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.

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Business Sutra | Concluding the series

Business Sutra |10| Finale : The Indian Way of Doing Business

We have covered all 10 episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

Business Sutra | Concluding the series

We had referred to Devdutt Pattnaik’s TED talk – The Indian approach to business: Devdutt Pattanaik at TEDxGateway 2013 –  in our curtain raiser article to this series. The talk discusses the background of the way an Indian does business in terms of a set of beliefs that would lead to set of corresponding behaviors that would get reflects in his or her way of doing business. Devdutt Pattanaik calls this as his 3B model.

The Indian scriptures have not one promised land but three promised lands –

The first promised land is called Swarga- the paradise = where lives a cow called Kamadehnu which is an-wish fulfilling cow,  ask for anything and the cow will give it to you. There is a tree called Kalpvruksha. You may stand under the tree ask for anything and you will get it. There is a jewel called Chintaman. Hold it in your hand, ask for anything and you will get it without any effort. In management language this is called availability of infinite return with no investment. This is how a paradise ought to be. The king of this land is  called Indra. He is a prosperous king, he sits on elephants and he is happy and powerful. But savages always keep his kingdom under siege. There are always wars happening. If a king performs a Yagya, or goes to a war,  Indra gets insecure and immediately steals the horses of that king. If an asura is born he runs to his father with a request to kill that asura.   If a Rishi starts doing Tapasya, he goes to the apsara department and sends a  Ramba or an Urvashi to entice the Rishi and break his tapasya. He has everything , and yet he is insecure.

The second promised land s Kailash, a Mount Kailash. It is a mountain of stone, covered with snow. Here hunger is outgrown, it is destroyed. Look carefully at  this popular street image of Mount Kailasha. In the front, you can see a bull, Nandi, and opposite to that is Parvati’s lion. The bull is not quivering in fear of a predator. On top of Karthikeya there is a peacock and we see a peacock’s food, a snake untwirled around the neck of Shiva. The snake’s food, a rat, is under the feet of Ganesha, We have here a several sets of a predator and a prey, but nobody is afraid, because hunger has been destroyed. As there is no hunger there is no need, there is no desire, there is no want and therefore Shiva is always at peace. But of course, the goddess won’t let him live in peace. As a woman, she keeps saying that you are not hungry, but what about other  people hunger, what about my children’s hunger.

That brings us to the third promised land which is Vaikunth, the land of Lord Vishnu. Vishnu is reclining on a serpent and is surrounded by affluence and abundance. But their prosperity is accompanied with peace. What is different over here is that it is a happy playground it is not a battleground. Here other people’s hunger is taken care of. Vishnu participates with the world, he engages with the world. If needed, he descends on to the earth and does various roles – the incarnations.

So we have three promised lands which are based on three different beliefs, the subjective truths – your truth and my truth. To understand the belief that underlies these promised lands we have to understand the difference between animal hunger and human hunger.  The human hunger is different from animal hunger in three ways. First quantitative- hungry for today’s food, but also hungry for tomorrow’s food and food the day after tomorrow and the food after ten years, the food after when I retire, the food for my children and ten generations from now. So I will keep saving, and hoarding to insure myself The second type of human hunger is qualitatively different. We are not just hungry for food we are also hungry for status, for power, for property. Animals have territory but they can’t bequeath territories to the next generations. The third, and the most critical difference is human imagination. We also have empathy. I can feel, both, your quantitative and qualitative hunger. That’s what makes humans unique That is what underlies these three promised lands.

Indra believes that my hunger matters first, Shiva believes I can outgrow my hunger and Vishnu says your hunger matters first. The question is which hunger matters first –  your hunger or my hunger. That of the shareholder or of the employees or those of the customers or of the vendors or of the politicians or of the regulators, or of the society or of the environment. Whose hunger matters first.

In reality, there is no THE clear answer. We say your hunger only matters if you satisfy my hunger or if after I have satisfied my hunger only then your hunger matters. This is how most people are designed. But what is celebrated in the mythology is the idea of satisfying your hunger so that I can outgrow my hunger. Therefore, you have temples for Vishnu and Shiva, but not for Indra. In fact. they are two sides of the same coin. By satisfying your hunger. The cynic will say outgrowing hunger is theoretical, it cannot happen in practice. It meant for people who wear orange robes not for business suits. The second cynic feels that if I am going to focus on your hunger then it is a recipe for exploitation because the moment they focus on other people’s hunger, the other is prone to be exploited. So it also may not work. That brings us to the third cynic, who believes that there is only one reality and that is my hunger matters first. We are taught repeatedly this is the only reality in the animal kingdom, but not necessarily in the human Kingdom. We do have the capability of outgrowing our hunger and focusing on other people’s hunger,

That brings me to my 3B model. If you believe that my hunger matters first, you will create a battleground and there will be prosperity but no peace. If you believe your hunger matters first then there is a possibility of creating a playground, where there  is prosperity with peace. When you choose your belief you create your promised land – it can be swarg, where your hunger matters first or  it can be Kailash where there is no hunger or it can be Vaikunth where everyone’s hunger is satisfied and my hunger is outgrown.

To sum up:

The Indian way of doing business—as apparent in Indian mythology, but no longer seen in practice— accommodates subjectivity and diversity, and offers an inclusive, more empathetic way of achieving success. Great value is placed on darshan, that is, on how we see the world and our relationship with Lakshmi, the goddess of wealth.

If we believe that wealth needs to be chased, the workplace becomes a rana-bhoomi—a battleground of investors, regulators, employers, employees, vendors, competitors and customers; if we believe that wealth needs to be attracted, the workplace becomes a rang-bhoomi—a playground where everyone is happy.

Our belief, therefore in tun, our behavior, decides which is our Promised land.

Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.

P.S. :

All episodes of the present series are also collated in one file asDevdutt Pattanaik’s TV serial: Business Sutrafor ease of reading and download.

This series was published in Gujarati too under the title દેવદત્ત પટ્ટનાઈકનું ‘બિઝનેસ સૂત્ર’. All episodes have been collated in one file for ease of reading / downloading the series.

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.

Fading Memories…. Unforgettable Songs: May, 2019

Manna Dey – Chale Jaa Rahein Hai…. : 1947 – 1950

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) had established himself as the playback singer with his own distinct style in the very initial years of his career in the ‘40s. The second half of ‘40s – from 1947 to 1950 – further consolidated that image. This was also the period when other male and female playback singers who were to play dominant roles in the subsequent decades of 50’ and ‘60s were also simultaneously visible in the sky of HFM. ‘40s laid the foundation that established that range of Manna Dey’s vocal prowess would become a standard that these and the those who were to follow would always aspire to reach.

However, for the records, it needs to be recorded that it was his that versatility that led the music directors to offer him songs that were difficult. The fact that he made these difficult compositions sound simple enough probably never created ‘THE’ hero’s voice.

We have listened to Manna Dey’s songs for the year 1943 to 1946 in our May 2018 episode. We would take up Manna Dey’s songs from 1947 to 1950 in this episode today.

For the purpose historical records, the present four years of 1947 to 1950 have given us Manna Dey’s maiden duets with Meena Kapoor (Chaltey Chaltey, 1947), Shamshad Begum (School Girl, 1949), Lata Mangeshkar (Narsinh Avtar, 1949), and Geeta Dutt (Ram Vivah, 1949). Even as he used to assist S D Burman from the initial days of the music director, Manna Dey recorded his first song under S D Burman’s baton in Mashaal (1950).

Suno Suno He Nar Nari – Age Badho (1947) – Sudhir Phadake – Amar Varma

This is a song wherein Manna Dey provides the backstage voice for the song narrative of the play being enacted on the stage.

Asides:

There is another song, a duet – Sawan Ki Ghatao Dheere Dheere Aana– which had become very popular then and is till well-remembered. The records clearly mention Manna Dey as the male singer, but the listeners seem to be equally convinced that it is Rafi.

Apne Hi Rang Mein Rang Daro – Geet Gobind (1947) with Rajkumari – Gyan Dutt – Pandit Indra

Gyan Dutt has used Manna Dey’s voice as the lead male voice for the film. The songs of the film had become quite popular too. This very unique opportunity seems to have dysfunctionally cast Maana Dey as the singer for classical based songs.

Ham Tere Hai Hamko Na Thukarana O Bharat Ke Bhagwan Chale Aana–   Ham Bhi Insaan Hai (1948) – H P Das, Manna Dey – G S Nepali

In the very initial years of Dev Anand, Manna Dey seems to be have been used as his playback voice.

Wo Ghar Ghar Ke Diye Bujhakar Bane Hue Dhanwan – Ham Bhi Insaan Hai (1948)– H P Das, Manna Dey – G S Nepali

In Part 1, Manna Dey sings in the lead, with an unknown female artist and chorus in the company.

In Part 2, Manna Dey play perfect foil to the silhouette pensive mood of the song.

Jai Shiv Shankar Gauri Shankar – Jai Hanumaan (1948) – Bulo C Rani  Pandit Indra

No wonder Manna Dey gets type cast for such songs.

Humne Tumhare Ishq Mein Marke Dikha Diya – Gajre (1948) – Anil Biswas – G S Nepali

With this romantic song, Anil Biswas certainly adds to variety of songs that Manna Dey could sing so comfortably. This is the only male song in the films, so we may presume that it will have been filmed on Motilal, the main lead actor.

Chal Tu Preet Nagariya Rahi – Veena (1948) – Anil Biswas – Prem Dhawan

The song is a pensively romantic mood song, which may have been filmed as a background song.

Duniya To Ye Kaheti Hai Insan Kahan Hai – Lahore (1949) – Shyam Sundar  Rajiner Krishna

Manna Dey gets one more background song. However, the song is quite difficult one .

Lapat Ke Pat Pahaney Bikral – Narsinh Avtar (1949) – with Lata Mangeshkar and chorus – Vasant Desai –

The song is a dance song but set to a difficult composition. The song is a maiden Manna Dey – Lata Mangeshkar duet, which is set to give us 102 more.

Dhanya Dhanya Hai Awadhpuri – Ram Vivah (1949) – with Geeta Roy (Dutt) – Shankar Rao Vyas – Moti M A

This song goes down the records as the maiden Manna Dey and Geeta Roy (Dutt) duet. They have 26 more duets to their account.

Duniya Ke Logo Lo Himmat Se Kaam – Mashaal (1950 – with chorus – S D Burman – Pradeepji

Manna Dey gets one more opportunity to manifest his tonal range, but for a ‘beggar’ song, composed by S D Burman to the Bengali folk ‘baul’ tune.

Upar Gagan Vishal Neeche Gahar Paatal – Mashaal (1950) –  S D Burman – Pradeepji

Mashaal helped S D Burman much needed toe-space to anchor his career in the HFM. Even as he had used Arun Kumar Mukherjee as playback to the male lead, Ashok Kumar, it this song that earned the credit of being the game-changer. Manna Dey again is at his tonal variety best, even as the song is filmed more as a background song.

Here are the songs for which we have audio links, thanks to SP Chatterjee’s exhaustive blog compilation of Manna Dey’s songs-

I have not been able to locates soft copies /links to the following songs:

    • Aaj Bhar Aayi Bhar Aayi Hai – Chalte Chalte (1947) – with Meena Kapoor – Khemchand Prakash – Lalchand Basant Peshwari – This Manna Dey’s maiden duet with Meena Kapoor. Unfortunately, we do not have a soft link of this song on the net.
    • Chhod De Likhna, Lekh Bidhata – Kaun Hamara (1947) – Bulo C Rani – Pandit Indra
    • Jag Andha Jagwale Andhe – Aap Beeti (1948) – Haribhai – Hasrat Lakhanavi
    • Bhool Ja, Ab Woh Zamanaa Bhool Ja and Phir Mere Armano Ki Ujadi Hui Hai – Asha – Hari Bhai – L Meghani
    • Jao Ram Siya Ram – Ramban (1948) – Shankar Rao Vyas – Neelkanth Tiwari
    • Phoolon Ka Sapna Dekhanewale – Girls School –(1948) – With Shamshad Begum – Anil Biswas, C Ramchandra – Vishwamitra Adil
    • Narayan Ka Naam Nirala – Bhagwan Shri Krishna (1950) – Shankar Rao Vyas – Pt. Fani
    • Naina Lage Ke Pi Ki Or – Ram Darshan (1950 – ? – Ramesh Gupta

The site exclusively dedicated to Manna Dey mentions one score on Manna Dey’s account in ‘Mahal’ (1949), but does not have any details relating to the lyrics etc.

To end the post with Mohammad Rafi’s song, which would necessarily be a duet with Manna Dey, we shall have to move away for the present scope of 1947-1950 period.

Le Lo Babu Pudiya Ye Jaadu Waali Pudiya  – Madan Manjari  (1961) – Sardar Malik – Hasrat Jaipuri

Even as this being an audio version, we do not have access to know as to who lip sings for the two singers, we can enjoy both the singers matching notes to notes to mood of the 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: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too.

Just as Hasrat Jaipuri invested his earnings in real estate or rental property, on his wife’s advice and create another independent stream of income, he also prolifically wrote lyrics for music directors other than Shankar Jaikishan. We have been trying to get some of his less heard songs with other music directors on one page in this forum. We commenced the series in 2017 wherein we had covered his songs with other music directors from 1950 to 1953, and then in 2018 the songs from 1953 to 1955. In this episode, we will cover Hasrat Jaipuri’s songs with other music directors for 1956 and 1957. In order to keep our catch-pool wider enough, we have repeated some of the HJ – music director relationship that may have been covered in the earlier episodes as well.

1956

HJ had 19 songs – Basant Bahar (1), Chori Chori (5), Halaku (3), New Delhi (2), Patrani (2), Kismat Ka Khel (2), Rajhath (4) – with Shanker Jaikishan and  11 songs with 6 music directors – Dilli Darabar (S N Tripathi, 4), Insaaf (Chitragupta, 2), Naquabposh (Ramlal, 2), Shailaab (Mukul Roy, 2) and Toofan Aur Diya (Vasant Desai, 1) – in 1956.With Vasant desai this is his second consecutive V. Shantaram film, after Janak Janak Payal Baje in 1955.

Music Director: S N Tripathi

Dilli Darbar – The film has Hasrat Jaipuri’s professional alter ego, Shailendra, as his partner lyricist in this film. It seems that none of three songs of Hasrat Jaipuri are available on YT.

Music Director: Mukul Roy

Film: Sailaab

Sailaab was produced by Mukul Roy, in virtual partnership with Geeta Dutt, her sister, and was directed by Guru Dutt.

Haye Re Haye Re……Baje Dil Ke Taar Kare Pukaar – Lakhsmi Shankar

We have no basis to find out why was the song awarded to Lakshmi Shankar. None the less, the song is very pleasant to listen to.

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

The song a is a typical solo a young girl in love that is not spelt out in public, would sing to vent her feelings.

Music Director: Chitragupta

Insaaf is another film for which the song written by Hasrat Jaipuri does seem to have been uploaded on YT.

Music Director: Ramlal

Naqabposh also has the similar fate in so far as Hasrat Jaipuri’s songs are concerned.

Music Director: Vasant Desai

Fim: Toofan Aur Diya

All other songs for this film has been written by Bharat Vyas.

Neegahe Neechi Kiye Haaye … Sar Jhukaye Baithe Ho….Tum Hi Ho Jo Dil Mera Chrauye Baithe Ho…..Dil Tumne Liya Hai Mera Jaan  – Shamshad Begum

The song is essentially a mujhra dance, but the song is based on garaba folk tune. However, use of harmonium pieces helps the song to retain its mujhra dance character. Use a prelude couplet in the song is the tell-tale indication of it being a Hasrat Jaipuri song.

1957

HJ’s score was 5 songs with Shanker Jaikishan – Begunah (3), Kahputili (2) – against which he had written 25 songs for Dattaram (Ab Dilli Door Nahi, 4);  Roshan (Coffee House, 1); O P Nayyar (Johnny Walker, 6); Basant Prakash (Maharani, 3) and (Neelofar, 3) ; N Dutta (Mohini, 2) and (Mr. X, 3); Vinod (Mumtaz Mahal, 3).

Music Director: Dattaram

Film: Ab Dilli Door Nahi

As is well-known, Ab Dilli Door Nahi was the maiden film of Dattaram as independent music director. Hasrat Jaipuri’s Choon Choon Karati Aayi Chidiya (Mohammad Rafi) remains hugely popular even today. Jiyo Laal Mere Tum Lakho Baras (Lata Mangeshkar, chorus) was well-acclaimed among the critics.

Lo Har Cheez Le Lo Zamane Ke Logo, Baharon KI Ham To Ada Bechate Hai – Asha Bhosle, Geeta Dutt, Sidha Malhotra and chorus

The song opens with a HJ-signature prelude couplet Idahr Bhi Ek Nazar Jaanewalo….and then runs into a high-pitched street sale of toys by the young children. Lyrics befit the simplicity of the adolescence of the protagonists and yet have very deep meaning.

Aside:

The child actor who opens the main lines of the song is Amjad Khan.

Bhej Chhanna Chhan Khoob Rupaiyya, Ham Tere Kehlate Hai – Mohammad Rafi, S Balbir

The prelude couplet sets the tone of the song when the protagonist yearns the a fourth of a crore as side-kick gift from the almighty. The song goes on to spell out the details of the application, seriously by presenting in a lighter tone.

Music Director: Roshan

Film: Coffee House

Prem Dhawan was the principal lyricist for the film, however Shailendra and Hasrat jaipuri have got one song each to write in the film.

Tod Diya Dil Tune Sanwariya – Asha Bhosle

The prelude couplet marks the Hasrat Jaipuri’s signature style. The song is drenched in pathos mood, even if set to a quicker rhythm.

Music Director: Basant Prakash

Film, Maharani is one more film for which we do not find Hasrat Jaipuri’s songs on YT, even as all songs, except one, were written by Hasrat Jaipuri.)

Film: Neelofar

The film has two pairs of music directors and lyricists. Basant Prakash has teamed up with Hasrat Jaipuri for three songs and Avinash Vyas has teamed up with Pandit Mathur for two songs.

Nazuk Bahar Hoon, Dil Ka Qarar Hoon Duniya Hai Mujh Pe Nichhar, Laayi Hoon Main Ankhon Mein Pyar – Asha Bhosle

The song is simple dance song, both in terms of simplicity of the lyrics as well as that of the composition.

Naache Dil Mera Chhamma Chhamm…. Meri Aankhon Mein Sanam Hai, Meri Saanson Mein Sanam – Sudha Malhotra

A lilting dance song is set to so-called Arab tune.

Music Director : Vinod

Film: Mumtaz Mahal

Out of the seven songs, one each is written by Pandit Priyadarshi and Kaifi Azmi and the rest five are written by Hasarat Jaipuri. We have picked up only one song here.

Main Dil Ka Saaj Bajata Hoon Chaahat Ke Nagme Gaata Hun – Talat Mahmood –

The song fits the possible feelings that music director, Vinod, may have about the way his own music was treated by the commercial world of Hindi films.

Music Director: N Dutta

Film: Mohini

The film has two HJ songs, of which the video clip of Raat Yeh Bahar Ki Tere Pyaar Ki (Asha, chorus), seems that the video of this song seems to  have been removed on YT and does not seem to have been restored.

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

The HJ-signature prelude couplet has been very cleverly used as an opening gambit to draw the initial attention of the king. The song then goes on as dance recital wherein the lady engages the attention to put forth her love.

Film: Mr. X

Mr. X had Ashok Kumar in the lead role, but the film was a thriller in which the hero becomes invisible. The film had as many as four lyricists – Majrooh Sultanpuri, Tanvir Naqvi, Bharat Vyas all had one song each whereas Hasrat Jaipuri had three songs. We have picked up two representative songs here…

Mein Pyar Ki Laila Hoon , Paogi Na Tum Aisi, Ye Chand Bhi Deewana, Surat Hai Meri Aisi  – Manna Dey, Sudha Malhotra

In this duet, it is the lady-love who praises her own beauty for which even Moon is jealous. The poor love musters up courage to reply in the second stanza only. He goes on add to her praise and in the process is ready to throw away all the trivia of the worldly pleasures.

Sadke Tere Chaal Ke’ Kajara Vajra Dal Ke, Jaanewali Aana Kabhi Yaar Ki Gali – Mohammad Rafi, Geeta Dutt

A very playful duet wherein the lady love is lavished with all top-of-the-head -sounding praises by her beauty-and-style infested lover. The lady love also takes the praise in her stride with a chin-up demur.

Music Director: O P Nayyar

Film: Johnny Walker

This is a full-scale film in so far as role of Hasrat Jaipuri as lyricist is concerned. O P Nayyar is also in his usual full flow.

Thandi Thandi Hawa Pooche Unka Pata – Geeta Dutt, Asha Bhosle.

The present song is filmed on Shyama and Sheila Vaaz. This is one of the two duets by Asha Bhosle and Geeta Dutt in the film – Jhuki Jhuki Pyar Ki Nazar Dekhe Unhe

We will leverage the advantage of having Mohammad Rafi’s ssongs in the film to maintain our tradition of ending the episode with Mohammad Rafi songs.

Ae Dil Tu Na Dar Is Jahan Se…– Mohammad Rafi

Mohammad Rafi is in his full Johnny-Walker style in the song.

Muh Se Mat Laga  Dekh Zaraa Cheez Hai Buri – Mohammad Rafi, Manna Dey

Mouhamad Rafi and Manna Dey have joined to sings duets across a variety of moods and genre. Her we have one of the finest Raf-Manna Dey duets in a very light situation.

We will continue our journey of Hasrat Jaiuri’s songs for other music directors in our next 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.

Fading Memories…. Unforgettable Songs: March, 2019

S N Tripathi: Unremembered music director of remembered songs :1957 – 1960

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – after having toiled in the initial years, broke the glass ceiling in 1957 by taking up the Top Post in Binaca Geetmala in 1957. The song was Zara Samne To Aa Challiye, Chhup Chhup Chhalane Mein Kya Raz Hai (Janam Janam Ke Phere). If it sounds not so astounding, look at what was the coemption like: Naya Daur, Hum Sab Chor Hain (OP Nayyar), Pyaasa, Nau Do Gyaarah, Funtoosh, Paying Guest (SD Burman), Miss Mary, Champakali (Hemant Kumar), Chori Chori, Begunah, Basant Bahar, New Delhi (Shankar-Jaikishen) and Asha (C Ramchandra).

The roaring success of songs from a mythlogical film Hatimtai (1956) – Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar, followed by Janam Janam Ke Phere did not really lift the position of S N Tripathi to the A-grade elites.  In an industry that thrives on its mercurial values, talent has never been a password for opening the vault of success, this has been the rule of averages that ruled the roost.

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 and then, from 1951 to 1956 in 2018.  In this episode we will listen to S N Tripathi’s unremembered songs from the films that we may or may not remember for the years 1957 to 1960.

1957

S N Tripathi created music for all C – grade films, Khuda Ka Banda, Paristan, Ram Hanuman Yudhdh and Janam Janam Ke Phere in 1957. Of these, Janam Janam Ke Phere got fame because of Zara Samane To Aao Chaaliye (a Mohammad Rafi and Lata Mangeshkar duet)and Ye Hai Janam Janam Ke Phere.(a Mohammad Rafi and chorus title song).

We will listen to Tann Ke Tamboore Mein Do Saanson Ke Taar Bole Jay Radheshyam – Janam Janam Ke Phere, (1957)  – Manna Dey – Lyrics :Bharat Vyas

S N Tripathi has chosen Manna Dey for this bhajan-styled song. The song is set to a not-easy-to-sing tune, but Manna Dey easily does full justice.

Falak Bola Khuda Ke Noor Ka Mai Aashiyaana Hoon – Khuda Ka Banda (1957) – Mohammad Rafi – Lyrics: Shewan Rizvi

This is also a prayer song, so it is set to a qawwalli style tune. Qawwalli, in essence, is Sufi Islamic devotional songs.

Aside: The song seems to have been strongly influenced by a Nashad composition Badi Mushkil Se Dil Ki Beqaraari Ko Qaraar Aaya (Naghma, 1953, Shamshad Begum, Lyrics: Naqshab Jharavchi). This song has gone onto become one of Shamshad Begum’s all-time-great, whereas Khuda Ka Banda song has sunk into a bottomless pit, along with the film.

 

S N Tripathi did not compose music for any film in 1958.

1959

S N Tripathi composed music for Jagaa Daku, Pakshiraj, Kavi Kalidas and Rani Rupmati in the year 1959.

Kavi Kalidas had 10 songs. Of these, Unpar Kaun Kare Jee Vishwaas (Mohammad Rafi, Lata Mangeshkar duet) and Shaam Bhayi Ghanshayam Na Aaye (Lata Mangeshkar solot) had become very popular. S N Tripathi has also directed this film. We will listen to Naye Naye Rango Se Likhati Dharati Nayi Kahani (Manna Dey- Lyrics: Bharat Vyas) from this film.

The song is filmed as the poet recounts the lyrics of his poem form the dream-like sequence running in his mind. The pensive depth and dreamy softness of Manna Dey’s voice fully convey the mood of the song.

The year 1959 had another period film, Rani Rupmati. AA Laut Ke Aa Ja Mere Meet (Mukesh and Lata Mangeshkar’s solo twin versions), Baat Chalat Nayi Chnari Rang Dari (Mohammad Rafi, Pt. Krishnarao Chonkar classical duet), Ud Jaa Bhanwar Maayaa Ka Pinjara Tod Ke (A Manna Dey Claasic solo) are remembered as hugely popular songs. We have picked up Aankhon Mein Surma Dal Kar Jab Aayegi Dulhaniya (Usha Mangeshkar, Lyrics: Bharat Vyas), for which an audio version is available.

There is a very short video version too, which confirms that song has been filmed in a mujra style in the film.

1960

The year 1960 also has mixed bag in so far as popularity of the songs is concerned. S N Tripathi composed music for Chandramukhi, Do Aadami, Laal Quilla, Rani Chandravati (UR),  Sinahldeep Ki Sundari. And Veer Durgadas.

Mukesh solo Nain Ka Chain Chura Kar Le Gayi (Chandramukhi), two of Mohammad Rafi’s all-time-great solos, Lagata Nahin Hai Dil Mera Ujade  Dayaar Mein and Na Kisi Ka Aankha Ka Noot Hoon (Laal Quilla) and A Rajasthani folk-styled Lata Mangeshkar – Mukesh duet Thaane Kaajaraiyo Bana Loon (Veer Durgadas) remain very high landmarks of S N Tripathi’s career.

Chaandni Jhilmil Kare Taaron Bhari Ye Raat Hai – Chandramukhi (1960) – Sudha Malhotra, Lata Mangeshkar – Lyrics-Bharat Vyas

The suet song has been creatively used to manifest two opposing moods. Sudha Malhotra sings to an ebullient dancing mood to which Lata Mangeshkar reflects in a mood of pathos/

Piye Jaa Jaam e Ulfat Zindagi Mushqil Se Milti Hai -Veer Durgadas(1960) – Sudha Malhotra, Mubarak Begam – Lyrics-Bharat Vyas

This is a traditional courtesan dance wherein two courtesans try to please the king.

To explore the depth of variety in S N Tripathi’s compositions we have picked up two more songs from not-so-known films of 1960:

Bheegi Bheegi Mehki Mehki Raat Hai – Do Aadmi (1960)  – Geeta Dutt – Lyrics-Prem Dhawan

The song is set to a playful Mid-west-Asian tune. S N Tripathi has used five different female playback singers for five songs in the film. This song has Geeta Dutt, possibly because this  a song of seduction.

Ho Beenwaale Teen Sur Tere Been Ke Le Gaye Dil Mera Chheen Ke – Sinhaldweep ki Sundari (1960) – Lata Mangeshkar, Mukesh – Lyrics: Bharat Vyas

What would have been the context in which this song which has a pungi / been and a beenwala in the center is not known, but the song does have a distinct folk effect in the composition.

We have picked one more song from the year 1957 and two from 1960 that fits into our tradition of ending each of the episode with Mohammad Rafi Song.

Dunia Mein Sab Kuch Paisa Hai Sab Paise Hi Ka Jalwa Hai – Khuda Ka Banda (1957) – with Amirbai Karnataki – Lyrics: Shewan Jarvchi

The official records do not positively confirm that singers are Mohammad Rafi and Amirbai, so I have relied on the information available with the uploaded version.

Nadi Kinare Koi Pukare … Pas Hamare Aa – Chandramukhi (1960) – with Geeta Dutt – Lyrics: Nharat Vyas

This is a beautiful folk-tune based duet, which I have heard for the first time.

San Sanan San San Sanan Chale Pawan, Jan Janana Jan Janana Zoome Pawan – Chandramukhi (1960)  – with Suman Kalyanpur– Lyrics: Bharat Vyas

I remember the song from my radio-listening days.

We will end our present episode here, to continue with listening to some more of unremembered songs of S N Tripathi next this month.

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, 2019

Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

In memory of Talat Mahmood’s birth anniversary (24 February, 1924), we have commenced a series of annual articles on Talat Mahmood’s Rare Duets. We commenced with an omnibus overview – Some of the Talat Mahmood Duets receding from the memory – in February, 2017. We had covered one duet per pairing partner and the music director in that article. Then, in February, 2018, we narrowed down to Talat Mahmood’s Duet Combinations with Rare Co-singers. In that article we had covered on Talat Mahmood’s duets with co-singers who can be considered as ‘rare’ combinations.

Now onward, we will further narrow down our focus to Talat Mahmood’s duets with individual co-singers. In the process, we would maintain that either the Talat Mahmood[1] – Co-singer combination is rare enough or the duet song is relatively less heard one. For the present we will take up Talat Mahood’s duets with Mubarak Begum and those with Madhubala jhaveri.

Talat Mahmood and Mubarak Begum

Mubarak Begum[2] may not be treated as much ‘front-ranking’ playback singer as Talat Mahmood was, but she has quite a few very well-known solos to her credit. She has some of the very well-known duets to her credit, too. A couple of Talat Mahmood – Mubarak Begum share the top billing of ‘best duets ever’ category. These ‘well-known’ duets can be treated to the rule that the combination of Talat Mahmood – Mubarak Begum remains a ‘rare’ combination.

We have (just) 6 duets and 1 triad from Hindi Film and one NFS   At a very first glance, it can be observed that these songs are spread over later part of Talat Mahmood’s mid-career to his end-of-the career years. Whether the Talat-Mubarak duets became hit or remained obscure, the common thread that runs through these songs is that even as none of the films had succeeded on the box office, these songs are the cherished gems for the most of Talat Mahmood or Mubarak Begum fans.

Ghir Ghir Aaye Badarwa Kare… Rang Bhare Ras Bhare Pyare – Dak Babu (1954) – Dhaniram – Prem Dhawan

Here we have a duet, in praise of the gathering clouds of monsoon, set to a semi-classical tune. No wonder that the song is so melodious.

Tera Bachpan Ek Kahani..Bhool Na Jana Balapana Ki Kahaani – Sangam (1954) – Ram Ganguly – S H Bihari

This is a beautifully crafted duet. Talat starts mukhada in a solo, continues with stanza in a solo, while reminiscing those lovely childhood moments, when Mubarak Begum joins him to carry forward those moments to the youth. For that portion of Mubarak Begum solo, the song runs on an altered rhythm, when Talat joins into a complete the stanza in duet. The style repeats in the next two stanza as well.

Aside Trivia:

This ‘Sangam’ is in the middle of the other two ‘Sanagam’s on each side – first one in 1941 and the later one in 1964.

Meri Bhi Dastaan Bhi Kya Dastaan Hai – Taatar Ka Chor (1955) – a triad with Asha Bhosle – Khayyam – Prem Dhawan

From the title, film appears to be based on some folklore of Tatarstan, a small kingdom on the banks of River Volga. The songs begins with recital of ‘shaers’ by Talat Mahmood and Asha Bhosle. Mubarak Begum, then, seamlessly picks up the mukda.

I listened to this song for the first time.

Asides Trivia:

This is the 3rd film after Khayyam adopted this pseudonym, first two being Footpath (1953) and Dhobi Doctor (1954).

Raat Kitni Hasen, Zindagi Maherbaan, Baat Kuchcha Nahin, Ban Gayee Dataan – Badal Aur Bijli (1956) – Bipin Babul – Anjum Jaipuri

Here is song that is so much poetic, so melodious, so soothing, set to a pleasing mid-eastern tune… and yet placed in an obscure “B’ grade movie, is destined to be consigned as a ‘forgotten gem’.

Chanda Ke Rang Liye, Taaro Ka Sang Liye…Sapno Ki DUniya Mein Aaj Aa – Harihar Bhakti (1556)  – K Datta – S P Kalla

The film is a typical mythology drama, however the song is a sheer beauty of romance. Interstingly, Mubarak Begum is so melodious that many listeners mistake her voice as that of Lata Mangeshkar.

Itne Qareeb Aake Bhii Kyaa Jaane Kis Liye Kuchh Ajnabii Se Aap Hain Kuchh Ajnabii Se Hum – Shagoon (1964) – Khayyam – Sahir Ludhyanvi

Theoretically, the song can be said to be belonging to the end of Talat Mahmood’s career, but Talat’s voice has not lost any of his vintage charm. Mubarak Begum also retains her melodious charm in the company of Talat Mahmood.

This is not only one of the most known of Talat-Mubark duets, it is undoubtedly regarded as one of the finest ever duets of Hindi Films.

Zara Keh Do Fizaaon Se Hamein Itna Satae Na.. Tumhi Keh Do Hawaon Se, Tumhaari Yaad Dilaye Na – Gogola (1966) – Roy Frank – Balkavi Bairagi

We again have a B grade movie, a not-much-known music director pair that has one of the most-remembered romantic duet

We will wrap-up Talat Mamood – Mubarak Begum duets with a NFS, which in fact is a Naat, a form folk-style Muslim prayer.

Hum Sunaate Hain Mohammad Mustafa Ki Dastaan

Talat Mahmood – Madhubala Jhaveri

Madhubala Jhaveri (19-1-1935 // 11-9-2013) active singing career in films is just 7 years from 1951 to 1958. She has sang 110 songs – 55 in Hindi, 27 in Marathi and 3 in Gujarati films. Obviously, Madhubal Jhaveri’s vocal skills have been tested in multiple ways in her songs across different languages. For example, here is a Gujarati poem which has been set to a quawalli-style format:

She was also very active on All India Radio as well. However, we do not have access to that wonderful treasure. For such a promising artist, her duets with Talat Mahmood are few in numbers and quite a few of them may be even less-heard-ones. But the paucity of numbers is more than made up by the pleasure of listening to these two unique voices in different moods.

Madhubala Jhaveri’s on-record debut is Rajput, a 1951 film, for which music was composed by Hansrah Behl.

Jao Jao Aa Gaya Bulawa Jang Ka – Rajput (1951) with Manna Dey – Hansraj Behl – Bharat Vyas

Madhubala Jhaveri was just16 when she recorded the songs for Rajput… but she has been able to passion for patriotism with the romantic emotions like a pro.

Tum Kaun Ho Rajkumari, Yeh Chanda Sa Mukhra Idhar To Karo – Rajput (1951) – Hansraj Behl – Bharat Vyas

This seems to be the song for a famous tradition in those days, wherein the bride-to-be would choose her groom in open contest. The song therefore blends a trace of authority that a young daughter of king would manifest during such an occasion.

Pyar Ki Rut Dorangi Saajana Man Mein Holi Ankh Mein Sawan – Apni Izzat (1952) –  Hansraj Behl – Asad Bhopali

The song is created to reflect the pensive mood of the couple deep in the emotions of mutual love. Entire song runs on very soft scale.

Dil Mera Tera Diwana.. Bas Itna Mera Fasana – Apni Izzat (1952) – Hansraj Behl – Pandit Phani

We now have a classic styled duet wherein both the players accept the mutual love.

Jabse Maine Dl Lagaya, Dil Kahin Lagata Nahin – Dost (1954) – Hansraj Behl – Asad Bhopali

The song is set to a Punjabi folk rhythm.

Ae Zamaane Bataa Do Dilo Ki Khata Hamko Barbaad Karke Tujhe Kya Mila – Dost (1954) – Hansraj Behl – Asaad Bhopali

The spectrum of moods of Talat Mahmood- Madhubal Jhaveri is now complete with a pure pathos duet.

Kehne Ko Bahot Kuchh Kehna Thaa Takraayi Nazar Sharma Hi Gaye….Diwali Ki Raat (1956) – Snehal Bhatkar – Madhukar Rajasthani

Madhubal Jhaveri and Talat Mahmood are deep in the playful romantic mood of the song.

Hafiz Khuda Tumhara Hamein Bhool Na Jaana – Naqabposh (1956) – Dhani Ram – Munir Arzoo Kazmi

The song would have been a mid-eastern setting, befitting the subject of the film. Madhubala Jhaveri now does justice to urdu diction.

As is obvious, we do not have any song today in Mohammad Rafi’s voice. So we will slightly deviate from our main theme and pick up a Rafi-Talat duet to end our present episode –

Kavita Naam Hai Gyaan Ka Ise Likhanewale Gyaani – Kavi (1954) – C. Ramchandra – Rajinder Krishna

Though set to a bhajan-style rhythm, the duet underscores a discourse wherein one protagonist claims superiority of legacy of the race to the artistic prowess of poetry, to which the other one systematically rebuts.

We will take up Talat Mahmood’s less –heard duets with some more co-singers 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] Talat Mahmood – Documentary

[2]  A Films Division film on Mubarak Begum