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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2020

S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – though primarily concentrated on music direction, he has several films to his credits as actor, director and scriptwriter. His active career spanned over five decades, form 1930s to ‘80s. Thus, he remained witness to changes in the tastes of the public and corresponding changes in the various elements of film making. His music always remained based on blend of classical and (Rajasthani) folk music styles. In spite of sky-soaring successes of his music, many of the B grade mythological films hit the box-office collection records. However, those successes were not enough to place him in the league of big-banner A grade films. His assistants Chitragupt and Datta Davjekar went on to become music composers as well.

We have been following the career of S N Tripathi, on this platform, every March since 2017. We have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

Presently, we would focus on selecting the songs from the films that he also directed, during the years 1961 to 1976. Even as we have cast our net wide enough to catch as many singers as possible, the songs of Mohammad Rafi are placed together, towards the end of the post.

Chhum Chhanana Chuum Chhanana Payaliya Boli – Amrit Manthan (1961) – Asha Bhosle – Lyrics: B D Mishra

S N Tripathi has used Asha Bhosle for this fast-paced dance song.

Gham Chhodo.. Ye Sare Jamane Ka – Piya Milan Ki Aas (1961) – Mubarak Begum – Lyrics: Bharat Vyas

Set to a flowing rhythm, Mubarak Begum comes up very sweetly in the mujra song.

Sakhi Kaise Dharun Main Dheer – Sangeet Samrat Tansen (1962) – Lata Mangeshkar – Lyrics: Shailendra

The composition remains truly melodious even though set to not-so-easy style.

A good many of songs, like Jhoomti Chali Hawa (Mukesh), Sapt Suran Teen Gram (Manna Dey) Sudh Bisar Gayi Aaj fromm the film (Sangeet Samrat Tansen had successfully reached masses and were approved by critics.

Badli Badli Duniya Hai Meri – Sangeet Samrat Tansen (1962) – Mahendra Kapoor, Lata Mangeshkar – Lyrics: Shailendra

This should rank as one of the front ranking Mahendra Kapoor song, wherein Mahendra Kappor starts on a high scale, but then slips into a lower scale with humming that follows. Each stanza also begins on higher notes, signifying the tinge of pain of separation and then song reverses to a pensive romantic mood.

The video clip includes second version of the song too.

Dirna Dirna .. Tan Di Dirana .. More Naina Laage Re Laaage Kisi Se Nain – Shiv Parvati (1962)- Geeta Dutt, Asha Bhosle – Lyrics: Shailendra

S N Tripathi has used damru, the preferred music instrument of Lord Shiv, and matched the scale of base rhythm instrument Tabla, to the same sound level in this fast-paced dance song.

Piya Milan Ko Janewali, Sambhal Sambhal Ke Chal – Dev Kanya (1963) – Amirbai Karnataki – Lyrics: B D Mishra

S N Tripath has suddenly conjured up Amirbai Karantaki’s vintage voice here.

Maane Na Maane Na Mora Bichhua Bole – Maharaja Vikram (1965) – Suman Kalyanpur – Lyrics: B D Mishra

Probably, in deference to the budget limitations of such B grade mythological film, S N Tripathi has chosen Suman Kalyanpur., without compromising any bit melody of the song.

Pyar Ke Pal Chhin Bite Hue Din, Ham To Na Bhule Tum Bhule Gaye – Kunwari (1966) – Talat Mahmood – Lyrics: Shailendra

Simple reading of the lyrics may not sound bells of recognition, but the moment one listens to the song, core Talat fans will easily recall the song. The second part of the clip has a twin Lata Mangeshkar version, presented as piano – party genre song.

Chandi Ka Gol Gol Chanda – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

If the song would have been filmed in a well-placed film, the song may have been far more popular then it probably became at that time.

Haay Chhal Kiya Tune Chhal Kiya – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

Here is another duet, set to very signature SN Tripathi style, that does not deserve to be consigned to a forgotten song category.

Deepak Jalao Jyoti Jagao – Sangeet Samrat Tansen (1962) – Mohammad Rafi – Lyrics: Shailendra

The song comes in for a very direct compassion with one of the most iconic K L Saigal songs, Diya Jalao Jagamag Jagmag (Tansen, 1943; Music director – Khemchand Prakash)

Muhammad Shah Rangeeley Re – Nadirshah (1968) Singers-Suman Kalyanpur, Mohammad Rafi, Lyrics- Majrooh Sultanpuri

S N Tripathi creates the majesty of a dance song played in the courts of Mughal Emperor.

Knowledgeable blog writers note that the song is credited to Lata Mangeshkar and Mohammad Rafi in HFGK. As such the song must have been recorded afresh for the records.

S N Tripathi still has some more films like Lahu Pukarega (1968),  Sati Sulochana (1969), Naag Champa (1976) as director. He also continued to compose songs for films like Sati Sulochana (1969), Koi Ghulaam Nahin (1970), Shri Krishn Leela (1970), Veer Chhatrasaal (1971), Maha Shivratri (1972) , Naag Champa (1976). He remained active enough, in his mythological genre typecast till 1987, with a stray film here or there.

However, we would call here curtains to our memories of the unremembered music director of very remembered 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.

P.S. : S N Tripathi’s Unremembered Songs from 1941 to 1968 can be viewed / downloaded from one file by clicking on the hyperlink.

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Fading Memories….Unforgettable Songs

Fading Memories….Unforgettable Songs: February 2020

Talat Mahmood duets with Geeta Dutt [1]

Talat Mahmood (Born: 24 February 1924, Lucknow) was as handsome as his voice was soft spoken. Before physically shifting to (the then ) Bombay in 1949, he had already made his presence felt in Calcutta During his Calcutta career, Talat Mahmood gave playbacks and played minor roles in Hindi and Bengali films. His first disc was cut by HMV in 1941, the song was Sab Din Ek Saman Nahin Tha, Ban Jaoonga Kya  Se Kya Main, Iska To Kuchh Dhyan Nahin Tha

To commemorate the birthday of Talat Mahmood we have commenced a series of annual articles on this plat form, wherein we bring up Talat Mahmood’s Rare Duets. We have covered –

2017: Some of the Talat Mahmood Duets receding from the memory

2018:  Talat Mahmood’s Duet Combinations with Rare Co-singers

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

Presently, we will take up Talat Mahmood’s Duets with Geeta Dutt.

Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; 23 November 1930. Faridpur) was an accomplished singer who has left her deep imprint over film and non-films songs over several Indian languages, with her mellifluous, vivacious voice. She got her first break in Bhakta Prahlad (1946), when Pt. Hanuman Prasad gave her two lines to sing in two songs – Ab Jaani Re Pahchani Re and Suno Suno Binati Hamri Prabhu Ji Bhool Hui Mujhse Bhaari. However, the very next year she shot to big league with Mera Sundar Sapna Beet Gaya (Do Bhai, Music: S  D Burman; Lyrics: Raja Mehandi Ali Khan).

Talat Mahmood had his first big box office success in Ae Dil Mujhe Aisi Jagah Le Chal (Arzoo, 1950, Music: Anil Biswas; Lyrics: Majrooh Sultanpuri). In between his busy film and radio schedules, Talat Mahmood also used to travel over India for his singing concerts. Geeta Dutt would also accompany him in many such concerts. Both had excellent professional rapport.

However, the number of their duets are, relatively, few in numbers.  With a silken voice quality of Talat Mahmood and Geeta Dutt’s wide range in low as well as high scales, it is no surprise that their duets left listeners with an ethereal trance. However, the inherent difference I their individual singing styles resulted in, relatively, fewer number of their duets.

Armaan Bhare Dil Ki Lagan Ter Liye Hai – Jaan Pahechan (1950) – Khemchand Prakash – Shakeel Badayuni

There could not have been a better opening to the Talat Mahmood’s duets with Geeta Dutt. The song, very rightly, sets up, and deservedly so, very high expectations for the duets of this pair.

Ham Hai Tere Diwane…Kisse Hai Ye Purane, Agar Tu Bura Na Mane – Shabistabn (1951) – with Chitalkar – C Ramchandra – Qamar Jalalabadi

The second pearl from our jackpot is also such a sweet, known, duet. Only when you closely look at the vide, you get the feeling that song indeed is a teasing song, but the actors , and so too Talat, would be too chivalrous, to cross the gentleman-border-line, even in such romantic situations.

Hai Ye Mausam-e-bahar, Sun Jawani Ki Pukar – Shabistan (1951) – Madan Mohan – Qamar Jalalabadi

The films had two music directors recording four songs each.

Relatively, this would be ranked as less known one duets. The song is classic example of higher pitched Geeta Dutt vocal matching the lower scales of Talat in a perfect harmony.

Chitalkar sings the first line for some distant singer, which prompts Shyam to take up the main song in Talat Mahmood’s voice.

Kaho Ek Bar Mujhe Tumse Pyar.. Mujhe Tumse Pyar – Shabistabn (1951) –C Ramchandra – Qamar Jalalabadi

C Ramchandra sets the different scale ranges of the two singers to a romantic mood.

The song seems to have one more video link. I am not sure whether it is the second version in the film.

Kaise Rokoge Aise Toofan Ko – Anand Math (1951) – Hemant Kumar – Shailendra

Geeta Bali seems to be in two moods – one to keep the English officer on a wild hunt, and the other not only to inform her fugitive freedom fighter informed about the chase but to also tease the shy love of the impending implosion of their feelings when they will meet.

Ye Pyar Ki Raatein Ye Aaj Ki Baatein – Baghdad (1952) – with G M Durrani – Bulo C Rani – Raja Mehandi Ali Khan

Talat and Geta Dutt rhyme in perfect foil in this romantic song. G M Durrani joins Geeta Dutt in the second and fourth stanza. Why the song will have been so composed?

Chori Chori Dil Mein Samaya – Kaafila (1952) – Husnlal Bhagatram – Moti B A

Geeta Dutt’s soft vocals dominate in the duet with Talat singing just a word or two in the mukhda…and also it can be seen clearly that the last antara of Talat is clearly done in a lower note, so as to fit in his range. Use of piano in the orchestration adds to the melody of the song.

Sham Suhani Nadi Ke Kinare – Nishan Danka (1952) – Basant Prakash – S H Bihari

The song is set to leisurely waltz tune. succeeding so well the mood of the song  that would come up in the minds of the two love birds strolling on a serene river front, the fading light of the setting sun. The serenity mood seems to interspersed with some quick teasing too.

Kahin Preet Se Bhara Koi Geet Ga Raha – Paatal Bhairavi (1952) – Ghantshala – Pt. Indra

Ghantsala (Venkateshwara Rao) is a legend composer and singer of Telegu cinema. Here he has so deftly blended Talat and Geeta Dutt’s voices into a sweet melody.
The original Telugu version of the film was the then roaring hit.

Aaj Ki Raat Bhag More Jaage, Dekhun Piya Mukha Chanda – Ratan Deep (1952) – Robin Banerjee – Vidyapati

This relatively very obscure song epitomizes contrasting vocal styles of Talat Mahmood and Geeta Deep. Talat opens mukhada in lower scale., then joins Geeta Dutt on higher scale in the stanzas.

The song is really very pleasant experience listen to.

Sun Lo Ek Kahani Sun Lo – Ratan Deep (1952) – Robin Banerjee – Mahendra Pran, Mathur

Robin Banerjee once again deftly uses the contrasting vocal styles of Talat Mahmood and Geeta Dutt.

Here is the Bengali version of the song, in Hemant (Kumar) Mukherjee and Supreeti Ghosh’s voices.

Both version show how music director has made subtle changes in the compositions to leverage the inherent vocal qualities of the singers.

Asides Trivia:

Ratnadeep is remake of original 1951 Bengali original version. The film had a Tamil version as well.

Abhi Bhattacharya debuted in Hindi cinema with this film.

We will continue with Talat Mahmood’s duets with Geeta Dutt in our next episode net year.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories….Unforgettable Songs: January 2020

Jaidev: Brilliant, But Underrated, Composer:  1971

In the centenary birth year, Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could moulid classical or folk tune in his very unique style.He also boldly experimented using emerging singers like Dilraj Kaur, Bhupinder, Hariharan, Chhaya Ganguli, Pinaz Masani or Runa Laila and also classical singers like Parveen Sultana, Bhimsen Joshi or Laxmishankar.

Jaidev is the only Hindi film music director to have won three National Film Award for Best Music Direction, three times for Reshma Aur Shera (1972), Gaman (1979) and Ankahee (1985). But fame and money eluded him. So much so that, no prints of Prem Parbat (1973) – which has two great Lata Mangeshkar songs – are thought to have survived.

We have taken up this commemorative annual series on Jaidev on this platform w.e.f. 2018, wherein we had covered his songs from 1955 to 1963. Next year we followed by taking up Jaidev;s songs from 1964 to 1970. Presently, we will his known, and less known songs from three films for the year.1971. Of these, the two films– Do Boond Paani, and Reshma Aur Shera – are on rural background and the third one – Ek The Reeta – is urban comedy thriller.

Jaidev’s magic in flopped films

1971

Do Boond Paani

Written produced and directed by K A Abbas, Do Boon Paani is set against the backdrop of Rajasthan. The film focused on the scarcity of water, and the eventual building of a dam. Its cast included Simi Garewal, Jalal Agha and Madhu Chanda and was the debut film of actor Kiran Kumar. The film won the Nargis Dutt award for Best Feature film on National integration. The music by Jaidev was stated as a “magisterial score”, however, the film was not a commercial success and flopped at the box office

Banni Teri Bindiya Ki Le Loon Re Balainyyan – Lakshmi Shankar – Lyrics: Bal Kavi Bairagi

Jaidev weaves the song around a simple traditional song. Use of shehnai in the interlude is also in line with the tradional marriage ceremony set up where at two musicians would keep playing shehnai and nagadaa during the ceremony.

The audio version includes both stanzas of the song.

Jaa Ri Pawaniyaa Piyaa Ke Des Jaa – Asha Bhosle – Lyrics: Kaifi Azmi

Kafi Azmi is at his poetic best in conveying message of

tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
ambar pyaasaa, dharti pyaasi
pyaasi saari nagariyaa

(Body and soul are thirsty, thirsty is the gaze; thirsty is even water-carrying vessel. Thirsty are even sky, land and the town too.)

Jaidev has used the Asha Bhosle’s voice in a scale that fully reflects the feeling of the thirst of the wait. Visuals in the interlude integrate the building of the dam along with rural domestic ecosystem.

Peetal Ki Meri Gagari Diladee Se Mol Mangayi Re – Parveen Sultana. Minno Puroshottam – Lyrics: Kaifi Azmi

Jaidev so effortlessly weaves in Rajashatn rural backdrop visuals with this wonderfully melodious Rajastahni Maand tune based song. Use of Parveen Sultana and Minoo Purushottam also provides a very unique earthen touch to the emotions of the song.

The audio version of the song has much better audio notes and has one more stanza as a bonus.

The song has poignant version, too, as a Parveen Sultana solo.

Apne Watan Mein Aaj Do Boond Paani Nahi = Mukesh, Noor Jahan – Lyrics – Kaifi Azmi

The lyrics and the visuals of the song narrate the tale of exodus of the people from their native village in search of new water resources.

Reshama Aur Shera

Reshma Aur Shera was produced and directed by Sunil Dutt. It was well-acclaimed by the critics internationally. The film was shot in and around Jaisalmer. It is a romeo-Juliet story embeded in the realm of feuding Rajput clans.  Like film’s cinematography, music by Jaidev also adds to the true ethnic tone the film.The film won music director Jaidev, his first National Film Award for Best Music Direction in 1972, for the two Lata Mangeshkar so;o songs Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar).

Trivia: Amitabh Bachchan’s semi-cameo role as speech-impaired younger brother is considered as his one of the unsung role, before he hit pay dirt in Zanzeer.

Jab Se Lagan Lagayee… Umar Bhar Neend Na Aayi – Asha Bhosle – Lyrics: Neeraj

The song is a sweet compliant for the after-effects of falling in a love-relationship. Asha Bhosle easily recreates the mood of the song.

Tauba Tauba Meri Tauba… Ek To Ye Bharpur Jawani…Us Par Yeh Tanhayee – Asha Bhosle – Lyrics; Rajinder Krishna

This is a full-fledged mujra song, filmed on Padma Khanna.

Zalim Meri Sharaba Mein Ye Kya Mila Diya – Manna Dey and chorus – Lyrics: Rajinder Krishna

A full-some qawaali wherein Sanjay Dut, a young boy of 12 then, makes a cameo debut.

Ek Thi Reeta

Ek Thi Reeta is an action comedy thriller, produced and directed by Roop K. Shorey. The film was an adaptation of Shorey’s earlier success Ek Thi Ladki (1949), which had highly successful music score by Vinod. (Remember Lara Lappa Lara Lappa Lai Lakda). The earlier success formula did not work this time, and Ejk Thi Reeta was a commercial flop. The films starred Vinod Mehra, Tanuja and I. S. Johar in lead roles with Lolita Chatterjee, Rehman, Faryal and Manmohan Krishna forming the ensemble cast .

As much as the earlier two films are known, this film and all of its 10 songs are totally unknown, so we have selected here a few representative ones.

Ho Balama Beimaan Na Mane – Manna Dey and Sarala Kapoor – Lyrics: Vikal Saaketi

The song is influenced in Bhojpuri singing style. Jai Dev has introduced a new female voice of Sarala Kapoor in this duet.

Baaton Baaton Mein Baat Badhati Hai…Ye HaiN Pyar Ke Nazare – Asha Bhosle Jagjit Singh – Lyrics: Prem Jalandhari

The song is a teasing song, probably sung in a picnic situation. Jagjit Singh gets introduced in the last stanza of the song. This said to be his first recorded son, wherein we find him in a rare different mood.

Paani Mein Jo Ham Doobey, To Dub Gaye Hairani Mein….Wah Wah Re Lachchi Tera Pallu Latake – Asha Bhosle, Sarala Kapoor – Lyrics: Sarshar Shailani

The song is of mischievous playful young girls got together a river or a talab like waterbody. Jaidev deftly handles the rustic joyous mood of the song.

Non Film Songs

Before we come back to the two songs of Mohammad Rafi from Ek Thi Reeta, to end our episode in our traditional style, we need takenote of two NFS of Jaidev which were recorded in 1971.

Carvan Guzra Kiya Ham Rahguzar Dekha Kiye – Asha Bhosle – Lyrics: Faani Badayuni (Original Name – Shaukat Ali Khan)

Jaidev creates sublime mood with Asha Bhosle’s voice.

Jayate Jayate Jayate Satyamev Jayate – Lata Mangeshkar – Idhav Kumar

Jaidev very creatively weaves chorus with Lata’s leading voice to create the spirit of Truth always prevails.

Back to Ek Thi Reeta, with two Mohammad Rafi songs, to end our present episode –

Jo Mere Pyar Pe Ho Shaq To Kar Lo Dil Saaf Beshaq…..Dareech-e-Shaq, Dareen-e-Shaq…Kisi Ko Ho Bhala Kyun Shaq –Ek Thi Reeta 91971) – Asha Bhosle, Mohammad Rafi – Lyrics: Prem Jallandhari

Both the young players openly confess that now there is hardly any room to create any doubt about the bond of our love.

Ye Shor Hai Gali Gali …Ke Woh Jawan Ho Chali – Mohammad Rafi – Lyrics: Sarshar Shailani

Jaidev creates a playfully throw-of-love youthful joy in Mohammad Rafi’s voice. The song is et to quite a difficult to tune to sing, but Rafi remains very comfortable in the course all the ups and downs and turns of the song.

We end today’s episode on a happy note to record that Jaidev has so effectively used Mohammad Rafi, even in 1971. Our journey of Jaidev’s Hindi Film Music career continues…..

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1961

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

We have heard Mohammad Rafi’s maiden solo song with a music director for the first part of 1959-1960 of the 4th Five Year period in July, 2017.

Presently, we will take up the second part – 1961  – for the 4th Five Year period. The films appear herein in the alphabetical order of their names.

In our earlier articles we used to take due note of the popular, and not-popular-but-remarkable songs for the years under review for those music directors who have already appeared in the previous Five-Year periods. We have continued with that practice.

As may be expected, in the decade of 60s, we find more songs that went on to become popular, sometimes far more than the more meritorious songs from the same film. Relative longevity was seen to be shortening up. However, this possibly outcome of the changing taste of Hindi Films – as more films went color from B&W format, the element of art in the film was becoming more a special genre, filmmaking had better technical back-end support. Now, films, in general, were the commercial films – set to a few stereotypes and their variations. In so far as the Hindi film music was concerned, ‘60s saw the beginning of the ebb, from the high highs that were scaled till now.

1961

Mohammad Rafi has 71 solo song in 1961.

First, we will note the popular songs for the year for those music directors who have appeared in the previous years.

Shankar Jaikishan –  Aas Ka Panchhi (Char Dino Ki Chhuti Hai); Boy Friend (Dheere Chal .. Ay Bheegi Hawa, Mujhe Apna Yaar Bana Lo, Salam Aap Ki Meethi Nazar Ko); Jab Pyar Kisi Se Hota Hai (Jab Pyar Kisi Se Hota Hai, Teri Zulfon Se Zudai); Junglee (Chahe Koi Mujhe Jaunglee Kahe, Aiya Ya Karoon Main Kya Suku, Ehsan Tera Hoga Mujh Par); Sasural (Teri Pyari Pyari Surat Ko, Wallah Yar Lut Gaye Hum) |  Chitragupt – Bada Admi (Akhiyan Sang Akhiyan Lage, Agar Dil Kisi Se Lagay Na Hota)   |Salil Chowdhury – Chhaya (Yaa Kehde Ham Insaan Nahi); Kabuliwala (O Saba Kahena Mere Didar Ko); Maya (Koi Sone Ke Dilwala, Sanam Tu Chal Diya Rasta Mere Bina, Zindagi Hai Kya Meri Jaan) | Naushad – Ganga Jamuna (Nain Lad Jai Hai)  | Ravi – Gharana (Husnwale Tera Jawab Nahi); Nazarana (Baazi Kisine Pyar Ki) | Jaidev – Hum Dono (Main Zindagi Ka Saath Nibhata, Kabhi Khud Pe Kabhi Haalat Pe) | Madan Mohan – Sanjog (Do Ghoont Maine Pee) | Ghulam Mohammad – Shama (Woh Sadagi Kahe Ise Diwangi Kahe) | Khayyam – Shola Aur Shabnam (Jane Ky Dhundhati Raheti Hai) |

We now take a closer look at Mohamad Rafi’s first solo song with a music director for the year 1961. This year, we have three very talented, but not commercially successful music directors, one who succeeded by defying the Hindi Film ‘normal’ of ‘assistants do not succeed’ and two music directors for the South remakes.

In order to err on the safer side, we have included all the solos of the film wherein Mohammad Rafi and a music director have their first solo song.

S Madan

Not accepted well in Hindi Films, S Madan earned big fame in Punjabi films. Many of his songs in Punjabi films have been plagiarized in Hindi films. He assisted Vinod in the early part of his career.

Ye Kaisi Deewaar Hai Duniya – Batwara – Lyrics: Majroojh Sultanpuri

The background song epitomizes the division between two brothers.

P Nageswara Rao

Nageshwara Rao was well-known name in Telugu films.

Narayan Ki Isi Murti Se Hoga Govinda – Bhagwan Balaji –Lyrics: Sarswati Kumar Deepak

It seems every remake – dubbed version- of South Indian religious films has at least one song by Mohammad Rafi.

Rahul Dev Burman

When Rahul Dev Burman (27 June 1939 – 4 January 1994) debuted as an independent music director, the Golden Era of Hindi Film music was at its high-sun point. The ecosystem was extremely competitive with high-quality-but-very-popular individual styles of the music directors who had entered the scene in the late second half of the ‘40s./ early first half of ‘50s.R D Burman easily transformed himself from the understudy of his father, S D Burman, into an independent music director, by developing his own distinct style of compositions. Along with Laxmikant Pyarelal, he very effectively carried the baton form the second generation of music directors to the third generation.

Aam Chum Taam Chum – Chhote Nawab – Lyrics: Shailendra

Produced by Mehmood, the film revolved around a mentally under-developed character of Memood. The song epitomizes physically fully-grown-up, but mentally childlike personality of the lead male character, Choote Nawab – The Child Ruler.

Ilaahi Tu Sun Le Hamaali Dua – Chhote Nawab – Lyrics: Shailendra

R D Burman creates a very mature tune in the very first film. Along with all other playful songs, the present song and Lata Mangeshkar’s Ghar Aaja Ghir Aaye demonstrate the depth of versatility of R D Burman’s musical range.

C Arjun

C Arjun assisted Bulo C Rani in his early career. C Arjun’s first Hind film Road No. 303 (1960) had a couple of Mohammad Rafi duets. His Punar Milan (1964) Mohammad Rafi solo Paas Baitho Tabiyat Bahal Jayegi remains one of the best ever Rafi song. But of course C Arjun is more immortalized by his Usha Mangeshkar record-breaking prayer Jai Santoshi Ma (1975)

Ho Gori Zulm Kare Zulf Ka Bikhar Jaana – Main Aur Mera Bhai– Lyrics: Jaan Nisaar Akhtar

Mohammad Rafi is at his playful best in this lively song.

Insaan Kitne Yug Beete Yunhi Rahi Nadaan.. Moorakh Hai Insaan – Main Aur Mera Bhai – Lyrics: Jaan Nisaar Akhtar

This should be background song.

Arun Raghavan

Arun Raghavan is one of the 48 music directors who have composed only one Mohammad Rafi song. As he is a music director of South Indian films, this does not seem to be so stounding statement.

Chali Aaj Rajbhawan Se..Yug Yug Se Anyaya – Mera Suhag – Arun Raghavan – Vinod Sharma

Like other South Indian film remakes in Hindi, Mohammad Rafi gets to sing a background song.

SL Merchant, Shri Ram

SL Merchant, Shri Ram are perhaps more active in Tamil films.

Kaisa Hai Ye Shraap Haye Re..Haye Re Qismat – Sati Renuka – Bharat Vyas

As has been now a well-formed pattern, Mohammad Rafi gets to sing this background song.

Putraheen Ko Pita..Janani Janani Mahima Hai – Sati Renuka –Bharat Vyas

One more background song in a South Indian remake Hindi film.

D Dilip

Known more as assistant to S N Tripathi, then Chitragupt and lastly as arranger to Laxmikant Pyarelal, Dilip Dholakiya took up D Dilip as his pen name when composing independent music in Hindi films. He also was a very accomplished singer. He did sing a few Hindi songs under S N Tripathi and Chitragupt. The only Hindi song that he has rendered under his own baton is Khanke Kangana Khan Khan Re, Chhanake Ghungharu Chhan Chhan Re  – Saugandh (1961) – with Lata Mangeshkar and Mohammad Rafi in the lead.

Apne Liye Jiye To Zamane Mein Kya Jiye.. Kaun Raha Hai Kaun Rahega – Saugandh – D Dilip – Prem Dhawan

The song is a background song, filmed on Gemni Ganeshan on the screen.

As a special note on Dilip Dholakia – Mohammad Rafi, I succumb to the urge to record here a beautiful Gujarati solo song from this pair – Meethadi Nazrun Vaagi – Satyavan Savitri ,1963)

Since we have far too many song to listen to in the present post, we will take up the last two years – 1962 and 1963- of the 4th Five Year period in our episode of 15th December, 2019.

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.

N.B. : All episodes for the year 2019 can be seen / downloaded as one file by clicking on Fading Memories..Unforgettable Songs – 2019

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: November, 2019

Salil Chowdhury and Shailendra’s Songs Fading From the Memory – 1956

Salil Chowdhury (B: 19 -11-1925 / D: 5-9-1995) and Shailendra (B: 30-8-1923/ D: 14-12-1966), both very creative in their own fields had their own originality. Moreover Shailendra was easily able maintain his own style even he was given a tune first, for a given situation. Shailendra had an additional advantage of good knowledge of Bangla language. Resultantly, Shailendra could add life to the beautiful, melodious content that Salil Chowdhury conceived. It is perhaps no coincidence that Shailendra first shot to fame with Utha hai toofan zamana badal raha (set to music by Salil Chowdhury) for IPTA (Indian People’s Theatre Association), the cultural arm of the Communist Party of India.[1]

We have commenced an annual series on Salil Chowdhury and Shailendra’s Songs Fading From the Memory w.e.f. November, 2018. We listened to their songs for the years 1953 to 1955 and those of film Awaz last year.. For the present episode we will cover their two more films for the year 1956. Both these films have Bengali background.

Parivaar (1956):-


The two duets from the film – Ja Tose Nahin Bolun Kanhaiya (Manna Dey, Lata Mangeshkar) and Jhir Jhir Badarwa Barse Ho Kare Kare (Hemant Kumar, Lata  Mangeshkar) – are two of the most memorable duets of the Hindi Films. The other songs from the film also present a much needed variety to the Salil Chowdhury – Shailendra combination.

Baawali Bana Ke Chhoda  – Asha Bhosle

This is one of the rarest gem of an Asha Bhosle songs.

Ek Do Teen Chaar Paanch  – Hemant Kumar, Asha Bhosle, chorus)

As noted on World of Salil Chowdhury, Salil Chowdhury shows his love and respect to one of his mentors, Beethoven in this song. Here one can hear how he used a small part from Beethoven’s “Pastoral” 6th Symphony.

Kuven Mein Dub Ke Mar Jaana Yaar Tum Shaadi Mat Karna – Kishore Kumar

Kishore Kumar has used at least five different voices and that too flawlessly. On the whole, the song has been a classic vintage Kishore Kumar gem.

Jaagte Raho (1956):-

Jaagte Raho was brilliantly transformed into a Bengali version Ek Din Ratre. Most of the songs have been used in the same situation.

Zindagi Khwab Hai (Mukesh) has been filmed as Ei Duniyay Bhai Shob Hi Hoy in Ek Din Ratre – Manna Dey – (Lyrics: Salil Chowdhury)

The song is filmed on Chhabi Biswas. The perfect synchronization of lyricisists in both version provides us ample testimony of the bonding of Salil Chowdhury and Shailendra.

Manna Dey has as well recorded a cover version of the Hindi version of the song, in line with very popular practice of those days.

Thandi Thandi Sawan Ki Phuhar – Asha Bhosle

Asha Bhosle is so natural in this song that the pathos of the song roots deeply in our mind. Sandhya Mukherjee’s portrayal of the song in the Bengali version is as melancholic too, even as both compositions are totally different.

Lo She Vai Vai  Maine Jo Li Angadai – Sandhya Mukherjee, chorus

The song has been used as it is in Ek Din Ratre.

Jago Mohan Pyaare Jago  (Lata Mangeshkar, chorus) remains the centerpiece in both versions, and the Bengali version of the song remains equally well-crafted piece.

We do not have any directly related song of Mohammad Rafi for our present episode. So I have veered slightly away, and have picked up –

Teki Mein Jhooth BoliyaN – Jagte Raho (1956) – Lyrics Prem Dhawan – Mohammad Rafi with S Balbir

Bengali version – Ek Din Ratre- has retained the song as it is..

In one of the interviews Salil Chowdhury gave all credit to Prem Dhawan for this song.

This song also helps in the beginning of the end of our episode, in continuing with our tradition of listening to Mohammad Rafi song(s) relevant to the subject.

As we do not have any more directly related song of Mohammad Rafi, I have gone back in to the previous years of Salil Chowdhury’s filmography and have found two songs written by Prem Dhawan.:

Suno Ki Seeta Ki Kahani – Biraj Bahu (1954) – Lyrics: Prem Dhawan .

This a classic background song.

Tere Naino Ne Jadoo Daala – Taangewali (1955) – With Lata Mangeshkar – Lyrics: Prem Dhawan

We have a quintessential Punjabi folk tune-based song.

We will continue our journey of Salil Chowdhury and Shailendra’s Songs in our next episode of November, 2020.

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.

[1] The Most Popular LyricistPartha Chatterjee

 

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: October 2019

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1953

Shankar Jaikishan worked as a perfect team, in professional harmony, and as excellent friends. Their synthesis with Shailendra and Hasrat Jaipuri, their permanent lyricists, created a creative team par excellence was an added bonus. The association of composers Shankar-Jaikishan with lyricists Shailendra and Hasrat Jaipuri, went on to give massive downpour of hits, melodies and innovations, year in and year out. One cannot help marveling about how this fabulous foursome could keep their personal and professional bonds in tact over so many years in the challenging and notoriously fickle milieu of Hindi Film Music. The quartet forged a creative partnership which brooked no real parallel. The unique, prolific and successful bonding between the two Masters of Music with two wizards of words remains a golden chapter in the annals of Hindi film music.

October is the month of Shankar’s birthday (25 October 1922 — 26 April 1987). Our today’s episode is dedicated to his memory. To commemorate the Shankar’s birthdays, we commenced the series on Shankar (Jaikishan) and Shailendra’s songs last year. We covered the years from 1949 to1953 last year. 1953 was the first quantitative peak for the SJ duo. They did seven films, 55 songs in that year. We had covered three of them – Aah, Aas and Boot Polish – in the last episode.

Asides:

We have also taken up (Shamker)-Jaikishan’s songs written by Hasrat Jaipuri, which essentially focus on Jaikishan’s compositions.

Aurat (1953)

As the title suggests this being a woman-oriented film, all songs are created for the female lead of the film. Apparently, the film draws inspiration from the famous Western mythical story of Samson and Delailah.

Dard-E-Jigar Thehar Zara…Dum To Mujhe Lene De – Lata Mangeshkar

This seems to be a copy book situation wherein the heroine melodiously weeps her sorrows. Soft strokes of piano, at the very opening of the prelude music, are the tell-tale SJ orchestration style. From the SJ’s standards, the composition is set to a difficult tune.

Dard-E-Ulfat Chupaon Kahan, Dil Ki Duniya BasauN KahaN – Lata Mangeshkar

The heroine dances to her joy of falling into love. Use of harmonium in small bursts adds to the magic of the composition.

Ye Duniya Banai Hai Kis Berahem Ne – Lata Mangeshkar

The song is filmed on the second leading lady of the story. For the records, we note that knowledgeable blog writers identify the singer on the screen as Purnima Razi.

Naya Ghar (1953)

The film has three Lata Mangeshkar solos written by Shailendra. We have picked one solo here, to accompany a very-well known Talat Mahmood solo song.

Jawan Hai Jahan Jhoom Uthi Har Nazar, Main Hoon Ke Hai Zindagi Zahar – Lata Mangeshkar

Unlike a SJ composition song is set to a difficult tune and has far less than usual orchestration support in the counter melody. The song changes the tempo of the rhythm subtly during the second and the last stanza.

Unhein Tu Bhool Ja Aye Dil, Tadapane Se Kya Haasil -Talat Mahmood

The song opens to a very exquisite musical prelude and build on one of the Talat Mahmood all-time classic.

Patita (1953)

Shankar Jaikishan has used Talat Mahmood for Dev Anand’s playback voice in this film. The three Talat songs – Andhe Jahan Ke Andhe Raaste, Tujhe Apne Paas Bulati Hai Teri Duniya and  Hai Sabse Madhur Woh Geet – instantly got etched into the All-Time Best of Talat Mahmood songs. Hasrat Jaipuri wrote only song, a Hemant Kumar- Lata Mangeshkar duet – Yaad Kiya Dil Ne Kaha Ho Tum – for the film, which also has been an all-time hit. The other two Lata Mangeshkar songs were thus destined to remain in the shadow of the brightly shining glory of these four songs, even though each of them remains a very special  Lata Mangeshkar songs.

Kisi Ne Apna Banake Mujhko Muskurana Shikha Diya– Lata Mangeshkar

We have a playful, fully pleasant mood song, set to a very lilting fast-paced tune., which opens with flute-dominated prelude. Interlude music is dominated by very innovative use of violins. Shailendra is also as his poetical best when he says : the dreams that could not  be seen at nights have indeed materialized  in the day.

Mitti Se Khelte Ho Baar Baar Kis Liye – Lata Mangeshkar

Shailendra has used the metaphor of broken toys for the shattered dreams of life, to which Shankar Jaikishan has provided a very heavy, and yet so unobtrusive, countermelody support of violin ensemble orchestra to create the mood of pensive pathos.

Shikast (1953)

 

The film is a Dilip Kumar – Nalini Jaywant starrer, which did not do well during the first run. However, during the  later on re-runs, it always got a wide support from the fans of its songs.

Hum To Hai Kathputhli Kaath Ke Hey Ram – Hemant Kumar

Shankar Jaikishan has so effectively used Hemant Kumar’s soothing voice in this song that lays down the basic philosophy of life for the distressed-from-life ones.

Sapnon Ki Suhani Duniya Ko Aankhon Mein Basana Mushkil Hai – Talat Mahmood

When Naushad had successfully switched over to Mohammad Rafi as Dilip Kumar’s playback voice (Deedar, 1951), Shankar Jaikishan rekindles soft magic of Talat Mahmood for Dilip Kumar.

Jab Jab Phool Khile …. Dekha Akela Hamein Gher Lita Gham Ne – Talat Mahmood, Lata Mangeshkar

Shankar Jaikishan and Shailendra team up to create a Talat-Lata duet that can be as good as a Talat-Lata duet that can ever be.

Gulshan Mein Jal Raha Hai  Ulfat Ka Ashiyana  – Mohamamd Rafi

This happens to be also a snippet with which the film ends.

So too ends our episode with a Mohammad Rafi song.

As may be observed from listening to the songs that seem to recede form our memories, Shankar Jaikishan’s most outstanding work of the 1950s was not as awarded as their relatively less qualitative work of 1960s. We will keep exploring this phenomenon in our future episodes.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September, 2019

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1958 – 1959

September is the month of death anniversaries of Jaikishan (Dahyabhai Panchal) [4 November, 1929 – 12 September 1971) and Hasrat Jaipuri, a.k.a. Iqbal Hussian, [15 April, 1922 – 17 September, 1999].   Hasrat Jaipuri- Shailendra and Shankar-Jaikishan formed a seamless, one the most enduring, creative and profusely productive teams in the history of Hindi Film industry. Usually, the whole team would be associated with story of the film and would choose the who would compose situation for the given situation on the basis of who felt more comfortable with situation of the song.

However, there was a school of the then critics / journalists / writers who strongly accepted a thumb rule to identify the composer of a Shankar–Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions.

We have based our annual series of articles that bring the songs written by Hasrat Jaipuri and, in all possibilities, composed by (Shankar) Jaikishan. Like most of the SJ-composed songs, till, the passing away of Shailendra, most of the songs Hasrat Jaipuri wrote for (Shankar) Jaikishan were well-known then, but some may be receding from our memories as well. Till now we have covered such of (S)J-HJ songs from 1949 to 1954 and 1955 to 1957. Presently, we will take up songs from the films released in 1958 and 1959.

1958

1958 has only two films wherein Shankar Jaikishan have composed the music. Here too, Hasrat Jaipuri’s share is even markedly smaller. And, it also so happens that these songs have been (only) Lata Mangeshkar. As such, within the scope of our article, we have picked up two of the total three songs from Baaghi Sipahi and, the only, one available from Yahudi.

Sharab-e-Ishq Ke Aage Maja Kya Kadwe Paani Ka….Muskurati Zindagi Ko Chhhod Ke Na Ja – Baaghi Sipahi (1958) – Lata Mangeshkar

Hasrat Jaipuri pens the song with his, by now known as unique style, of presenting a couplet in the prelude, to which Jaikishan supports with a very innovative orchestration piece. The song is set to quite a difficult tune, with varying rhythm.

Dil Laganewale Mat Sun Meri Kahani  Baaghi Sipahi (1958) – Lata Mangeshkar

On the screen, the song is shown being rendered by a professional courtesan singer, but the emotions of the song seem to reflect the state of the Madhubala’s heart. Lata Mangeshkar very soulfully renders the pathos of the song.

Aansoo Ki Aad Leke Teri Yaad Aayi – Yahudi (1958) – Lata Mangeshkar

This is the only song that Hasrat Jaipuri has penned in this film. It can also be said to be one of the least remembered song of the film. The song plays on a dholak-based rhythm and has a very mid-east-oriented interlude orchestration. Again, not a very easy-to-sing song.

1959

1959 has Shankar-Jaikishan’s the then normal average number of films – seven – in the year, and each one had almost all songs that are well remembered even today. The proportion of Hasrat Jaipuri’s songs is again a very balance one and we have a fairly wider base of choice of songs that have been rendered by singers other than other than Lata Mangeshkar. Our catch is so wide and big that we had to drop quite a few songs that were, and are, more remembered.

Ban Ke Panchhi Gaaye Pyar Ka Tarana… Mil Jaaye Agar Aaj Koi Saathi Mastana – Anadi (1959)  –  Lata Mangeshkar and  chorus

Here we have very light and playful song, with matching vivacious tune, interlude orchestration,  lyrics and Lata Mangeshkar’s lilting rendering to Nutan’s very near-to-perfection lip-synching on the screen.

Hasrat Jaipuri has also written a very romantic Mukesh – Lata Mangeshkar duet – Wo Chand Kila Wo Taare Hanse – in the film.

Jaoon Kahan Bata Aye Dil Duniya Badi Hai Sangdil – Chhoti Bahen(1959) – Mukesh

If one looks at the song from the perspective of singer-songwriter and music director (Respectively Mukesh, Hasrat Jaipuri and Shankar Jaikishan), then song fits into the very well-known, sweet, pattern of a pathos song. The unusual part is that Raheman sings the song, somewhat, in penance for his grey-shade character in the film.

O Kali Anaar Ki Na Itna Satao– Chhoti Bahen (1959) – Manna Dey, Asha Bhosle

Here we have a non-normal combination of Manna Dey and Asha Bhosle singing a duet for Shankar Jaikishan, made rarer by it being filmed on Raheman and Shyama on the screen, whose characters were to turn grayish later in the film.

Mein Rangeela Pyaar Ka Rahi Door Meri Manzil – Chhoti Bahen (1959)  – Subir Sen, Lata Mangeshkar

Shankar Jaikishan boldly experiments using Subir Sen’s voice for a playfully romantic song, that too for Mahemood on the screen.

Kahan Hai Kahan Hai Kanhaiya – Kanhaiya (1959) – Lata Mangeshkar

Here too Hasrat Jaipuri gets two songs to write, both being played back by Lata Mangeshkar. The present song is a classic-Hindi-Film-pathos song whereas the other one – O Kanhaiya O Kanhaiya – is a very romantic dream-sequence song, with a Shankar Jaikishan’s signature extended prelude. Both the songs have used ensemble of flutes very creatively in the main orchestration as well as in the counter-melody orchestration.

Dekh Aasmaan Mein Chand Muskaye – Shararat (1959) -(Kishore, Geeta Dutt

The song has a rare Shankar Jaikishan- Geeta Dutt combination. Shankar Jaikishan has used their very fond waltz tune, as well as has creatively inserted innovation in the song composition – this time that of switching over to dholak rhythm in the beginning of the stanza before ending the with the original western rhythm instruments.

Tune Mera Dil Liya, Teri BaatoN Ne Jadu Kiya, Haye Na Jane Kya Kar Diya, Ye Tere Pyar Ki Jeet Hai – Shararat (1959) – Kishore Kumar, Geeta Dutt

Shankar Jaikishan has brought up the memory of vintage Geeta Dutt in this song.

Dekha Babu Chhed Ka Maza Mitha Mitha Dard De Gaya – Shararat (1959) – Lata Mangeshkar

The song is a the then popular genre – a street song wherein the performer echoes the feelings of the silent protagonist.

Tera Jalva Jisne Dekha Woh Tera Ho Gaya – Ujala (1959) – Lata Mangeshkar

We have to toss for the choice of selecting the songs – the present one or Ho Mora Nadaan Balma – for a detailed video view today. Both are a very romantic mischief-oriented dholak-rhythm based signature (Shankar)Jaikishan dance songs. Well, the coin has ruled in favor of the present song.

We now have natural choices for Mohammad Rafi songs, which also seamlessly syncs with our tradition of ending each episode with relevant Rafi song(s).

She Ne Khela He Se Aaj Cricket Match, Ek Nazar Mein Dil Bechara Ho Gaya LBW – Love Marriage (1959) –  Mohammad Rafi, chorus

Here we have a song which is played on a cricket ground, uses a cricketing dress code for (only) Dev Anand and  some well-known cricket terms – to in fact play the then popular genre of pre-courtship eve-teasing.

Lo KhuN Se KhuN Juda Hua – Main Nashe Mein Hoon (1959) – Mohammad Rafi

Hasrat Jaipuri – (Shankar)Jaikishan have several excellent Mohammad Rafi scores in their account. The present song – being a background song – adds to the wide range of such songs.

Our journey of Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan continues…..

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

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

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Fading Memories…. Unforgettable Songs : August 2019

Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji)

Shailendra (a.k.a. Shankardas Kesarilal) – B: 30-8-1923 / D: 14-12-1966 – was as much a poet as he was a lyricist. His film songs were easy to sing, easier to understand and even easier to make sense. Most of us remember Shailendra as Shalendra-Hasrat twin and an important angle of Shankar-Jaikishan – Shailndra- Hasrat quadrilateral, Shailendra has very actively paired with several other music directors. Quantitatively, bulk of his 800 songs are composed by Shankar Jaikishan, followed by a fairly large numbers of songs composed by S D Burman and Salil Chaudhary. However, Shailendra’s work with ‘other music directors’ does form a very important ingredient of the whole. For example:

Sabhi Kuchh Lutakar Hue Hum Tumhare is the sole Hindi song in the Bengali film, Indrani (1958, Music: Nachiketa Ghosh)

We have undertaken a series on Shailendra’s songs with other music directors in our episode every August, from 2017. We commenced with ‘Shailendra and “Other” Music Directors’, as an overview and then took up Shailendra and Roshan, the fourth highest combination in terms of number of songs.

Today we will listen to the reprehensive songs from the basket of soulful Shailendra with melodious Hemant Kumar. We have also combined Shailendra’s songs composed by Ravi and the his one-only song with Kalyanji Anandji. We have stitched the warp of Shailendra’s songs by these three music directors with a common weft of one Song Man Dole Mera Tan Dole (Nagin, 1954), which was composed by Hemant Kumar, set to music by Ravi, as assistant of Hemant Kumar, for which the been (pungi) was played by Kalyanji (Anandji) Virji Shah on clavioline.[1]

Shailendra with Hemant Kumar

Hemant Kumar (a.k.a. Hemant Kumar Mukherjee) – B: 20-6-1920 – D: 26-9-1989 – commenced his career in Hindi Films, as a singer first, with Irada (1944) song Aaram Se Jo Raaten Kaate, (Lyrics: Aziz Kashmiri), under the baton of Pt. Amarnath and as a music director in Filmistan’s Anand Math (1952).

As sweet as any coincidence can be, Shailendra penned the majority of the songs for this film. Shailendra and Hemant Kumar teamed up for two more films (Chand and Hum Bhi Insaan Hai, both 1959) and one song for Masoom (1960) in the roles of lyricist and music director respectively.

Aside:

Shailendra also combines with Hemant Kumar as a playback singer –  Shankar Jaikishan’s compositions Yaad Kiya Dil Ne Kahan Ho Tum (Patita, 1953) and Rula Kar Chal Diye HasiN Ban Ke Jo Aaye  (Badshah, 1954), in addition to the songs discussed separately in the present post.

Naino Mein Saawan, Man Mere Phagun, Palchhin Jale Aur Jalaye Yaad Aye Bachpan, Yaad Aaye Re – Anand Math (1952) – Geeta Dutt

Geeta Bali reminisces the memory of her journey from her parent’s home to the present times in the Math.  The pathos of the lyrics are so well captured in Geeta Dutt’s soft tone. The composition of the song also reflects the different moods of the song at different stages.

Kaise Rokoge Aise Toofan Ko – Anand Math (1952) – Talat Mahmood, Geeta Dutt

On one hand, Geeta Bali successfully attempts to divert attention of the British soldier by carefully modulated initial recital of first set of lyrics, while also challenging her love, Pradipkumar, with the carefree rendition of her part of the song. However, palpable tension, on both counts, is evident in Pradeep Kumar’s response. Geeta Dutt and Talat Mahmmod have captured the mood the song in totality.

Aside:

Pradeep Kumar made a dbut with Anand Math.

Kabhi Aaj Kabhi Kal Kabhi Parso – Chand 1959– Lata Mangeshkar,Suman Kalyanpur

We have here a one of the few rare Lata- Suman duets. Hemant Kumar dexterously presents a fast-paced dance song.

Hai Re Kismat Ka Andher Hai Re Banate Der Lage Na Bigadate – Hum Bhi Insaan Hai (1959) – Hemant Kumar

The opening notes of flute is picked up by Hemant Kumar to express the despair of dark phase of the life.

Oonch Neech Ke Bhed Bhula Ke Gale Milo Saare Insaan – Hum Bhi Insaan Hai (1959) – Hemant Kumar

A bhajan composition that has appropriately Shailendra has used to weave in the socialistic thinking.

Phulva Band Mahake Dekho Laheke Daali Daali – Hum Bhi Insaan Hai (1959) – Geeta Dutt, Suman Kalyanpur

Hemant Kumar resurrects pure melody from Shailendra’s wonderful description of the nature, from the eyes of two young friends. Geeta Dutt and Suman Kalyanpur fully blend each other’s individual style into the melody of the duet.

Pyaar Jatake Lalchaaye Mora – Hum Bhi Insaan Hai (1959) – Shamshad Begum

Without any benefit of the video, one is left in no doubt about the gay mood the singer – on and off the screen.

Nani Teri Morni Ko Mor Le Gaye – Masoom  (1960) – Ranu Mukherjee

Shailendra comes up with gem of child song by using the first line of folk song. Hemant Kumar  also has done an out-of-box trick by using the voice of Ranu Mukherjee, who is his the then very young, daughter.

Shailendra With Ravi

In 1952, Ravi (a.k.a. Ravi Shankar Sharma) – B: 3 March 1926 – D: 7 March 2012 – was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi assisted Hemant Kumar till Nagin 1954, before he ventured on to his own.

Shailendra and Ravi had four films together, all of them being pre-Chaudhvi Ka Chand (1960). Ravi then went onto work more with Shakeel Badayuni or Sahir Ludhyanavi or Rajendra Krishna, depending upon the film’s production house’s own preference.

Shailendra penned two songs in their first ever joint venture, Dilli Ka Thug (1958) – Chal Ri Ameeren Bhai Chal Re Fakire, A Kishore Kuamr solo and  Ye Raatein Yeh Mausam Nadi Ka Kinara, a Kishore – Asha duet we have covered in our overview article.

They then paired for 3 more films.

Ye Kaisi Rut Aayi – Devar Bhabhi (1958) – Asha Bhosle

As compared to a very distinctive style of O P Nayyar, Ravi lent the essential variety to Asha Bhosle’s style of singing, thereby enabling her to establish her position in the playback singing As compared to field.

Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Hemant Kumar, Lata Mangeshkar

Ravi has so aptly chosen Hemant Kumar for a male playback voice for a song which so evocatively passionate, for expressing the emotions with a restraint when the the couple share each other’s views outside the public glare.

Kal Ke Chand Aaj Ke Sapne  – Nai Rahen  (1959) – Lata Mangeshkar

A classic twin version which recollects those happy moments when the circumstances have taken an unhappy turn.

Tose Laage Naina  Saiyaan Ho To Se Lage Naiana – Nai Rahen (1959) – Mohammad Rafi, Asha Bhosle

Romantic songs cast in semi-classical mode is also very oft-used genre in Hindi films. Ravi uses his simplicity wand to present the song.

Kaun Jaane Re Baba  Duniya Mein Preet Parayi – Jawani Ki Hawa (1959) – Mohammad Rafi, Asha Bhosle, Geeta Dutt

Ravi deftly does justice to the street-performance genre song here. Getta Dutt, very sparingly ever used by Ravi, sings for the younger of the girl members of the performance troupe.

Shailendra with Kalyanji (Anandji)

In a very rare occurrence, a lyricist writes songs for a senior music director as well as for two of his erstwhile juniors, in two different cases. Shailendra has done this in this case of Hemant Kumar, Ravi and Kalyanji(Anandji) as well as in case of S D Burman, Jaidev and R D burman. Shailendra himself has penned songs for two such pairs, more than once – Shankar Jaikishan and Dattaram, S N Tripathi and Chitragupt.

Ja Ja Na Chhed Maan Bhi Ja – Satta Bazar (1959) – Mohammad Rafi, Suman Kalyanpur

Shailendra, incidentally, has penned, only one song in this film.

As it happens, the last few songs in the post have Mohammad Rafi as the singer. So we will take up one more song, this time composed by Hemant Kumar, to traditionally our posts with Mohamad Rafi song

Pyaari Bole Bulbul Padosan Bole Kauwa – Hum Bhi Insaan Hai (1959) – i

An absolutely carefree mood song. You don’t get many such song from Hemant Kumar’s stable.

We will continue our quest of Shailendra with other music director in this series in our next episode, next year.

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

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


[1]  A tickling trivia on the making of Man Dole, Mera Tan Dole –

There has been a lot of discussion on who created that piece. The cover of the record released by HMV gives credit to Ravi and Kalyanji, who were part of Hemant Kumar’s the then team. Shyamanuja provides some essential, and one very interesting, inputs in his article   Who created the classic been music in Man Dole, Mera Tan Dole?.

It was in the year 1954 that Kalyanjibhai’s son Dinesh Shah was born, who has shared Nagin 1954 – Been Music on Clavioline played by Kalyanji Virji Shah for its nostalgic and documentary value.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: July, 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

Our purpose is to revisit Mohammad Rafi’s solo songs across the start point of his career till the end. We have been able to cover Mohammad Rafi’s association with around 90 music directors in these first three periods. Presently, we take up the first two years of 4th Five-Year Period 1959-1963. While looking for the first solo song with music director for each of the five years of this Five-Year Period, I have also listed some of the very popular or not-so-popular but quite remarkable songs for the music directors who have already appeared in the past three Five-Year Periods. Most of these songs we remember so well that just three words of the first line of the song is enough for us to create the whole song in our minds. There are some which you love to listen again and re-enjoy the beauty of the song, as I did.

With every passing year, the list of the solo songs with the music directors who already have appeared in the previous periods is swelling up. So even at the cost of digressing from the titled-course of the post, we will take the tour of the very-well known and not-so-known but very-good-to-listen-again songs. The sequence is – name of music director, the film and (the song). I have included here only those films which had one or more songs to take note of, to my liking, of course.

I have followed the name of the films in the alphabetical order while listing the songs in this post.

1959

Noteworthy songs for the year were –

Chitragupta – Barkha (Sur Badle Badle Kaise ) / N Dutta – Dhool Ka Phool (Tu Hindu Banega) / Shankar Jaikishan – Chhoti Bahen (Main Rickshawwala), Love Marriage (Kahan Jaa Rahe The), Shararat (Ajab Hai Dastan) / Vasant Desai – Goonj Uthi Shenai (Kahe Do Koi Na Kare) / S D Burman – Insaan Jaag Utha (Dekho Re Dekho Ajuba), Kagaz Ke Phool (Dekhi Zamane Ki Yaari) / Hans Raj Behl – Sawan (Dekho Bina Sawan),

1959 has (technically) seven (but effectively six) music directors who had the maiden solo song for Mohammad Rafi.  Of these six music directors, two music directors did achieve commercial acknowledgement from the industry.

Kalyanji Virji Shah commenced his career as independent music director in 1958 with ‘Samrat Chandra Gupt’. The film had three Rafi/ Lata duets, but the solo song(s) with Mohammad Rafi came up only in 1959, for two films – Bedard Zamana Kaya Jaane and Ghar Ghar Ki Baat.

Bedard Zamana Kya Jaane – Bedard Zamana Kya Jaane – Lyrics: Bharat Vyas

Mohammad Rafi gets to sing the background song, which is a title song as well.

Uparwale Ne Jaldi Mein Likh Di Meri Taqdeer – Ghar Ghar Ki Baat – Lyrics: Gulshan Bawra

This is a song in a totally different mood.

Kalyanji – Anandji

After having worked solo in some more films like P B No. 999, Chandra Sena etc. Kalyanji Virji Shah teamed up with his younger brother Anandji. The brother duo gradually created their own style of compositions and went on to record many successes, including some of the iconic songs.

Suno Bhai Aankade Ka Dhandha Ek Din Teji  – Satta Bazar – Lyrics: Gulshan Bawra

This is classic Jhonny Walker song.

Usha Khanna

Usha Khanna is another debutant for the year 1959 who scaled peaks in her first foray. She did have a very long active career, which may not fall within the textbook definition of ‘success’ in the Hindi film industry, but she was certainly successful in creating her own space, in an otherwise male dominated domain.

The debut film is Dil Deke Dekho, for which she lined up a slew of Moahhamd Rafi songs, filmed  on Shammi Kapoor. The title song Dil Deke Dekho and other quite popular Bolo Bolo Kuchh To Bolo, Hum Aur Tum Ye Sama and a back-to-back pair of songs Megha Re Bole Chhanan Chhanan- Bade Hai Dil Ke Kale

Rahi Mil Gaye Raho Mein – Dil Deke Dekho – Lyrics: Majrooh Sultanpuri

Usha Khanna very deftly handles an OPNayyar-styled lilting tune, customized to the theatrics of Shammi Kapoor. Usha Khanna’s musical insight can be seen very well in the prelude of the song, wherein Rafi’s alaap is blended with whistling.

Gajanan Karnad

From very sketchy information that I could collect, Gajanan Karnad was an ace violinist and is known as the most-used support violinist fir Hindi film songs recordings. A more strenuous Google search provides a few links to his violin recordings.

Ye Sach Hai Ae Jahanwalo Hamein Jeena Nahi Aaya – Kal Hamara Hai –– Shailendra

There is one more Asha Bhosle mujhra recorded composed by Gajanan Karnad – Irada Katl Ka Hai (Aise Na Dekho Rasiya) – which has several, very distinct accompaniment of tabla

The present song would be a major find for Hind film song fans, in general, and those of Mohammad Rafi, in particular.

The other songs of the film have been composed by Chitragupt.

Bipin Dutta (Datt ?)

Bipin Dutta, and Babul, who have also been assistants to Madan Mohan, have independently paired too, to give some outstanding songs. Bipin Dutta seems to have forayed individually too. Other films to his individual credit are – Diamond King (1961) and Baaghi Shahazada (1964).

Ye Bambai Shahar Ka Bada Naam Hai – Kya Ye Bambai Hai – Lyrics:  Noor Devasi

A Johnny Walker styled song that is filmed on Maruti, who, along with Nishi plays the lead role in the film.

This mundane trivia has, very rightly, any importance today Joy is to relish the half-a-century back Mumbai and the lyrics that highlight Mumbai USPs!

Nirmal Kumar

Hardly any information is available about this music director or the fllm – Lal Nishan.

Teri Nazar Ki Chhabi Ne Khola Dil Ka Tala – Lal Nishan – Lyrics: Anand Baxi

The song has shades of Naam Bade Darshan Khote, in the basic tune and interlude orchestration..

Prem

Here is one more totally obscure name!

Duniya Chala Chali Ka…Do Din Ki Zindagi Hai Is Par Na Phool Pyare – Zimbo Ki Beti –Lyrics: Preetam Dahelvi

Hindi film industry had some very typical fad for certain names – Sindabad, Zimbo etc. are a few such names which were used to make films like ‘Son of ..’ Duaghter of .. ‘ ‘..In town etc.

Mohammad Rafi sings a text-book background song in right earnest.

1960

Some well-known and some still-good-to-listen solo songs of Mohammad Rafi for the year 1960 –

S D Burman – Bombai Ka Babu (Saathi Na Koi Manzil), Kala Bazar (Uparwala Jaan Ke, Khoya Khoya Chand) / Roshan – Babar (Tum Ek Baar Muhabbat Ka), Barsaat Ki Raat (Maine Shayad Pahele Tumhe, Jindagi Bhar Nahi, Mayoos To Hoon) / Ravi – Chaudhvin Ka Chand (Chaudhvin Ka Chand), Ghunghat (Haaye Re Insaan Ki) / Kalyanji Anandji – Chhalia (Gali Gali Sita Roye) / Shankar Jaikishan – Dil Apna Aur Preet Parai (Jaane Kahan Gayi), Ek Phool Char Kante (Tirchhi Nazar Se Na Dekh) / Usha Khanna – Ham Hindustani (Ham Jab Chale To) / Naushad – Kohinoor (Madhuban Mein Radhika), Mughal-e-Azam (Zindabad..Ae Mohabbat Zindabad) / S N Tripathi – Lal Quilla (Lagata Nahi Dil Mera, Na Kisi Ki Ankha Ka) / Chitragupt – Patang (Ye Duniya Patang),

1960 seems to yield only three music directors that fit our basic selection criteria of composing the solo song for Mohammad Rafi for the first time. G S Kohli is a noteworthy name in these three music directors.

G S (Gurusharan Singh) Kohli

A very able tabla-player and music arranger, G S Kohli worked as assistant to O P Nayyar for almost his whole career, even when he had started composing music for films independently. He belongs that class of assistants who could not evolve their own distinctive styles. These music directors could shine for a few songs but could never make their own permanent space, even in the 2nd or 3rd rows.

Pyar Ki Rah Dikha Duniya Ko Roke Jo Nafrat Ki Andhi – Lambe Haath – Lyrics: Anjaan

The song shows all the talent that GS Kohli possessed as music composer. The film has a couple of more Rafi, light-mood, solo songs – Are Bus Mein Nazar Takraai and Sone Jaise Pyar Ko Samaj Liya Tambaa, that would vouch for his versatility as well.

Ramlal Heera Panna

In all probabilities, he is same famous flute and shehnai plyer who once worked with Ram Ganguly in Prthivi thaters. As destiny of Hindi films’ ways are, he kept struggling with C grade mythological films.

Aaj Yahan Kyun Andhkaar..Tera Mera Amar Pyar Hai – Maya Machhindar – Lyrics: Pt. Madhur

Mohammad Rafi gets his usual background song.

T G (Thiruchirappalli Govindarajulu) Ligappa

T G Ligappa was a noted music director who scored music for Tamil, Kannada and Telugu films.

Chhod Chale.. Ram Ayodhya Chhod Chale – Ramayan –Lyrics: Saraswati Kumar ‘Deepak’

This film appears to be the remake of Tamil film. Mohammad Rafi gets to once more sing a background song.

Before we end today’s episode, I am not able to resist temptation to present a recitation song from Barsat Ki Raat (1960).

Kya Gham Jo Andheri Hai Raatein, Kuchh Shamm-e-Tamanna Sath To Hai

I am sure you will be able to feel the shadow of other famous song by Roshan / Sahir combination!

We will continue with the first solo song of Mohammad Rafi for music director(s) for the other three years – 1961, 1962 and 1963 – of the 4th Five-Year Period of 1959 to 1963 in our December 2019 episode.

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.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: June, 2019

Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana

Picture – courtesy: Mustafa Kamaal Sikander

Dattaram (a.k.a. Dattaram Wadkar) had very early initiation into the music His first music teacher was Pandari Nageshwar, from whom he learnt to play tabla. Subsequently, he worked for Sajjaad Hussain for a few months, before he chanced to meet Shankar  in a gym. With Shankar’s help, he secured a job at Prithvi Theatres. He became part of the trio that used to play the background music during the interval in the stage shows – the other two being Ram Ganguly on sitaar and Ramlal on shehnai. Dattaram became famous as a tabla player, and a special rhythm that he used to play became to be known as ‘dattu tthekaa’. (a percussion rhythm played on tabla).

Dattaram assisted Ram Ganguly in Raj Kapoor’s Aag (1948) and then onwards assisted Shankar-Jaikishan in Barsaat (1949). Dattaram continued to assist Shankar-Jaikishan in a majority of films, all the way up to ‘Dhoop Chhaon’ in 1977. He was part of the core RK music team of Shankar-Jaikishan, Shailendra, Hasrat Jaipuri, and Mukesh, besides himself.

In 1957, Dattaram made his mark as an independent music director with the RK film ‘Ab Dilli Door Nahin’. In his career as a composer, he created music for just about 21 films from 1957 to 1971.  He is the one of those unfortunate composers, who did not succeed on the commercial parameters, even when his songs did become quite popular. In the initial phase even help from Raj Kapoor also could not turn the tables on his side.

In a series of tribute articles, we had listened to Dattaram’s songs from 1957 to 1959 in June,2018 episode of our present platform. We will listen to some of his known, and not so known, songs for the years 1960 and 1961.  These songs epitomize the irony of Dattaram’s career – the success of his songs was not strong enough to provide the escape velocity required for the long term success as an independent music director.

Kala Aadmi (1960)

Many of us may not remember the film, but Mukesh solo from the  film, Dil Dhundhata Hai Sahere Sahere, will ring instant recall.

The other songs from are also very good to listen to.

Aankh Mila Kar Vaar Karoongi Roko – Suman Kalyanpur – Lyrics: Hasrat Jaipuri

Dattaram has so skillfully used Suman Kalyanpur for a ‘typical’ club song. The song is filmed on Minu Mumtaz and others.

Ankhiyaan Milaa Ke Toone Mujhko Hi Jeet Liyaa  – Lata Mangeshkar – Lyrics: Hasrat Jaipuri

This is a ‘party’ song, filmed on the film’s lead lady, Shayama, hence Dattaram brings in Lata Mangeshkar to playback the song. Prelude and interlude orchestration has strong shadow of Shankar Jaikishan style, but Dattu tthekkka’s distinct presence establishes the song as THE Dattaram composition.

Shriman Satyawadi (1960)

Dattaram once again takes up the musical baton for a film in which Raj Kapoor is lead actor, after Parvarish in 1958. As against his use of Manna Dey as the lead playback singer in Paravarish (except Ansoo Bhari Hai Ye Jeevan Ki Rahein), Dattaram has deployed Mukesh as Raj Kapoor’s lead playback singer in this film. The songs – Haal-e-Dil Hamara Jaane Na Ye Jamana and Ae Dil Dekhe Hai Hamne Bade Bade Sangdil – are copybook Mukesh-Raj Kapoor songs, and as can be expected had become quite popular.

Rut Albeli Mast Samaan, Saath Haseen Har Baat Jawaan – Mukesh – Lyrics: Gulzar Dinvi

Song is filmed as a Tonga /Victoria song, however, Dattaram has not resorted to the typical ‘tonga’ based rhythm.  Dattu Thekka also been used very innovatively in the song.

Ek Baat Kahoon Wallah Ye Husn Subhan Allah – Mahendra Kapoor, Suman Kalyanpur, Mukesh – Lyrics: Gulzar Dinvi

Dattaram has experimented with Mahendra Kapoor as playback voice of Mehmood in the song. The song is an additional evidence of Dattaram’s range of capability, to be able to so easily handle a variety of song genres during his career.

We find PreSong Dances on YT, wherein we find Dattaram experimenting with different western dance tunes.  Each piece has been created with a different set of rhythms and corresponding instruments. E.g.@3.36, we get to listen one of the most popular dance tune, wherein Dattaram has freely experimented with the use of rhythm and main composition instruments.

Dark street (1961)

Dattaram now seems to get trapped into waling up the dark street of B/C grade films for sustenance, which, typically, does not help his career.

Ajab Hain Is Duniya Ke Raaz, Jo Bhi Mile Wo MaskebaazGeeta Dutt – Lyrics-Gulshan Bawra

Use of Geeta Dutt for club dance is perhaps too late, since she was no more in the prime singer list by this time. However, B/C grade film constraints of tighter budgets further aggravate competition with big-budget, big-banner films for the time slots of the top-rung singer, So the music director has to make best of what is available. In most of similar cases, the song does work out as good, but not good enough to be commercially successful.

Itne Bade Jahaan Mein Apna Bhi Koi Hota – Suman Kalyanpur – Lyrics: Indeevar

The song falls into a classic slot of all-female twin song genre. Both versions have been able to carve out quite distinct identity as individual songs, while complementing as twin songs of a happy and a sad mood.

Version 1

Version  2

First Love (1961)

We have one more film that has been lost in the obscurity, but its songs remain live even today.

Mujhe Mil Gayi Hai Mohabbat Ki Manzil, Koi Poochh Le Yeh Mere Hamsafar SeMukesh, Lyrics-Gulshan Bawra

Dattaram once again comes up with a winning Mukesh-song formula.

Maano Ya Na Maano Meri Zindagi Ki Bahaar Ho – Suman Kalyanpur, Mukesh – Lyrics-Gulshan Baawra

Dattaram seems to have preferred to err on the safer side and have selected a typical Mukesh-duet-song formula

We must also take note of one the most known Suman Kalyanpur songs, which was recorded in this film.

Beete Hue Din Kuchh  Aise Hi Hai, Yaad Aate Hi Dil Machal Jaaye – Suman Kalyanpur – Lyrics: Gulshan Bawra

Dattaram uses Suman Kalyanpur’s voice to create a feeling of deep pathos. The song also epitomizes irony of fate – the song is considered to be a class creation that was well-received by the mass, but  not its music director.

Zindagi Aur Khwaab (1961)

The competitive compulsion on Dattaram – to work in B/C grade, unknown banner films – seems to work as blessing in disguise as he gets chance to work with a wide range of lyricists. However, even this does not help in breaking the jinx to his career.

Phool Bagiya Mein Bhanwre Aaye, Akeli Chameli GhabraayeMubarak Begam – Lyrics : Pradeep

Dattaram gets to work on a mujra song here. He has been able to use Mubarak Begam well enough in the song.

Kidhar Main Jaaun Samajh Naa Paaun…Kabhi Kisi Ki Khushiyaan Koi Loote Naa – Mukesh – Lyrics: Pradeep

Once again Dattaram comes up with a trump of a Mukesh-pathos song. The song also is proof of Dattaram’s capability of handling different genres of songs – this is a ‘piano’ song.

Asides:

The film also has a very popular Manna Dey – Suman Kalyanpur duet – Na Jaane Kahaan Tum The Na Jaane Kahaan Ham The, Jaadu Ye Dekho Ham Tum Mile Hain.

In the chance meeting of this film, Meena Kumari was already a star, Manna Dey and Suman Kalyanpur were well –respected but remained the second-best choice.  Dattaram has been struggling to come out of the down-hill path. Rajendra Kumar may be considered as perhaps the most-limited talent artist in the picture frame of the song, but was so lucky that he went to become golden-jubilee-kumar and retained stardom for a fairly long stretch of time.

Kateele Kateele Nasheele Nasheele Kaise Jhonke Aaye, Hawaa Ke kaise Jhonke Aaye – Suman Kalyanpur – Lyrics: Shailendra

Here we have Salil Chaudhari-styled, vivacious, fast paced, high-pitched song, that is orchestrated on SJ style.

We will now take up one Mohammad Rafi song from each of these films to end our episode with Mohammad Rafi song. Each of the song is of a different type, created for a different situation.

Beema Life Beema Policy! Babu Insurance Kara Lo, Mister Insurance Kara Lo – Kaala Aadmi (1960) – Lyrics: Hasrat Jaipuri

One does not need to be told that the song is filmed on Jhonny Walker.

Rang Rangeeli Bottle Ka Dekho Jadoo – Shriman Satywadi (1960) – Lyrics: Gulzar Dinvi

This time it is Mehmood who lip syncs Rafi on the screen.

Mujhe Jag Di Bana De Malika – Dark street (1961) – With Suman Kalyanpur – Lyrics: ?

We have a bhangra song, that has distinct use of Dattu Ttheka.

O Dekho Aayi Bahrein Layi, Woh Dekho Aayi Hai Senorita – First Love (1961) – With Suman Kalyanpur – Lyrics: Gulshan Bawra

This looks like a picnic song, which also was a very oft-used genre in Hindi film songs in 60’s.

Mera Bandar Chala Hai Sasuraal, Dekho Zara Latka. Hoy Betaa Ji Ke Laal Laal GaalZindagi aur khwaab (1961) – With Kamal Barot – Lyrics:Pradeep

The songs is one more addition to Dattaram’s range of different genres – A Street song, based on folk music- and different playback singers – Kamal Barot.

We will continue our exploration tour of Dattaram’s music direction in the future episode(s), too.

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.