Tag: Anil Bishwas

Carnival of Blogs on Golden Era of Hindi Film Music – July 2019

Welcome to July 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

This month we have multiple posts  / articles celebrating 50 years of maiden human landing on the moon.

    • Moon Songs, Part 1: Ten songs addressed to the moon is celebration of the 50 years of first human landing on the moon, with a stipulation that each song must be explicitly addressed to the moon, and that that ‘naming’ must happen in the first two lines of the song.
    • Google Doogle in celebration

In the doodle video, Michael Collins, 88, describes the first sight of the Moon up close as “a magnificent spectacle.”

And now we pick up tributes and memories:

Anil Biswas – The Patriarch Of Hindi Film Music – Compared to fellow composer-singers like Pankaj Mullick, S.D.Burman and Hemant Kumar, Anil Biswas remains less celebrated in this category too. The present tribade to Anil Biswas on his birthday on 7th July celebrates the singer of his composer-singer music persona.

[N.B. We recall a SoY article Remembering Anil Biswas, The Singer.]

Bharat Vyas: Lyricist Extraordinaire in Hindi comprehensively span the career of Bharat Vyas.

A Poet of the People: The Life of Legendary Lyricist Anand Bakshi – Khalid Mohamed remembers a man not quite acknowledged as legend in his life time.

When Music Connects – Tera Mujhse Hai – Aa Gale Lag Jaa is tribute to R D Burman on his birthday on 27th June.

My Favourites: RD Burman is a post on a man whose talent far outstripped his due.

The German who changed Hindi cinema – Uday Bhatia –  An exhibition held at Chennai from 19th July pays tribute to Bombay Talkies cinematographer Josef Wirsching… His work on ‘Mahal’ and ‘Pakeezah’ influenced a generation of cinematographers.

(from left) Kamal Amrohi, Josef Wirsching, Meena Kumari and assistant cameramen while shooting in Kashmir for Kamal Pictures’ production ‘Dil Apna Aur Preet Parai’ (1959).

You can also see the photographs online, on the Wirsching Archive website, The Wirsching Archive – “The most extensive and well maintained private photographic collection depicting the birth of Indian Cinema”.

Devika Rani and others in a publicity still for the Bombay Talkies production ‘Jawani Ki Hawa’ (1935).

Here are a few more related articles:

JOSEF WIRSCHING ARCHIVE

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

Mehfil celebrates 2nd Anniversary! by selecting song son the theme of songs that celebrate family relations.

July, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960. This in continuation to the series wherein  we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

And, now commence the posts on other subjects.

The cosmopolitism of Indian Cinema – Kalyani Sethuraman – Indian cinema represents India’s cosmopolitan and cultural mores. At the same time, it connects us to the wider world.

The ‘Intezar’ Songs, which must have word ‘intezar’ in the first 10 words of the song.

Ek bangala bane nyara is a post that recollects songs about a family’s eternal quest for THE home.

Part III concludes the series, The Classical Music Giants contribute to Hindi Cinema – with post-‘7os film songs rendered by classical singers.

Which is the Highest Grossing Indian Film of All Time? –Suparana Thombare –

(Photo: The Quint)

Following the overview article, Best songs of 1946: And the winners are?. , we had taken up micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1. Last month. We have covered Part II  of solo songs of Shamshad Begum and also those of  Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari.

To end the present post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

Kab Tak Uthaye Ye Gam Intezar Ka– Naquab (1955) – with Lata Mangeshkar – Pt. Govindram – Prem Dhawan

Soyi Hamare Sapno Ki Rani – Aadhi Raat (1957) – with Geeta Dutt – Avinash Vyas – Bharat Vyas

Ham Pe Dil Aaya To Bolo Kya Karoge – Do Ustaad (1959) – with Asha Bhosle, Shamshad Begum – O P Nayyar – Qamar Jalalabadi

Thod Thodi Gori Hai Thodi Thodi Kaali Hai – Superman (1960) – with Geeta Dutt – Sardar Malik – Prem Dhawan

Bottle Se Ek Baat Chali Hai – Ghar (1978) – With Asha Bhosle – R D Burman – Gulzar

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the 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.

Fading Memories…. Unforgettable Songs: December, 2018

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.

Till now we have covered

  • 1st Five-Year Period: 1944 -1948: December, 2016

1944-1946 – 11 December, 2016

1947-1948 – 22 December, 2016

  • 2nd Five-Year Period: 1949-1953

1949 – 15 July, 2017

1950 -1951 – 10th December, 2017

1952-1953 – 17th December 2017

  • 3rd Five-Year Period: 1954-1958

1954-1955 – 8 July, 2018

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.

The major landmark solo songs that we remember from this year are: Badi Der Bhayi and Duniya Na Bhaye (Basant Bahar, Shanker Jaikishan); Aaye Bahar Ban Ke Lubha Kar Chale Gaye (Raj Hath, Shankar Jaikishan), Maine Chand Sitaron Ki (Chandrakanta, N Dutta); Gareeb Jaan Kar (Choo Mantar, O P Nayyar), Parwar Digar-e_Alanm (Hatimtai, S N Tripathi); Aeki Main Jhooth Boliya (With S balbir, Jagate Raho, Salil Chaudhary); Hazaron Rang Badalega Zamana (Shirin Farhad, S Mohinder).

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 that Anil Biswas uses 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.

P.S. :

All episodes of the series ‘Fading Memories….Unforgettable Songs’ for the year 2018 can be accessed at / downloaded from Fading Memories….Unforgettable Songs – 2018

“The Micro View of the Songs of 1948 @ SoY – MY Top Music Director(s)

Having gone through the exercise of micro-reviewing the songs  for the six years – in this case from 1955 backwards to the present 1948 – I have observed that the task of choosing MY TOP of Music director every year has become more tough as year goes down. That is mainly because older I go into the timeline, less I was found conversant with either the film itself or the context in which the song was played (situational context vs.song composition relevance) or even the popularity /approval of the film’s song as a whole from listeners  / critics respectively.

So, I kept on devising some or other tests to come up with rational judgement to moderate my inherent biases.

The first of such test is the logo picture posted by SoY at the very opening of the overview post, which invariably places six films in the frame. For the present case, ‘Best songs of 1948: And the winners are?’, Naushad has two films – Mela and Anokhi Ada whereas Anil Biswas (Anokha Pyar), C Ramchandra (Nadiya Ke Paar), Ram Ganguli (Aag) and Ghulam Hiader (Shaheed) have one film each.

I then run through posts relating to Male Solos, Female Solos and Duets to make amental note of music directors whose songs continues to strike chord even now. I observe that Naushad’s songs in Anokhi Ada and Mela or Anil Biswas’s songs in Anokha Pyar, Gajre and Veena, those of C Ramchandra in Nadiya Ke Paar and Khidk’ or those of Husnlal-Bhagatram in Pyar Ki Jeet or certainly Ghulam Haider in Shaheed, to a great extent Ram Ganguly in Aag or Khemchand Prakash in Ziddi standout for the everlasting songs. For the year, Ghulam Mohammad in Grihasthi and Pugree, or Shyam Sundar in Actress have also pitched in well.

Then I have out the songs that appeared in the respective category of MY Top listings. The number of songs composed by differenet music directors appears as given herebelow:

Music Director Male Solos Female solos Duets Total SoY

Total
Hansraj Behl 1 1
Husnlal Bhagatram 1 2 3 3
Naushad 1 1 2 4 10
Ram Ganguly 1 1 1 3 2
Anil Biswas 1 3 1 5 1
S D Burman 1 1 1 3 1
Khemchand Prakash 1 1 1 3 2
Ghulam Haider 1 1 2 3
Avinash Vyas 1 1
C Ramchandra 1 1 2 3
Snehal Bhatkar 1 1 1

If we place the results of the Total in the descending order, then Anil Biswas comes at the top, followed by Naushad and then Husnlal Bhagatram, S D Burman, Khemchand Prakasha and Ram Ganguly share the next spot, followed by Ghulam Haider and C Ramchandra.

Apart from the simple quantitative perspective, one of the most noteworthy feature of Ghulam Haider’s songs in Shaheed and those of C Ramchandra in Nadiya Ke Paar is that they have used relatively not very popular singers like Surinder Kaur or Lalita Deulkar for a very popular heroin Kamini Kaushal. And yet the songs did attain very high acceptance- both the by the critics as well as by the listing public in general.

SoY, @ Best songs of 1948: Final Wrap Up 4, also adopted a smilar matric for quantifying the process of evaluating the share of different music directors in the Top lsting of songs under different categories. The last column in the foregoing table reflects the Total score. Based on this evaluation The Songs of Yore Award for the Best Music Director of 1948 has been conferred on Naushad.

How would have you analyzed the Songs of 1948?

I am sure you will certainly join me to take up a similar detailed Micro View when SoY takes up 1947 next in this Best songs of year series.

P.S.

All the posts that have appeared on this subject can now be accessed form one file @ The Songs of 1948 @SoY

Fading Memories…. Unforgettable Songs: August, 2017

Shailendra and “Other” Music Directors

Shankardas Kesarilal , born on 30 August 1923, popularly known to all of us Shailendra ,passed away by living a Chhoti Si Yeh Zindagani, like a comet that lit the sky while it lasted, at (just) the age of 43 on 14 December 1966.

Most of the songs that Shailendra wrote under the batons of Shanker Jaikishan or Salil Chaudhary or S D Burman have already been immortal. In a career[i], spanning around 800 released songs for Hindi films, Shailendra had had opportunity to work with several ‘other’ (than these three) music directors as well. Most of these songs also have been equally live in our memory today.

We will dedicate our August, 2017 episode to Shailendra’s songs with the ‘other’ directors. For this episode, special care has been exercised to cover to select chronologically first film with that music director while casting the net wide enough to cover as broad spectrum of singers as is possible. Also, I have intentionally chosen songs that I have either not heard or those that need a refresher push.

The first set of these songs, coincidentally, have Geeta Dutt as (one of) the singer.Geeta Dutt had hardly any occasion to sing Shanker Jiakishan songs. By the time Shailendra teamed up with S D Burman, S D Burman had switched over to Lata Maageshkar. So is the case with Salil Chudhary’s songs too. Therefore, this has turned out to be good incidence where we can hear Shailendra’s songs in Geeta Dutt’s voice.

Kaise Rokoge Aise Toofan Ko – Anand Math(1952) – Talat Mahmood,Geeta Dutt – Hemant Kumar

The song apparently is meant to divert the chasing British police, but has an apparent message for the inadvertent hurricane the freedom fight is likely unleash. Geeta Bali sings with gay abandon that may also mean the upsurge from the young hearts.

Ghir Aayi Hey Ghor Ghata, Apni Majbooriyon Se Lipat Ke Pyar Rone Laga – Badnaam (1952) – Geeta Dutt – Basant Prakash

The song is an ideal fit with our image of silken smoothness of Geeta Dutt’s voice.

Teri Chahat Mein Balam, Teri Chahat Mein Sanam Meet Gaye Ham Teri Kasam – Shrimatiji 1952 – Geeta Dutt – Jimmy

This is a dance song that seeks to hoodwink the listeners so as to cover the acts of the partner in the deed. So the lyricist has to not only pack in a meaningful, mind-catching message for the lay listeners and but also has to convey an intended message to the target partner.

Yeh Rut Yeh Raat Jawaan – Sailaab (1956) – Geeta Dutt –Mukul Roy

The film had 4 songs penned Majarooh Sultanpuri, 1 by Madhukar Rajashathani and 2 by Hasrat Jaipuri . All songs are in Geet Dutt’s voice, except one which had Laxmi Roy.

We now move on to songs that have other playback singers.

Mere Dil Ki Dhadkhan Kya Bole – Anhonee (1952) – Talat Mahmod, Lata Mangeshkar – Roshan

After SJ, SDB and Salil Chaudhary, Shailendra has written most number of songs for Roshan in films like Nau Bahar , Sanskaar (both in 1952), Aagosh and Mashuqua in 1953, Chandani Chowk (1954), one song each in Cofee House (1957 and Aji Bas Shukriya (1958), Deep Jalte Rahe, Heera Moti and Madhu in 1959, and Soorat Aur Seerat in 1962.

Desh Ki Dharti NeLalkara Gunja Aazadi Ka Naara – Chhatrapati Shivaji (1952):- Chitalker, chorus – C.Ramchandra

This song adds genre of patriotic songs in the Shailendra’s arsenal.

The other film where Shailendra teamed up with C Ramchandra is Anrakali (1953), which has such immortal songs as Aaja Ab To Aaja Mer Kismat Ke  Kharidar and Dua Kar Gham E Dil Khuda Se Dua Kar.

Dil Ki Lagi Khel Nahin – Bhai Saheb (1954):- C H Atma, Kaumudi Munshi – Ninu Majumdar

Each is piece of the song – singers, music directors – except Shailendra is quite rare.

Badi Mushkil Hai (Lata Mangeshkar) /\ Jiyunga Jab Talak (Talat Mahmood) – Chingari(1955) – Manohar

Down the career, Shailendra has given several meaningful twin songs. Here is the one early one.

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Sawan Aaya – Pipili Saheb (1954) – Usha Mangeshkar, Meena Mangeshkar, Shaminder – Sardul Kwatra

Here is the song that has the basic flavor of a very rustic setting that is presented with in its natural simplest form.

Mehfil Mein Kaisi Chaam Chaam – Dilli Darbaar (1956) – Lata Mangeshkar – S N Tripathi

Shailendra has teamed up with S N Tripathi for more than one film – like mythological Ram Hanuman Yudh (1957) or Shiv Parvati (1962) to a period film Sangeet Samtrat Tansen (1962) to a social film Kunwari (1966).

Chal Ri Ameeren Bhai Chal Re Fakire – Dilli Ka Thug (1958):- Kishore, chorus – Ravi

This is one more example of Shailendra’s comfort in dealing with unusual situations. Here is the song that is a traditional dance song attributed to street-performances of a monkey trainer with his pet monkey. Compare this song with another song of the film, a Kishore- Asha duet – Ye Raatein Yeh Mausam Nadi Ka Kinara.

Chhupa Chhupi O Chhupi Agad bBagad Jai Re, Chuhe Mama O Mama Bhag Billi Ai Re – Savera (1958) – Manna Dey, Lata Mangeshkar – Shailesh  Mukherjee

The lead protagonists become young children in the company of the children and so does Shailendra.

Ho Choonva Moonva…. Deke Daam Lele Maati Ka Khilauna Kaisa Khel Khele Ye Maati Kholauna – Naya Kadam (1958) – Shailesh Mukherjee – Shivram–Narayan

Shailendra deftly uses a traditional street performance to deliver a strong philosophical message. I am not sure that singer of the song, Shailesh Mukherjee, is the same person as music director Shailesh Mukherjee.

Nani Teri Morni Ko Mor Le Gaye, Baaki Jo Bacha Tha Kaale Chor Le Gaye–  Masoom (1960) – Ranu Mukherjee – Robin Banerjee

The film had 5 more songs – 4 by Raja Mahendi Ali Khan and one by Sahir Ludhyanvi. So, obviously Shailendra has been allotted this situation wherein the child artistes perform the song on the screen. The song had been quite popular.

Hai Re Woh Din Kyon Na Aaye, Ja Ja Ke Ritu Laut Aaye Re – Anuradha (1960) – Lata Mangeshkar – Pt Ravi Shankar

In an otherwise an experimental social film, the songs filmed on the heroine, Anuradha (lela Naidu) help strongly develop the characterization of the role. Here is a song that is coposed on a fairly difficult Carnataki Classical Raag – Jansammohini, also known as Shiv Kalyan or Madh Kalyan.

Asides:

The piece that is considered to have inspired the song is  Ganpat Vighanharan  :

शुक्लाम्बरधरं  विष्णुं  शशिवर्णं चतुर्भुजं । 
प्रसन्नवदनं  ध्यायेत्   सर्वविघ्नोपशान्तयेत्  ।
अभीप्सितार्थसिध्यर्थम्  पूजितो  यस्सुरासुरैः  । सर्वविघ्नहरस्तस्मै  गणाधिपतये  नमः ।।

गणपत  विघ्न  गण  गजानन ।  विराजती  चन्द्रमा  भाल ।  गणपत  विघ्न  गण  गजानन  ।।

by  Ashwini Bhide

Pandit Ravi Shankar also later on used this raag for the hymn of Asiad Games 1982 – Swaagatam

Here are two representative classical pieces of Raag  Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

https://www.youtube.com/watch?v=k-jWtjlZNiw

Jhoomte Sharabhi Zara Hosh Mein Aa– Kaanch Ki Gudiya (1961) – Asha Bhosle – Suhrid Kar

KaanchKi Gudiya invaribaly would conjure a Mukesh and Asha Bhosle duet – Saath Ho Tum Raat Jawan. However, the song that we have selected presents a very different Asha Bhosle to us.

Paisa Nahin Hota Jo Kuchch Nahin Hota – Sautela Bhai (1962) – Anil Biswas, Manna Dey – Anil Biswas
In an otherwise a very serious social subject, Anil Biswas teams with Shailendra to come up with a satirical song.

Their next association is 1965’s Chhoti Chhoti Batein.

Daaton Ka Zamana Pyare Dant Bachana – Begana (1963) – Mahendra Kapoor – Sapan Jagmohan

The obvious reason for picking this song for the present episode is it has Mahendra Kapoor. In the process, we also get the benefit of listening to a very light-hearted song from Shailendra.

Chand Tale Jhoom Jhoom Thirak Rahi Hain Ghoongherwaliyan, Mastiyon Ki Aaj Dhun Baja Rahi Hai Taaliyaan – Jab Se Tumhe Dekha Hai (1963):- Subir Sen, Suman Kalyanpur – Dattaram

As we know well, Dattaram was one of the very important links on the Shankar Jaikishan team. The song has very prominent us of what was popularly known as Dattu Theka – a typical stroke that Dattaram would invariably conjure up in his the accompanying base instrumentation.

Rahi Tu Ruk Mat Jaana Toofan Se Mat Ghabharana, Kahin To Milegi Teri Manzil Kahi Door Gagan Ki Chhaon Mein – Door Gagan Ki Chhaon Mein (1964):- Hemant Kumar (in three parts) – Kishore Kumar

One the most respected song- be it from the singer’s perspective or music director’s perspective, from the perspective of a song that includes the film title or from the perspective of the delivery of song writer’s message

I have lined up songs that have Mohammad Rafi in the end of the episode. Incidentally each one represents a very different point of a spectrum of Shailendra’s vast repertoire

Ja Ja Na Ched Maan Bhi Ja – Satta Bazar(1959) – Mohammad Rafi, Suman Kalyanpur  – Kalyanji-Anandji

This is the only song that Shailendra has penned for the film. Hasrat Jaipuri and Indeevar had two songs each, whereas Gulshan Bawra had 3 songs. This also gives us one more of a Johnny Walker song to accompany one of the most illustrious one – Jangal Mein Mor Nacha Kisi Ne Na Dekha

Gham Ki Badli Mein Chamakta Ek Sitara Hai Aaj Apan Ho Na Ho Kal Hamara Hai – Kal Hamara Hai (1959):- Mohammad Rafi, Sudha Malhotra – Chitragupt

As the name of the films suggests, the film essentially would be based on the Patriotism theme. Therefore, it is not quite surprising to see Shailendra being easily able to handle the songs that befit the theme.

Aam Chhum Taam Chhum Haar Ho Ki Jeet Ho Khel Mein Rahe Magana – Chhote Nawab (1961) Mohammad Rafi – R D Burman

Here is the song that depicts the mental state of a grown-up prince.

Illahi Tu Sun Le Hamali Duva, Hame Sirf Ek Asara Hai Tera. Teri Rahamate Rah Roshan Kare, Salamat Rahe Saya Man-bap Ka – Chhote Nawab (1961):- Mohammad Rafi – R D Burman  The song was the game changer in the film. In his maiden venture, RDB, on one hand succeeds in  providing just the right platform to Mohammad Rafi to fully express the emotions of the song and on the other hand has lived up to the challenge of the Shailendra’s very poignant lyrics.

When we look back now, we see one most glaring association missing at the core career path years of Shailendra – with Madan Mohan. Similarly, if we see the presence of R D Burman from the (so-called) next generation of music directors, one may note absence of Laxmikant Pyarelal.

We will continue our search for 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.

[i]   Virasat – Lyricist ‘Shailendra’