Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : June 2022

Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam

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

We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.

Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

1965 in 2021

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

Farishta (1968)

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

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

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

Dekhi Teri Duniyaa Arre Dekhe Tere Kaam – Mukesh

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

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

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

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

Bhaiyya Mere Pyaare Raakhi Bandhaao Bhaiyya – Asha Bhosle

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

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

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

Baalak (1969)

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

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

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

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

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

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

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

Mera Naam Hai Mehmud Rahta Har Jagah Maujud – Shanti Mathur

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

Beqasoor (1969)

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

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

Dattaram composes a playful romantic mood duet.

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

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

Naam Gulabi Hai Mera – Asha Bhosle

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

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : May 2022

Manna Dey – Chale Ja Rahein Hai…. – 1956

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

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

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

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

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

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

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

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

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

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

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

Music Director: Khayyam

Bambai Ki Billi

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

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

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

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

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

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

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

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

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

Baarood

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

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

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

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

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

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

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

Music Director: Dattaram

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

Kala Aadmi

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

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

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

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

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

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

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

Music Director: O P Nayyar

Kalpana

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

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

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

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

Music Director: Sardar Malik

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

Mera Ghar Mere Bacche

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories ….. Unforgettable Songs : March 2022

Ghulam Mohammed and His Singers : 1950-1952

Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.

This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s  ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’

In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.

Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.

As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.

Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.

With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.

Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri

Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.

One noteworthy feature of Ghulam Mohammed’s  compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.

Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics:  Shevan Rizvi

Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.

Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini

Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.

Since the song is not available on YT, here is an adio link: Hum Dil Hi Apna Haar Gaye.mp3

Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash

Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)

(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani

Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.

It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.

Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni

Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!

How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!

Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman

The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.

Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni

I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.

Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.

Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni

This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.

Zohrabai Ambalewali, Shamshad Begum – Dil Ke Sheesh Mahal Mein Aaya Yeh Matwala Chor – Amber (1952) – Lyrics: Shakeel Badayuni

In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.

Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni

Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!

Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.

Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni

I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.

Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.

Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!

What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!

Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni

Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.

Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!

We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.

Categories
Fading Memories….Unforgettable Songs

Fading Memories, Unforgettable Songs – February 2022

Talat Mahmood: Duets with Shamshad Begum

Talat Mahmood (24 February 1924 – 9 May 1998) did commence his career in Hindi films in 1945, but his career got really moved to top gear only after success of Aye Dil Mujhe Aisi Jagah Le Chal JahaaN Koi Na Ho (Arzoo, 1950 – Lyrics: Majrooh Sultanpuri  – Music: Anil Biswas). That also was the period when the careers of two other cotemporary male playback singers, Mohammad Rafi and Mukesh, were also getting the right momentum. Add to this the fact that Talat Mahmood’s attention was also getting divided between his playback singing and acting in the same period. However, his four-decade long, 740+ songs rich career conferred this velvet-voice singer the uncrowned title of King of Ghazals.

Shamshad Begum (14 April 1919 – 23 April 2013), acclaimed as the ‘first’ female playback singer of Hindi cinema had a very unique voice – quite different with her contemporaries, like Noor Jehan, Kanan Bala, Suraiya, Amirbai Karnataki, Zohrabai Amablewali etc.  of ‘40s or like Lata Mangeshkar, Geeta Dutt, Asha Bhosle and the like of ‘50s and ‘60s. She had created her own space from her very early films like Khajanchi (1941) and Khandan (1942). Even during the periods of 1950 to (almost) 1955 and then at the end of the career years 1967-1968 she commanded a respectable fan following.

As such, the common period of peaks of Talat Mahmood and Shamshad Begum can be seen to be between 1950 to 1955., beginning with Babul (1950- Lead actors – Dilip Kumar, Nargis and Munnavar Sultana – Music: Naushad). As the fate would have it, even after the stupendous success of Babul, Naushad had started shifting to Mohammad Rafi (for Dilip Kumar) and after success of Andaz (1949), he had already moved to Lata Mangeshkar as the lead female playback singer. Even in Babul, Shamshad Begum was playback singer for ‘parallel’ lead heroine Munnavar Sultana only. So Shamshad Begum could have capitalized on that success sonly if films with similar star configurations would have been lined up! Other major, first-line music directors, like S D Burman, Shankar Jaikishan< C Ramchandra, Madan Mohan, Roshan etc. who were using Talat Mahmood very successfully in those years were not using Shamshad Begum as lead singer. O P Nayyar was the only one who did use her as lead singer, but then he did not use Talat Mahmood as his preferred male singer.

The result is that we have (just) 10 duets of Talat Mahmood and Shamshad Begum, including 3 triads. Of the 10 duets, Babul itself had 2 duets + 1 triad. Rest of the seven songs are distributed among six music directors, all of them generally considered as not belonging to the front-line music directors (the only exception here being that of Vinod).

Coming back to the subject of the present episode, we commemorate the memory of Talat Mahmood in the month of his birth by taking up the theme of his rare duets. Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri,

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952, and

In 2021, Talat Mahmood: Duets with Geeta Dutt, from  1954 to 1957, with one duet even in 1972.

Presently, we take up Talat Mahmood’s duets with Shamshad Begum.

Milte Hi Aankein Dil Hua Diwana Kis Ka – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

Shamshad Begum easily matching the softness of Talat Mahmood is one major reason that has made the song evergreen.

Duniya Badal Gayi Meri Duniya Badal Gayi – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

Elaborate orchestration by Naushad, effortless of pathos in Shamshad Begum’s delivery of her part and the natural tranquility of Talat Mahmood’s voice easily draw the listener into the mood of the song.

Nadiya Mein Utha Hai Shor, Chhayi Hai GhaTaa Ghanghor,  Jaana Door Hai …. Nadi Kinare Saatha Hamaare Sham Shuhani Aayee – with Mohammad Rafi and chorus – Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

It is more of a technicality that song has to be classified as a triad, since Mohammad Rafi chips in more as part of support system that makes the song basically a ‘boat song’

Chhod Babul Ka Ghar Aaj Mohe Jaana Pada –   Babul (1950) – Lyrics: Shakeel Badayuni – Music: Naushad

This song is technically not classified as a duet because primarily it is Shamshad Begum solo being played a credit title song. But, in later versions, Talat Mahmood sings only one line before the song is transformed into Shamshad Begum plus chorus playful dance song. In one more version, the song comes up as slow paced Talat Mahmood solo, The song comes again at the end of the film wherein Mohammad Rafi takes the song to a very high scale crescendo to match the rising pain of the tragedy of the story of the film.

However, irrespective of the way the song has been used in the film, the song is a classic example of the way Shamshad Begum and Talat Mahmood’s voices can blend with each other, if so desired.

Jawani Ke Zaamane Mein Jo DIl Na Lagega – Madhubala (1950) – Lyrics: Rajendra Krishan – Music: Lachhiram

Here is a very pleasing composition wherein even Talat Mahmood comes up so naturally in playful mood.

From all the accounts, the songs of the film had met with good deal of success at that time. However, even with the lead star cast of Dev Anand and Madhubala, the film was a disaster at box office, and the song, unfortunately remains among fading from the memory category now.

Laila Laila PukaruN Main Ban Mein – Mr. Sampart (1952) – Lyrics: Pandit Indra – Music: Balkrishna Kalla

The song comes up in the film as clips of different shots of the films that the heroine has enacted as part of the story (based on R K Narayan’s famous story, Mr. Sampat, The printer of Malgudi. As such, Talat Mahmood and Shamshad Begum sing each of the clips as solos.

O Mruganayani Madhubahini Menka Tum Ho KahaaN – Mr. Sampat (1952) – Lyrics: Pandit Indra – Music: Balkrishna Kalla

The duet is presented here with a disclaimer that some sites mention P G Krishnaveni and Geeta Dutt as the singers,

Bura Hua Jo Inse Hamare Naina Lad Gaye Ji – Laadla (1954) – with Mohammad Rafi and Asha Bhosle – Lyrics: Raja MahendI Ali Khan – Music: Vinod

This is a typical ‘noNk-joNk’ genre song but is unique for two pairs of couples involved in the melee of repartee.

Mohabbat Bas Dil Ke Itane Se Afsane Ko Kahete Hai -Mangu (1954) – Lyrics: S H Bihari – Music: Mohammad Shafi

Mohammad Safi has deftly used harmonium in this ‘qawwali’ style song. Talat Mahmood gracefully plays cheerful mood. Shamshad Begum’s voice is usually very thin.

Aside: The film did have O P Nayyar as a n additional music director, but the credit of using Talat – Shamshad in a duet remains with Mohammad Shafi, who had introduced Suman Kalyanpur in this film, while O P Nayyar had used Asha Bhosle for the first time for his song.

Kehana Mera Maan Le Ye Yaar -Shaan-E-Haatim (1958) – with Balbir – Lyrics: Raja Mahendi Ali Khan – Music: A R Queresh

The song is credited as triad, however the clip available has only Balbir’s voice. The film and the song are so obscure, that no further information seems to be available.

I am not able to trace the digital footprint of the song, Dekho Baras Rahi Barsaat – Titli / For Ladies Only (1951) – Lyrics; Sahrai – Music Vinod, on the net.

The utterly short association of Talat Mahmood and Shamshad Begum is so strongly overshadowed by their songs from Babul (195) that the range and variety wich can be seen in the other duets probably remains unappreciated. Well, that is the irony of fate of HFM, with which we have learnt to live with.

We will take up Talat Mahmood’s duets with Asha Bhosle in the next episode in this series.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs :January 2022

Jaidev: Brilliant, But Underrated, Composer1974 -1975

The career of Jaidev (Varma)B: 3 August 1919 – D : 6 January 1987 – right from his first foray in 1933 till his own death in 1987 has been a sad tale of fate’s cruel treatment to such a gifted music director. It is so difficult to imagine that someone who had composed so melodious, and hugely popular as well, album was consigned to the ‘art-film music director’ tag by the turn of the decade. The popularity of his songs of 60s could not fetch a Filmfare award for him, but the art film yielded three national awards – a record for Hindi films that that remains unsurpassed in so far as music directors of his generation.

Perhaps the very specific limited ‘class’ audience that the art films sough to cater to, his music too had meet the basic demands of the film. So, one may argue, that that music was never meant to be popular at the mass level. And even when it could have been, the lack of strong marketing push to the film itself, to expect that songs would get that kind of support is probably wishful thinking.

The core creative artist of Jaidev used the constraints of art-film music composition into an opportunity to freely experiment with a wide variety of singers to create songs that could pride any music industry.

Till now, we have covered, the years

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

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

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

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

in the form of our commemorative annual series in the month of Jaidev’s remembrance anniversary month.

Presently, we will cover Jaidev’s compositions from what is popularly termed as ‘parallel cinema’ films Aaligan, Faslah and Parinay (all of 1974) and Ek Hans Ka Joda and Aandolan (of 1975). By recalling the songs of these films gives us clear opportunity to see the freshness of his compositions and the charm of his experimentation.

Aalingan (1974)

Hamaare Dil Ko Tumne Dil Bana Diya – Mohammad Rafi, Asha Bhosle – Lyrics :Jaan Nisaar Akhtar

The prelude song creates the feeling of speed that the couple riding motor-bike would expectedly feel that they would bring to their singing. The song is set to faster waltz rhythm. Jaidev has also used Mohammad Rafi and Asha Bhosle’s creativity of singing to the hilt.

Pyaas Thi Phir Bhi Taqaazaa Na Kiya – Manna Dey – Lyrics: Jaan Nisaar Akhtar

Manna Dey begins softly in the first line and then gradually goes onto higher scale exemplifying the increasing intensity of feelings that such intimate environment induces. Use of saxophone further adds to the escalation of the intensity of the feeling.

Faslah (1974)

Aa Utha Le Apna Jaam Kya Tujhe Kisi Se Kaam – Ranu Mukherjee – Lyrics: Kaifi Azmi

Jaidev experiments with Ranu Mukherjee’s heavy tonal qualities to set up the enchanting atmosphere of a club song.

Zindagi Cigarete Ka Dhuan, Ye Dhuan Jaata Hai Kahan Ya KahiN Jaata NahiN Ye Socho, Na Socho Meri Jaan – Bhupinder – Lyrics: Kaifi Azmi

Jaidev, Kaifi Azmi and Bhupinder team up to create a motivational song that does its assigned role in the lighter mood.

Parinay (1974)

Jaise Suraj Ki Garmi Se Jalte Huye Tan Ko – Deen Bandhu Sharma, Ramananad Sharma, chorus – Lyrics: Ramanand Sharma

The measure of this devotional composition in Raag Jaunpuri can be gauged by the fact that this one song has become the identity of the Sharma Brothers quartet who were otherwise also well known in the devotional program circuit.

Mitwa Mitwa Morey Man Mitwa – Manna Dey, Vani Jayram – Lyrics: Naqsh Llayalpuri

Jaidev recreates a 50s period melody in this duet. As can be expected, the duet was well received by the Manna Dey fans and other discerning film music fans.

Asides:

Parinay won the 1974 Nargis Dutt Award for Best Feature Film on National Integration (known as the “Rajat Kamal Special Award for the Best Feature Film on National Integration” at that time).

The film was directed by Kantilal Rathod, who also has another award winning (Gujarati) feature film Kanku (1969) and a children’s documentary film Cloven Horizon (1965)

Ek Hans Ka Joda (1975)

Saathi Milte Hain Badi Mushqil Se Kisika Sath Na Chhodana – Kishore Kumar –Lyrics: Indeewar

Jaidev has very rarely used Kishore Kumar as playback even during second innings of both. In this soft piano song, he has Kishore Kumar signing equally soft lower scale or slightly elevated scale at the end of lines.

Ek Hans Ka Joda Jisne Pyar Mein Har Bandhan Toda – Ajit Singh – Lyrics: Gauhar Kanpuri

Jaidev’s experimental streak with his melodious core could not have been more manifested than in this credit title song, where in he has used pope singer Ajit Singh to sing a pop-style song with soft strings of guitar and wind instruments to the rhythm of drums.

Mere Dil Mein Teri Tasweer Sada Rehti Hai – Bhupinder Singh, Asha Bhosle –  Lyrics: Indeewar

In this asymmetric duet, Bhupinder chips in with a saakhi that would take the heroine into retrospective pensive mood.

Andolan (1975)

Dar-o-Divaar Pe Hasarat-e-Nazar Karte Hai Khush Raho Ahal-e-Vatan Ham To Safar Karte Hai – Bhupinder – Lyrics: Ramprasad ‘Bismil’

From the very brief information available, it is gathered that Andolan is a film based on the freedom struggle period. Directed by a highly talented, and successful commercial film director, Lekh Tandon, the film, has been consigned to the status of ‘parallel cinema’ probably because,, except Nitu Singh, all other major actors belong to the ‘art cinema’ stream.

The ‘saakhi, first two lines, is taken from a Nawab Wazjd Ali Shah’s poignant poem which he seems to have composed when he was exiled from Lucknow to a faraway Calcutta dungeon.

Mazloom Kisi Kaum Ke Jab Khwaab Jaagte Hain – Manna Dey – Lyrics :Verma Malik

Jaidev has chosen Manna Dey’s strong tonal quality to capture the brave mindset of the freedom fighters maintain their spirit in the face of brutal physical torture.

Panch Rupaiya Arre Panch Rupiaya De De Balamva Mela Dekhan Jaungi – Minu Purushottam, Krishna Kalle – Lyrics: Jan Nisar Akhtar

The street ‘tamasha’ song genre has one oft-intended use of a red-herring, as is the case of the present song.

Aside trivia:

The bespectacled person with beard siting on the ‘charpoy’, as can be seen clearly @3.41 is none other than vintage era front-line male playback singer, G M Durrani

Piya Ko Milan Kaise Hoye Ri MaiN Janu Nahi – Asha Bhosle – Lyrics: Meerabai

Here we have a musically very rich, but somehow lacking the easy melody of similar difficult and equally melodious songs like, Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar) – both from Reshma Aur Shera, 1971) or Yeh Dil Aur Unki NaigahoN Ke Saaye (Lyrics: Jan Nissar Akhtar) and  Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai (Lyrics: Prema Sachdev) (Prem Parabt, 1973) that we normally associate Jaidev with.

We rest here with one more very interesting page of Jaidev’s music direction career before moving on to the next phase, in our next episode.

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

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

Categories
Fading Memories….Unforgettable Songs Remembering Mohammad Rafi

Fading Memories…. Unforgettable Songs: December 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948

1947-1948

The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.

The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.

As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.

1947

Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.

In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.

Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.

Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal

The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting  ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..

There is a male-female duet son too.

Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal

Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Aside Trivia:

Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.

Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar

Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.

C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.

Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A

The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..

The film has one more duet Main HuN Jaipur Ki Banajaran, Chanchal Mera Naam, with Lalita Deulkar (Lyrics: Qamar Jalalabadi) and two triads, Hum Banjare Sang Hamare Dhoom Macha Le Duniya (Lyrics: Moti B A) and Sambhal Sambhal Ke Jaiyo Banjare, Dilli Door Hai (Lyrics: Ram Murti Chaturvedi) with Lalita Deulkar and Geeta Dutt (Roy).

Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein …….  Marne Ki Duaein KyoN Maangein  . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).

Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?

We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.

Part 1:

Part 2

Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.

Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma

This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.

K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films

Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi

HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.

Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi

HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale  in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.

1948

In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)

1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.

Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,

Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.

The visuals of the song can be seen with a typical Raj Kapoor touch.

Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.

Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari

The song seems to be some type of beggar or a fakir song.

Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra

This is a thoroughly enjoyable fun song.

The film had two more duets of Mohammad Rafi and Beenpani Mukherjee – Kya Yaad Hai Tumko Wo Din Ji (Lyrics: Sewak) and Mera Dil Ghayal Karke Bairi Jag Se Dar Ke (Lyrics: Surjeet Sethi).

Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.

TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok

On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.

Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar  … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.

Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna

This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone

Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.

Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan

The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.

Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.

Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’,  wherein Mohammad Rafi had two solos and three duets in the film.

Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori

Mohammad Rafi very deftly handles a medium spaced composition.

Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti

In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale singing.in this very small clip that is available.

Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti

Mohammad Rafi gets to sing a qawwali composition early in his career.

Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.

Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’

Mohammad Rafi is a minor partner in this MM triad.

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song.  Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan

Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.

Our journey of Mohammad Rafi’s first duet with a music director continues……


Both episodes of the 1st Five-Year Period of Mohammad Rafi’s First Duet with a Music director – 1944-1948 can be downloaded as one file by clicking on the link.


All 12 episodes from January to December 2021 of the series Fading Memories, Unfading Songs-2021 can be read /downloaded by clicking on the hyperlink.


 

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : November 2021

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1958 to 1960

Salil Chowdhury – 10 November 1922 – 5 September 1995 – had had natural attraction towards to folk music and studied inclination towards the Western Classical music. He could also play several musical instruments. In fact, it is said that any instrument that he could lay his hands on he would be able to play it very comfortably. It was the combination of the effect of these music influences that made his compositions always melodious, even when quite complex in the structure. His orchestration was always symphonic with blend of intricate use of the different instruments.

His music never got molded into any pattern. His flair for experimentation always lent his own signature originality to his composition. He was so deeply committed to his personal, social values that he never let his music be driven by the competitive market forces. For him melody was so sacrosanct that strongly believed in composing the tune first and then would want his lyricist to pen lyrics that suit the tune – in metre as well as spirit. Since he was also a poet, he would fine tune his tune with his own (dummy) lyrics. Many a times the official lyricist would love to simply take over Salil Chowdhury’s lyrics as a base to build the lyrics for the song.

It was perhaps the unique skill of Shailendra (B: 30-8-1923/ D: 14-12-1966) to come up with lyrics that fitted the tune and the mood that so easily made Salil Chowdhury comfortable working with him. Coupled with this, it was Shailendra’s knowledge of Bengali language and the earthen-closeness and selection of easy and natural words that Shailendra required to express deep emotions that also would have weighed in building the strong bond between the two. In fact, from the films that Shailendra wrote songs beyond Shankar-Jaikishan quartet team, Salil Chowdhury- Shailendra combination share is almost one third.

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

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

Presently we will take up relatively less heard songs from Salil Chowdhury-Shailendra combination for the years 1958 till 1960. 1958 had only one film Madhumati, 1959 had one song from only one film – Heera Moti- and 1960 had 3 films, Honeymoon, Parakh and Usne Kaha Tha.

Madhumati (1958)

Salil Chowdhury created his own space with his maiden Hindi film Do Bigha Jameen (1953). His subsequent forays with Shailendra, Naukari (1954), Jagate Raho (1956) and Musafir (1957) were well received as far as the music of these films was concerned, but the much-respected roaring commercial success of the films that Bolywood Hindi film arena required for a music director to be in demand still eluded him. Madhumati was that proverbial deliverance of the destiny. As can be recollected from a book by Bimal Roy’s daughter, Rinki Roy Bhattacharya, Bimal Roy’s Madhumati: Untold Stories from Behind the Scenes (published by Rupa Publications India Pvt. Ltd) – an excerpt from which can be read here – till Madhumati finally happened as it was, it was not very smooth sailing for the Salil Chowdhury-Shailendra duo. In fact, had it not been Bimal Roy’s closeness with and faith in Salil Chowdhury, destiny would have taken different turn. Well, the grand success of Madhumati and its music, in the face of extremely intense competition with a huge successful music of an exceptionally large number of other films during 1957 and 1958 can be better viewed form the fact that for the year 1958, Filmfare awards for Best Music Director and Female Singer being bagged by Madhumati (Aja Re Pardesi, Main To Kab Se Khadi Is Paar), Shailendra got Best Lyrics award for Ye Mera Diwanapan Hai (Yahudi) even when Suahana Safar Ye Mausam HasiN was also nominated in the category.

I have been able to pick up only two songs for the present episode, since all other songs continue to remain hugely popular even today.

Hum Haal-e-Dil Sunayenge Suniye Ke Na Suniye, Sau Bar Muskarayenge Suniyre Ke Na Suniye – Mubarak Begum

This gem of a mujra song, in the voice of Mubarak Begum, has only sakhi-

tumhaaraa dil mere dil ke baraabar ho nahin saktaa
wo sheeshaa ho nahin saktaa ye patthar ho nahin saktaa

and the above lines of mukhada in the film, before the extremely agitated hero, Dilip Kumar opens the door of the hall where this dance was being performed and the lady on the dance floor stops, so naturally, in her steps, It is to the credit of director Bimal Roy and editor Hrishikesh Mukherjee that songs to comes to a dead stop, much against the well-established tenet of the hero’s entry to take place only after the whole song has been played out.

The full song is available its audio form

Aside Trivia:

The couplet (sher) used as Opening Couplet (Sakhi) in this song is picked up from a Daag Dehlvi ghazal.

Similarly, the lines of the second stanza

“Ajab Hai Aah Meri, Naam ‘Daag’ Hai Mera
Tamaam Shahar Jala DogeE Kya Jala Ke Mujhe’

Is also ‘lifted’ from the last sher of the same ghazal by Daag Dehlvi

Moreover, Shailendra has used lines Rahega Ishq Tera of the first stanza again as sakhi in the song. Aa Aabhi Ja Raat Dhalane Lagi (Teesri Kasam, 1966; singer: Lata Mangeshkar; music – Shankar Jaikishan)

(This information is courtesy a comment on the post on this song @ Atul’s Song A Day)

Kancha Le Kanchi Lai Lajo, Ban Ko Baato Laltin Lai Baalera  – Asha Bhosle, Sabita Chowdhury, Ghulam Mohammed

The sakhi and repeated use of the same in song is in Nepali language, which probably Salil Chowdhury would have heard.  This is a folksong narrating the tale of a girl who has, in all probabilities, eloped. Shailendra easily takes over from there and weaves in relevant stanzas.

Salil Chowdhury has gleefully set up several experiments in the composition.

Another noteworthy point in this song is use of Ghulam Mohammed, who was a role model of Mohammad Rafi during Rafi’s initial days. Ghulam Mohammed had fallen on bad times by 50s. This song may have been offered to him as gesture of help.

Aside Trivia:

Here is the rough translation of the lyrics of Nepali lyrics, courtesy a comment by Jeta Sankrityayana on this song @Atul’s Song A Day:

(kaanchha ) the young boy took away (kaanchhi) the young girl
(Ban ko baato) along a forest road (laltin lai baalera) after lighting up a lantern…

Heera Moti (1959)

Naach Re Dharti Ke Pyare Tere ArmanoN Ki Dunuya Saamne Hai Tere  – Hemant Kumar, Lata Mangeshkar, Chorus

This was the only song composed by Salil Choudhary in this movie, all the other songs were composed by Roshan. As noted by World of Salil Chowdhury, just before recording of the song,  Roshan, who was on a cultural mission to Russia was taken ill. He sent a telegram to the director Krishan Chopra to advise him to request Salil Chowdhury to compose the Title music and the opening song.

The song seems to be based on folk tradition.  World of Salil Chowdhury notes that It is a great pity that the song “aay re o pousali bataasey (the air of month of Posh is in the winds) “- the original Bengali version of the present song – was never released. This is one of Salil’s earlier compositions from the ’40s during the IPTA days.

Honeymoon (1960)

The film was directed by Lekhraj Bhakri, who is cousin of Manjo Kumar 9 The hero in the film) and brother of well-known lyricist of 40s, Mulkraj Bhakri. He has used Salil Chowdhury in Tongawali (1955) previously.

The film did not seem to have done well at the box office, but all the songs were extremely melodious. Except two songs – Saanj Bhayi Sun Ri Sakhi and Duniya Na Dekhe Zamana Na Jane – all other songs have Bengali version (which can be accessed at Honeymoon (1960) on World of Salil Chowdhury.

Aside Trivia:

Shri Arunkumar Deshmukh notes that this was the last film of Kuldeep Kaur, one of three leading ladies in the film. She died of a tragic death thereafter. Her life story can be read at KULDIP KAUR: A SPOILED RICH PUNJABAN ACTRESS.

Saanj Bhayi Sun Ri Sakhi Man Chhine Kisaki Bansi – Lata Mangeshkar, Usha Mangeshkar

Look at the way Salil Chowdhury has played with flute first in the mukhada and then in the form of dance beat vocals, as well as the opening notes of interlude orchestration, The song has flute as the central instrument, but used as ensemble orchestra pieces.

Aaha Re Magan Mera Chanchal Man Nis Din Gun Gun Kuchh Apni Hi Dhun Mein Gaye – Lata Mangeshkar

On the face of it this a simple stage-show dance song, a situation very frequently used in Hindi films in those days. But with Salil Chowdhury and Shailendra one can expect interesting experimentation. The song composition runs in almost one breath, with Shailendra deftly using the lyrics making that possible for the singer to sing.

Such a composition can perhaps materialize only when melody comes first and the body of lyrics is built around it to result into a piece of beauty.

Mere KhawboN Mein KhayaloN Chhupe Meet Mere Meri Gali Chalein Aayengein – Mukesh, Lata Mangeshkar

Documented as duet, the song, in fact, is a symmetric duet. Sail Chowdhury has used as humming alaap in the interlude pieces. From Salil Chowdhury’s standard, the song is relatively easier one to sing, and as such had gained wide acceptance.

The solo version by Lata Mangeshkar does not seem to have been released on the records, but we have an audio version on YT. Interestingly, the order in which the lyrics have been used in the interludes has been interchanged here. The song was remade by Salil Chowdhury in Bengali for the film Raktaako Bangala (1972), a film produced in Bangladesh.

Duniya Na Dekhe Zamana Na Jane Chalo KahiN Dur Chalein – Dwijen Mukherjee, Lata Mangeshkar

Salil Chowdhury has his own style for the horse-beat Tonga songs. Flute, his favorite instrument, again is the key instrument in the song.

Chhuo Na Chhuo Albele Mere Saiyan Main To Nazuk Badan Chhui-Mui – Mukesh, Sabita Banerjee

In the delight mood  duet, the song opens with first line as if the heroine would be in the trot when she sings the line. This line is played in same way across the whole song.

Tum Jo Mile To Khila Hai Gulab… Piya Tum Tod Na Dena, Khwab Ye Mere Dil Ka….-  Sabita Banerjee

The heroine playfully acknowledging the bud of love germinating is also frequently used situation for a song in Hindi films. Salil Chowdhury brings out that joy in this difficult composition.

Parakh (1960)

Billed as one of the best films directed by Bimal Roy, Parakh (the test of the identity) brings out lighter and satirical side of Bimal Roy’s film-making art. Not surprisingly, Bimal Roy received the Filmfare award as the best director a hattrick with Madhumati and Sujata being the earlier two. The story of the film is written by Salil Chowdhury and the dialogues by Shailendra. The lead male actor, as paired with the heroine in the Hindi film mold is a Bengali actor Basanta Chowdhury (who also went on to become sheriff of Calcutta), but the real hero is Motilal, in the role of a ‘lame’ postman, who lays the script on the screen. He won the Best Supporting (!?) Actor Filmfare award. Parakh was the in the list of 1-core box-office revenue roll for the year 1960. The film was ahead in time in many ways.

The three solo songs, in the voice of Lata Mangeshkar  – O Sajana Barkha Bahar Aayi (Bengali version, an NFS rendered by Lata Mangeshkar), Mila Hai Kisi Ka Jhumka (Bengali version, having the same lyrics in the opening line, in Sabita Chowdhury’s voice), Ye Bansi Kyon Gaaye (Bengali version, also a Lata Mangeshkar rendition NFS, having same opening lyrics) – remain the everlasting highlights from Salil Chowdhury’s baton.

Kya Hawa Chali Re Baba Rut Badli, Shor Hai Gali Gali Sau Sau Chuhe Khake Billi Haz Ko Chali  – Manna Dey

The village postmaster, who finds his life change dramatically when he receives a cheque for Rs. 5 lakhs from a certain Sir J.C. Roy. The cheque comes with a rider – the money would go to the most honest man in the village, someone who would use the wealth for the benefit of the people.

The song represents that search. Salil Chowdhury has fallen back on Bowl folk tradition of rural Begal, but Shailendra gets a clear ground to present his core egalitarian philosophy, as can be seen here:

pahle log mar rahe the bhukh se abhaw se
ab kahiN ye mar na jaye apni khaw khaw se
are mithi bat kadwi lage galiyaN bhali

aaj to jahan ki ulti har ek bat hai … ….  …
are hum jo kahe din hai bhai log kahe rat hai ….. ….
ret me bhi khil rahi hai pyar ki kali

aam mein uge khazur neem mein fale hai aam
dakuoN ne jog liya chor bake ram nam
hosh ki dawa karo miyaN fazal ali

Mere Man Ke Diye… Yunhi Ghut Ke Jal Tu Mere Ladle – Lata Mangeshkar

Salil Chowdhury and Shailendra weave poignancy in the song, so soulfully rendered by Lata Mangeshkar and presented by Sadhana on the screen. Salil Chowdhury has so skillfully used choir chorus in the counter melody as well as in the interlude orchestration music pieces.

Kamal Bose’s catches the song as a classic in B&W cinematography.

Usne Kaha Tha (1960)

Usne Kaha That was a Bimal Roy Production banner film, directed by his one-time assistant in films like Do Bigha Zameen, Madhumati etc, Moni Bhattacharya. The film was cinematic adaption of Chandradhar Sharma Guleri’s renowned Hindi short story by same name[1]. The film adaption somewhere missed out the perfect characterization and development of story plot of the original story. It is actually the tale of love, valor and sacrifice with an underlying melancholy refrain. Set against the rural background of Amritsar and Ambala, it seems the Bengali production unit could neither catch the earthy flavor of the locale of the story nor its nuances of interwoven into the title Usne Kaha Tha.

However, Salil Chowdhury’s melodious music and Shailendra’s appropriate playful lyrics were the redeeming features of the film. Salil Chowdhury exceptionally came up with compositions with natural Punjabi touch, while maintaining his signature symphonic orchestration style.as can be seen in the popular songs, Machalti Arzoo Khadi Baahein ((Lata Mangeshkar) and  Aha Rhimjim Ke Ye Pyare Pyare Geet Liye (Talat Mahmood, Lata Mangeshkar)

Chalte Hi Jana Jahan Tak Aaj Ye Rah Chale…   – Mohammad Rafi, Manna Dey, chorus

Salil Chowdhury blends a tonga song with gay abandon of Punajbi youth. Such a song requires not only power of diction while maintaining the speed of rhythm. As such, having once chosen Mohammad Rafi and Manna Dey, Salil Chowdhury takes the full advantage of the range of their singing and each one is given lines that require rendition in base scale of the higher octave. Salil Chowdhury’s mastery over chorus orchestration also is evident when he makes the chorus also to sing in the similar fashion.

Balkhati Sharmati Aaja LehroN Si Lehrati Aaja, Balkhati Sharmati Aaja, – Mohammad Rafi, Lata Mangeshkar, chorus

Here is one song that epitomizes Salil Chowdhury’s versatility. Someone identified as the music director with penchant for Bengali- Assamese folk tunes and Western classical orchestration styles, Salil Chowdhury perfectly creates Punjabi rural atmosphere in the song.

With these songs Salil Chowdhury-Shailendra combination seems to have reached the peak of quality, and range as well as the popularity. On that note, we continue our journey of Salil Chowdhury and Shailendra’s Songs Fading From the Memory….

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

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

[1] चंद्रधर शर्मा गुलेरी की कहानी उसने कहा था @ Kahani Suno

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : October 2021

Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1955 -1956 (Part)

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987 – was one of the genius composers of the famous duo Shankar Jaikishan. Shankar had a long stint of training in classical music. He was a tabla player at the core, but went onto learn several rhythm and string instruments successfully in the initial period of struggle He got the basic training in the nitty-gritty of film music composition as assistant to Ram Ganguli in Raj Kapoor’s maiden venture, Aag (1948)

When Raj Kapoor took up his next project, Barsat (194) he invited Shankar to take charge of the music direction. Shankar roped in Jaikishan as his partner. During the decades of 1940s, 1950s and 1960s several composers dominated Bollywood films. Naushad Ali, S D Burman, C Ramchandra, Vasant Desai, Salil Chowdhury, Roshan, Madan Mohan, OP Nayyar, Ravi etc. all had the class, and style of their own. Among these stalwarts, Shankar Jaikishan created their own space – with RK and other leading banners, critics as well as common fans – and went on to compose music in almost 195 films in that golden age.

Shailendra (a.k.a. Shankardas Kesarilal, B:  30 August 1923 – D: 14 December 1966) ‘s poetry and films songs reflected his temperamental proximity to the common man. In the famous quartet of Shankar Jaikishan Shailendra and Hasrat Jaipuri, Shankar and Shailendra worked as one part of the team with Hasrat Jaipuri, and Jaikishan made up the other half. Apart from the personal preferences and proximity related to friendship, this division of work was more in accordance with the inherent composition patterns of the two composers. Shankar always loved composing serious thematic songs with a lot of emotional content that only Shailendra could do justice to whereas Jaikishan was more into composing light- hearted romantic stuff that came so naturally to Hasrat.

To commemorate the birth anniversary of Shankar Singh Raghuvanshi, we have commenced the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for 1955 and part of 1956. The variety of the film subjects and the corresponding song compositions, coupled with the steeply increasing the numbers of the films in a year clearly indicate the beginning of the upsurge in the wave that Shankar Jaikishan created in the ocean of Hindi film music. In fact, 1956 had as many as 7 films under the baton of Shankar Jaikishan with a staggering total of 61 songs, distributed between Shailendra and Hasrat Jaipuri as 46 and 15 songs respectively.

Seema (1955)

Seema had 6 songs, with Shailendra and Hasrat Jaipuri scoring lyrics for three songs each. Hasrat Jaipuri’s one song runs into two parts whereas Shailendra’s Tu Pyar Ka Sagar Hai appears twice, in different contexts, in the film. None of the songs from the film can ever be classified as the Fading from The Memory category. Therefore, I have picked up one song that I like more than other songs.

Man Mohana Bade Jhoothe, Haar Ke Haar Nahi Maane – Lata Mangeshkar

Based on Raag Jaijaiwanti, the song is all the way a Shankar Jaikishan song. The composition, though sounds so simple and pleasing, was so difficult to render that Nutan chose to attend the recording session to note the way Lata Mangeshkar negotiates the nuances of the song, so that she herself can truly reproduce these on the screen. Shailendra is at full simplicity blossom when he says –

Bane the khiladi piya, nikale anadi,
Mo se beimani kare, mujhse hi roothe

… … … … …
… … … … …

Tumhari ye bansi kanhaa, ban gai fansi
Taan sunake mora, tan man loote

Aside Trivia: One for more film with the title Seema was made in 1971, for which music director was Shankar Jaikishan!

Shree 420 (1955)

Shree 420 remains one of the most celebrated of RK Productions’ films, with seven of nine songs of the film remaining quite popular even today. Shailendra scored lyrics for

Shaam Gayi Raat Aayi Ab To Sanam Aa Ja , TaaroN Ki Barat Aayee Ke Balam Aa Ja  – Lata Mangeshkar

The song opens with prelude that has faint resemblance with famous ‘Albela’ (1951) song Bholi Surat Dil Ke Khote, Gujarati folk dance garba based, notes before Shankar Jaikishan’s signature base rhythm of dholak picks up the song. Such a melodious song remained relatively less known as compared to other songs, perhaps because it has not been included in the film.

Halaku (1956)

Directed by D D Kashyap, Halaku was a period film. It had Pran in the title role of emperor of Iran. The film revolves around his love for a common citizen beauty, who in fact is deeply in love with other young man. Halaku had 8 songs, of which Shailendra scored lyrics for 5 songs and Hasrat Jaipuri that for the other three.

Of the five songs of Shailendra, three duet songs – Aaja Ke Intzar Mein, Jaane Ko Hai Bahar Bhi (Rafi, Lata); Dil Ka Na Karana Aitbar Koyii, Bhule Se Na Karana Pyar Koyi (Rafi, Lata) and Aji Chale Aao, Tumhein AankhoN Se Dil Ne Bulaya Hai (Lata, Asha) – were quite popular.

Yeh Chand Yeh Sitare, Yeh Saath Tera Mera, Shab-e-Jhindagi Ka Na Ho Ab Savera, O Dilruba, O Dilruba – Lata Mangeshkar

In sync with the background of the story of the film, Shankar Jaikishan has composed the song mainly on the strength of the string instruments, both in the rhythm and in the interlude and obbligato orchestra support.

Teri Duniya Se Jaatein Hai Chhupaye Gam Apana., Liye Jaateein Hai AankhoN Mein Kisi Ke Pyar Ka Sapna – Lata Mangeshkar

Shankar Jaikishan once again follow different than their usual style of composition in the song.

The song was ultimately not included in the film.

Kismat Ka Khel (1956)

Kismat Ka Khel, directed and written by Kishore Sahu was so total failure as a film that its music also ha been packed off to a dust bin with its reels! Film had 7 songs, 5 of which were by Shailendra and two by Hasrat Jaipuri.

Aside Trivia: Kismat Ka Khel is a (just) the fourth film of Sunil Dutt’s career, the earlier three being, Railway Platform (1955) Kundan (1955) and Ek Hi Rastaa (1956).

Kismat Ka Khel Hai Janab-e-Ali…. Aapke Paas HaiN Moti Khazane Aur Apni Jeb Khali – Lata Mangeshkar

In those days, one would just a small opening to let in a song in the film. Here, the protagonists, Vyjayanti Mala and Sunil Dutt seem to be travelling in train, but obviously have no money for the ticket. On being asked to pay the penalty by the TTE, the lady proposes to sing a lilting dance song (in an obviously crowded train coach of those times!) to collect the required sum……!!!

Na Bure Na Bhale Hum Gareeb Gam Ke Pale, Tum Kya Jaano Basti Hamari Rajaa, Ladli Zindagi Apne AnsooN Mein Dhali – Lata Mangeshkar, chorus

The song is presented as a grand presentation of the basti, where Anokhi (Vyjayanti Mala) reigns and Prakash (Sunil Dutt) takes shelter, is the main arena for the film story. It is this situation that makes Shailendra to blossom out in the only stanza the song has:

hamari bhi gali me muskaraye chandani
badal jhumke gaye rasili ragini
tumhare mahal se kuch kam
nahi ye basti hamari

Arz Hai Aapse Aur Apse, Bhed Ki Baat Hai ApanoN Se Kahi Jaati Hai …… Balam Aayega…. – Lata Mangeshkar

The song is some occasion for Vyajayanti Mala to present herself as a damsel waiting the arrival of her beloved, of course in the form of a dance!

The song opens with a sakhi, which has harmonium in the obbligato support

Tu Maane Ya Na Maane Balam Anajaane, Bedardi Tere Liye… Nache Meri Zindagi – Lata Mangeshkar, chorus

The song is presented as a street-side tamaasa dance, but the appears very synthetic. The compositing seems to be set to mid-east Asian culture but lacks the melodious touch of SJ music.

Chalo Le ChaluN Mein Taaron Mein Rang Rangeele GulzaroN Mein – Asha Bhosle

The stage dance song begins with gorgeous prelude and then goes onto become a fast-paced song.

Basant Bahar (1956)

Shankar Jaikishan’s bag of variety of film subjects for the year 1956 had Basant Bahar as a major challenge since the subject revolved around the life and travails of a n astrologer’s son who is keenly interested in music. As such the film had to have songs based on either classical raags or should have a classical core.

The challenge was to stand up to the unprecedented success of music of Baiju Bawara. Success would have placed them in the first row of the then top class music directors and failure would have branded them as ‘also ran’ club membership. Shankar Jaikishan responded the challenge with as many as nine songs. Of these nine Shailendra scored lyrics for eight songs. Forcefully selecting one for the present episode, all other seven bore the class as well as mass popularity. These were: Ketaki Gulab Champak Ban Phoole (Manna Dey, Bhimsen Joshi); Sur Na Saje Kya GaooN Main and Bhay Bhanjana Vandana Sun Hamari (both, Manna Dey); Nain Mile Chain KahaaN (Manna Dey, Lata Mangeshkar); Badi Der Bhayi and Duniya Na Bhaye (both, Mohammad Rafi) and Ja Ja Ja Ja Re Balamwa (Lata Mangeshkar). Even the only one song by Hasrat Jaipuri, Main Piya Tori Tu Mane Ya Na Mane (Lata Mangeshkar) is not a shade less than the other eight.

Kar Gaya Re Kar Gaya Re Kar Gaya Mujhpe Jadoo Sanwariya – Lata Mangeshkar, Asha Bhosle

The dancing, outspoken, one lady spells out her feelings in the form of the second line of the song, Ye Kya Kiya Re, Gazab Kiya Re, Chor Ko Samaji Main Sadhu, which the other, rerved one, shuns to use is the subtle way to set the tone of two competing ladies for the love of Bharat Bhushan. Shankar Jaikishan has very deftly weaved in the two differing appeals in the form of Asha Bhosle singing a dance sequence and Lata Mangeshkar singing a pensive mood sequence. So has Shailendra, by so aptly choosing the lyrics for each mood.

We will foreclose the other four films – New Delhi, Rajhath, Chori Chori and Patarani – the year 1956 for continuation in the next (year) episode, because of sheer variety of each film and listening load of son=me very popular and some not so popular but meritorious songs.

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September 2021

(Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1962

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – was versatile poet and lyricist. He wrote a poetry that was accessible to the common man. Critics may not put him in the same roll of honor as Sahir Ludhianvi or Kaifi Azmi or even his long-time associate Shailendra. But his simple lyrics appealed the commos listener. His poetry was simple but the message it contained used to be quite deep. Many of his pure romantic songs carried most intimate and intense feelings. Hasrat Jaipuri also has written screenplay for ‘Hulchul (1951). His career spanned for the first film ‘Barsat’ in 1949 till his last, Hatya: The Murder (2004).

Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] is sometimes not equated with the music qualities of life-long partner Shankar. But his innate sense of melody lent a totally different dimension to the style of orchestration that made Shankar Jaikishan songs stand out quite distinctively. They led the trend of creating orchestrion style which as easily recognized as unique signature style of the music director.

The primary division of of who will compose which song would be worked out at very initial stage between Shankar and Jaikishan, based on the demands of the situation and their own inherent inclinations. Then, Shankar was considered to generally compose Shailendra’s songs and Jaikishan that of Hasrat Jaipur. And yet, the four were very close as friends in personal lives as well. Hasrat Jaipuri wrote ‘Geeton Ka Kanhaiya Chala Gaya when Jaikishan passed away in 1971.

In this month of Jaikishan’s birth and Hasrat Jaipuri’s death, we have commenced remembering (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform since 2017.Till now we have covered

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019, and

1960 -1961 in 2020

Presently we take up Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan during the years 1962. We have selected relatively less remembered songs from among all the available songs. The order of presentation of the film is set to the first, English, alphabetical letter of that film’s title.

1962

1962 had 6 films of Shankar Jaikishan. Hasrat Jaipuri’s share of songs was 21 songs. Each of the song was well received then and many remain still well-known.

Nashili Raat Hai, Saare Charag Gul Kar Do, Khushi Ki Raat Mein Kya Kaam Hai JalanewaloN Ka…….Lo Aayi Milan Ki Raat Sahaani Raat… NainoN Se Kisi Se Ke Nain Mile HaathoN Mein Kisi Ka Haath – Aashiq (1962) – Lata Mangeshkar

The song opens with prelude of sharp strains of violin ensemble, followed by a sakhi (couplet) and then the mukhada presents us the situation.

This one song epitomizes all that SJ-HJ combination has been offering in abundance- sensitive, rich orchestration, Hasrat Jaipuri’s signature sakhi and simple word that deliver profound message. The song apparently describes the happy situation of marriage but the deeper meaning of each lyric and every note of orchestration, as well Lata Mangeshkar’s subdued delivery, in fact, conveys the pathos of the protagonist (Padmini). (Shankar) Jaikishan’s signature touch is reflected in Lata Mangeshkar hitting high pitch at those lyrics of pain…

Pyar Ka Saaz Bhi Hai Dil Ki Awaz Bhi Hai, Mere GeetoN Mein Tum Hi Tum Ho, Mujhe Naaz Hai ……Chheda Mere Dil Ne Tarana Tere Pyar Ka, Jisne Suna Kho Gaya, Pura Nasha Ho Gaya – Asli Naqli (1962) – Mohammad Rafi

Here is another typical example of SJ-HJ combination – an easy, pleasing song with no complicated lyrics or orchestration and yet catchy enough.

Asli Naqli had 7 songs of which 5 songs are penned by Hasrat Jaipuri and 2 by Shailendra. Hasrat Jaipuri’s Tujhe Jivan Ki Dor Se Bandh Liya Hai (Mohammad Rafi, Lata Mangeshkar) was quintessential romantic duet, Gori Jara Has De Has De Tu Has De Jara (Mohammad Rafi) was a simple, lilting children song and Lakh Chhupao Chuup Na Sakega Raaz Ho Kitana Gehra.(Lata Mangeshkar) is a title song. We, thus, get to see full panorama of Hasrat Jaipuri’s versatility and how imaginative treatment (Shankar) Jaikishan has given to each composition.

Let us take one more song in detail:

Ek But Banaunga Tera Aur Pooja Karunga, Arre Mar Jaunga Pyar Agar Main Duja Karunga – Asli Naqli (1962) – Mohammad Rafi

Use of the word ‘But” which has two meanings, a statue and a beloved one, is a typical master stroke of Hasrat Jaipuri in a song which essentially is about the hero trying to please his beloved and assure her she has neither anyone else in mind nor will ever have one.

Once the mukhada gets free form this difficult word for the meter and melody, the song moves into an easy-paced song even though the subject of all through remains the statue. (Shankar)Jaikishan too have smartly chosen to repeat the line ‘Arre Mar Jaunga Pyar Agar Main Duja Karumga’. The song opens with a very melodious violin ensemble that seems to bring the thoughts from the deep imagination of the mind to the lips.

Even if the song did not become as popular as other songs of the film, perhaps because SJ and HJ moving along an experimental track, it retains all the charm of SJ-HJ combination..

Najhar Bachakar Chale Gaye Woh, Varana Ghayal Kar Deta, Dil Se Dil Takra Jata To Dil Mein Agni Bhar Deta  – Dil Tera Deewana (1962) – Mohammad Rafi

I like very unusual opening note of the prelude of the song in an otherwise a quint essential, very pleasing to listen to, SJ-HJ-Rafi songs tailor made for Shammi Kapoor.

Dil Tera Diwana had 7 songs – 4 by Shailendra and 3 by Hasrat Jaipuri. Dhadakane Lagata Hai Mera Dil Tere Naam Pe (Mohamma d Rafi) seems to turn on a Mehmood song on the screen but

Masoom Chehara Ye Qatil Nigahein Ke Bemaut Mare Gaye Hum Bichare – Dil Tera Diwana (1962) – Mohammad Rafi and Lata Mangeshkar

Unfortunately got hidden the razzle dazzle glare of the two other duets – Dil Tera Diwana Hai Sanam and Mujhe Kitana Pyar Hai Tumse (incidentally Shailendra songs) – but is the one that would remain more etched in the minds to a discerning SJ fan with Lata Matching higher scale notes to Rafi’s natural high-note style – for which Lata Mangeshkar always had a (sweet) complaint against Jaikishan..

Kho Gaya Hai Mera Pyaar….Dundhata Hun Main Mera Pyar – Hariyali Aur Raasta (1962) – Mahendra Kapoor

In line with the trend of those times, Shankar Jaikishan’s most of the songs would have been either filmed on the main character(s) or any other character which has major role in the film. The present song is not only an exception to that norm, but also one of the rare Shankar Jaikishan – Mahendra Kapoor song.

Hasrat Jaipuri’s lyrics amply express the message in the boatmen’s songs to the hero and Shankar Jaikishan has set the song to a very fast, relatively hitch pitched scale to reflect the heightened turmoil of thoughts and emotions in the mind of hero.

Hasrat Jaipuri has a rather minority quantitative share of 4 songs out of a staggering 11 songs in the film, Hariyali Aur Rasta, but having a title song Bol Meri Taqdeer Mein Kya Hai (Lata Mangeshkar, in happy and sad versions) and a song starting with an exceptionally heavy Urdu phrase Ibtida-e-Ishq Mein Ham Saari Raat Jaage hitting the top of the charts qualitative more than made for the quantitative share.

Ye Umar Hai Kya Rangeeli, Ye Najhar Hai Kya Nashili, Pyar Mein Khoye Khoye Nain, Hamara Rom Rom Bechain, Hamara Bhi Jamana Tha – Professor (1962) – Manna Dey, Asha Bhosle, Usha Mangeshkar

In an otherwise truly light-mood, foot-tapping song, Hasrat Jaipuri comes up with a profound message when he writes

jiwan kya hai haste rahna, man maujoN mein bahte rahna
chupke baitho mane na hum
chupke baitho mane na hum batein wo purani
ye umar hai kya rangili

Aye Gulbadan…PhuloN Ki Mahak, KaatoN Ki Chubhan, Tujhe Dekh Ke Kaheta Hai Mera Man, KahiiN Aaj Kisi Se Mohabbat Na Ho Jaye – Professor (1962) – Mohammad Rafi

With so romantic lyrics, so easy yet very rich musical composition and Mohammad Rafi at his full care-free flow, it was no wonder that this had caught the minds of the youth of those days. However, the beauty of the effect of entire composition is that one would like to listen to the complete song every time one gets to listen the song, even now.

Aawaz Deke Hamein Tum Bulao, Muhobbat Mein Hamko Na Itana Saataao – Professor (1962) – Mohammad Rafi, Lata Mangeshkar

The third song from Shankar Jaikishan – Hasrat Jaipuri combination – set to Rag Shivranjani, in which Shankar Jaikishan have composed some of their best ever songs –  yields a totally different outcome, that one may be tempted to attributing to Shankar (Jaikishan)- Shailendra combination.

Chau Chau Bombaiyana Ishq Hai Marz Purana, Dil Ki Dafli Se Sabhi Gaate Hai Yeh Gaana – Rungoli (1962)  – Manna Dey, chorus

Hasrat Jaipuri takes up the opportunity to put in the ‘right’ message(s) in an apparently a comedy song that is meant to spell out the worries and gloom –

humne jahaN bhi dekha mile haiN diloN ke rogi
apna hi raag alape shayad mohabbat hogi
tere mere dil ka juda hai afsana

duniya mein jab tak rahna
gham ko na aane dena
ban jana mast kalander
jeena ho hans ke jeena
badi badi ankhiyoN mein aansu nahiN lana

On this note of philosophical light mood, we bring curtains to the present episode, to continue our journey of Shankar (Jaikishan and Hasrat Jaipuri’s songs fading from the memory.

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

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