Carnival of Blogs on Golden Era of Hindi Film Music – October, 2016

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Welcome to October, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we have posts from Silhouette magazine delves on the on the memories of S D Burman on his birthday on 1st October (1906) –

Pag thumak chalat balkhaye, haye, Sainyan kaise dhaarun dheer (Sitaron Se Aage, 1958) Lata Mangeshkar

In addition to these, Moti Lalwani has penned Part 1 of his memoir of S D Burman’s experiments, which we shall look at in details along with Part 2, to be published later.

Hrishikesh Mukherjee: In a Humane Genre of His Own By Antara Nanda Mondal  – Most of Hrishikesh Mukherjee’s films had music that has lasted through the decades and continue to be heard, hummed and cherished till date. SD Burman, Hemant Kumar, Shankar Jaikishen, RD Burman, Salil Chowdhury, Vasant Desai – whoever he worked with came up with some of their best tunes for him.

We should not miss Hrishikesh Mukherjee: Giving Cinema a New Definition too – a tribute based on a lengthy interview Shoma A Chatterji had with Hrishikesh Mukherjee.

Tribute: Shailendra was the proverbial moth who got burned too quickly – The lyricist has left behind a legacy of exquisite songs that make you cry and think.

Films that are 50:

We have a few excellent career-sketches too for the present episode:

Hema Malini by Karan Bali – Acting aside, Hema has dabbled in film production having produced Swami (1977), Sharara (1984), Awaargi (1990) and Marg (1992 but unreleased) besides directing Dil Aashna Hai (1991), Tell Me O Khuda (2011) and Mohini (1994) for Television.

Kersi Lord – by Karan Bali – Ace musician Kersi Lord, not only imported the first synthesizer into India in 1973, butthe-human-factor also introduced musical instruments like the ‘glockenspiel’ in Indian cinema for the cigarette lighter effect in Hum Dono (1961). He is also well-known for playing the accordion pieces in the hit songs Roop Tera Mastana from Aradhana (1969) and O Meri Sharmilee from Sharmilee (1971), among many others. it was RD who first introduced the electronic organ in India for the composition O Mere Sona Re in Teesri Manzil (1966) for which I had the privilege of playing the organ.” Kersi Lord retired in 2000 after a career spanning more than 5 decades. He passed away in Mumbai on October 16, 2016. He had been ailing for sometime. The Lords – father  Cawas, Kersi and his brother, Burjor, all musicians, have been featured extensively in a wonderful documentary, The Human Factor (2012), directed by Rudradeep Bhattacharjee.

leela-a-patchwork-life Leela Naidu: The Person Behind the Image – “A couple of months ago when I had come across her autobiography, “Leela – a patchwork life” (Penguin India, 2010), written with Jerry Pinto, I was very tempted to read it and at the same time, I was not very sure that it would be a wise thing.
Through experience I have learned that favourite film persons are better seen through the sepia tinted glasses of nostalgia. Knowing them as persons ruins their magic. However, in the end I had not resisted. The book has definitely changed my perception about Leela Naidu, the person behind the image.”

Here are posts on other subjects as well:

This Indian Film Won The Highest Prize In Cannes In 1946, But Still Remains Forgotten – Gautam Chintamani – Even though it won the highest prize at Cannes, Chetan Anand’s ‘Neecha Nagar’ remains largely forgotten today.music-masti-modernity

From Teesri Manzil to Yaadon Ki Baaraat, Nasir Husain’s cinema is celebrated in a new bookRohini Nair – In an interview with Firstpost, Akshay Manwani spoke of why he felt compelled to write – in a new book, titled Music, Masti, Modernity — The Cinema of Nasir Husain about the cinema of Nasir Husain, the filmmaker’s legendary collaborations with Shammi Kapoor, Asha Parekh and RD Burman, and what his lasting contribution to Hindi films has been.

Actors Prepare – From Ravan to Mahatma Gandhi  presents some of the images of the theatre actors from India, Italy and some other countries.

Redemption song: ‘Titli Udi’ by Sharda was a beginning and an end by Manish Gaekwad – Once upon a time in the 1960s arose a rare challenger to the Lata-Asha combination – This is quite an interesting, and yet balanced, narrative of Sharda’s Hind film career.

N.B.:  The articles that have appeared in this series in the past can be accessed at Stories in A Song.

‘Jago Hua Savera’ dropped: ‘Mumbai has lost out on watching a classic that is still relevant’ by Anjum Taseer – Jago Hua Savera sees the best talent from East and West Pakistan and India participating in a production under trying circumstances. This is a film that was lost, rediscovered and restored. The new version is a perfect showpiece of the original masterpiece.

Songs of Angana nostalgically recalls the Anagan, the courtyard, a central feature of the then houses of India. Open to the sky, and surrounded on the four sides by verandah and living rooms, this quadrangle is the place where the family lives out its life, does all its mundane chores of daily existence, and also holds all its ceremonies and special occasions.

We have had a post on songs of atariya too on SoY.

Remembering Diwali Songs presents a multi-faceted view of Diwali in Hindi film songs during the decades of ‘40s, ‘50s and ‘60s.

Vyjayantimala’s Singing Debut for Composer Master Venu  – by Lakshmipriya – The songs referred to in the title of the post are: Dachinanu ravoi neekai and Daricheraga rava priyuda . There is also an interesting refrence to Dekhane Mein Bhola Hai. Waheeda Rahman mentions this anecdote in her many interviews of how she was humming the yeruvaka song on the sets of Solva Saal. S D Burman was very impressed to found out who the composer was and asked Master Venu permission to use it in his song Dekhne Me Bhola for Bambai ka Babu. Master Venu was so delighted that he immediately agreed happily…...

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar. In the category of Duets, we had covered duets of Mohammad Rafi with Lata Mangeshkar, Suriya and Shamshad Begum and Geeta Roy and other female playback singers  and Duets of Mukesh in the Male-Female Duets sub-category. For the present month, we have continued with duets of Shamshad Begum with other Male singers, Geeta Roy, Lata Mangeshkar and Suraiya with other Male Singers, Other Male Female Duets and then have moved on to Female-Female Duets of LatamangeshkarOther Female-Female Duets in the Female- Female duets subcategory.

We end today’s episode with a post on Mohammad Rafi’:

Rafi is Hindi Cinema’s greatest voicePankaj Vohra – The findings of the survey were revealed on the Independence Day and Rafi came out as the winner from a formidable field that comprised Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mukesh. In fact, the Survey put Rafi ahead of Lata Mangeskar by nearly 12 percent with Kishore Kumar coming second, with about five percent votes less than those secured by the winner…It was also interesting that Asha and Mukesh polled nearly the same number of votes and if added to those polled by Lata Mangeshkar, they were not enough to catch up with Rafi….Another aspect of Rafi’s voice was that he could replicate his studio recording even in a public function and sang exactly the same way as he done for a film. This was a unique trait since there has been no singer other than him who could sing exactly the same song in a public function as during the recording.

I whole-heartedly wish you and your family a Crackling Happy Diwali, and look forward to receive your inputs for further enriching the contents of the posts…..

Remembering Diwali songs

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Every year as the Diwali season approaches, I search out for the songs based on the spirit and gaiety of the festive season. However, I never made a serious and systematic effort. This year too when I went about the task cursorily, three songs came up immediately in the memory. Of these three, the two songs had had sad associations with Diwali:

Lakho Taare Aasmaan Mein… Dekh Ke Duniya Ki Diwali Dil Mera Chupchap Jala – Hariyali Aur Rasta (1962)  –  Mukesh, Lata Mangeshkar – Shanker Jaikishan – Shailendra

Ek Woh Bhi Diwali Thi Ek Yeh Bhi Diwali Hai, Ujda Hua Gulshan Hai Rota Hua Mali Hai – Nazarana (1961) – Mukesh – Ravi – Rajendra Krishna

More interestingly, I also remembered that this song did have another version which related to the happy times of “Woh Bhi Diwali”:

Mele Hai Chiragon Ke Rangeen Diwali Hai – Asha Bhosle

The third one has song-picturization-specialist Vijay Anand enacting three different seasons in one song in the form of series of stage shows for Guide @8.25:

Piya Tose Naina Laage Re Naina Laage Re – Guide (1965) – Lata Mangeshkar – S D Burman – Shailendra

Probably it is no surprise, at least as far as I am concerned, that all the three songs happened to be of ‘60s. Such being the results of memories of the songs at the top of the surface, I did went ahead to look for more songs in the period before the decade of ‘60. Here is my find, arranged in the chronological order of the film release year:

The first in the list is ‘Diwali’ (1940), for which Khemchand Prakash had composed the music. Film credits show Motilal and Madhuri as the lead actors and Jayant Desai as the director. It seems the internet age has not been able to access the songs from the film, so we do not have means to know whether there were songs that had Diwali as the theme too….

However, we have one more song from the same year…

Aai Hai Holi Aai Hai Diwali – Sanskar (1940) – Jyoti, Harish – Ashok Ghosh – Kanhaiyalal

We now have a fairly large catch from the vintage era …..

Diwali Phir Aayi Sajani – Khazanchi 1941 – Shamshad Begum – Ghulam Haider – Wali Sahab

The song is set to a typical Punjabi festival congregation tune, which has predominance of dholak as the rhythm instrument.

Aayi Divali Aayi Diwali – Rattan (1944) – Johrabai Ambalewali – Naushad – D N Madhok

As the lamps of Diwali usher in the festivities the moths get attracted towards the flames, the heroine laments that she does not have the company of her beloved to neither enjoy the festivities nor pleasure of getting consumed with someone…

Ghar Ghar Mein Diwali Hai, Mere Ghar Mein Andhera – Kismat (1943) – Ameerbai Karnataki – Anil Biswas – Pradeep

Visually differently-able heroine not only has to face the physical darkness but also a dark fate, even as the world around glitters with the glow of Diwali lamps and cracker.

Aayi Diwali Deeponwali – Maharana Pratap (1946) – Khursheed, Chorus – Ram Ganguly – Swami Ramanand

Composition, beat and orchestration simply ooze the joy of the festivities…

Aayi Diwali Deep Jala Ja – Pugree (1948) – Sitara Kanpur, Shamshad Begum – Ghulam Mohammad – Shakeel Badayuni

Entire family is fully enthralled with mood of gaiety ….

Diwali Ki Raat Piya Ghar Aanewale – Amar Kahani (1949) – Suraiya – Husnlal Bhagat Ram – Rajendra Krishna

Traditionally, all those who are away to earn the livelihood always would love to celebrate the festival with the family…so the wait for the loved one on this day

Aayi Hai Diwali – Sheesh Mahal (1950) – Shamshad Begum, Geeta Dutt – Vasant Desai – Nazim Panipati

The palace, the court and the town is teeming with the welcome to the festival

Shaam Aur Hui Aur Deep Jale – Basera (1950) – Mubarak Begum, Sulochana Kadam – M A Rauf Usmani – Sardaar Ilhaam

The song captures two different moods of the same festivity..

Jagmagati Diwali Ki Raat Agayi – Stage (1951) – Asha Bhosle – Husnlal Bhagatram – Sharshar Shailani

The composition bubbles with the joy of the festival

YT also has one more different version credited to Lata Mangeshkar

Deep Jale Ghar Ghar Mein Aayi Diwali – Ghar Ghar Mein Diwali (1955) – Lata Mangeshkar, Shaminder – Roshan – Prem Dhawan

We have one more film which Diwali in its title, but internet has not been able to capture the song.

Is Raat Diwali Kaise – Sabse Bad Rupaiya (1955) – Mohammad Rafi, Shamshad Begum, Asha Bhosle – Shaukat Dehlvi – P L Santoshi

Here is the song that captures in quite a different way the joy that the union of the couple also helps illuminates the festival environment.

Coincidentally, another film that has a Diwali song has Paisa in its title.

Deep Jalenge Deep Diwali Aayi – Paisa (1957) – Geeta Dutt – Ram Ganguli – Nazir Akbarabadi

Geeta Dutt’s voice reflects the surrealism of the mood of the festival

Jahan Mein Aai Diwali – Taj (1956) – Lata Mangeshkar – Hemant Kumar – Rajendra Krishna

The lamps of Diwali only heightens of pain caused by the flame of separation

Kaise Diwali Manaye Hum Lala – Paigam (1959) – Mohammad Rafi – C Ramchandra – Pradeep

For the working class, demands always outstrip the means..even when Diwali does ensure the traditional “bounty” of bonus.

Ayee Ab Ke Saal Diwali – Haqeeqat 1964 – Lata Mangeshkar – Madan Mohan – Kaifi Azmi

For the army on duty, Diwali accentuates separation from the loved ones..

Diwali Aayi Re Ghar Ghar Deep Jale – Leader (1964) – Lata Mangeshkar, Mohammad Rafi, Chorus – Naushad – Shakeel Badayuni

Lamps in hands of ladies folk and torch in the hands of menfolk symbolize the spirit of Diwali in the respective context in this predominantly dance number.

While on the search for the Diwali songs, it apparently appeared that period of 70s till late 90s, Diwali songs seemed to have waned in the films. Frankly, I have not tried hard enough to look too, as I have had my range of ‘lamps’ full enough with so many moods, so varied singers in so different settings for presenting the festival in its all hues and colors.

However, before we conclude, we cannot afford to miss out one Non Film Song that remains very special not only for its content but also for the combination of the singer, composer, song writer and their the then circumstances in which the song was conceived –

Main Ghee Ka Diya Jalaoon Ghar Aao – NFS – C H Atma – O P Nayyar – Saroj Mohini Nayyar

So we join the spirit of Jyot Se Jyot Jagate Chalo, Prem Ki Ganga Bahate Chalo (Sant Gyaneshwar, 1964) as I heartily wish you all a very Happy Diwali.

Carnival of Quality Management Articles and Blogs – October, 2016

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Welcome to October, 2016 edition of Carnival of Quality Management Articles and Blogs.

We have already taken up the following topics for the familiarisation of different elements of new version of ISO 9001-

For the present episode we will look at Control of Human Errors in general, and then move over to how that can possibly be addressed in the implementation ISO 9001: 2015.

Human Errors have been well addressed in the past in the literature relating to fields like safety management or health & medical services management. We have picked up a few representative articles here:

Human Error: Causes and Control – by George A. Peters, Barbara J. Peters –  Detailed, practical, and broad in scope, the book explores the field of human error, including its identification, its probable cause, and how it can be reasonably controlled or prevented.

Human factors: Managing human failures – The challenge is to develop error tolerant systems and to prevent errors from initiating; to manage human error proactively it should be addressed as part of the risk assessment process, where:

  • Significant potential human errors are identified,
  • Those factors that make errors more or less likely are identified (such as poor design, distraction, time pressure, workload, competence, morale, noise levels and communication systems) – Performance Influencing Factors (PIFs)
  • Control measures are devised and implemented, preferably by redesign of the task or equipment

Reducing Human Error on the Manufacturing Floor By Ginette M. Collazo, PhD.When we investigate quality events, the focus of those investigations rely on explaining what happened in the process and how the product was affected. A human error usually explains the reason for the occurrence of the deviation; nevertheless, the reason for that error remains unexplained and consequently the corrective and preventive actions fail to address the underlying conditions for that failure… Real CAPA effectiveness will be achieved when the number of deviations decreases. not when particular events fail to reoccur.

Minimising human errors in the workplaceEric Joost – Familiarization with the risks can make an employee feel more comfortable about cutting corners and designing their own way of working, which increases the probability of something going wrong.

As can be expected, not much literature is available yet on this subject w.r.t. its impact in ISO 9001:2015. From what could be searched within reasonable efforts, I have picked up:

Struggling Against Nature – Preventing Human Error in the new ISO 9001 2015 Standard is ppt that was presented by Matt Leiphart at 2016 ISO World Congress and takes a different path in evaluating the requirement.

ISO 9001:2015 Human FactorsShaun Sayers thinks this requirement, no matter how noble in its intent, is practically unenforceable. My guess is that this will actually be ignored….. (he also) can’t help thinking that the standard might have been better if the aim to prevent human error was also included in the Nonconformity and corrective action clause – ISO 9001:2015 Clause 10.2 – too.

Before the jury is out to come to a verdict on the subject, it would be prudent to wait for some more time and allow fairly large number of organizations to implement the new version to really start detecting some strong trends.

In the meanwhile let us also look at a few interesting video clips:

Human Factors in the Clinical Laboratory: Lessons from Aviation Safety – Patrick Mendenhall, BS

Quality Systems: Managing Human Error and CAPA Effectiveness

How Many Ways Can I Screw Up Causes of Human Error

Human Error: Human error is inevitable, but you can do a lot to prevent mistakes

Human Reliability Improvement: Reducing Documentation Errors

For the November, 2016 episode, we will take up Auditing in the new versions of these management standards.

We will now turn to our regular sections:

ASQ CEO, Bill Troy in his ASQ’s Influential Voice in October Roundtable takes up ‘How can employers leverage quality to invite innovation?’. The discussion is indeed engrossing while being as simple as it can be.

We now watch two of the latest ASQ TV  episode:

Jim L. Smith’s Jim’s Gems for the month of September, 2016:

Jim's Gems

  • Statisticians Must Transform – Like other quality professionals, statisticians must add value – In this enlightened age, statisticians and non-statisticians realize tools don’t make improvements, leaders do. To become leaders, statisticians must first understand the basic change that has taken place in the way work is done and grasp how that change demands a clear understanding of the difference between managing work and leading people.
  • Now is Your Time to Act – all sorts of new and meaningful happenings await your choice to take action in order for them to come to life.

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.

The Micro View of the Best Songs of 1949 @ SoY – Female Female Duets – Other Female-Female Duet Songs

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Substantive share of Lata Mangeshkar+ songs in the Female Female duets category for the year 1949 also can be taken as one more indicator of her emergence as THE playback singer. Of course, she does share space with all other major (so-called) competing players in this category, which seems to have weighed in her favor.

So let us listen to the female female duets of singers other than Lata Mangeshkar.

Shamshad Begum +

Aa Javo Phir Meri Bigadi Ko Banane – Dada – with Surinder Kaur – Shaukat Haidari – Majrooh Sultanpuri

Meri Pyari Patang Chali Badal Ke Sang – Dillagi – with Uma Devi – Naushad – Shakeel Badayuni

Chhak Chhak Chali Hamari Rail, Ye Hai Aage Ye Paani Ka Mail – Naach – with Geeta Roy – Husnlal Bhagatram – Mulkraj Bhakri

Pyar Ke Jahan Ki Nirali Sarkar Hai – Patanga – With Lata Mangeshkar – C Ramchandra – Rajendra Krishna

Geeta Roy +

Hasrat Bhari Nazar Ko….O Pardesiya, O Rasiya – Dil Ki Basti – with Zohra Jaan – Ghulam Mohammad – Khumar Barabankvi

Badal Gir Aaye – Karwat – with Asha Bhosle – Hans Raj Behl – V N Madhok

Kheloge Kaun Sa Khel Mere Lal – Tara – with Premlata – Vinod – Aziz Kashmiri

Mithai ki Dukan Dilli Ke Bazar – Tara – with Gandhari – Vinod – Aziz Kashmiri

Johrabai Ambalewali +

Hai Kahani Preet Ki Itwaar Se Itwaar Tak – Daulat – with Lalita Deulkar – Hanuman Prasad –Qamar Jalalabadi

Chhoon Chhoon Ghunghariya Baje, Ye Raat Phir Na Aayegi, Jawani Beet Jayegi  – Mahal – with Rajkumari – Khemchand Prakash – Nakshab Jarachavi

Suraiya +

Aye Dard-e-Mohabbat Tune Mujhe Badnam Kara Ke Chhoda – Singar – with Surinder Kaur – Khursheed Anwar– D N Madhok

Hamida Banu+

Aavo Sakhi Hum Gaye Tarana – Zevrat – with Shanta Kunwar – Hans Raj Behl – Habeeb Sarhadi

Here are a few songs for which soft links do not seem to be have been set up, as yet.

Aayee Hai, Woh Aayee Hai, Dekha Badariya Kali – Bholi – Shamshad Begum with Meena Kapoor – Pt. Govind Ram – Ishwar Chandra Kapoor

Sun O Jaanewale Rahi… In Mitti Ke Khilone Ka – Maa Ka Pyar – with Meena Kapoor – Pt. Govindram – Ishwar Chandra Kapoor

Yahan Naino Mein Pyar Dil Ko Qarar Kiya Lage Piya – Char Din – Shamshad Begum with Premlata – Shyam Sundar – Shakeel Badayuni

If anyone who has the song(s) may please either post it in the comments or upload the soft copy to me by e-mail.

In the next episode we will take up Male-Male Duets as well as Triads & Triads+ songs.

Fading Memories…. Unforgettable Songs: October, 2016

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Our October, 2016 episode of ‘Fading Memories, Unforgettable Songs’ has been carved out from the posts published on Atul’s Songs a Day which Samir Dholakia has been recommending to me over last few months.

Each of the post has its own interesting narrative. I have picked up only a key part from that narrative here. As our basic purpose is to bring up the songs that seem to have receded from the memory, our focus here would be the song that has geminated that post. A link to the original post has been maintained for the reader of this episode to whet the urge to read the whole of the original post.

Aayi atariya pe sone na sone diya – Sadanand Kamath builds up the post with a questionWhat is the main feature in three sets of songs given below?

1(i). do dilon ko ek dil milaakar banaana yaad hai – Kamala (1946)

(ii). kat rahi hai bekasi mein har ghadi tere baghair – Deewaana (1947)

2(i). wo dekho udhar chaand nikla gagan mein – Roopkumari (1956)

(ii). nigaahon mein tum ho khayaalon mein tum ho – Jaadoo Nagri (1961)

(iii). ye tan man watan par nichhawar karenge – Kunwaari (1966)

3(i). aaj mausam ki masti mein gaaye pawan – Banarasi Thug (1962)

(ii). ek chameli ke mandve tale – Cha Cha Cha (1964)

To get the answer, one needs to listen to these songs. Resultantly you will observe that all individual song in these sets have been composed, more or less, on the same tune.

The 4th in the set of songs of the repeat tune is –

Aayi Atariya Pe Sone Na Sone Diya – Mehmaan (1942) – Shamim – Khemchand Prakash – D N Madhok.

Khemchand Prakash subsequently used more or less the same tune after two years for Teri Pi Pi Ke Pukaaron Ne Dil Loot Liya in ‘Bhanwraa’ (1944) – Ameerbai Karnataki.

Balam Harjaai, Jaavo Ji Main To Preet Kiye Pachhtaai – By Sadanand Kamath

The music director was none other than Mohammed Shafi. Mohammed Shafi has been associated with Hindi film industry since 1937 and his first film as an independent music director was ‘Haqdaar’ (1946). ….It is said that the entire music of ‘Sohni Mahiwal’ (1958) was composed by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhoondho Dhoondho Re Saajna” in  ‘Ganga Jamuna’ (1961) were his creations.  The song that is presented here  was the only song Mohammad Shafi has also sung for Hindi film.

Balam Harjai, Jaavo Ji Main To Preet Kiye Pachhtaai – Shikarpuri  (1947) – Razia Begum, Mohammed Shafi – Mohammed Shafi – A Shah Aziz

Jhoolo jhoolo pyaar hindoleby Sadanand Kamath

One of Lata Mangeshkar’s rare songs of the late 40s, which she sang with Balakram.

Jhoolo Jhoolo Pyaar Hindole  – Hamaari Kahaani (1948)(UR) – Lata Mangeshkar, Balakram – Hemant Kedar

Na kisi ki aankh ka noor hoon – Sadanand Kamath

It is interesting to note that ‘Laal Qila’ (1960) was not the first film in which the ghazal ‘Na Kisi Ki Aankh Ka Noor Hoon’ was used.

Na Kisi Ki Aankh Ka Noor Hoon – Toote Taare(1948)-Rajkumari – Shaukat Dehlvi (a.k.a. Nashaad) – Muztar Khairabadi

Ho itne bade bhagwaan dilaa de makaan by Arunkumar Deshmukh

The article briefly traces the history of association of Paul Zils(1), who made a debut in Hindi Film World with this film. Like several other Germans who were very actively involved with Hind films around the WWII times, Paul Zils directed three Dev Anand films, according to documents – Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called “Shabash”, though listed in 1949, gives no details, except the film name.

Vasant Desai has composed this lengthy song in two parts:

Ho Itne Bade Bhagwan Dila De Makaan  -Hindustan Hamaara (1950)  – Surendra, Mohammad Rafi,Premnath -Vasant Desai – Dewan Sharar

Aisi chot jiyaa ne khaayi – Sadanand Kamath

‘Nirmohi’ (1952) had not one but 6 Lata Mangeshkar songs (out of 8 songs), that too all solos. The other two have been Lalit Mohan – a name that most of us would not have heard.

Aisi Chot  Jiya Ne Khaayee  – Nirmohi (1952) -Lalit Mohan – Madan Mohan -P N Rangeen

The other one – Yeh Suhana Sama   – is listed as duet of Lalit Mohan and Kavita. It seems the soft link to this song has not yet been established,

Do bol tere meethhe meethhe – Arunkumar Deshmukh

There were just 7 songs in the film, but 7 lyricists wrote one song each, In this song music director Mohammad Shafi has made use of Chorus very cleverly. The chorus gives a sort of lift to the song.

Do Bol Tere Meethe Meethe – Daara (1953) – Hemant Kumar, Lata Mangeshkar – Mohammad Shafi – Madhup Sharma

In Bhaj man narayan narayan, Arun Kumar Deshmukh has presented several anecdotes how many ambitious and daring people accidently acquired new skills and then went on become very wel known names in the respective field….. in the present case, the film is directed by Vithaldas Panchotiya, who also acted in the film. Vithaldas is yet another example of an All- rounder in films. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else!

Bhaj Man Narayan Narayan – Bhaagwat Mahima (1955) -Hemant Kumar -Hemant Kumar-Pt Madhur

In Mera Bhola Balam Ji Ki Batiyaan Ho Ram Kasam Na Jaane, Sudhir Kapoor has presented a poem that contains 22, yes, twenty two, songs of Mubarak Begum. And here is the 23rd one –

Mera Bhola Balam Ji Ki Batiyaan Ho Ram Kasam Na Jaane –Kundan (1955) – Mubarak Begum – Ghulam Mohammad – Shakeel Badayuni

Ja Re Chandr’ Jaa Re Chandr’ Aur Kahin Jaa Re by Bharat Upadhyay

Music director Roshan (another great MD) wrote somewhere about this song:

“Sublime, magical, spellbinding… and divine, these are some of the words that come to mind for this masterpiece. What a wonderful gift to the listeners from Lataji, Sudhir Phadke, and Pt. Narendra Sharma. Lataji has done complete justice to the words so characteristic of songs based on Krishna and virah ras and to SP’s delicate tune.”

Ja Re Chandr’ Jaa Re Chandr’ Aur Kahin Jaa Re  – Sajni (1956)  – Lata Mangeshkar – Sudhir Phadke  – Pt Narendra Sharma

Jaata kahaan hai parwaane – Sadanand Kamath has presented one of Suman Kalyanpur’s rare and an unusual song which amply manifests that if she was given an opportunity, she would have proved her versatility in her singing.

Jaata Kahaan Hai Parwaane – Mr Q (1958) -Suman Kalyanpur-Manohar Arora – Shyam Sarhadi

Do Nain, Bechain – Sudhir Kapoor does as many summersaults and makes us do the same too. At the end he has landed upon this as much unique combination of music director and song writer – Laxmikant Pyarelal and Asad Bhopali

Do Nain, Bechain – Boxer (1965) – Lata Mangeshkar – Laxmikant Pyaarelal – Asad Bhopali

Before we end our present episode, here is a post, Tumhin Se Hui Hai Shuru Aur Tumhin Pe Sanam Khatm Hogi Kahaani Hamaari – by Sudhir Kapoor – that has presented one of the two solos that Mohammad Rafi sings in the film out of the total six songs.

Tumhin Se Hui Hai Shuru Aur Tumhin Pe Sanam Khatm Hogi Kahaani Hamaari – Mera Dost (1967) – Laxmikant Pyaarelal – Anand Bakshi

And the other one of the two solos is our addition to the icing on the cake –

Aye Dost Kisi Roz Pachchatayega

And to the end the episode we have Aji mat poochho kuchh baat college albeli by Arunkumar Deshmukh.  The specialty of the song lies in Rafi himself appearing on screen singing his lines. Rafi sang on silver screen on few films like, Shahjehan-46, Jugnu-47 and Samaj ko badal dalo-47.

Aji Mat Poochho Kuchh Baat College Albeli –  Samaj Ko Badal Dalo (1947) – Arunkumar Mukherji, Mohammad Rafi, Manna Dey – Khemchand Prakash

YT has one more link, but unfortunately that also does not have a supporting video.

If you have songs to share, you are most heartily welcome…..


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The Micro View of the Best Songs of 1949 @ SoY – Female Female Duets of Lata Mangeshkar

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We have covered duets of Mohammad Rafi   – with Lata Mangeshkarwith Suraiya and with Shamshad Begum, with Geeta Roy and with other female singers, Duets of Mukesh and then an omnibus Other Male Female duets for 1949 in the previous posts.

Today, we will cover Female Female duets for 1949.

Lata Mangeshkar +

Ahaha, Ahaha, Ao Chale Chale Wahan, Bolo Chale Chalen Kahan– Aaiye – with Mubarak Begum – Shaukat Haidari – Nakhshab Jarachavi

Dar Na Mohabbat Kar Le – Andaz – with Shamshad Begum – Naushad – Majrooh Sultanpuri

Chup Chup Khade Ho Zaroor Koi Baat Hai – Badi Behan – With Premlata – Husnlal Bhagatram – Qamar Jalalabadi

Duniyawalo Mujhe Batao Kya Hai Sachcha Pyar – Balam – With Suraiya – Husnlal Bhagatram – Qamar Jalalbadi

Interestingly, this song also has a Male-Male Version : Mohammad Rafi and S D Batish

Jara Sun Lo Hum Apne Pyar Ka Afsana Kahate Hai – Bazar – with Rajkumari – Shyam Sundar – Qamar Jalalabadi

Agre Ko Ghagharo Mangva De Raja – Laadli – with Ashalata- Anil Biswas – Nazeem Panipati

Chhota Sa Mandir Banaun Jay Jay Jay Prem Devata – Laadli – with Meena Kapoor – Anil Biswas – Chandrasekhar Pandey

Hum Jaani Re Jaani Re Hum Jaani Re – Sanwaria – with Geeta Dutt – C Ramchandra – P L Santoshi

Chalo Ghunghat Mein Guiyan Chhupake Gajab Tore Naina – Sipahiya – with Geeta Roy – C Ramchandra – Rammurti Chaturvedi

We will take up other Female Female Duets in our next episode.

The Micro View of the Best Songs of 1949 @ SoY – Male Female Duets – Other Male-Female Duet Songs

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I had been able to enlist quite a representative songs from HFGK, covering a wide range of other well-known vintage female playback singers in duet with some equally known male playback singers to quite uncommon female playback singers with equally unknown male playback singers. A few songs had the music directors in the role of playback singers as well. However, in the ultimate analysis, I have been able to locate corresponding YT link for a very few of these songs, in which, at least, have one song lyricist also doubling up as playback singer too.

Ameerbai Karnataki +

Saiyan Se Bichchade Hai Ho More Ram – Chandani Raat – with Sadat – Naushad Ali – Shakeel Badayuni

Kyon Scent Lagaya Hai – Neki Aur Badi – with Feroze Dastur – Roshan – Kidar Sharma

Rajkumari +

Ram Kasam Main Ghoonghat Ka Pat Na Kholun – Bazaar – with Satish Batra – Shyam Sundar – Qamar Jalalabadi

Jamuna Tat Par Natvar Girdhar Shyam Bansuri Bajaye – Neki Aur Badi – with Feroze Dastur – Roshan – Kidar Sharma

Meena Kapoor +

Toot Gayee Man Ki Bina – Ananya – with J S Kashyap – Ram Prasad –J S Kashyap

Pyara Pyar Hai Sama, My Dear, Come to Me – Kamal – with Motilal – S D Burman – Raja Mehandi Ali Khan

Suprabha Sarkar+

Rangeen Baharen Hai, Yeh Rangeen Baharen – Samapatti – with Talat Mahmood – Timir Baran – Pt. Bhushan

Johrabai Ambalewali +

Tum Ek Nazar Dekh Chuke, Ek Nazar Aur– Daulat – with Sankar Dasgupta – Hanuman Prasad – Qamar Jalalabadi

In the next episodes we will take Female Female Duets of 1949.

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