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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.

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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.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: November 2020

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1957

Salil Chowdhury (10 November 1922 – 5 September 1995) was undoubtedly a versatile music personality – writer, lyricist, script writer, activist and of course one of the most respected music composers. His music was rooted as much in the folk music of Bengal and Assam as it was in the Western symphonies. His compositions and orchestrations had a very district style. Most of his compositions would be incredibly challenging to sing. And yet, the sheer melody that it offered made many of his difficult tunes are also his immensely popular songs. His lyricists for a good many films, Shailendra (B: 30-8-1923/ D: 14-12-1966), too, was a person rooted to the basic of life. Shailendra may not be considered a poet in the traditional literary parlance, but his simple lyrics had had profound impact on his listeners. His command of delivering an immensely powerful idealistic message or describing a complex feeling in the simple words was unparalleled.

Even when they had fundamentally very similar sociopolitical mindsets, the chemistry of apparently two different music personalities created very unique set of Hindi film songs. In terms of ratio of memorable songs to total songs or variety of moods represented, qualitatively quite comparable to Shailendra-Shankar Jaikishan or Shailendra -S D Burman, Salil Chowdhury and Shailendra quantitatively have composed songs only next to these two combinations.

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, and

1956 in 2019.

Presently, we will take up Salil Chowdhury and Shailendra’s songs receding frm the memory form the three films – Ek Gaon Ki Kahani and Musafir for the year 1957. Salil Chowdhury had composed music for Apradhi Kaun and Laal Batti (with Majrooh Sultanpuri) and Zamana (with Indeevar and Prem Dhawan; the film had two songs composed by Anil Biswas, too).

Ek Gaon Ki Kahani (1957)

Ek Gaon Ki Kahani is a film directed by Dulal Guha, wherein Talat Mahmood has also acted as the lead actor. The films had two of Talat Mahmood’s all-time-great songs – Jhoome Re Neela Ambar Jhhome Re and Raat Ne Kya Kya Khwab Dikhaye – and a Lata Mangeshkar solo – Boley Pihoo Pihoo Pee Papihara – which as sweet and playful as is a difficult tune.

Kana Kubda Langda Loola Budha Doctor Aayega – Asha Bhosle

Salil Chowdhury and Shailendra have produced a light-mood, thoroughly enjoyable, song.

O Haay Koi Dekh Lega – Talat Mahmood, Lata Mangeshkar

The song opens with a very lilting prelude. The duet, though extremely sweet, is indeed a difficult composition.

Chale Thhumak Thhumak Taare Meethe Sapno Ke Dware – Lata Mangeshkar

This is a lullaby. Salil Chowdhury has used relatively easier composition Use of soft sounds of ensemble of violins. The main song as well as the interlude orchestration has Salil Chowdhury’s signature flute pieces

Din Holi Ka Aa Gaya Rang Dalo Hoji Ho – Manna Dey, Lata Mangeshkar. Chorus

The occasions of festivals like Holi have provided ideal situation for songs in Hindi films. Different directors have used the situation for different purposes – sometimes the song just comes in as a filler or sometimes as an important element of the story.  Lyricists compose the lyrics accordingly. Different directors also have adopted very different approaches in composing the song, even if they have stuck to the normal Holi song tunes of North India. Salil Chowdhury has provided ample improvisations in the songs to make it sound very realistic composition.

Musafir (1957)

Based on the Ritvik Ghatak story of three families’ ’traveler’ stay at a house, Musafir was the maiden directorial venture of Hrishikesh Mukherjee. In effect, it connects up three stories with a common link of a house. Every time the family leaves the house, like a traveler on the move, at least one member of the family will state that she will always remember this house. The film was awarded a  Certificate of Merit for Third Best Feature Film in Hindi for the year 1957.

Man Re Hari Gun Gaa, Un Sang Preet Lagaa – Lata Mangeshkar

Filmed on Suchitra Sen, the lead actress of the first of the three episodes, is a simple bhajan, in terms of the song genres. The song has a special important place in the narrative of the episode.

Munna Bada Pyaara, Ammi Ka Dulara, Koi Kahe Chand Koi Ankh Ka Taara – Kishore Kumar

This is a song pertaining to the second story in the film. Shailendra has weaved in wonderful dreams of the middle-class people in each stanza. Salil Chowdhury has composed a very pleasant tune, and Kishore Kumar is at his usual maverick improvisation best.

Tedhi Tedhi Humse Phire Saari Duniya… Har Koi Najar Bacha Chala Jaye Dekho…Jaane Kahe Hamse Kaatey  Saari Duniya – Manna Dey, Shamshad Begum, chorus

The song have several unique features.

First, Shailendra has made a cameo appearance of street song performer, with a harmonium strung on. This is second such on-screen performance. The first one was in the song Chali Kaun Se Desh Gujariya Tu Saj Dhaj Ke (Boot Polish, 1954).

Second, is Keshto Mukherjee’s maiden appearance on Hindi cinema. Her he comes up in the role of a autistic handicapped person, a very routine feature of such travelling street performers so as to encash some human pity into more alms catch. At the end of the song ,just watch him approaching Kishore Kumar to part with some cash, all in sign language !! What a pity that such a wonderful comedy actor remained typecast as THE drunkard in the films!

Third, of course, is use of Shamshad Begum by Salil Chowdhury. Shamshad Begum plays back to Heera Sawant, the dance performer of the troupe.

Shailendra is at his usual egalitarian best mood at every word of the song!

Laagi Nahi Choote Rama Chahe Jiya Jaye – Dilip Kumar, Lata Mangeshkar

First, of course, the most novel feature of the song – Dilip Kumar singing his own song. The songs, for a non-regular singer like him, is not that easy to sing. But, Dilip Kumar has done such a marvelous job of it.

Hrishikesh Mukherjee has filmed the Lata Mangeshkar part as a memory recall running at the back of mind of Usha Kiran. As such, the voice seems to come from deep within!

Ek Aaye Ek Jaaye Musafir  -Shyamal Mitra

The title and theme song that carries the message of the film, is filmed on Mohan Choti (a.k.a. Mohan Goraskar).

The song comes up once more in the film. The clip here has both versions.

We normally take up one Mohammad Rafi song to end the episode. However, in the present case, we do not have any Mohammad Rafi song in either of these films. So, we will take a small detour, and import one song from Salil Chowdhury’s 1957 films with other lyricist.

Naiya Ka Meri Tu Hi Khewaiya – Zamana (1957) = Lyrics: Indeevar

Salil Chowdhury has used chorus both as chorus accompaniment and as counter music support.

Our journey of Salil Chowdhury and Shailendra’s receding from the memory songs on this platform.

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

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

 

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Fading Memories…. Unforgettable Songs: October 2020

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1954

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987 – is generally known to be less glamorous that his film music composition partner Jaikishan. However, barring some hiccups in the later part of their active association, their professional bond was so seamless that may knowledgeable musicologists of those days used find it difficult to recognize who has composed which song. It was said that Shankar would compose Shailendra’s songs and Jaikishan would compose Hasrat Jaipuri’s songs. The division of the songs was based on what would suit the situation. However, from the stage the song is being readied for recording, both would be seen working hands in gloves to ensure that the song is no less than their best.

Selection of only Shailendra’s songs in this series is, thus, the outcome of the then popular thumb rule of cross-paring of Shankar Jaikishan with Shailendra and Hasrat Jaipuri. We have commenced the present series of Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for the year 1954..

We have three films in 1954 – Badshah, Mayurpankh and Pooja. A cursory look at the list of Shankar- (Jaikishan) and Shailendra’s Songs shows that even as SJ – along with Shailendra and Hasrat Jaipuri as lyricists – had some outstanding successes under their bet, by 1954, they were still in the process of setting a wide base of banners, film subjects, even the actor-actresses for which the songs on the screen will be filmed etc. As such the songs for the year 1954 show a definitive stamp of SJ – Shailendra-Hasrat combination, we have relative larger share of songs (per album) that remained less familiar than the later years creations.

Badshaah (1954)

The film had eight songs of which Shailendra has penned two songs. Of the two Rula Kar Chal Diye Ek Din HaseN Ban Kar Jo Aaye The is enshrined as one of the all-time Hemant Kumar song.

Gul Muskara Utha, Bul Bul Ye Ga Utha, Bago Mein Aayi Bahar – Lata Mangeshkar, chorus

We have here a very rarely heard song. The song composition has primarily mid-western culture influence. Prominence of male singers in the chorus also attracts listener’s attention.

Mayur Pankh (1954)

The story and screenplay of the film revolve round the infatuation of Ranjit (Kishore Sahu) for an English novelist Joan (Odette Fergusson) and the tragic aspect of the love affair from both their points of view and that of Shanti (Sumitra Devi), Ranjit’s wife. The story moves around from jungle scenes to village melas against the backdrops of historic places, providing thereby the avenues for situations for the songs as well. Shankar Jaikishan have also accepted the challenge for providing music for such songs quite successfully.

Ye Barkha Bahar Sautaniya Ke Dwar – Lata Mangeshkar, Asha Bhosle

A signature mujra song, opening with note of Sarangi and a enticing alaap by the singers.

Aside Trivia: The song is rendered on the screen by the then famous Wajifdar sisters.

Atul’s Song A Day post on this song has addressed the details of the song at great length.

Main Chalu Paschim, Purab Chale Duniya – Lata Mangeshkar

This is a fast-paced dance song, performed on stage by Cuckoo.

Tandana….Mushkil Hai Pyar Chhupana Tandana… Preet Nayi Dard Purana – Lata Mangeshkar, Chorus

Hindi films have the knack of third-party singers sing songs that exactly reflect the feelings or thoughts of relevant protagonists! Shailendra has smartly rhymed the local phrase Tandanna, used normally to lend punch to the rhythm, with Chhupana, Purana etc.

Pooja (1954)

The film had Bharat Bhushan, along with Poornima in the lead. But this should be pre-Bharat Bhushan golden hand-shake period film. My first exposure to the songs happened during Multiple version songs series on SoY with two songs – Jo Ek Baar Keh Do (happy and sad versions). Other than these , all other songs belong to not-so-known territory.  The film had 10 songs, of which 8 are penned by Shailendra.

Mori Bipada Aan Haro, Prabhu Kahe Der Karo – Lata Mangeshkar

Shankar Jaikishan comes up with a minimal orchestration ‘bhajan’ genre song. Use of dholak as the rhythm instrument.

Holi Ayi Pyari Pyari, Bhar Pichkari Rang De Chunariya Hamari – Mohammad Rafi, Lata Mangeshkar

A holi genre song, with SJ improvising with the use of chorus as second interlude to change the song delivery in the second stanza, with song becoming a softly-higher-scale Rafi, chorus song.

Rang Khelo Rasiya Suratiya Pahechan – Mohammad Rafi, Lata Mangeshkar, chorus

This is the second part of the preceding song.

Main Muralidhar Ki Murali Lai, Murlidhar Ne Lai Meri Mala – Lata Mangeshkar

Shankar Jaikishan present this dance song with their trademark large sized orchestration support in the song composition.

Soch Na Manwa.. Teri Taqdeer Bananewala Sochega – Mohammad Rafi

The prelude opens with a stroke of violin ensemble, followed a solo violin piece supported piano expanse as Mohammad Rafi opens the first line with a higher note. Interlude pieces comprise of violin ensemble with flute support.

Room Jhoom Ke Bajao Bansuri Murari – Mohammad Rafi, Krishnarao Chonkar

We have a classical based MM duet. Shankar Jaikishan has roped in services of Krishnarao Chonkar to lend authenticity to the song.

Chal Chal Re Musafir Chal Tu Us Duniya Mein Chal – Mohammad Rafi

The orchestration id predominantly flute based, with a very subtle obbligato support. Short violin ensemble, more as counter melody support to the interlude music is perhaps the only tell-tale indicator of a Shankar Jaikishan composition, However, even this is presented in much different form than what we normally associate with SJ orchestration.

Shailendra is at his usual poetic mood when he thinks about the ‘the other’ world and links up his egalitarian view of ‘that’ world with these lyrics –

jaha pyaar kaa rasta koyi naa roke,
koyi naa kahe sambhal

… …. … .. .. …..
… …. … .. .. …..

jahan ujade naa singaar kisi kaa
phaile naa kaajal

We will continue our journey of Shankar Jaikishan’s songs in Shailendra’s lyrics in our future episodes.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September 2020

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1960 – 1961

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999- had his own distinctive   style, whether it was his Urdu or Hindi poetry of Hindi film lyrics. One of the basic corner stone of RK’s Shankar-Jaikishan- Shailendra Hasrat music team. Starting with Barsat (1949), the first break-up came when Shailendra passed away in 1966, Jaikishan’s death in 1971 is said to have so loosened the bond, that Shankar started to seeking collaboration with other lyricists as well.

Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] was considered to be more creative with  romantic tunes. Background scores were his forte. Jaikishan also had fair amount of training and exposure to music in his early years. His father was a musician to royalty in Gujarat.

SJ- Shailendra-HJ team is one of the most unique examples of four persons of very different temperaments working as a seamless team, complementing each other’s strengths and supplementing the weaknesses. The outcome was always an incredibly unique blending of four individual talents into most melodious, ever green, works of sheer brilliance.

Even as it is quite difficult to filter out Hasrat Jaipuri’s lyrics in Shankar Jaikishan composed songs that would not have been popular, I usually scan the titles of the songs and filter out the ones that does not immediately ring up in my memory. 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.

Presently, we will spread our net over the years 1960 and 1961. 1960 had 5 SJ films and 13 Hasrat Jaipuri songs, whereas 1961 has 6 films and 23 songs. Incidentally the songs that got filtered in this selection provides not only a very representative kaleidoscopic view of his style, but also present Shankar- Jaikishan’s knack of working out a popular song with due amount of experimentation. 1961 also is the year which had Junglee, which is considered to be game changer in Shankar Jaikishan’s approach to song compositions,

Itni Badi Mehfil Aur Ek Dil Kisko Du – Dil Apna Aur Preet Parayi (1960) – Asha Bhosle

The film had serious storyline, so in spite of having an ample sprinkle of some of the great songs, need to fit in an item song (which is how these songs are known today) must have been felt. SJ has come up with an innovative improvisation of Harry Belafonte’s  Banana Boat song

Bata De Meri Jaan ke Tere Dil Mein Kya AaiChalaak (UR) (1960s) – Mukesh

The film is an unreleased project that had Raj Kapoor and Madhubala in the lead roles. Madhubala is said to have gamely put in efforts to complete the film despite of her extremely aggravating health. The film ultimately had to shelved. The clip here is a version that Mukesh had rendered in a stage show at South Africa.

Tirchi Nazar Se Yun Na Dekh – Ek Phool Char Kaante (1960) – Mohammad Rafi

Here we have a mandatory Johnny Walker song. Rafi follows copybook mannerisms to suit Johnny Walker’s antics on the screen in the mukhada. SJ have cleverly weaved in a cat sound, too. Rafi is to render the first two lines of first stanzas is in a breathless singing to correspond with actors making a fast lap in the swimming pool. The camera has smartly moved away from Johnny Walker, who returns with his antics at the end of the stanza, with Rafi repeating the charm of mukhada with some more spices.

Ho Maine Pyaar Kiya, Haye Hay Kya Zulam Kiya – Jis Desh Mein Ganga Behti Hai (1960) – Lata Mangeshkar, chorus

It is said that when SJ-HJ-Shailendra team first heard the story idea, they could hardly see any room for Hindi film style songs in a dacoit-reform based story. However, Raj Kapoor’s showman instinct had more than enough scope for songs, which were accepted very well by the public. Raj Kapoor has very conveniently squeezed in a heroine- swimming scene vide this song, even her friends too joining in the bonus.

Dekho Ji Dekho Sun Lo Ye Baat, Jivan Mein Ek Baar Aana Singapore – Singapore (1960) – Lata Mangeshkar, chorus

Here we have title cum theme song from this film. The song is lip synced by Maria Menado, an Indonesia born actress (who played a Singaporean girl Maria in this movie) and some Singaporean extras.

Aside: The film had one more title song in Ye shahar badaa albelaa (Singer: Mukesh; Lyrics: Shailendra). However, since the titles were used as part of the song orchestration, the preceding song was also, perhaps, required!

Arre Tu Kahan Kho Gaya Balam Matwaraa Main Dhundhu Tujhe Kahan GaliyaN Aur Chaubara – Singapore (1960) – Lata Mangeshkar

The full scale participation of SJ and their orchestration team has made this mandatory Padmini dance song into a grand spectacle, with dholak as base rhythm instrument, A Dattu Theka slipped in very dexterously, with multi-instrument large scale orchestra in the interlude scores in the accompaniment.

The following three songs have been actually filmed as one sequence in the film!

Seeto Peeto Reeto…Jaan-e-Bahaar Assalaam – Jab Pyaar Kisi Se Hota Hai (1961) – Lata Mangeshkar

This dance song is thrown in the film as an item number. Hasrat Jaipuri chips in with Anokhe Bol in the first line to add spice to the songs.

This song was in fact a prequel to build the atmosphere for the song which was to follow.

Is Hirsoo Hawas Ki Duniya Mein – Jab Pyar Kisi Se Hota Hai (1961) – Lata Mangeshkar

A signature Sakhi – a two-line couplet, recited without any instrumentals support – from Hasrat Jaipuri has been given a very special dimension by the Lata Mangeshkar’s rendition to exactly rhyme with Asha Parekh’s expression, and even her diction.

Is Hirsoo Hawas Ki Duniya Mein
Armaan Badalte Dekhe Hai
Dhokha Hai Yaha Laalach Hai Yaha
Imaan Badalte Dekhe Hai

Daulat Ke Sunehre Jaadu Se
Ae Dil Tadapnaa Achhaa Hai
Chaandi Ke Khanakte Sikko Par
Insaan Badalte Dekhe Hai

The main song now takes the center stage.

Teri ZulfoN Se Judai To Nahi Mangi ThI, Qaid Mangi Thi Judai To Nahi Mangi Thi..- Jab Pyar Kisi Se Hota Hai (1961)  – Mohammad Rafi

The composition is noted in the annals of Hindi Film Music as one of the finest composition.

Anand Desai and Antara Nanda Mondal have presented the lyrical and musical nuances with meticulous details in  Love is… Claiming Rights: Teri Zulfon Se Judaai to Nahin Mangi Thi

Nain Tumhare Mazaedar O Janab-e-Ali – Junglee (1961) – Mukesh, Asha Bhosle

50s and 60s films ready-mix recipe always had a comedian song as a standard ingredient. Shankar Jaikishan have added color to the element by using Mukesh’s voice. Shashikala in a comedy role is sort of scoop.

Jana Tumhare Pyar Mein Shaitan Ban Gaya Hun – Sasural (1961) -Mukesh

The rustic innocence of Mukesh’s voice is matched by Mehmood’s credulity-mannerisms on the screen. Whether the whole experiment was conceived by the direction- music team by design or is enacted by Mehmood to synchronize with the way song is composed, is not known.

Aye Aasmaan Ke Rahi, Tu Hi Gavah Rahena…. Haye Sawan Ban Gaye Nain – Karorepati (1961) – Asha Bhosle

SJ again comes up with a very successful experiment of using Asha Bhosle’s voice for a poignant song. It should be interesting to know what factors will have moved SJ to this decision, since they are normally considered to be die-hard users of Lata Mangeshkar voice for such songs. Hasrat Jaipuri also shows his mantle as master of al types of moods.

Kabul Ki Mein Naar, Meri Aankhein Rasili Katar – Karorepati (1961) – Kishore Kumar, Geeta Dutt

SJ have used a very smart improvisation of Gujarati folk dance rhythm – evidenced in more clear way during the interlude pieces – in this Pathani mood song. Use of Geeta Dutt is also a rare occasion in SJ songs.

Suno Bhai Humne Peeli Hai – Roop Ki Rani Choron Ka Raja (1961) – Talat Mahmood

It is interesting to note that the version used in the film has the word “suno bhai hamne PAA li hai thhodi”, whereas the original sentence of the song was “suno bhai hamne PEE li hai thodi”, on the objection by the Censors. Talat Mahmood would probably have not sounded drunk ieven if he really was. We do not have any authentic information on how Mukesh sounded drunk when he was fully drunk in the company of Raj Kapoor, but his songs sounded as pious as his sheer romantic songs. K L Saigal would come heavy with a few pegs for his shootings, but his dialogue delivery of song diction never hinted even a trace of that heavy dose of Whisky!.

Aiga Aiga Ye Kya Ho Gaya – Boy Friend(1961) – Mohammad Rafi, Aarti Mukherjee

Hasrat Jaipuri has very deftly weaved in Marathi words from the scene preceding the song, wherein Dev Anand collides with a (Marathi) Bhajiwali (the vegetable vendor)

And of course, SJ are at their experimentative mood in using voice of Arti Mukherjee to partner Mohammad Rafi in this duet in these days of Lata – Rafi tiff over royalty issue. Incidentally, it was Jaikishan who played the role of mediator to solve the difference.

Aside trivia: Madhubala is her usual naughty jesting self. She ought have trade-marked her these mannerisms. She has already tested these mannerisms in Achhchhaa Ji Main Haari Chalo Maan Jaao (Kala Pani , 1958). And, yes Dev Ananad too seems to be veteran of facing these jests on the screen, having tested at the hands of Kalpana Kartik in Aa Ja Panchhi Akela Hai (Nau Do Gyarahaa, 1957)!

Ab Char Dinon Ki Chutti Hai – Aas Ka Panchi (1961) – Mohammad Rafi, chorus

Shankar Jaikishan have used Subir Sen and Mukesh also as Rajendra Kumar’s playback in Aas Ka Panchhi. This is the only song they have brought in Mohammad Rafi, and with what a telling effect….

We will continue our journey of Shankar Jaikishan’s songs in Hasarat Jaipuri’s lyrics in our future episodes.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2020

Shailendra with S N Tripathi, Anil Biswas and C Ramchandra

Shailendra – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966)’s association – and for that matter of that of Hasrat Jaipuri, too) with Shankar – Jaikishan is so strong that almost 30 to 40 % of his work with other music directors largely remains unnoticed, except for some of his exceptionally well-known films with S D Burman or Salil Chowdhury. Quantitatively, Shailendra’s songs with other music directors may have around 30-40% of Shailendra’s work, but qualitatively, be it in terms of the range of subjects, or moods, or song-genres, Shailendra’s songs with other music directors remains equally noteworthy.

We have taken up Shailendra’s songs with Other Music Directors on this platform every August , w.e.f. 2017, in the memory of Shailendra’s birthday. Till now we have covered

2017 – Shailendra and “Other” Music Directors

2018 – Shailendra and Roshan

2019 – Shailendra with Hemant Kumar, Ravi and Kalayanji (Anandji)

We have also undertaken a separate series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory in our November episodes.

Presently, we will recall Shailendra’s songs with S N Tripathi, Anil Biswas and C Ramchandra.

With S N (Shri Nath) Tripathi

S N Tripathi and Shailendra have worked for together for five films spread over a decade. Dilli Darbar (1956) was history-period film in which Hasrat Jaipuri was in the company of Shailendra. Ram Hanuman Yudh (1957) is a mythological film, where too Shailendra shared lyricist-writer space with Ramesh Chander Pandey. Sangeet Samrat Tansen (1962) is again a period-biopic. Shailendra was the sole lyricist for the film to write as many as   songs. Incidentally, S N Tripathi has directed this film as well. Shiv Paravati (1952) is again a mythological film. Kunwari (1966) is a social drama, where again Shailendra had 7 songs and B D Mishra had 2 songs.

Mehfil Mein Kaisi Chaam Chaam….Kiska Hai Ye Tarana – Dilli Darbar (1956) – Lata Mangeshkar

Somehow the song sounds much closer to Shanker Jaikshan style. That may be because the song is based on Arabian dance song composition.

Balma O Balma Chanda Hamare … Taras Gayi Akhiyan Daras Ko Tihare – Ram Hanuman Yudh (1957) – Lata Mangeshkar

Shailendra pens feelings of pathos in the heart of the protagonist who is yearning to meet her beloved. S N Tripathi has used strains of shehnai in the interlude and short pieces of flute in countermelody to reflect the mood of the lyrics.

Suna Tu Man KI Bin Par… Ye Ansu Ki Ragini – Ram Hanuman Yudh (1957) – Lata Mangeshkar

We have here a fast beat song that is steeped in deep pathos. Shailendra has used very pure Hindi in his composition.

Toot Gayi Toot Gayi Mere Man Ki Beena  – Sangeet Samrat Tansen (1962) – Poorna Seth, Pandarinath Kolhapure

Shailendra and SN Tripathi has weaved n two contrasting moods in one song.

Kantadha Kantadha Kantdha – Sangeet Samrat Tansen (1962) – Manna Dey

S Ntripathi has conjured up a difficult dance tune. One simply wonders how Shailendra would have fitted in the lyrics in such a dance form –

e.g.

Tanan Tanan Tan Tang Naar Dil Ko,

or

Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar

The second line being repeated is by an unidentified female voice.

Dirna Ho Dirna Tana Dir Dirna…. More Laage Re Kisi Se Naina – Shiv Parvati (1962) – Geeta Dutt, Asha Bhosle

This is only song by Shailendra in the film. Sarasawti Kumar Dipak also had one song. All other 9 songs were written by Prem Dhawan

Kehta Hai Mera Dil Ki Sanam Ke Tum Bhi Kahoge – Kunwari (1966) – Mukesh, Asha Bhosle

We have here a duet wherein the lovebirds express their love for each other. Shailendra uses simple metaphors like – Indrani Mukherejee saying that one look at you told me who you will be in my life, to which Ravindra Kapoor acknowledges that even though this was new tune on their flute.

Dhaani Chunari Meri Dhani Dhani Ho Chundari Meri  – Kunwari (1966) – Mahendra Kapoor, Meenu Puroshattam, Chorus

The song, and the lyrics, basically are set to a rural folk song style. Of course, Indarni Mukherjee and Ravindra Kapoor easily seem to be able to relate their own feelings with the words of the song.

With Anil Biswas

Shailendra teamed up with Anil Biswas for the last two films in the latter’s career. Sautela Bhai (1962) was film based on Bengali locale of Saratchandra’s story, Baikunther Will (1920). Chhoti Chhoti Baatein (1965) – the first and the last directorial and production venture of Motilal – was based on an extremely sensitive subject of friendly relationship between two grown up people, form opposite sexes, outside their own families.

Maiya Maiya….. Bole Baal Kanhaiya, Chalat Chalt Pag Dukhan Aaye, Ab To Ghodi Utha Le Maiya – Sautela Bhai (1962) – Pankaj Mitra, Meena Kapoor

As the newly married bride steps in to her ‘new’ home, an infant form the earlier marriage of the bride-groom(!) awaits her. She takes him up in her care. The song is composed in Bengali folk Baul style and uses Krishna and Yashoda, who is the mother who brings him up as his own son.

Bhai Bhai Ka Nata Dekho Re Logo Bhai Bhai Ka Naata  – Sautela Bhai(1962) – Manna Dey, Anil Biswas, Pankaj Mitra

This is song played in a rural drama in the film. The song runs around the story of Ram and Bharat, the stepbrothers, in Ramayana. The main family of the story is there to watch the drama.  Shailendra has constructed the entire sequence in his poem.

Phul Ban Bagiya Khili Kali Kali Aai Dekho Ritu Albeli – Sautela Bhai (1962) – Manna Dey, Meena Kapoor

A precisely orchestrated, public dance song that is now an almost home play for Manna Dey. Meena Kapoor easily complements Manna Dey in the song. Anil Biswas has very creatively a folk tune from the Eastern States. Shailendra had had, perhaps, a difficult task to set lyrics to this predominantly rhythm-oriented song.

Zindagi Khwab Hai Tha Hamein Pata, Par Hamein Zindagi Se Bahut Pyar Tha – Chhoto Chhoti Batein (1965) – Mukesh

This is all the way a Shailendra song where he weaves in the philosophy of life., right from the word go. In the retrospect, we have generally observed that, in his last few years, Shailendra’s such philosophical songs have foreseen the future events. ‘Alvida’ (Farewell for ever) in this song did turn out to be the farewell by Motilal from this world, by the time the film was completed.

Andhi Hai Duniya Matlab Ki Duniya, Dil Ka Kare Na Koi Mol Pyare – Chhoti Chhoti Batein (1965) = Manna Dey

Anil Biswas, Shailendra and Manna Dey are at their individual and collective best in the song.

With C Ramchandra

Shailendra’s association with C Ramchandra in Chhatrapati Shivaji (1952) was on the exclusive basis whereas that for Anarkali was for only two songs.

Desh Ki Dharti Ne Pukara Gunja Azadi Ka Naara – Chhatrapati Shivaji (1952) – Chitalker, chorus

We have here a marching song. One would wonder how would a song like this would have remained sidetracked even in the periods of when the nation had seen the sea of patriotism at its full tide in the periods of 1962 or 1965 or 1971 wars !

Mujhpe Bhi Reham Mere Maherban Kijiye – – Chhatrapati Shivaji (1952) – Rangnath Jadhav, chorus

In a film on the subject of Chhatrapati Shivaji, a qawwali has also been squeezed in !

I have not been able to locate any information on Raghunath Yadav

Aaja Ab To Aaja Mere Kismat Ke Kharidar Ab To Aaja – Anarkali (1953) – Lata Mangeshkar

Shailendra has freely used Farsi words aa can be expected in those days.

Dua Kar Gam-E-Dil Dua Kar, Wafaon Majboor Daman Beechha Kar Khuda Se Dua Kar – Anarkali (1953) – Lata Mangeshkar

Shailendra is at his simple best in the song.

Examples:

jo bijli chamakti hai unke mahal par
wo kar le tasalli, meraa ghar jalaa kar

… …. …. ….

salaamat rahe tu, meri jaan jaaye
mujhe is bahaane se hi maut aaye
karoongi main kyaa chand saansen bachaa kar

… …. …. ….

main kyaa doon tujhe meraa sab lut chukaa hai
duaa ke siwaa mere paas aur kyaa hai

… …… ……… …  … 

magar meri tujhse yahi iltijaa hai
na dil todnaa dil ki duniyaa basaa kar

C Ramchaandra, of course, is at his melodious best in both songs, as he was will all other songs of Anarkali.

In order to traditionally end our post with Mohammad Rafi song, we will have to track back to Sangeet Samrat Tansen (1962) –

Sudh Beesar Gayi Aaj Apne Gunan Ki…Aa Hi Gayi Baat Beete Dinan Ki – Mohammad Rafi, Manna Dey

Manna Dey and Mohammad Rafi so seamlessly complement each other in the song.

Our journey of Shailendra’s songs for Other Music Director continues….

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

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