Arunkumar Mukherjee – The world is too small? or Is it?

The previous episode of the three-part article of S D Burman and Other Male Playback Singers, we had covered the period from the beginning of his career in 1946 till 1949. This was the period when S D Burman was still striving to create his own firm space in the field of Hindi Film Music world.

Presently, we take up the second set of S D Burman’s songs of ‘Other” Male Playback Singers chronologically can be set to the period 1950 to 1955.

Our period begins with two films, Mashal and Afsar, which were to become the key thrust engines that were to provide the much needed escape velocity to S D Burman’s career to attain e respectable orbit space among the front-ranking music directors of the Golden Era of Hindi Films.

Once having attained an assured specific space, S D Burman went on to use the established male playback singers like Mohammad Rafi and Kishore Kumar for most of the major male solo and duet songs. He also chose other front-line male singers like Manna Dey, Talat Mahmood, Hemant Kumar and Mukesh as and when so required. So use of ‘other’ male singers is now more situation-specific, and, perhaps, to a great extent of S D Burman’s choice.

S D Burman – Arun Kumar Mukherjee

‘Upar Gagan Vishal’ of Mashal (1950) is considered to have really breathed a lease of new life into S D Burman’s career. It is said that SDB was so disillusioned that he was on the verge of leaving this Ashok Kumar’s Bombay Talkies banner production incomplete. He was dissuaded from doing so, and as is said the rest was history.

Jab Ham They Tumhare Aur Ham They Tumhare …Wo Thode Se Din They Kitane Pyare – Mashal (1950) – Lyrics: Pradip

Arun Kumar Mukherjee was Ashok Kumar’s cousin. Probably, that may have titled the scale in his favour for playing back to Ashok Kumar on the screen. Arun Kumar Mukherjee does not sound wanting to the demands of the situation.

Mohe Lagaa Solva Saal, Haye Main To Mar Gayi – Mashal (1950) – With Shamshad Begum – Lyrics: Pradip

The song is principally filmed on the Cuckoo, so Shamshad Begum has obviously the lion’s share of the song. Arun Kumar gets to sing just a few lines, but the lines are indeed very catchy.

S D Burman – Man Mohan Krishna

‘Afsar’ (1950) was the maiden film under Dev Anand’s home banner, Navketan Films. The film did not do that well on the box office, but Suraiya’s songs for the film certainly were quite popular. The film went on to build S D Burman’s permanent association with Navketan Films, which have given us quite a few of the very memorable songs under S D Burman’s baton.

Jat Khol De Kiwad Pat Khol De,….Badhaai Dene Ko Aaye Hai Tere Dwar – Afsar (1950) – Lyrics: Vishwamitra Adil

Sadhu Ke Ghar Chhokariyan Do, Ik Patli Ik Bhari – Afsar (1950) – Lyrics: Vishwamitra Adil

Man Mohan Krishna is typically associated with serious character roles. He has rendered quite a few numbers of very popular songs on the screen. S D Burman has sprung a surprise herein by recording quite light-mood songs in Man Mohan Krishna’s voice.

[The clip here below has both these songs clubbed together.]

S D Burman – Hridaynath Mangeshkar

Hridaynath Mangeshkar possibly chose to focus more on music direction over playback singing. His maiden – Marathi – film as an independent music director was Akash Ganga (1955).

Lehron Ke Saath Naiya Mori Khele – Babla (1953) – Lyrics: Sahir Ludhyanavi

Hridaynath Mangeshkar was around 15 years old when S D Burman has recorded this song. The song recounts adolescent pleasure of launching the paper boats into the rain water streams in the street. So we can expect that the song may have been performed by an adolescent protagonist on the screen. Hence, probably, the choice of Hridaynath Mangeshkar, with a suitable natural voice, for the playback.

S D Burman – Jagmohan Baxi

Jagmohan Baxi (and his music direction partner Sapan Sengupta) had started his career as chorus singer at Salil Chaudhary’s Bombay Youth Choir. And yet, the Sapan Jagmohan duo are remembered for a handful tunes for 42 films for which they had composed the music – like, Phir Wo Bhuli Si Yaad Aati Hai (Begana, 1963); Kho Diye Hai Sanam Kitane Janam Teri Talash Mein (Teri Talash Mein, 1968); Main To Har Mod Pe Tujhko Dunga Sadaa (Chetana, 1970) etc.

Dekho Maane Nahi Roothi Hui Haseena Kya Baat Hai – Taxi Driver (1954) – with Asha Bhosle – Lyrics: Sahir Ludhyanvi

S D Burman has used Talat Mahmood and Kishore Kumar too for playback of Dev Anand in this film. Apart from these singers, S D Burman, as well most of the music directors who have composed Dev Anand songs, have tried several voices of regular playback singers like Mohammad Rafi, Manna Dey, Hemant Kumar as well. Additionally, Salil Chudhary has experimented with Dwijen Mukherjee, Anil Biswas with Shankar Dasgupta and C Ramchandra with his own voice for Dev Anand.

S D Burman – Thakur (Pran)

Pran would hardly be remembered to have acted in lead roles in films like Khandan (1942) during the first phase of career between 1940 -1947. He is most remembered for his roles as villain in his most illustrious second innings and then equally respected for his character roles in the 3^rd phase of his career. Many of his fans will immediately recollect some of the iconic songs that he enacted on the screen when acting as character actor. But to imagine him in the tick of a very very light-hearted song and that too trying to sing a few lines too, when cast in the role of a villain, is something that nobody would ever imagine. S D Burman has so cleverly croaked voice of Thakur (Pran) to create a very unique song.

Dil KI Umange Hai Jawan,….Rang Mein Dooba Hai Sama – Munimji (1955) – With Hemant Kumar and Geeta Dutt – Lyrics: Sahir Ludhyanvi

The song will not go down in the record books only for the use of voice of Pran to add to the mockery in the mood of the song, but also possibly for Hemant Kumar being able to match the leg-pulling teasing tone of Geeta Dutt in this song.

S D Burman – S Balbir

Balbir got typed into an accompanying playback singer, but most of the connoisseurs of HFM recognize and appreciate his contribution in that song.

Nigaho Ke Tere Jalwe Ki Aas Raheti Hai, Ha Tere Bagair Tabiyat Udas Raheti Hai, Aa Bhi Ja Ke Tera Intezar Kab Se Hai –Society (1955) – with Mohammad Rafi – Lyrics: Sahir Ludhyanavi

Can you guess whose arrival or appearance is so keenly awaited?

The first half of the period of 1950-1960 was the beginning of the picking up in so far as S D Burman’s career is considered. As a result, we have seen a very different pattern in the types of ‘other’ playback singers which he has used, the corresponding situations in the film, and hence on the composition of the song.

In our next episode, we will take up the concluding phase of S D Burman’s career and revisit S D Burman’s use of ‘other’ male playback singers in that period.

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 question –What 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 hindole – by 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 23^rd 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