Fading Memories…. Unforgettable Songs : July, 2018

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

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

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

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

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

1954

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This also seems to be a background song.

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

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

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

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

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

We have one more background song…

1955

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Fading Memories…. Unforgettable Songs: June, 2018

Dattaram – Ab Dilli Door Nahin??

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here Dattaram has deftly experimented with street song .

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

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

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

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

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

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

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

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

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

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

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

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

Fading Memories…. Unforgettable Songs: May, 2018

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hamane Maana Ki Ham Hai

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

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

Fading Memories…. Unforgettable Songs: April, 2018

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1953 – 1955

Hasrat Jaipuri (15 April, 1922 – 17 September, 1999) kept his literary soul alive by attending the poetry concerts even when he bodily served as a bus conductor in his early Bomaby days.  Similarly he maintained a live contact with Urdu poetry even when the burden of earning his family’s daily bread kept him tied up writing the lyrics for Hindi Films.

With around 350 films and 2000 recorded songs, Hasrat Jaipuri’s last releases were Saazish with Jatin-Lalit and Sher Khan (with Bappi Lahiri) in the penultimate year of his life. At the time of his death he was working on a few small films and a book of shaayari. “I never discriminated between small and big films and composers. I have the biggest list of music directors among any lyricist – from SJ and Sajjad down to Anand-Milind, Nadeem-Shravan and Jatin-Lalit,” says the man who was master of romance even amidst his versatility.

Hasrat Jaipuri is invariably remembered for his songs composed by Shanker-Jaikishan. But the hard core fans of Hasrat Jaipuri do treasure his songs composed by ‘other’ music directors as well. In April, 2017 we had put together some of his less-remembered songs composed by ‘other’ music directors, starting from the beginning of his career in 1949 till the most remarkable two-some songs of Anarkali in 1953.

Presently, we continue with Hasrat Jaipuri’s some more songs composed by ‘other’ music directors in 1953 till 1955.

Aaye The Thodi Der Ko Betaab Kar Gaye – Khoj(1953) – Ashima Banerjee – Music: Nisar Bazmi

The film had Raja Mahendi Ali Khan’s 4 and Anjum Pilibhiti’s 1song against two by Hasrat Jaipuri. His song, in Jagjit Kaur’s voice – Mera Chanda Mein Teri Chandni – does not seem to be available on net.

Nissar Bazmi is remembered for Chanda Ka Dil Toot Gaya Hai (Mohammad Rafi) from this very film. He then migrated to Pakistan, where he created Ranjish Hi Sahi Dil Ko Dukhane Ke Liye Aa, in Mahendi Hasan’s voice, for ‘Mohabbat’ (1968).

Aa Jaane Bahar Aaja – Paapi(1953) – Asha Bhosle – Music: S.Mohinder

The film had Surjeet Singh Sethi, Rajinder Krishna, Butaram Sharma, Sharshar Sailani having 1 song each, whereas Raja Mahendi Ali Khan and Hasrat Jaipuri had 2 each.

Incidentally, the use of Dholak for rhythm of the tune seems to resemble Shanker-Jaikishan’s style.

Aa Jaao Mere Pyare Arma Tujhko Pukare Dil Dhundh Raha Hai Tujhko, Hum Pyar Ke Hai Mare Hum Pyar Ke Hai Mare – Hamlet (1954)- Asha Bhosle – Music: Ramesh Naidu

The song does seem to have a little difficult tune, but the lyrics maintain the simplicity, creating a very soft, expectant atmosphere while awaiting the arrival the beloved.

Jaoon Mein Kahan Data Jo Apanaa Kaam Hai Vah Kiye Jaa Rahi Hun Main, Ab Tere Dar Ki Khaaq Liye Jaa Rahi Hun Main – Pipli Saheb (1954) – Lata Mangeshkar  – Music: Sardul Kwatra

The film has two songs by Shailendra, 1 by Verma Malik and 6 by Hasrat Jaipuri.The present song is a classic pathos song.

Aaye Toh Kaise Aaye, Majbur Kar Diya Hai
Duniya Ne Do Dilo Ko, Phir Dur Kar Diya Hai

Mil Jaye Tumse Aake, Sahara Nahi Koi – Sangam(1954) – Geeta Dutt, Talat Mahmood – Music: Ram Ganguly

I have chosen this duet over its rather more popular one – Raat Hai Armaan Bhari – simply to highlight the prelude couplet, In Geeta Dutt’s mellifluous voice that does remain a distinguishing feature of Hasraj Jaipuri’s songs.

Mara Re Mara Re Aanke Katar Dekha Mera War, Tera Dil Kiya Hai Para Para -Aab-E-Haayat(1955) (Music: Sardar Malik)

The film had 1 song each by Raja Mahendi Ali Khan and Kaif Irani, 2 by Qamar Jalalabadi and 6 by Hasrat Jaipuri

This is a (the then) club genre song that sets the tone of mid-east Arabian culture. These songs always had lyrics that carried a subtle message to the Hero.

Mohabbat Bane Hai Vo Din Suhane, Ghadiyan Milan Ki Dil Ke Tarane – Aaj Ki Baat(1955) – Talat Mahmood –  Music: Snehal Bhatkar

Hasrat Jaipuri has once again collaborated with Raj Baldev Raj and Kaifi Irani (3 songs each).

The song has Talat Mahmood at his soft peak, that seems to have been facilitated by Hasrat Jaipuri’s simple lyrics, which continue to retain the poetic charm, well complemented with soft orchestrarion.

Jhanak Jhanak Paayal Baaje – Jhanak-Jhanak Paayal Baaje(1955)  – Ustad Aamir Khan, chorus – Music: Vasant Desai

It must have been quite a challenge to pen lyrics for a song that appears in the credit titles of the film, and yet  must measure up to status of a classical singer of Ustad Amir Khan Saheb’s class.

Raag Malika – Jhanak-Jhanak Paayal Baaje(1955)  – Manna Dey, Lata Mangeshkar –  Music: Vasant Desai

Jhanak Jahank Payal Baje was a pure art film, in which songs had to support the dances, filmed on highly artistic sets.

I have picked up this song as one more example of Hasrat Jaipuri’s ease to pen lyrics for a song that runs different classical raags.

Hasart Jaipuri had written one song – Raat Aayi Hai Javan (Singers: Mohammad Rafi, Shamshad Begum) under the baton of Bipin Babul for ‘Shahi Mehmaan’ (1955) (Music: Bipin-Babul), which unfortunately does not seem to available on YT. One can find some other songs from this film on YT. If the song would have been on YT, it would have made an ideal end to the present episode.

Since we do end each of our episode with a song by Mohammad Rafi, I would go back to Pipli Saheb (1954) for this song –

Lo Aaye Jhoomti Pilpili Are Chal Dhal Hai Gilgili – with Lata Mangeshkar

Hasrat Jaipuri has very deftly rhymed seemingly nonsensical lyrics (Pilpilli – Gilgilli) and weaved the title of the film in the song, while still making the song retain its natural playfulness.

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

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

Fading Memories…. Unforgettable Songs: March, 2018

S N Tripathi: Unremembered music director of remembered songs:: 1951 – 1956

Many of the 50s-60s generation fans of Hindi Film Music would agree with me that S N Tripathi (14 March, 1913 – 28 March, 1988) is not all that unremembered music director as the title suggests. The fact that, in his fairly eventful career, he composed songs for over 250 films, acted in around 200 films, wrote screenplays for 37 films and directed 39 films as well. His being remembered as music director of B/C grade mythological / historical films may also be statistically correct. What is perhaps not being remembered is that the quality of the music that he always presented never was governed by the (so-called) classification of the film. He did extract the best from the singers, whatever may the budget or the story of the film.  In fact many of his most remembered songs were from these class of films only.

It is also true that there are more songs that have slipped back into the memory of his fans then the ones that re universally remembered now. So, we try to bring up those unremembered songs on one page.

We had covered some songs from 1941 to1950 in our March, 2017 issue. Presently, we will cover his films from 1951 to 1956. We have aimed to cast our net as wide as possible in so far as the range of playback singers in selecting the songs from the films of this period.

Kyun Rooth Gaye Mujhse – Hanuman Paataal Vijay (1951) – Geeta Dutt, – Lyrics-Anjum Jaipuri (to the best available records)

The song easily establishes S N Tripathi’s handling of nuances of various playback singers so well.

BTW, this is the films which would take credit for S N Tripathi playing Hanuman for the first time.

Aaj Achanak Jaag Uthe Kyu In Hotho Par Geet,
Shayad Man Me Jaag Uthi Hai Chanachal Pankh Aur Preet,
Kaise Jaan Gayi Ye Akhiyan Sharmane Ki Reet,
Dheere Dheere Gori Tera Bachpan Raha Hai Beet – Laxmi Narayan  (1951) – Geeta Dutt, Sulochana Kadam, Chorus – Lyrics: B D Mishra

Observe the subtle difference between the singing styles of Geeta Dutt for Meena Kuamri and Sulochana Kadam for her friends. That is the S Ntrpathi’s knack of enlivening the spirit of lyrics of the song. The song has Meena Kumari truly on the threshold of adolescent-youth gateway..

Hai Mera Naam Ramzani – Alibaba Aur Jadui Chirag (1952) – Chitragupta, Shamshad Begum – Lyrics: Shyam Hindi

S N Tripathi seems to have done a large number of ‘Alibaba’ genre films, as did his the then assistant in ‘Sindbad’ series of films.

Chhaai Birhaa Ki Raat Moraa Tadpe Jiyaa, Mose Ruthe Piyaa Koi Man Kaa Sahara Nahi – Nav Durga (1953) – Geeta Dutt – Lyrics: Anjum Jaipuri (To the best available records).

This one can be easily classified as well-remembered song, once you hear the song,

Dekhoji Chand Nikla Picche Khajoor Ke, Basare Ki Hoor Naache Aage Huzoor Ke – Alibaba Aur Chalis Chor (1954) – Asha Bhosle – Lyrics: Raja Mahmedi Ali khan

The songs is all set to recreate the atmosphere of the mid-West Asia era.

Zara Thaharo Mai Haal-e-dil Suna Lun Phir Chale Jana – Inaam (1955) – Suraiya – Lyrics:  Raja Mahendi Ali Khan

The film has one song composed by Sarasvati Devi, with whom S N Tripathi commenced his career in Hindi Film Music world, in 1935.

1956 has as many as 5 films for which S N Tripathi composed music.

Mehfil Me Kaisi Chham Chham, Kiska Hain Ye Tarana, O Bekhabar Tere Siwa Sare Jahan Ne Jana – Dilli Darabar (1956) – Lata Mangeshkar – Lyrics: Shailendra

The songs of the film have been shared between Shailendra and Hasrat Jaipuri. It would be interesting to find out how many times this would have happened if the music direction was other than that of Shanker- Jaikishan!

Nakhre Karti Darti Nakhre Karti Darti Gayi Thi Main Bazaar – Hatimtai (1956) – Mister Sheikh – Lyrics:  Raja Mahendi Ali Khan

The title of the film – “Hatimtai”- may not come to memory of many, but the songs Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar would be a matter of instant recall for most of us.

It is said that Nizam of Hyderabad was so taken in by the prayer Parwardigar-e-Alam that he got that reel re-run 14 times when the film was screened for the first time in Hyderabad.

The song that we have selected presents the locale of film’s story in lighter vein.

Dar Kya Hai Toofaan Ka, Leke Naam Bhagwaan Ka, Daanv Lagaa De Jaan Ka – Panna (1956 ) – Suman Kalyanpur, Mohammad Rafi – Lyrics: B D Mishra

The composition and the orchestration leave no doubt that this is a motivational marching song.

Tere Sang Preet Kiye Bada Dukh Hoye – Rajrani Meera (1956) – Lata Mangeshkar – B D Mishra

Set to same Raag Bhairavi, there is another Meera Bhajan: Jo Tum Choodo Piya which is set to different metre, scale and rhythm in Janak Janak Payal Baaje, Meera and Silsila

Vo Dekho Udhar Chand Nikla Gagan Me, Idhar Aa Gayi Chandni Muskurati, Baharo Ki Rangeen Ye Muskurahat, Dilo Mein Umango Ki Duniya Basati – Roop Kumari (1956) – Manna Dey, Geeta Dutt  –  Lyrics: B D Mishra

S N Tripathi seems to have adopted an altogether different approach for this romantic duet. Listen to the subtle use of waltz rhythm as a base to which the song is set.

To end our episode with a Muhammad Rafi song would not have been difficult because S N Tripathi has used Mohammad Rafi in varying situation in his films. Interestingly, we have a song that is quite unique:

Jab Rup Hi Pyasa Hokar Yu, Cchhup Chhup Ke Pani Peeyega, To Rup Ka Pyasa Jo Hoga Wo Phir Kya Peekar Phir Jeeyega – Ratnamanjari (1955) – Mohammad Rafi – Lyrics: B D MishraAn eve-teasing song that is presented in a serene style!

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

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

Fading Memories…. Unforgettable Songs: February, 2018

Talat Mahmood’s Duet Combinations with Rare Co-singers

For most of the lovers of Hindi Film Music, Talat Mahmood is remembered almost every day through his 800 + songs. So, we need to devise an apt expression to remember him in the month (24th February, 1924) of his birth anniversary.

We have taken up refreshing our memory of some of the duets that seem to be receding from our memory. Last year, when we penned down such duets, we had had a panorama of such duets with a wide spectrum of co-singers. The great bulk of his duets obviously remain with Lata Mangeshkar and Asha Bhosle and to some extent with Geeta Dutt and Shamshad Begum. His duets with other singers like Suraiya, Mubarak Begum or Sudha Malhotra or Madhubala Zaveri are relatively few in numbers. So is the case with his duets with other male co-singers. In some of cases like, Rajkumari, Surinder Kaur, Sulochana Kadam, Meena Kapoor, Nirmala Devi or Amirbai Karanataki the song was only one of its kind.  Talat Mahmood’s duets with other male singers also range from very popular to quite obscure songs. His presence in Triads / Triads + songs also remains noteworthy.

(L to R) Meena Kapoor- Geetadutt- Talat Mahmood-VanShipley

For the present episode we will focus on Talat Mahmood’s duets with co-singers who can be considered as ‘rare’ combinations.

Purwai Pawan Laharaye – Tum Aur Main (1947) – with Syperwa Sarkar – Robin Chaterjee – Zakir Hussain

One can find Talat Mahmood – Superwa Sarkar duets in a couple of more films, till 1949. The music directors of these films are from Bengal. Was this the hangover effect of Talat Mahmood’s Calcutta days?

Dil Mera Tera Diwana – Apni Izzat (1952) – with Madhubala Zaveri – Hansraj Bah – Pt. Phani,

Madhubala Zaveri has around 110 songs, spread over a span of 1951 to 1958, in 55 Hindilms plus 27 Marathi and 3 Gujarati films. Incidentally, her debut song – Tum Kaun Ho Rajkumari Ye Chanda Sa Mukhda Idhar To Karo (Rajput, 1951) in Hindi films was under the baton of Hansraj Behl, a duet with Talat Mahmood. She was just 16 years old at that time.

Ghir Ghir Aaye Badarwa Kaare – Daak Babu (1954) – with Mubarak Begum – Dhaniram – Prem Dhawan

Talat Mahmood – Mubark Begum Duets is a good study in the very contrasting qualities of voice.  Though not ‘many’ in numbers, there are a few very evergreen songs to the credit of this duo, but that is perhaps a subject of an independent post in the future.

BTW, the song would have been portrayed on screen by Talat Mahmood himself as well.

We find two versions of the song on YT. This one has Mubarak Begum accompanying Talat Mahmood.

And this version has Talat Mahmood almost in solo mode.

Jab Yahaan Se Jaaunga Main Aur Kya Le jaaunga – Hatimtai Ki Beti (1955) – with S. Balbir – A R Quereshi – Shewan Rizvi

Talat Mahmood does not have many really joyous boisterous songs to his credit. But, whichever few such songs one gets to listen, he does not dissatisfy his fans.

Ek Bar To Mil Lo Gale Bichchad Hum Chale, Na Koi Fariyad Rahe – Andheri Nagri Chopat Raja (1955) – with Sudha Malhotra – Avinash Vyas – Bharat Vyas

Sudha Malhotra is one of many playback singer stars who got overshadowed by the full-moon glory of Lata Mangeshkar sisters.

Main Hun Alibaba – Char Chand – with Asha Premlata – (Shaukat Dehlvi) Nashaad – A Karim

We find one more of a light-toned, dance song, which may not be very difficult to recall by the core Talat Mahmood fans- even if they do not recollect who his co-singer was.

Tum Pe Quaraban Dil Tum Pe Sadake Nazar – Sakhi Lutera (1959) – with Usha Balsavar – B N Bali – Aziz Ghazi

The ‘rare’ co-singer, ‘rare’ music director, an obscure forgotten film and light-hearted tune would possibly make up an ideal recipe for the delicious dish to get deep into the recesses of the memory.

Mere Shareek-E-Sahar – Wali-E-Azam (1965) – with Hemlata – Chitragupta – Ahmed Wasi

Several indications mention this as possibly the last film song that Talat Mahmood recorded.  It seems that the shoe-string budget of the film has landed the music director and the co-singer with Talat Mahmood’s the then recently found popularity with ‘Jahanara’.

An interesting aside:

The official Talat Mahmood site has a handwritten note which Talat Mahmood had written down on a letterhead of Chitragupta at the time of recording the song.

No article on Talat Mahmood would be complete without mention of his Non-Fim Songs.

Wo Jo Roothhen To Manaana Chaahiye   – NFS(1969) – with Mukesh – Murli Manohar Swaroop  -Jigar Muradabadi/ Mirza Ghalib,

Talat Mahmood and Mukesh have collaborated in several triads / triads + songs in films like Pagle, Biwi Aur Makan, Love and God etc. However, we find their duets only in the NFS domain.

The wholly Talat Mahmood devoted site – talatamahmood.net – has mentioned a few more duets of Talat Mahmood that we would have loved to cover in this episode. Unfortunately, I have not been able to find a soft to link audio link of these songs:

  • Ab Mushkil Ha Phir Se Milana Bhul Jao To Achha Hai – Saaya – with Ashima Banerjee – Ram Ganguli – Verma Malik
  • Auron Ke Liye – Taxi 555 – with an unidentified female singer – Sardar Malik

Talat Mahmood and Mohammad Rafi have several duets – and most of them very popular then and remembered now. So their duets cannot really be listed under ‘rare’ tag. But every rule has an exception. And we have one here, a Talat – Rafi duet, which is relatively less remembered, that helps us to comply with out other tradition of end our episodes with a Mohammad Rafi Song.

Bhar De Jholi Allah Naam – Laila Majnu (1953) – Mohammad Rafi – Ghulam Mohammad – Shakeel Badayuni

The song perhaps epitomizes two distinct phases of Shammi Kapoor’s career. His pre-Tumsa Nahin Dekha phase hadTalat Mahmood was his default playback singer. Here,  the initial part of the songs, mostly by the fakirs on the screen is in the voice of Mohammad Rafi.  When Shammi Kapoor gets to sing the second interlude, it is Talat Mahmood who takes over @ Jaan-e-tamanna jalwa Dikha De…

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

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

Fading Memories…. Unforgettable Songs: January, 2018

Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963

Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) one hand is the only music director of Hindi Films to have been awarded three national awards and on the other hand the fate, machinations and his propensity for blending classical and folk music into his tunes getting him branded as “too arty” eluded the commercial success. In his entire career, he may not have scored songs for more that 30-40 films (around 100 songs), but he does remain enshrined in the very fond deeper recesses of connoisseur Hind Film fans.  His one of the greatest songs, Raat Bhi Hai Bheegi Bheegi”’s  Sahir’s lyrics probably very easily sits as an apt metaphor:

“Tapte dil par yoon girti hai
teri nazar se pyaar ki shbanam
teri nazar se pyaar ki shbanam
jalte huye junglel par jaise
jalte huye jungle par jaise
barkhaa barse ruk-ruk tham-tham
barkhaa barase ruk-ruk tham-tham”

(Your gaze falls on my red-hot heart like drops of dew just as the halting rains fall over jungle fire…)

Use of harmonium, clarinet and tabla in the song very loudly underscores his brilliance par excellence. In fact, in his first ever exposure to Hind film music world, as an assistant to Sarod Maestro Ali Akbar Khan in Chetan Anand directed Aandhiyaan (1952), he gets a special mention for playing surmandal in the background music.

Probably his musical brilliance and lack of motivation and skills to commercially market it consigned him to such other underrated stars as Sajjad Hussain or Madan Mohan.

We have remembered here songs for his first film as an independent director to probably his last commercially successful film in this first stage of refreshing our memories of the songs that epitomize his sheer brilliance.

Joru Ka Bhai (1955)

Kabhi Bhula ke Kabhi Yaad Aake Pooch Liya, Ye Kya Kiya Mujhe Apna Bana Ke Loot Lliya – Kishore Kumar, Balbir, Shamshad Begum and chorus – Lyrics: Vishwamitra AdilThis was the only film wherein Jaidev has used Kishore Kumar as well as Shmashad Begum.

There appears to be another version of the song as well:

Shamshad Begam, Kishore Kumar and chorus. –

Naina Kahe Ko Lagaye.. Hum Sang Naina Kahe Ko Lagaye – Asha Bhosle – Lyrics: Vishwamitra Adil

Jaidev has used Asha Bhosle for some of the equally outstanding songs as his songs of Lata Mangeshkar. THowever, not many of his Asha Bhosle songs did not attain as much success as those of Lata Mangeshkar. For example: The twin song penned by Sahir Ludhyanvi– Subah Ka Intezar Kaun Kare in Lata Mangeshakr’s voice and Teri Zulfon Se Pyar Kaun Kare in Talat Mahmood’s voice

Samundari Daku (1956)

Dil Jawaan Hai Aaarzoo Jawaan, Ek Nazar Idhar Bhi Meharbaan, Kab Talak Ye Hamse Berukhi, Kab Talak Rahegi Chup Jubaan – Talat Mahmood, Asha Bhosle – Lyrics Vishwamitra Adil

This is one of Jaidev’s very rare compositions based on western style tune. Talat Mahmood has been known for singing romantic songs of melancholic mood He has been as effective in this happy romantic song too.

Talat Mahmood has rendered this song as a solo version too.

Sama Pyaara Hai….Din Hain Bade Kaam Ke, Aana Aise Mein Dil Ko Zara Thhaam Ke -Asha Bhosle, S Balbir –  Lyrics-Vishwamitra Adil

Here is the song that is based on some Punjhabi folk rhythm.

Anjali (1957)

Kunj Kunj Gunjan Bhanware Ka. . . Buddham Sharnam Gachchhaami – Mohammed Rafi- Lyrics:– Nyay Sharma

Jaidev has very creatively used Lata Mageshkar in the aalaap at the beginning of the song.  The song then follows the Sinhalese original version with all subtle variations in the way song is delivered at different layers.

Aside:

The song that would probably come to our memory first would be Anil Biswas Meena Kapoor – Manna Dey composition from Angulimal(1960) : Buddham Saranam Gachhami , when we first see the key lyrics Budhdam….

[N.B.: By any means, I have not presented this song for any sort of comparison between the two songs or any music aspects thereof.]

Lo Chori Pakdi Gayee – Asha Bhosle, Sudha Malhotra, Usha Mangshkar, Meena Mangeshkar – Lyrics: Nyay Sharma

As simple tune and orchestration as the one here has a variation in the beginning of each antara. Nonetheless, the earthen sweetness befitting the situations – four friends going about their domestic chores – of the tune remains intact.

Raat Ke Raahi (1959)

Two out of five songs have been composed by Jaidev. The other three were composed by Bipin Babul.

Pau Baarah Pau Baarah Pyaar Mein Pau Baarah – Asha Bhosle – Lyrics: Vishwamitra Adil

Commensurate with meanings of the lyrics,the song manifests the energetic tempo and mood.

Hum Dono (1961)

Perhaps, commercially the most successful film in so far as popularity and critics acclaim for Jaidev’s musical score. However, he was on some meagre payroll of Naketan when he had composed the songs.  The commercial success of the songs too came up as big roadblock to Jaidev’s career graph. It is said that, for Navketan’s next film he already had composed two songs, but the inner wheels so moved that he was summarily shown the gates, forever.

Prabhu Tero Naam,Jjo Dhyaaye Phal Paaye, Sukh Daaye Tero Naam – Lata Mangeshkar – Lyrics: Sahir Ludhyanvi

For various reasons, the other bhajan “Allah Tero Naam, Ishwar Tero Naam’ has been  the more heard one of the two.

Kinare Kinare (1963)

The film had 11 songs of which only 5 or 6 were retained on the final editing table, and this 11th song is just out of the box:

O Mast Nazar Tu Chaahe Agar – Vinod Desai -Lyrics: Nyay Sharma

And the two songs from the other 10 gems:

Chale Ja Rahe Hain Mohabbat Ke  Maare Kinare Kinare – Manna Dey – Lyrics: Nyay Sharma

This song has been considered to be one of the greatest solo song of Manna Dey.

Teri Tasvir Bhi Tujh Jaisi Hasi Hai Lekin, Is Pe Kurban Meri Jan-e-Hazin Hai Lekin,, Ye Meri Jakhm-e-Umango Ka Madaawa No Nahi – Mohammad Rafi – Lyrics: Nyay Sharma

A complicated poetry that Jaidev has so subtly translated into a soft song.

Mujhe Jeene Do (1963)

A film from a big banner production house (Sunil Dutt’s Ajanta Arts) that did very well on the ticket window collections, The songs also got all round acceptances. However, this time the success again was not destined to boost Jaidev’s career graph – Something that transpired between the two resulted into break up with Sahir Ludhyanvi, with whom every association of Jaidev had resulted into highly successful outcomes.

Maang Mein Bhar Le Rang Sakhi ri Aanchal Bhar Le Tare Milan Ritu Aa Gayi  Asha Bhonsle,- Lyrics:Sahir Ludhianvi

Jaidev has used Asha Bhosle, as well as Lata Mangeshkar, for widely varying mood songs in Mujhe Jeene Do

Mohe Na Yoon Ghoor Ghoor Kar Dekho Najar Lag Jaayegi – Lata Mangeshkar – Lyrics: Sahir Ludhianvi

Lata very lightly renders this thoomari-style folk –toned song. The song seems have been truncated out in the film.

Here is the full song in the audio mode:

Jaidev’s brilliance was not totally missed hereafter, even if commercial success never peaked to this level. But, probably that was what destiny had chalked out for him, as composed by him in Sahir’s words:

Kaun Rotaa Hai Kisi Aur Ki Khaatir Aye Dost,

Sabko Apni Hi Kisi Baat Pe Ronaa Aayaa

[No one weeps for someone else, my friend. Everyone does weep for his own tales only.]

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.