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

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

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

Till now,

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

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

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

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

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

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

Laila Majnu (1976)

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

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

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

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

We will take a closer look at two other songs –

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

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

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

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

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

Aalap (1977)

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

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

Chand Akela Jaye Re Sakhi …. – Yesudas

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

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

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

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

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

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

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

Ho Rama Dar Lage Apni Umariya Se – Asrani

Binati Sun Le Tanik Natkhat Gori Binati Sun Le – Asrani

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

Gharaonda (1977)

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

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

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

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

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

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

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

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

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

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

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

Disclaimer: All images are sourced from net and video clips from You Tube. All copyrights of the respective image remain with the original owner of the image/ video.

Fading Memories…. Unforgettable Songs : December 2022

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

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

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

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

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

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

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

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

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

The other two Rafi- Lata duets were:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

https://youtu.be/Yma4vmzDVzM

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

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

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

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

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

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


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

Fading Memories…. Unforgettable Songs: November 2022

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

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

rafi_recording shown to user

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

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

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

1958 to 1960 in 2021

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

Char Diwari (1961)

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

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

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

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

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

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

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

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Fading Memories…. Unforgettable Songs: October 2022

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

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

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

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

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

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

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

1955 and 1956 (Part I) in 2021

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

Chori Chori (1956)

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

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

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

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

https://youtu.be/0S8YH8gPbwE

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

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

New Delhi (1956)

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

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

Zindagi Bahar Hai Mohabbat Ki Bahar Hai – Lata Mangeshkar

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

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

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

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

then listening to the Shankar (Jaikishan) composition.

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

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

Rajhath(1956)

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

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

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

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

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

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

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

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

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

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

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

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

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

Fading Memories…. Unforgettable Songs: September 2022

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

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

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

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

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

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

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

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

1963

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

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

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

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

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

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

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

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

Aside Trivia:

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

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

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

Aside Trivia:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fading Memories…. Unforgettable Songs : August 2022

Shailendra’s Songs Composed by Kishore Kumar

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

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

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

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

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

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

Door Gagan Ki Chaon Mein (1964): –

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

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

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

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

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

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

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

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

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

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

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

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

Hum Do Daku (1967)

Hum Do Daku is a comedy film

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

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

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

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

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

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

Door Ka Rahi (1971): –

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

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

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

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

Kishore Kumar has used Bengali folk tune to telling effect.

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

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

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

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

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

Fading Memories…. Unforgettable Songs : July 2022

Mohammad Rafi’s First Duet Song With The Music Director

Second Five-Year Period: 1949 -1953

Many historians of Hindi Film Music consider the year 1949 as the transition year when HFM can be positively seen to be entering era of Golden Period, with Lata Mangeshkar and Mohammad Rafi, the two major singers of Golden Era, occupying the undisputed center stage. One indicator which perhaps validates this hypothesis is presence of more and more music directors who remained active during the Golden period in so far as the duets of Mohammad Rafi during the presently under consideration 5-year period of 1949 to 1953.

To commemorate the birth and death anniversaries of Mohamad Rafi, we have commenced a series on Mohammad Rafi’s first duet with a music director.  Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Presently we will take up the 2nd Five-Year Period of 1949 to 1953.

1949

The year has Mohammad Rafi’s duets, almost, in the proportion of 2: 1 as compared the solos. Even with the Mohammad Rafi duets with two music directors for the year 1949 not available for these two music directors, we have been able to cover 14 music directors in 1949!

As such, we will cover the year 1949 in two parts, to be able to relish the songs thoroughly.

[1]

Naushad had composed first two duets for Mohammad Rafi in 1944 for the film Pahele Aap. Both were Male-Male duets. Naushad has since then deployed Mohaamad Rafi for the male-female duet only during 1949.  Even then, in the year 1949, for Andaz, Mohammad Rafi still was not the playback voice for major lead, Dilip Kumar, of the triangle Raj Kapoor and Nargis. However, the film did have two duets wherein Rafi plays back for Raj Kapoor. Of the two Yun To Apas Mein Bigadate Hain Khafa Hote Hain is a light composition, and is retained in the film

Sun To Dil Ka Afsana – Andaz – with Lata Mangeshkar – Naushad – Majarooh Sultanpuri

This song was finally not included in the film

Naushad had two more films in 1949 Chadani Raat and Dulari. Chandani Raat had three Rafi-Shamshad Begum duets – Chhin Ke Dil KyuN Pher Li Aankhein, Kaise Baje Dil Ki Sitar and Khabar Kya Thi Ki Gham Khana Padega whereas Dulari has two Rafi -Lata duets Mil Mil Ke Gayenge Do Dil Yahaan and Raat Rangili Mast Nazare Geet Sunaye Chand Sitare. The first two duets of Chandani Rat and both the Dulari duets had become quite popular.

Husnlal Bhagatram had as many as five duets and five triads for Rafi 1949 over. Of these we have picked up one duet with Suraiya, and one triad with Lata Mangeshkar and Geeta Dutt, so that we get as many duets  / duets+ songs different the co-singers.

Aataa Hai Zindgi Mein Bhala Pyar Kis Tarha – Baalam – with Suraiya – Lyrics: Qamar Jalalabadi

I had not heard this song before, but once I did, I liked it even though it has many strapping of vintage era. Of course, Rafi sounds his normal – what we get to hear in the 50s and Suraiya is, as always, so sweet to listen to.

Husnlal Bhagatram have two more duets with Suraiya, for the film Naach – Ae Ishq Hamein Barbad Na Kar (Lyrics: Sharshar Sailani) and Chhaya Sama Suhana (Lyrics: Kaif Irfani).

‘Jaltarang’ had one duet with Lata Mangeshkar – Zara Tumne Dekha To Pyar Ho Gaya (Lyrics: Kaif Irfani) and one with Shamshad Begum – Musafir Sada Geet Gaye Chala Chal (Lyrics: Sudarshan Faakir)

And now triads:

Lab Pe Fariyad Hai Dil Barbad Hai – Naach – with Lata Mangeshkar, Geeta Dutt – Lyrics: Mulk Raj Bhakri

It may not be inaccurate to assume that the dancing singers may be performing a street dance, because in (only) Hindi films these people can so accurately read the thought of the protagonist’s mind and put them in words on his /her behalf. The hero sems to perform the soliloquy of spelling out his mind, perhaps on the push by the force of the line these dancers sing. Even as hero is in pensive mood and the two female actresses sing in a very energetic mood, the song was well received in those days. Rafi goes in hyper-drive tone at the end!

It would be interesting to see the way the song would have been filmed.

Two other triads in the film were Kyun Karata Maan Jawani Ka (with Lata and Geeta Dutt; Lyrics: Mulk Raj Bhakri) and Namaste Ji Namaste Ji Hamara Tumhara Jeevan Beete Hansate (with Shamshad Begum and Zohrabai Ambalewali; Lyrics: Nazim Panipati).

For the songs of Hamari Manzil, HFGK mentions Geeta Dutt and Mohammad Rafi and chorus as singers for Badla Hua Duniya Mein Ulfat Ka Zamana Hai, Woh Aur Zamana Tha Ye Aur Zamana Hai and Geeta Dutt, Mohammad Rafi and other voice for Andhere Se Na Dar Kaante Banegi KaliyaN, but both these songs have S D Batish as third singer.

Shyam Sundar is widely credited with offering Mohammad Rafi his first ever song, a triad, in the Hindi films, that for Gaon Ki Gori (1945). Presently we have Shyam Sundar composing two duets for Rafi, both with Lata Mangeshkar, a triad – Chhalla De Ja Nishani Teri Meharbani (with Shamshad Begum and Satish Batra: Lyrics Qamar Jalalabadi) for Bazaar.

Ae Mohabbat Unse Milne Ka Bahana Ban Gaya – Bazar – Lyrics: Qamar Jalabadi

This as well as the other duet Apni Nazar Se Door Woh should rank among the finest duets by Rafi and Lata.

Haaye Yeh Bholi Suratwale – Chaar Din – with S D Batish, Iqbal, Rajkumari, Lata Mangeskar, Johrabai Ambalewali – Lyrics: Shakeel Badayuni

This hexad is essentially composed in qawwali style.

Hanuman Prasad is also well-known music director vintage era.

Jale Jalaane Wale Humko Jaise Mombatti – Chilman – with Mukesh – Lyrics: P L Santoshi

Two friends merrily laugh away the world’s critical view of their carefree way of living.

What a coincidence! 1949 has one more Mohammad Rafi, Mukesh duet

Snehal Bhatkar is the music director who has composed that Mohammad Rafi – Mukesh duet.

Baat To Kuchh Bhi Nahin Dil Hai Ki Bhar Aaya Hai – Thes – with Mukesh – Lyrics: Kedar Sharma

Mukesh is assigned the pathos part of the song and Rafi with the role of counseling him!

We will take up the rest of 1949’s Mohammad Rafi’s First Duet Song with eight other Music Directors in our December 2022 episode.

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

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

Fading Memories…. Unforgettable Songs : June 2022

Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam

Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) is that notable name that remains etched in the history of Hindi Film Music as ‘an unsung composer’. Whether Dattaram’s continuing as SJ’s assistant was a tactical error, or whether he could not create his own ‘musical identity’ or was so modest that he would unhesitatingly respond to the calls by other music directors to play dholak and such theories that postulate the reason(s) for such a fate remain inconclusive. However, as we listen to his compositions of the years when the work came to him in bits and pieces, Dattaram’s music comes out as fresh as it was when he stepped out as independent music director.

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 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

1965 in 2021

Dattaram did not seem to have any film in 1966 and 1967.  He had one film Farishta in 1968 and two films, Baalak and Beqasoor in 1969.We will listen to the songs from these three films in the present episode.

Farishta (1968)

Dattaram teams up with Asad Bhopali, a highly respected lyricist, for the film.

Duniya Ek Jhamela Hai …. …. … , O Diwane Humse Mil Aa Mila Le Dil Se Dil – Asha Bhosle

In line with the thriller film formula, whenever something exciting is going to happen, a club song pops in. Dattaram takes up the cue and sets the tone with guitar-based dance tune.

Dekhi Teri Duniyaa Arre Dekhe Tere Kaam – Mukesh

The song situation is framed as a street song, where the song being rendered by the performer fits the state of mind of the lead actor. The song is meant to convey sorrowful pensive mood and that seems to have led Dattaram to choose Mukesh as the playback singer.

Ek Khoobsurat Ladki Meri Nayi Mulaqati – Kishore Kumar, Asha Bhosle

Dattaram seems to finally awake to the reality of using Kishore Kumar for a mischievous song.

Does it not sound very prophetic, just a year before Kishore Kumar was to sweep the market with his Aaradhana numbers!

Bhaiyya Mere Pyaare Raakhi Bandhaao Bhaiyya – Asha Bhosle

Dattaram comes with a very original, fresh, dance tune for a traditional ‘rakhi’ situation

Rut Badli More Rasiya Mile, Rasiya Mile Ji Man Basiya Mile – Asha Bhosle

Dattaram creates a very playful tune for song that reflects the happy mood of the protagonist.

Baalak (1969)

Baalak was film based on an idealist story, but hardly made any impact on the box office. The songs for the film are penned by Bharat Vyas.

Sun Le Bapu Yeh Paigam, Meree Chitthi Tere Naam – Suman Kalyanpur

As I listen to the song, I recall that this child song was heard quite often on radio those days. That in turn goes on to show that Dattaram had not lost his touch after a good decade of his stupendous entery with the Ab Dilli Door Nahi numbers.

Bhagwan Ki Dekho Bhul Bichad Gaya Dali Se  Ek Phul – Mohammad Rafi

As generally is the case with the background songs, this song also encapsulates the essence of the story of the film. Dattaram easily turns back to Mohammad Rafi for the playback.

Chandaniya….. Chandaniya Hai Raat Sajan Rahiyo Ke Jayiyo – Asha Bhosle

Dattaram seems to have fallen back on Shankar’s style of orchestration for this mujra song

Mera Naam Hai Mehmud Rahta Har Jagah Maujud – Shanti Mathur

Dattaram’s adroitness in selecting the playback singers is reflected in the selection of Nanha Munna Rahi Hun (Son of India, 1962) fame Shanti Mathur as playback for the song.

Beqasoor (1969)

The film, which appears to a Hindi-film-formula, B grade, stunt film, had four songs, all written by Farooq Kaiser.

O Sanam Mera Saath Dena Pyar Ki Raah Mein – Suman Kalyanpur, Mohammad Rafi

Dattaram composes a playful romantic mood duet.

Rukhsana…… Haye Rukhsana .. Dekhoji Mere Pichhe Mat Aana – Asha Bhosle, Mohammad Rafi

Here is another very playful song with Mohammad Rafi and Asha Bhosle at their best ‘harakatein’ moods.

Naam Gulabi Hai Mera – Asha Bhosle

Dattaram creates a catchy ‘club’ song that comes up as a very appealing, overall, construction,.

Mohabbat Se Keh Do (Asha Bhosle) is the song for which I could not trace digital link on the net.

On that note, we reach the last leg of Dattaram’s career as independent director, with two of his last films, in the next, the last in the present series, episode.

Fading Memories…. Unforgettable Songs : May 2022

Manna Dey – Chale Ja Rahein Hai…. – 1956

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) was trained for wrestling during his childhood. However, he could struggle free from that cocoon to metamorphose into a singer. Having been brought up in the atmosphere of music, he was also trained hard in the classical singing genre. However, if one looks back at his early career in Hindi films, one may wonder whether he was indeed caught into the clutches of hardened cased die of typecasting that Hindi film industry was so strongly adept at. However, his initial training as a fighter, did help him to experiment with every possible genre that film industry would offer and establish his unique position therein. Music directors like Anil Biswas and S D Burman firmly believed that Manna Dey could sing any song that any of his contemporary singer can sing, but none of these singers can sing a song that Manna Dey could sing with technical virtuosity.

By the turn of decade of 40s, Manna Dey has started making foothold into romantic song, which was further cemented by the songs that Shankar Jaikishan offered him in 1951 and 1953. As such, Manna Dey’s popular romantic, classical, devotional, comedy, western or qawwali songs have now been etched into the minds of every fan of Hindi Film music. But Manna Dey’s songs that unfortunately could not get ‘popularity’ also have the spirit of life and a sense of timeliness. It is that universality that we want to refresh in our present series Chale Ja Rahen Hai by specifically choosing the so-called less popular, less-heard songs.

Till now, we have covered Manna Dey’s less popular, less-heard songs for the years

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

1956 had some of the Manna Dey’s career-best  romantic songs –  Jaa Tose NahiN BoluN Kanhaiya  (Parivar, with Lata Mangeshkar; Lyrics: Shailendra – Music :Salil Chowdhury), Chaley Sipahi Dhul Udate Kahaan Kidhar Koi Kya Jaane ( Rajhath – Lyrics: Shailendra – Music: Shankar Jaikishan), Nain Miley Chain KahaaN (Basant Bahar- Lyrics: Shailendra – Music – Shankar Jaikishan) ; all-time best background song like Nirbal Se Ladai Balwan Ki (Toofan Aur Diya- Lyrics: Bharat Vyas – Music: Vasant Desai) or classical raag-based Bhay Bhanajana Vandana Sun Hamari and Sur Na Saje Kya GauN Main and Ketaki Gulab Juhi (all from Basant Bahar, the last one with Bhimsen Joshi- Lyrics: Shailendra – Music- Shankar Jaikishan).

Presently we will take up Manna Dey’s less heard songs for the year 1956.

Jodi Mile Na Mile Shaadi Rachaye Chale – Gauri Pooja – Lyrics: G S Nepali – Music: Manna Dey

Manna Dey has so soulfully composed and rendered the bride farewell song.

In those days. The bride had to accept the groom and subsequent life that fate had forced on her.

Kah Do Ji Kah Do Chhupao Na Pyar, Kabhi Kabhi Aati Hai Zumati Bahaar – Kismat Ka Khel – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Shankar Jaikishan’s marked preference for Manna Dey can be seen in the form his selection for the male playback.

The song is a signature romantic tune that Shankar Jaikishan used to compose those days – full of vivre and feelings as well as so pleasing to the ears.

Ek Din Tera Bhi Savera Aayega – Sati Anasuya – Lyrics: Bharat Vyas – Music: Shivram Krishna

Here we have one more typical background song, deployed as an inspirational song to the protagonist in deep trouble.

Wo Dekho Udhar Chand Nikla Gagan Mein, Idhar Aa Gayi Chandani Muskarati – Roop Kumari -with Geeta Dutt – Lyrics: B D Misra – Music: S N Tripathi

S N Tripathi is was also a very talented and versatile music director who had to be satisfied with B and C Grade mythological / historical films. The present song is testimony of S N Tripathi’s talent.
The song is so pleasant a romantic duet,

Aside Trivia: Knowledgeable YT follower has mentioned in a comment to this video clip that S N Tripathi has used this tune again for Nigahon Mein Tum Ho – Jadoo Nagari – Lata Mangeshkar – Lyrics: Hasrat Jaipuri.

Khel Khiladi Jis Sey Na Khel Apni Jaan Se – Badshah Salamat – Lyrics: Vinay Kumar – Music: Bulo C Rani

The lyrics of the song indicate that this ought to be ‘fakir’ genre song. Manna Dey is well adapted for such songs.

Chhod Bhi De Aakasah Singhasan, Phir Dharati Par Aa Ja Re – 26 January – with Asha Bhosle and chorus – Lyrics: Rajendra Krishna – Music C Ramchandra

The lyrics clearly tell us that this an ‘inspirational’ – devotional genre song, but I do not have any more information on the song.

Aaj Ki Baatein Raja Bhool Mat Jaiyyo Ji…Hum To Nahin Bhoole Tum Na Bhool Jaiyyo Ji – Dhola Maru – with Asha Bhosle – Lyrics: Bharat Vyas – Music: S K Pal

Asha Bhosle and Manna Dey render a seemingly simple, romantic, song so intimately.

Bahta PaanI Bahta Jaay Raah Take Na Teri, Aeji Samay Ka Haal Hai Na Kar Der Ghaneri – Dhake Ki Malmal – with Asha Bhosle and Kishore Kumar – Lyrics: D N Madhok – Music: Robin Banerjee

This is the only song composed by Robin Banerjee, whereas all other songs are composed by O P Nayyar.

Robin Banerjee comes up with a Bengali folk tune set and has composed the song to varying pace.

Mudkar Bhi Na Dekh Suhaagan MahloN Ki Ye Shaan, IS Duniya Mein Ab Tera Bas Pati Hi Bhagwan…..Udhar Chali Ja Janaki Jidhar Chale Tere Ram – Devta – Lyrics: Rajendra Krishna – Music: C Ramchandra

This is a background song, advising the protagonist to accept the husband that fate has chosen for her.

Many a times, our (Hindi) films have such highly contrived situations, which have to be made palatable by the team of lyricist, music director and the singer.

Apart from these, the sites https://mannadey.weebly.com/ and http://www.mannadey.in/  also mention songs from films like Lal-e-Yaman, Kar Bhala, Jungle Queen, Indraleela,  Grand Hotel, Zarina, Sudarshan Chakra, Scout Camp, Sati Nagkanya, Rajraani Meera, Ayodhyapati, Anurag and Dayar-e-Habib. However, several other authoritative sites either do not mention existence of Manna Dey songs from these films or do not have a digital version of the song. That does tell us what we have missed quantitatively but does not indicate what we have missed qualitatively.

On that note, we rest our episode here, to continue with our explorative journey of Manna Dey’s less heard songs………………

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.

However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.

If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name

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

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani),  Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and  Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.

An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.

Music Director: Khayyam

Bambai Ki Billi

This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.

Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!

Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt

This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.

Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.

Baarood

Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.

Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein….  Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara  – Mohammad Rafi

A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.

Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar

This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.

Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar

For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.

Music Director: Dattaram

Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.

Kala Aadmi

Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur

Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.

Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge  – Mohamamd Rafi

To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.

If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.

Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar

We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.

Music Director: O P Nayyar

Kalpana

Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.

The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi  Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.

O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle

The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!

Music Director: Sardar Malik

Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.

Mera Ghar Mere Bacche

There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.

The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.

Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur

We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.

Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle

No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.

Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai …..  – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal

Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.

Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle

Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!

Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh

We have a here a good-to-listen, but difficult-to-hum pathos mood composition.

As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.