Welcome to August 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
We first pay our tributes to Kukum –
Actor Kumkum passes away at the age of 86, on 26 July, 2020. Kumkum featured in some of the most successful songs in the Hindi films of the 1950s and 1960s.
Remembering Ajit Merchant is a tribute to one of the not-so-favourably treated music directors, who is credited with giving break to Jagjit Singh for playback singing in films vide Laagi Ram Bhajan Ni Lagani Laagi (Bahuroopi, 1969- Lyrics: Venibhai Purohit
Remembering Mubarak Begum – Part 1 focuses on solo songs of Mubarak Begum whereas Part 2 focuses on her duets and triads.
In continuation of the Hemant Kumar Centenary celebrations, Hemant Kumar’s Female Playback Singers goes off the popular songs track to explore less familiar songs
We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post. Presently, we remember a few Mohammad Rafi songs which have Kum Kum on the screen.
Lehron Mein Jhool Ke – Do Gunde (1959) – with Asha Bhosle – Ghulam Mohammad – Majrooh Sultanpuri
Beet Gayi Hai Aadhi Raat – Nache Nagin Baaje Bin (1960) – With Lata Mangeshkar – Chitragupt – Majrooh Sultanpuri
Kahiye Kaisa Mizaj Hai Aapka – Salaam Memsaab (1962) – with Asha Bhosle – Ravi – Asad Bhopali
Ham Tujhse Juda Ho Ke – Ek Sapera Ek Lutera (1965) – Usha Khanna – Asad Bhopali
Khuli Wadiyo Ka Ye Safar Hai – Ayega Aanewala (1967) – Sapan Jagmohan – Naqsh Lyalpuri
We end today’s post with
Awaz Do Hum Ek Hai – NFS – Khayyam – Jan NIshar Aktar
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
Ajit Merchant (15-8-1925 | 28-3-2011) belongs to that Hindi cinema club which has very talented but commercially not successful music directors who have their name in the roll of honours, on account of just a song or two from the few that they could get to compose in their career.
Ajit Merchant was born in (then) Bombay to a business community known as Kutchhi Bhatia. His father a criminal lawyer by profession, was a keen follower of classical music. An adolescent Ajit also would accompany his father to the classical music concerts. Young Ajit Merchant initially worked as a drama artist. Many of the stage personalities of those days were also associated with radio feature programmes. One such person was Chandravadan Chimanlal (C C) Mehta, who was an already established and respected name in the Gujarati stage circuit as a playwright and the director.
In around 1945, CC Mehta was finally rehearsing for his radio feature about south Gujarat based sailor community. Avinash Vyas was the music director for that radio feature. As required by the AIR rules of those days, the music director of the feature also had to remain present at the rehearsal. Unfortunately, Avinash Vyas was not available on that day. Since the programme was already notified in the next schedule, it had to be aired at the appointed time. One thing followed another, and the dice of fate rolled in favour of Ajit Merchant for that job. The two songs that he composed for that feature were liked by all and were well received. Later, when Ajit Merchant produced a Gujarati film on that very subject – Divadandi (1950) / The Lighthouse – he recorded one of the two songs in the voice of Meena Kapoor: Pandadi Si Hodi Dejo (Give me a leaf like boat)
Ajit Merchant soon started working as assistant to Ashok Ghosh, who was composing music for a film for Ranjit Movietone in those days. Soon he got his first independent assignment as music director for Refugee (1948) The film, however, did not succeed. Ajit Merchant also got an opportunity to compose music for a Gujarati film, Kariyawar (1948), – Dowry – which also was not a major success. Ultimately, Ajit Merchant’s career as music director of films remained confined to 8 B grade Hindi films and 9 Gujarati social films – of which one did not reach censor certification. Ajit Merchant still could carve place for himself in roll of honours on the strength of three songs –
Taari Aankh No Afini Taara Bol No Bandhani, Taar Roop Ni Punam No Paagal Hu Ekalo – (Indolented by your eyes, addicted by your speech, I am the only one madly in love with your beuty) – Divadandi (1950) – Lyrics: Venibhai Purohit
Ajit Merchant who had undertaken production of this film under the Neelam Films (named after his wife) was thrust upon one song for him to compose. It was not yet decided whether the song would be filmed the hero or not – ultimately filmed on the villain – and whether it would pass through the editor’s scissors too. Engrossed in these pressures his music mind was toying with two tunes at that time – drum beats of Rock Round The Clock – which too has inspired a legion of dance tunes later on – and the tune of Vasant Ritu Ali Ali (Chandidas, 1934 – Umashashi – Music: R C Boral – Lyrics: Agha Hashar Kashmiri) – for the song. The song was ultimately recorded in the voice of Dilip Dholakia. Raj Kapoor, who happened to be present at the recording, congratulated Ajit Merchant for the song and is believed to had said that tis song will be an immortal one. That prophecy has come so true. More than 60 years after the release, the song is still being remembered by each passing generation. He is even said to have used the base tune for initial lines of his song Mera Juta Hai Japani (Shree 420, 1955)
The song, too, has inspired many songs: Chanda Loriya Sunae (Naya Sansar, 1959 – Music: Chitragupt), Raat Ne Ghesu Bikarae (Sapera, 1961 – Music – Ajit Merchant); Haayi Hayiga Jabili (Velugu Needadu, 1961- Music – P Nageshwar Rao) ; Mera Naam Hai Chameli ( Raja Aur Rank, 1968- Music – Laxmikant Pyarelal)
Laagi Ram Bhajan Ni Lagani Laagi (getting to absorped with adoration of Ram) – Bahoorupi (1969) – Jagjit Singh – Lyrics: Venibhai Purohit
When Ajit Merchant presented a young turbaned Sikh to Minoo Katrak, the sound recordist who was highly respected for his sense of music, Minoo Katrak was not ready to try one more voice that Ajit Merchant had brought up. He was somehow convinced to listen to the young man’s voice on the microphone without any music support. The test did not last a few words. So pleased was Minoo Katrak with that voice that the song was immediately recorded with full orchestra and okayed at the first take.
That was maiden film song by Jagjit Singh. Jagjit Singh makes it a point to pay tribute to Ajit Merchant for this window that he had opened up. The song is also included in Jagjit Singh’s 2004 album, Muntazaar.
It so happens that the second song that Jagit Singh recorded for films is also composed by Ajit Merchant.
Ghanshyam Gupchup Gupchup Bhatake Bhatake, E Mana Ne Vaat Achanak Malati (Dark clouds keep wandering silently in the eyes, when the heart suddenly lands up on track) – Dharati Na Chhoru (1970) Jagjit Singh, Suman Kalyanput – Lyrics: Venubhai Purohit.
Ajit Merchant has very skilfully pitched Jagjit Singh on a high scale at the beginning of each stanza.
Roop Tumhara Aankho Se Pee Lu, Kahe Do Agar Tum Mar Ke Bhi Jee Lu – Sapera (1961) – Manna Dey – Lyrics: Indeevar
This is one song that has put Ajit Merchant’s name in roll of honours of Hindi film music. The song opens with a prelude of soft violins on the base rhythm support of guitar and then a few soft strings of violins keep company across the song, in the form of countermelody. The interlude music erupts with an ensemble of flutes in the lead. Manna Dey also goes into high scale in the first line to come down to the normal base tone in the second line. Overall, the song leaves you in the trance when its ends.
It was not only the Hindi film music world that dealt unfair treatment to Ajit Merchant. He had worked as music director at AIR for around 10 years. Fed up with petty politics, when he gave up that job, all his work was wiped out from the AIR library archives by his opponents. Gone with that was an invaluable treasure of some rare NFS that Ajit Merchant had recorded with a wide range of singers.
Theatre continued to give him work and acceptance. He has composed music for around 200-250 Marathi, Gujarati and Hindi plays. However, there is no established set up to record the soundtracks of the plays. So, his work again is lost with the passage of time.
If it were not for the internet, and the enterprising spirit of some of the ardent YT uploaders, all the songs that were composed by Ajit Merchant would have been consigned to the pages of historical archives like HFGK. Of some 50+ songs that he got to compose for his 8 Hindi films, about a third of the songs are still available for us to listen on YT. I have brought them up here.
Ujadi Hui Hai Ishq Ki Duniya Tere Bagair – Refugee (1948) – Sulochana Kadam – Lyrics: Panf=dit Fani
The song is set to typical vintage era style composition.
After, the first film, Ajit Merchant got his next call only in 1956.
Ajit Merchant has moved with the times in his composition style. Here we get Mohammad Rafi in his basic elements, right from base scale beginning to the higher scale ending of the prelude couplet to the judicious variations to match the lyrics.
Sun Lo Jiya Ki Baat… Ho Piya Kar Lo Jiya Ki Baat – Indra Leela (1956) – Asha Bhosle – Lyrics: Saraswati Kumar Deepak
When surrounding environment is conducive to the tender feelings, it is time to exchange the sweet talks with each other. Asha Bhosle is quite playful in this gay mood song.
Koi Lakh Kare Chaturai, Karam Ka Lekha Mite Na Re Bhai – Chandi Pooja (1957) – Singer and Lyrics: Pradeepji
Almost al songs that Pradeepji had rendered in his time were resoundingly popular.
Ek Dharati Ka Rajkumar, Dekho Ji Chala Hai Hawa Pe Sawar – Chandi Pooja (1957) – Shamshad Begum – Lyrics: Pradeepji
I recall looking forward to listening this song on Radio Ceylon, in my pre=teen years in early’60s, along with the iconic children-story song of K L Saigal, Ek Raje Ka Beta Le Kar Udanewala Ghoda (President, 1938 – Music : R C Boral- Lyrics: Kidar Sharma). Listening to this song today is still so pleasant to the ears. Ajit Merchant has presented Shamshad Begum in her fill flow, at this relatively fag end of her career.
Ae Ji, O Ji Kaho, Badi Aji Ki Daravani Hai Raat, Jara Jagate Rahena – Chandi Pooja (1957) Mohammad Rafi, Shamshad Begum – Lyrics: Pradeepji
The song has been presented a playful repartee of small talk dialogues between the two love birds, while seemingly on a horse cart ride.
Ritu Raja Ne Teer Chalaya, Jiya Lalachaya….Sajaniya Aa – Ram Bhakt Vibishan (1958) – Sudha Malhotra – Lyrics: Saraswati Kumar Deepak
The season of Vasant is when the nature is at her full beauty. Wasps hum their love with eye toe contact with flowers, fairies merrily roam the skies. Under such compelling environment, our heroine enjoins her friends to lay a swing of flowers underneath the moon and weave the braid of the hair with flowers.
Raat Ne Ghesu Bikharaye, Mera Dil Mukjhe Tadpaye, Kisane Chhena Hai Mere Chand Ko – Sapera (1961) – Manna Dey, Suman Kalyanpur – Lyrics: Indeevar
In the second half of 50s, when Mohammad Rafi was expanding his reign as the first choice playback singers for the mainstream heroes, Manna Dey was frequently used as voice for the upcoming talent, particularly for the duets by the not-from-the-first-raw music directors. Most of these duets remain etched in the memories of the Hindi film lover generation of those times.
Ajit Merchant has used a variation of his famous ‘Tari Ankh No Afini’ tune here.
Bairi Chhed Na Aise Raag Dil Mein Jaag Uthe Aag – Sapera (1961) – Suman Kalyanpur – Lyrics: Indeevar
Ajit Merchant has based snake charmer tunes for the song. He has created that musical effect by innovating the use of flutes and other instruments..
Main Bhi Hu Majboor Sajan Dil Bhi Hai Majboor – Challenge (1964) – Mukesh, Asha Bhosle – Lyrics: Prem Dhawan
Set to Mukesh’s natural range for such pensively romantic songs, Ajit Merchants whets his appetite for creativity by higher-scale violin ensemble play in the interludes.
Badale Re Badle Re Rang Badle Zamana Kai, Hai Mohabbat Wahi Ji Wahi – Challenge (1964) – Lata Mangeshkar – Lyrics: Prem Dhawan
Ajit Merchant’s touch can be seen the way Badle Re repeats thirce before the initial lyrics come into play. He then uses these very Badle Re melodiously in chorus form in higher scales, supported by brief pieces of flutes in the counter melody. One song hads so much of variety so creatively stuffed !
Mohabbat Ne Kiya Mujh Ko Badnam YuN Zamane Ne…. Main Ho Gai Badnam Tere Liye – Challenge (1964) – Asha Bhosle – Lyrics: Prem Dhawan
The opening notes of harmonium foretell that the song is mujra dance, which is further validated as Asha Bhosle sets the tone in the prelude couplet. But Ajit Merchant cannot be easily confined to a given template. The main song comes as a soft complain in the voice of Asha Bhosle. However, the intensity of the feelings is reflected in a higher scale rendition of interlude orchestration pieces and the opening of stanza by Asha Bhosle.
Qatil Hai Teri Har Ada, Har Dil Hai Tujh Pe Fida, Rahi Bhale Apni Manzil Bhule Dekh Ke Chahera Tera – Lady Killer (1968) – Mukesh – Lyrics: Indeevar
Hindi crime thriller movies mandatorily have villains and his cohorts operating their search operation on the dance floor, the dancer or her camouflaged lead male actor – who is easily identified by the audience – throw a catchy song, lyrics of which have very clear message that except villain everyone do get. Music directors and lyricists have invariably come up with songs that have kept the audience glued to the seats. Ajit Merchant’s adaptability to the film situation is evidenced at every stage of the song.
Chacha Ne Chachi Ko Chandi Ki Chamchi Se Chutney Chatai – Lady Killer (1968) – Manna Dey, Krishan Kalle – Lyrics: Indeevar
Indeevar has very craftily woven repeated rhyming of word Ch in each word of the opening line. Ajit Merchant has set the throw of each of that word in the similar mischievous style. By weaving in the song in western dance style, he has given enough elbow room to the director to create smoke screen to build the environment for showing a back-stage sinister plot being played. At the end, the director gives a Hitchcock-style jolt of showing a murder being executed when the audience is engrossed in the mood of the song.
Auro Ka Chahera Paon Tera…. Diwana Hai Sara Gaon Tera – Lady Killer (1968) – Mahendra Kapoor – Lyrics: Indeevar
Ajit Merchant has skillfully roped in Mahendra Kapoor for a standard sulking-pacifying play acting song..
Even with just a third of the songs available, we get a reasonable glance at the wide range of variety of singers, song styles, song composition and orchestration that Ajit Merchant has been able to commandeer. If it were not either because of the insidious tweak of the destiny or perhaps his own lesser love for film music in comparison to that for the theatre, we would have had more songs under Ajit Merchant’s baton, from the films that may have succeeded at the box office and hence may have been available little more generously.
Background story of recording of Laagir Ram Bhajan Ni Lagani Laagi – Biren Kothari’s article, ‘દીવાદાંડી સમા સંગીતકાર અજિત મર્ચંટ in the Gujarati Magazine ‘Aha Zindagi’
Mohammad Rafi’s First Solo Song With The Music Director: 1956
To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director. Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.
Presently, we will take up songs for the year 1956, of the third five-year-slot of 1954-1958.
[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]
1956
1956 has 138 solo songs of Mohammad Rafi., and as can be expected most of these songs are from music directors like, Bulo C Rani, Husnlal Bhagatram, Narayan Dutt, A R Quereshi, Hemant Kumar, Salil Chaudhary, Shamker Jaikishan, Madan Mohan, Shardul Kwatra, N Dutta, O P Nayyar, Lachhi Ram, Shyam Babu Pathak etc.
Interestingly, for the year 1956, even as there are so many music directors who have already settled on Mohammad Rafi as a lead male singer, we have a fairly large catch of first films in which a music director has composed solo songs for the first time for Mohammad Rafi.
Sudipta Bhattacharya is totally an unknown name.in so far as Hindi films is concerned. There appears to be one more film to his credit – Taaj Aur Talwar in this year itself.
Bahut Jal Kar Mohabbat Mein Mera Dil, Aaj Bola Kayamat Hai Tu , Are Bijali Hai Tu Shola Hai Thoda Sa Sharbat-e-Dildar Chahiye – Ghulam Brgum Badshah – Lyrics: Rupbani
The song is quawaali-styled composition, rendered in what is recognized as classic Johnny-Walker mannerisms on screen and mimicked by Rafi in the playback.
K Datta (a.k.a. Korgaonkar Datta) was a music director whose main body of the work pertains to the vintage era. He was known for his preference of Noor Jehan as his most favored singer.
Hamein Na Bisaro Hamein Taro Sanware – Harihar Bhakti – Lyrics: S P Kalla
I have not been able to locate the digital copy of this song from net.
It was high time thatAnil Biswasuses Mohammad Rafi in a solo song. He has used Rafi’s voice for two s0los and a duet (with Asha Bhosle).
Preet Ka Rogi Ho Ya Jogi, Dono Ek Saman, Ho Ek Dhunde Apne Pritam Ko, Ek Dhunde Bhagwan Allah Teri Khair Kare, Maula Teri Khair Kare, Data Teri Khair Kare – Heer – Lyrics: Rajendra Krishna
Rafi enacts the intense desire to meet the beloved while retaining an undertone of control befitting an ascetic.
Le Ja Uski Duaaye Woh Jo Tera Ho Na Saka, Apni Jati Baharo Se Gale Mil Ke Ro Na Saka – Heer – Lyrics: Majrooh Sultanpuri
The song is set to the Punjabi folk tune heer, meant for the songs sung at the time of farewell of bride from her parent’s home.
Ajit Merchant is one of the legions of music directors who did not succeed at the altar of commercial counter.
Panchhi Gane Lage Prabhati Aane Laga Saras Savera, Jaag Sundari Madhur Milan Ka Aaya Hai Din Tera….– Indra leela – Lyrics: Deepak Kumar Saraswati
Here is a, quite a complex, song to sing, particularly for a film that seems to be based on a mythological subject.
Name of Sanmukh Babu (Upadhyay) will immediately bring to mind his Mubarak Begum song – Nigahon Se Dil Mein Chale Aayiega…(Hameer Hath, 1964)
Angaro Pe Hai Teri Zindagi Ki Gaadi, Khele Ja Tu Aag Se Khiladi – Lakar – Lyricist: Pradeep
We get to listen to an innovative variation of marching tune.
Naya Aadmi seems to be a remake of a Telugu film, hence barring three songs, which were composed by Madan Mohan, all songs have been composed by the music directors of the original version, i.e. Vishwanaath – Ram Murthy.
Jo Bhi Chahe Mang Le Bhagwan Ke Bhandar Se, Koi Bhi Na Jaaye Khali Is Darbar Se…. Jagat Ka Rakhwala Bhagwan Are Insaan Use Pahechan – Naya Aadmi – Rajendra Krishna
The song appears to be a background song.
Shivram Krishna, known for his music for the Surang(1953), Teen Batti Char Rasta(1953) and Sampurna Teerth Yatra(1970), gives two solos for Mohammad Rafi here.
Bade Pyar Se Milana Sab Se – Sati Anasuya – Lyrics: Bharat Vyas
The songs is enacted by an ascetic on his daily alms-collection round. The song is quite melodious and has deftly embedded Rafi’s signature scale variations.
Sun Sun Re Zara Insaan – Sati Anasuya – Lyrics: Bharat Vyas
This one seems to be a background song. .Incidentally song draws upon the Gujarati folk rhythm of Garba.
Iqbal, a.k.a. Chhota Iqbal, more a stunt film composer, is often been mistaken for more famous name-alike composer Iqbal Qureshi. Iqbal (Mohammed Iqbal), operated from 1953 to 1975.
Aye Madre Vatan Madre Vatan, Rahenge Leke Raj Hum Wo Tera Takhat-o-Taz Hum – Sipahsalar – Lyrics: Farooq Qaisaar
We have a patriotic songs, composed on the marching tune.
Kamal Mitra is an obscure name.
Pyaar Be-qaraar Hai, Pyaar Ki Pukaar Sun, Rakh Le Aaj Meri Laaj, Main Tere Nisaar Sun – Yahudi Ki Beti – Lyrucs: Kaifi Azmi
The composition of the song does full justice to Kaifi Azami’s lyrics. The song appears to be the background song, ending with high-pitched call to the love to listen to the voice of the loved one.
There is a Lata Mangeshkar version, composed to an altogether different style, manifesting more the poignancy of separation.
To end our present episode, I have selected a Mohammad Rafi song from 1956, which is lesser known one:
Ankh Mein Surat Teri Lab Pe Fasana Tera – Choo Mantar (1956) – O P Nayyar – Lyrucs: Jan Nissar Akhtar
As we have had enough number of songs for one post, we will take up the songs for 1957 and 1958 in a separate post, planned to be published on 24th December, 2018, on the birth anniversary of Mohammad Rafi.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Here are some articles in a tribute to Kumkum –
The world is too small? or Is it? 