1964 to 1971, films like Naihar Chhootal Jaye, Hamare Gam Se Mat Khelo, Jiyo Aur Jeene Do, Sapna, Ek Bulboola Paani Ka, Shaadi Kar Lo, Doo Boond Pani),

revival phase (1971 to 1973, films like Reshma Aur Shera on one end, with low-budget films like Ek Thi Reeta, Bhavna, Maan Jaaiye, Prem Parbat sandwiched and Prem Parbat on the other end) and then

1974 till the end –  a period of crowning glory with films like Gaman and Ankahee, the two national award winners for Jaidev and then the gradual tapering off.

Of these phases, we have covered, the years –

  • In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
  • In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970, and
  • in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971

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

Presently, we will cover Jaidev’s music in films Bhavna, Maan Jaaiye (both in 1972) and Prem Parbat (1973). Bhavana, Maan Jaaiye again belong to those low-budget films, produced primarily for a selected class of filmgoers. The films did not have too many songs, and since the films inevitably flopped, the music also sank along with them. So, we have chosen to present each song for which a YT clip is available. Prem Parbat is case which is patently different. Its songs had gained a fairly large following then, are membered even today, even as the film failed at the box office. But each of the song has its own charm, so book a place here on the strength of that charm of Jaidev’s music which seems to have been fading from memory.

Bhavna (1972)

The star cast of the film was Dev Kumar, Soniya Sahni, Padma Khanna, etc,

Phir Milegi Kahan Aisi Tanhaiyan – Mukesh, Asha Bhosle – Lyrics: Naqsh Lyallpuri

Asha Bhosle joins Mukesh to render this loveable, slow paced exchange between two hearts in love , alone by themselves. He poses the question – “Kya Iraada Hai”. And one can expect a touch of mischief the way She throws up the same question. For a Jaidev song, it is a not complex tune, but inherently a joy to listen to.

Meri Ilttija Hai Saqui, Bas Ilttija Hai Saquiya Tu Bhi Aa – Asha Bhosle – Lyrics: Naqsh Lyallpuri

Here is a tune that seems to be Jaidev’s signature style these days – light orchestration, but a complex tune, song based on folk or traditional style. In the present case also Jaidev has deftly handled a Tawaiif song in the non-traditional way, so much so that the mandatory harmonium come in a unique presentation in the first interlude and also in the second interlude.

Main Teri Daasi Tu Mera Daata – Suman Kalyanpur – Lyrics: Naqsh Lyallpuri

As can be made out from the lyrics, this a bhajan genre song. However, Jaidev renders in a complex enough tune.

Ye Duniya Woh Duniya Hain JahaN Insan Ki Koi Kimat NahiN – Mohammad Rafi – Lyrics: Naqsh Lyallpuri

In all the likelihood, this one may be a background song.

I have not been able to locate digital link to a FF duet, Hum Hai WahaN Tassavur Bhi Tera Jahan Na Pahuche – Asha Bhosle, Usha Mangeshkar.

Maan Jaaiye (1972)

This was a film directed by B R Ishara and had Rakesh Pandey, Rehana Sultan in the lead, with Jalal Agha too in the main cast.

O Mitwaa…Badara Chhaye Re Kaare Kajarare – Lata Mangeshkar – Lyrics: Naqsh Lyallpuri

The song opens with a soft prelude call to Mitwa, the beloved. The song moves on with complex to sing, but melodious to listen to tune.

Le Chalo, Le Chalo, Ab Kahin Le Chalo….Soch Lo, Soch Lo, Ek Tarah Soch Lo – Mukesh , Vani Jayram – Lyrics: Naqsh Lyallpuri

Jaidev continues with experiments – this time teaming up Vani Jairam with Mukesh.

Ye Wohi Geet Hai Jisko Maine Dhadkano Mein Basaya Hai – Kishore Kumar – Lyrics: Naqsh Lyallpuri

The song is wonderful rendition of mono-act by Jalal Agha, which Jaidev has set o a waltz tune.

Prem Parbat (1973)

The film is directed by Ved Raahi, who has earlier directed films with experimental streak, like  Oonche Log and Paraya Dhan and also films like Sanyasi  and Beimman with a commercial angle. The storyline of the film is that of an orphan girl (Rehana Sultan), whose loyalties are divided between her aged husband (Nana Palsikar) and a young forest officer (Satish Kaul), she has fallen in love with. Being the wife of the old Choudhari, she is conflicted about her love for another man. The film had run into severe cash flow problems, resulting in the prints being seized by the financier. Jaidev too suffered by this unfortunate run of the luck, as he, otherwise, can be seen to have hit his melodious pulse well in the film.

Yeh Dil Aur Unki NaigahoN Ke Saaye.. Mujhe Gher Lete Hain BaahoN Ke Saaye – Lata Mangeshkar – Lyrics: Jan Nisaar Akhtar

Set to Raag Pahadi, the song had hit the popularity charts in those days on one hand was highly acclaimed by the critics on the other hand. Santoor and Flute in the song are played by Shiv Kumar Sharma and Hariprasad Chaurasiyaa respectively, which goes on to show Jaidev’s meticulous adherence to the quality of the works.

Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai – Lata Mangeshkar – Lyrics: Padma Sachdev

Padma Sachdev (1940) is the modern Dogri poetess. She also wrote the lyrics of two songs of the 1978 Hindi film “Aankhin Dekhi” (music: J.P. Kaushik) including the famous duet “Sona re, tujhe kaise miloo” (Mohd Rafi and Sulakshana Pandit). She also wrote the lyrics along with Yogesh, for the film Saahas (1979, music: by Ameen Sangeet)

The song is an excellent blend of a folk and classical styles that so successfully creates the nature described in the song come live in our mind as we listen to the song or soak our mind with feelings narrated.

Mera Chhota Sa Gharbar…Mere Anagana Mein, Mera Chhota Sa Gharbar – Lata Mangeshkar – Lyrics: Padma Sachdev

The lyrics recreate the dream of the household that protagonist envisions. Jaidev supports the imagination with seemingly nontraditional tune, which is nonetheless quite melodious.

Raat Piya Ke Sang Jaagi Re Sakhi…Chain Pada Jo Ang Laagi Re Sakhi – Minoo Purushottam – Lyrics: Jan Nisaar Akhtar

Minu Purushottam is a name not very well known to many today. Confined to play second fiddle in B ad C grade films, her easily remembered rendition remains ‘Huzure wala, Jo Ho Izazat..’ – with Asha Bhosle, ’Ye Raat Phir Na Aayegi, 1960; Music: O P Nayyar).

Jaidev has so effectively used her voice to render the folk style description of the protagonist’s encounter with her beloved after a long separation.

I am not able to resist the temptation of capturing the lyrics her:

SaiyaN Ji Ne Jadoo Phera
BaahoN Ka Daala Ghera
Anchara Jo Khincha Mera
God Piya Ki Tang Laagi Re Sakhi

SaiyaN Je Daaka Daalaa
Uljha Jo LatoN Mein Bala
Bikhari Gale Ki Maala
Bhadki Badan Ki Jwaala
Devdhanush Laagi Re Sakhi

Gajaraa Suhana Toota
Kajara NayoN Ka Chootaa
Sab Tan Bhaya Re Jhoothaa
Jitana Sataya Loota
Aur Bhi Baanke Ang Lagi Re Sakhi

We pause here in our journey of rekindling the memories of Jaidev’s unforgettable songs, receding from our memory, before we move on to the next phase of his active film music career.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December 2020

Mohammad Rafi’s First Solo Song With The Music Director: 1967-1969

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 taken 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

We have reviewed the first part of the years 1964 – 1966 for the present 5th  Six-Year Period , and for the time last part of the present series in July 2020. Presently, we will take the last three years – 1967 to 1969 – of this 5th period.

As has been noted by the musicologists and the Film Music historians identify three main stages for the first 25 years of a 50-years long active career. ‘40s was the period for Mohammad Rafi to create his space in the playback singing. The period of 50s was the period of consolidation and strengthening his position. He started getting varied song genres by almost all music directors and emerged as THE voice for many of the heroes of that period. One male playback singer who was displaced totally by the end of the ‘50s was Talat Mahmood. ‘60s was the period he was considered to adapt to racy compositions that was now becoming the order of the day. He was the automatic choice for the next generation heroes who came up on the scene in the early ‘60s.Mohammad Rafi developed customized theatrics for most of the heroes.

In the year ’69 Rajesh Khanna suddenly came out of his initial struggle period with Aradhana, 1969, (Music S D Burman, but virtually conducted by R D Burman because of SDB’s ill health) and Dushman, 1971 (Music- Laxmikant Pyarelal). R D Burman and Laxmikant Pyarelal were the new stars of the emerging, new, generation of the music directors, who had huge success in the use of Kishore Kumar as THE voice of Rajesh Khanna. As a result, Mohammad Rafi started losing his top position. He continued singing almost till the end and did have quite a few ‘good’ songs, history records this period as the period of the afterglow after the Sun has finally set for the day.

Moreover, as was observed in the first three years of the present 5th Six-Year Period, on one hand, the entry of new music directors who were to succeed in the years to come seemed to dry-up considerably. On the other hand, the music directors and the lead actors of the previous generation, who distinctly preferred Rafi, were distinctly seen ‘aging out’. It therefore makes all the more sense to complete the series of Mohammad Rafi’s First Solo Song With The Music Director with year 1969, as we take up the years 1967 to 1969.

1967

The year 1967 has 88 solo songs for Mohammad Rafi.  Mohammad Rafi has had fairly popular songs from the films like Aman. An Evening in Paris (music director for both – Shankar Jaikishan, Amne Samne (Music: Kalayanji Anandji), Nai Roshani (Music : Ravi), Naunihal (music: Madan Mohan), Palki (Music: Naushad), Taqdeer(Music: Laxmikant Pyarelala). From his many popular songs during 1967, I would even consider Hum Intezaar Karenge Tera Qayamat Tak (Bahu Begam; Music :Roshan, Lyrics: Sahir) and Tere Pyar Ne Mujhe Gham Diya (Chhaila Babu, Muic: Laxmikant Pyarelala, Lyrics: Asad bhopali) that has strong shades of charm – less theatrics, more depth – of Rafi that we had seen during later pat of ‘50s. Mohammad Rafi had had two songs in Oriya film a’Arundhat’ and one in Gujarti film, ‘Sneh Bandhan’ –

Milan Na Deep Sau Bujai Gaya Chhe  (Muisc: Dilip Dholakia)

The year 1967 has only music director Bhushan, who has his first ever Mohammad Rafi solo song. If I have been able to get all correct references, Bhushan seems to have only one more film – Purani Pahechan (1971) – subsequently.

Baithe Baithe Dil-e-E Nadaan Ye Khayal Aaya Hai – Maikhana – Lyrics: Kidar Sharma

We have here Mohammad Rafi that we usually hear in his NFS ghazals – playing with lyrics of mukhada differently every time, with deep emotions, sans all loudness even when he raises the scale a few notches.

1968

The year 1968 has 82 solo songs of Mohammad Rafi. The successful films for the year include Aadmi, Sangharsh (music director for both ; Naushand), Brahmchari, Jhuk Gaya Aasman, Kanyadaan, Mere Huzoor  (All: Shankar Jaikishan), Mere Hamdam Mere Dost (Music: Laxmikant Pyarelal) , Neel Kamal (Music: Ravi).

I would pick up Mile Na Phool To Kanton Se Dosti Kar Li (Anokhi Raat, Music: Roshan, Lyrics; Kaifi Azmi) and Dil Ki Awaz Bhi Sun Mere Afasane Pe Na Jaa (Humsaaya, Music: O P Nayyar, Lyrics: Shewan Rizvi) as real Rafi-touch songs.

We have five music directors – Ved Shethi, Parmarthi Ashwatham, Ram Kadam, S Kishan and Jimmy / Premnath recording their first solo songs for Mohammad Rafi this year.

Ved Shethi has only one Hindi film to his credit.

Ek Nanhi Si Kali Roye Daali Ke Liye – Aanchal Ke Phool – Lyrics: Naqsh Lyalpuri

The song is background genre song, that describes the fate of the child protagonist. The lyrics for these songs usually convey the meaning for the song. Singer has to ensure that he /she remains faithful to that message.

Pamarthi Ashwatham belongs to those music directors who have rendered music for the films that were originally made in South Indian languages.

Kaahe Ka Rona Dhona – Ram Aur Raheem (1968) – Lyrics: Sant Kabir

The film was directed by V Nagaiya. Nagaiya and Surya Kumari were in the lead roles. It had as many seven Mohammad Rafi solo songs, all Saint Kabir’s bhajans.

Ram Kadam was essentially a music director of Marathi films (113 films) who has also scored music for three Hind films and 1 Telugu film. We have two solo songs for his 1968 film Raaste Aur Manzil.

Jalte Jalte Ho Gayi Gam Ki Raat, Ho Gayi Gam Ki Raat, Khatam Hua Dil Jalte Jalte – Raaste Aur Manzil – Lyrics: Ibrahim Faiz

This is a poignant mood song. Rafi has done full justice to the mood.

Main Bahut Door Chala Aaya Hun – Raaste Aur Manzil – Lyrics: Ibrahim Faiz

Hindi films show the heroes resorting to heavy drinking to forget his sorrows. That always an ideal situation for a drunkard genre film.

S Kishan seems to have composed films earlier too, however all these B or C grade films never seem to have even faintly succeeded at the box office.

Ab Madad Farmaiyiye Mehboob Subahani Meri – Tattar Ki Haseena – Lyrics: M Yusuf

This is film which uses the folk themes – this time for the Tattar community of Mongolia. As can be expected, the composition has a strong influence of Mid-east music style.

Jimmy (James Singh), a Christian Sikh, from Ludhiana, had a long stint at Hindi films, but was not rewarded according to his merits. However, he has attained fame as the first music director  to have a ‘yodelling’ song – Ek Do Teen Char, Bagon Mein Aayi Hai Bahar – by Kishore Kumar (With Asha Bhosle, Muqqadar, 1950). Shrimatiji (1952) is his relatively more remembered film.

One more music director- Premanth– is also credited as (joint) music director for the film Tarzan In Fairyland.  However not much information is available about him

Hindi Cinema has all kinds of films made with Tarzan and King Kong. It seems Tarzan and King Kong also were infected with song-singing virus. The film Tarzan In Fairyland has one Mohammad Rafi solo – Ho Gaalon Pe Gulab Liye Nainon Mein Sharab Liye – probably composed by Premnath, for which I have not been able to find a digital version on the net.

1969

The year 1969 has 114 solo songs for Mohammad Rafi. The films that had all Rafi songs on the high-popularity chart were Aaya Sawan Jhhom Ke (Music: Laxmikant Pyarelal), Chirag (Music Madan Mohaan), Pagla Kahin Ka (Music: Shankar Jaikishan) and  Pyar Ka Mausam (Music: R D Burman).

It is really interesting that one music director who changed the course of Hindi Male Playback Singing history – though, officially, as assistant to S D Burman in Aradhana – has three solos and one duet for Rafi in Pyar Ka Mausam (Lyrics: Majrooh Sultanpuri, all of which have been filmed on the lead male actor, Shashi Kapoor. Of the three solos, Che Khush Nazare….Ke Khud Pukare Ke Hai Pyar Ki Manzil is a mandatory song wherein hero entices heroine by his happy-go-lucky mannerisms. Tum Bin Jaun KahaN had four versions in the film – two each by Kishore Kumar and Mohammad Rafi, each with a happy and sad shades version each respectively. The Kishore Kumar fans o one side and Mohammad Rafi fans on the other side were strongly divided then, as they may probably be divided today, as to which of the version is better delivered by the singer. Well, I have no intention to step into the quagmire of that discussion here. Rafi – Lata duet – Ni Sulatana Re – was the undisputed THE popular song of the films. The irony of the fate that is Hindi film music is that it was Pyar Ka Mausam that turned out to be launching pad that ser R D Burman to the outer orbit of success.

Narayan Dutt is again a music director about whom not much is known. The only notable feature that can be be note of the film ‘Pujarin’ is perhaps the only film wherein Rehana Sultan is not in her ill-famed ‘bold’ roles.

Piya Ki Nagariya Taj Ke Gori Jaaye Re – Pujarin – Lyrics: Madan

This is a background song, for the one of the extremely popular Hindi Film situations of Bride Farewell from her parental home after the marriage.

With that we also bid farewell to our Six-Part series Mohammad Rafi’s First Solo Song With The Music Director…. Till we meet again for a series on Mohammad Rafi’s Duet Song From the FIRST Film With The Music Director.


Both episodes of the 5th Six Year Period of Mohammad Rafi’s First solo with a Music director – 1964-1969 can be downloaded as one file by clicking on the link.


All six parts of the series Mohammad Rafi’s First Solo Song With The Music Director can be read / downloaded as one file by clicking on the hyperlink.


All episodes of Fading Memories…. Unforgettable Songs, from January 2020 to December 2020 can be read / downloaded by clicking on Fading Memories…. Unforgettable Songs 2020.