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.

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.

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.