Asha Bhosle

Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – September 2022 Edition

Welcome to September 2022 edition of X^th Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Presently we move on to our section on tributes and celebrations for the month –

The Musical Geniuses Who Have Ruled Hindi Film Industry Since Independence – From Naushad to Arijit Singh, here’s a list of 75 melody makers who have ruled the roost in Bollywood since 1947:

75 Bollywood Actresses Who Ruled The Silver Screen With Grace, Beauty And Talent

75 Actors Who Conquered Hearts Of The Millions Since 1947

75 Years Of Indian Cinema: The Platinum Magic On The Silver Screen

While celebrating 89^th birthday of Asha Bhosle here are the chosen Asha Bhosle’s ‘Overshadowed Songs’ which have been overshadowed by other popular songs of that particular movie, but the songs are excellent. Mostly the songs stand out because of Asha Bhosle’s Midas touch.

Asha Bhosle and the Seven Wonders takes us to the tour of 7 solo music directors whose repertoire is filled with Lata Mangeshkar songs and have a scattered graph of Asha numbers.

After Khayyam at the Mountain Peak (1): Songs on Pahadi, we now have Khayyam at the Mountain Peak (2): Songs sans Pahadi as a tribute to Khayyam (18.2.1927–19.8.2019) on his third Remembrance Day

Continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar, Mehfil Mein Teri takes a look at her career in the year 1952

Bengali Cinema During the Freedom Struggle – Throughout the 1930s and 1940s Bengali cinema produced socially aware films, which seldom attacked the British imperialism and oppression. Silhouette editor Amitava Nag explores the trends and patterns of Bengali cinema during the struggle for independence.

Did You Know Vyjayanthimala Refused a Filmfare Award for ‘Devdas’? – Khalid Mohamed – On Vyjayanthimala’s birthday, here’s a (belated) special tribute to the veteran actor.

This article is from The Quint’s archives and was first published on 13 August 2016. It is now being republished to mark Vyjayanthimala Bali’s birthday)

HT spotlight: a short piece about Hindi cinema 1977-92 – The Hindustan Times has this good-looking package which divides the Hindi cinema of the past 75 years into five eras, with separate essays on each. Here is a piece onJaane Bhi Do YaaroN, incidentally on its anniversary of release.

September 2022 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963. After we launched the series in 2017, we have covered the years

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019,

1960 -1961 in 2020, and

1962 in 2021.

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

We now move on to posts on other subjects –

After a short break, Mehfil Mein Teri presents (Part 8) of Boat Songs

Book Review: ‘Hindi Cine Raag Encyclopaedia’ Vol. 3, 4 & 5 – Whereas volumes 1 & 2 addressed the question, i.e which are the underlying raags in a particular song, whereas Volumes 3,4 & 5 answer the reverse question: Which are the famous songs based on a particular raag, say Asavari?

Book Review: P.K.Nair’s Yesterday’s Films For Tomorrow, published in 2017 by the Film Heritage Foundation after P.K.Nair’s death, is a collection of his writings – personal diaries, detailed notes, articles, letters – deftly edited by Rajesh Devraj.

The Two Worlds of Jalte Hain Jiske Liye – When Adheer offers his first song of love to Sujata, little does he know that while he is dreaming of a world with her where love is as fragile as delicate glass, Sujata’s world is imploding. Shirish Waghmode looks at the two worlds on either side of Jalte hain jiske liye.

Songs of wishes, desires and expectations– fulfilled and unfulfilled – The words used in film songs typically are – चाह, तमन्ना, आरज़ू, माँग. Many of the songs of course are melancholic and thus speak of unfulfilled desires. There are some which also speak of fulfilment. The playlist below has songs that capture both shades.

Bollywood, Masala Movies and Family Values – As ideas of family and love change, so do the films.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

Rajesh Khanna passed the baton to Amitabh Bachchan with Namak Haraam: ‘I knew my time was up’ – Namak Haraam signifies that transitional moment where Amitabh Bachchan announced that his time had begun, and even Rajesh Khanna took note.
Way before Ranbir Kapoor’s coming-of-age movies, Jaya Bachchan truly embodied the carpe diem spirit in Uphaar – Ranbir Kapoor’s movies like Yeh Jawani Hai Deewani, Tamasha had him playing the man who breaks the norm and does what he wants and in Jaya Bachchan’s Uphaar, we are given a similar message, but with a caveat.
Gulzar’s Mere Apne talks about the epidemic of loneliness that swallows people of all ages – n the last five decades, a lot of discourse around Mere Apne has discussed the film’s political stance. But the film also spoke about the epidemic that has swallowed our society and everyone living in it — loneliness.
Amol Palekar-Zarina Wahab’s Gharaonda explains why love doesn’t always win against money – Amol Palekar and Zarina Wahab starrer Gharaonda closely examines the endurance of a romantic relationship in the face of the biggest real-world problem – money.

We have inched forward to Female Solo Songs in Micro View of 1943 with Solo songs of Husn Bano, Sitara (Devi), Vatsala Kumthekar, and Rajkumari, Kaushalya, Nalini Jaywant, SoY has in the meantime presented Best songs of 1943: Wrap Up 2. After a very thorough and comprehensive summary analysis, SoY has awarded ‘The Award for the Best Female Singer of the year’ to Amirbai Karnataki.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022 –

Woh Jab Yaad Aaye Bahut Yaad Aaye – Parasmani (1963) – Asad Bhopali – Laxmikant Pyarelal

Ja Ja Jaare Tujhe Hum Jaan Gaye – Sehra (1963) – Hasrat Jaipuri – Ramlal

Agar Main Puchhun Jawab Doge – Shikari (163) – Farooq Qaiser – G S Kohli

While taking a slight detour, we take note of Dilip Dholakia’s first Mohammad Rafi- Lata Mangeshkar duet(s), from a Gujarati film:

O Naaho Liyaare…..O Roop Raseeli – Satyavan Savitri (1963) – Bhaskar Vora – Dilip Dholakia

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.

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2020

Welcome to September 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We first pay our tributes to S Mohinder and Ashalata Wabgaonkar

S Mohinder: Indian music loses composer of catchy melodies – A popular music composer of the 50s and the 60s, S Mohinder passed away at the age of 94, leaving behind a repertoire of classical music-based songs.

Naushad and S Mohinder. (Photo: S Mohinder’s family)

Last of the doyens: S. Mohinder – Sharad Dutt – Destined for greatness, S Mohinder’s (a.k.a. Mohinder Singh Saran) journey took him from the depths of obscurity to the centre of a booming film industry where his unique compositions cemented his storied legacy

Marathi actor Ashalata Wabgaonklar, who has also worked in popular Hindi films including Shaukeena and Namak Halal, passed way on 22-9-2020

We pick up other tributes and memories:

Asha Sings for Salil Chowdhury is commemoration of Asha Bhosle’s 87th birthday and Salil Choudhary’s 25th death anniversary (5th September 2020)

N Datta: The Third Musketeer for Asha Bhosle – After O P Nayyar and Ravi, N Dutta is the third music directors to use Asha Bhosle’s voice as the main stay of his compositions.

Ijaazat is a strangely poetic take on divorce that was rare in 1980s Hindi films – Naseeruddin Shah and Rekha’s portrayal of a divorced couple in this Gulzar film is more loving and honest than many marriages that do last.

The Many Faces of 9/11 – The multilingual, multicultural film ‘11’09’’01 – September 11’ is a collage of 11 different visualisations, each 11 minutes, 9 seconds and 1 frame long, of what September 11, 2001 meant in different contexts.

Teachers and Students: Ten of my favourite songs commemorates the classroom, the bond between taught and teacher, and education itself on the Teachers’ Day. We pick up one rare song as our tribute- Dali Pe Baithi Das Chidiya – Deep Jalta Rahe (1959) – .Roshan – Shailendra

Music and lyrics: How Shailendra gift-wrapped cosmic truths through his songs – Ganesh Vancheeswaran – Once, Raj Kapoor took him along to meet the story-writer KA Abbas, another of Kapoor’s close collaborators. Abbas is said to have narrated a new story over a couple of hours, all the while ignoring Shailendra. At the end of the narration, Kapoor asked Shailendra what he made of it. The poet replied, “Gardish mein tha, aasman ka taara tha. Awaara tha.” Here is one of Shailendra’s title song –

Chalti Jaye Duniya Ki Dagar – Door Ka Rahi (1971) – Hemnt Kumar – Kishore Kumar – Shailendra

Hrishikesh Mukherjee’s Majhli Didi is a family drama driven by strong women – Based on legendary Bengali author Sarat Chandra Chattopadhyay’s novel Mejdidi, the movie stars Meena Kumari and Lalita Pawar in a progressive take on adoption.

Bawarchi — the Hrishikesh Mukherjee classic that humanised Bollywood’s first superstar – Rajesh Khanna, who delivered 17 hits in a row & had a fan following which included women who married his photos, was akin to a deity. Hrishikesh Mukherjee’s Bawarchi made him more relatable.

In continuation of the Hemant Kumar Centenary celebrations, Hemant Kumar’s male playback singers has chosen to stick to basic tenet that a music director knows which voice would do justice to his composition, while selecting the song for the list. Henatayan 2 further explores Hemant Kumar’s career , from 1960s onwards.

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

Chitragupta’s duets for Rafi: Melody Personified continues with the series of well-known music directors, known for his greatest songs: Naushad, SJ, OP Nayyar, SD Burman, Roshan, Madan Mohan and Ravi.

Kishore Kumar and Chitragupt – The Euphonious but Underrated Pair .Kishore Mukar’s songs with Chitragupt may be less in numbers, but was quite profuse in terms of calibre.

Music and lyrics: ‘Thodi Si Bewafaii’ and the magic of one-off collaborations between Khayyam and Gulzar

Khel Khel Mein had Rishi Kapoor and Neetu Singh at their fresh-faced, adorable best – Ravi Tandon’s 1975 movie was part college romance, part murder mystery. And it had great songs by RD Burman.

September 2020 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1960 – 1961

Till now we have covered

1949 -1954 in 2017
1955 – 1957 in 2018
1958 – 1959 in 2019.

We will now take up the articles on other subjects:

Female Dance Duets – Part 1 presents dances in royal court and Part 2 lists dances presented as mujra songs.

Two Dances by Ruby Keeler Influencing Two Dances by Helen (and a little about something that both dancers may have had in common) viz. Ruby Keeler dancing on a giant typewriter n Ready, Willing and Able (1937) vis-à-vis Helen’s “Typewriter Tip Tip Tip” dance in the Merchant Ivory film Bombay Talkie (1970) and Footlight Parade (1933) vis-à-vis Mera Naam Chin Chi Chu – Howra Bridge (1958) Asha Bhosle – O P Nayyar – Qamar Jalalbadi

On a different wavelength: Why Vanraj Bhatia is the foremost composer of Hindi New Wave cinema – Shwetant Kumar– Bhatia’s work across these films is a testament to both his versatility and his technique.

In the Micro View of Songs of 1945 we have taken up solo song of Vitage Era Male Singers – Part [1] and Part [2] and those of KL Saigal

In continuation to out tradition of ending 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 composed by S Mohinder.

Mil Kar Jayen Hum Preet Ke Diwane – Jeevan Sathi – with Shmashad Begum – S Mohinder – Hameed Khummar

Suno Suni Ek Nayee Kahani – Naata (1955) – S Mohinder – Tanveer Naqvi

Maa Na Mare Kisi Ki Bachpan Mein – Zameen Ke Taare (1960) – S Mohinder – Indra Chandra

Mohammad Rafi solo version –

Duet version with Asha Bhosle –

Itni Si Baat Fasan Na Banao – Ek Ladkee Saat Ladke (1961) – with Asha Bhosle – S Mohinder – Majrooh Sultanpuri

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Hemant Kumar’s Hindi Song Compositions – Songs of Lata Mangeshkar, Geeta Dutt and Asha Bhosle

Hemant Kumar (16-6-1920 | 26 September 1989) had already shown flare for music composition from his early childhood. Even though his formal career did commence as a singer, his talents as a composer also did not have to wait longer to get formal recognition. Of course, in so far as Hindi Films is concerned, the first ever film for which he got to compose the music was good eight years after he sang his first film song. He then went on to compose music for 50+ films for next 27 years.

Hemant Kumar’s start as music director in Anadmath (1952) was on a reasonably high note. It soon reached peak with Nagin (1954) and Shart (1954). Both these films had excellent run on box office mainly on the backing of the songs of the film. Hemant Kumar then continued to score at least one musical hit for every two or their films for which scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office has had longer recall value in the minds of the listeners. These are the songs that have normally cemented the image of Hemant Kumar as the composer in our minds.

The full spectrum of Hemant Kumar’s range as a composer has four distinct shades of grey – his solo songs in his own voice, his songs in the voice of female singers, his solo songs in the voice of other male singers, his own duets and his duets in the voice of other singers.

Presently, we will take up the segment of Hemant Kumar’s female songs to explore breadth and depth of Hemant Kumar’s compositions

In terms of the singers, the solo songs of Lata Mangeshkar, Asha Bhosle and Geeta Dutt, in that order, occupy more that 80 % of the female-singers-spectrum of Hemant Kumar’s compositions. Hemant Kumar mostly used Lata Mangeshkar as his lead singer when he did not use Geeta Dutt. Quantitatively and qualitatively, he had still had enough room for using Asha Bhosle’s talent fully. One major impact of this heavy skew in the distribution of the female solo songs was to lead me to explore Hemant Kumar’s musically relatively less successful films to dig out songs of the other female singers. In the process, I had excellent opportunity to listen to many forgotten Lata/Geeta or Asha songs from these films as well.

These deep-sea explorations have resulted into a several large catches of songs of these three singers. I, therefore, have luxury to choose from the less heard songs of the less remembered films to present a different perspective of the rich legacy of repertoire of Hemant Kumar’s female song compositions.

Lata Mangeshkar

Like his other contemporary Bengali music directors, S D Burman or Salil Chowdhury, in the Hindi Film world of that period Lata Mangeshkar was the clear first choice of Hemant Kumar. The natural melody of the Lata Mangeshkar’s voice was a logical and obvious choice for the soft Bengali tone of these music directors.

Hemant Kumar’s compositions in Lata Mangeshkar’s voice, normally, keep being published at regular frequency on several social media. So, I have picked up only one song from an early film and other one from his few of the last films, to present as encompassing as possible range of Hemant Kumar’s female songs

Kahan Se Le Ke Aayi Hai Kaha Majburiya Meri….. Meri Taqdir Ke Mailk Mera Kuchh Faisala Kar De – Shart (1954) – Lyrics: S H Bihari

The song opens with a couplet that epitomises the helplessness of the protagonist. Hemant Kumar deploys short pieces of violin ensemble that accentuates the pathos mood of the song.

Mitwa Re Bhul Gaye The Rahein Mitwa – Rahgir (1969) – Lyrics: Gulzar

This song also renders the mood of pathos – caused by the separation of the lovers. Hemant Kumar has used high scales of Shehnai in the interlude, to immediately follow the line wherein chorus also joins the song. The song is classic Gulzar poetry which is always a challenge for the music director. However, Hemant Kumar’s natural bent for melody returns with a complex, and yet a melodious composition.

Geeta Dutt

Hemant Kumar did use Geeta Dutt as lead female voice in his maiden film Anandmath (1952) – 5 songs. He then used her voice as lead singer in only Laalten (1956) – 6 songs; Police (1958) – 6 songs and of course, Sahib Bibi Aur Ghulam (1960) – 3 songs. He did keep using her off and on, in solos or duets, in films like Ferry (1954)- 2 songs; Samrat (1954) – Songs; Shart (1954) – 2 songs; Bahu (1955) – 3 songs; Bhagwat Mahim (1955) – 1 song; Arab Ka Suadagar (1956) – 2 songs; Bandi (1957) – 3 songs; Ek Jalak (1957) 3 songs; Fashion (1957) – 2 songs; Hill Station (1957) – 3 songs; Kitana Badal Gaya Insaan – 3 songs; Miss Mary (1957) – 1 song; Yahudi Ki Ladki – 5 songs; Hum Bhi Insaan Hai (1959) – 2 songs and Duniya Jhukti Hai (1960) – 1 song. If some of the songs are remembered even today, some were lost quickly.

Aa Re Bhanvare Aa, Maheki Meri Man Ki Bagiya – Anand Math (1952) – Lyrics: Shailendra

Since Geeta Bali seems to be on an espionage or a luring mission into the British camps, she resorts to amorous gestures, matching her singing to her physical movements. Geeta Dutt supports such gyrations with matching variations of her singing. Hemant Kumar has so vividly woven an earthy folk-based composition with the situation.

Rangili Rangili Chhabili Rani Nindiya, Aa Mere Raja Ki Ankhiyo Mein Aa – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar sets the lullaby to a soothing, soft orchestration.

Agar Pyar Mein Muskuraaye Na Hote – Laalten (1956) – Lyrics: Kaif Irfani

Hemant Kumar has set Geeta Dutt’s voice to a tone that exudes pathos, and then goes on to support that with short pieces of orchestrations.

Aaja Zara Mere Dil Ke Sahare – Ek Jhalak (1957) – Lyrics: S H Bihari

I always had an impression that this song is only a duet of Hemant Kumar and Geeta Dutt. This solo twin version is a find of the work for this episode.

Aside: The song is considered to have been inspired from Cherry Pink and Apple Blossom White (1955) song.

Koi Door Se Awaaz De, Chale Aao, Chale Aao – Sahib Bibi Aur Ghulam (1962) – Lyrics: Shakeel Badayuni

After the success of Bees Saal Baad (1960), Hemant Kumar and Shakeel Badayuni again team up here. The deep-from-the-memory, haunting, softly echoing, sound of the song in the voice of Chhoti Bahu draws Guru Dutt to the place where he finds the bangles of the Chhoti Bahu. The film goes into the flash back. (@.4.14 to 5.38 of the film soundtrack). The short, soft, sounds of violin in the background in the following frames speak volumes for Hemant Kumar’s creativity as a composer.

Incidentally, it is in this opening that the Hindi version dramatically differs from the Bengali version of the film.

The present song returns at the end of the film to encapsulates the haunting melancholy of the loneliness of Chhoti Bahu

Asha Bhosle, technically for the most part, did not enjoy the status of a lead singer in Hemant Kumar’s scheme of things. But Hemant Kumar has always done full justice to the range of her voice, in terms of number of songs that he gave to Asha Bhosle, as well in terms of variety of the music content. As a result many of Hemant Kumar -Asha Bhosle songs, like De Di Hame Azadi Bina Khadag Bina Dhal (Jagriti, 1954), Yaad Rakhana Pyar Ki Nishani Yaad Rakhana (Nagin, 1954), Sakhi Ri Sun Bole Papiha Us Paar (Miss Mary, 1957) or Bhnwara Bada Nanadan and Saaqiya Aaj Mohe Nend Na Ayegi (Sahib Bibi Aur Ghulam (1962) are respectfully placed in Asha Bhosle’s most respected songs ever.

I have selected a few representative songs here, as a sample of the wide range of Hemant Kumar’s Asha Bhosle songs.

Chalo Chale Maa, Sapno Ke Gaon Mein – Jagriti (1954) – Lyrics: Pradeepji

The song is a twin version song. The first version has strong undercurrent of hope of good tidings to come. Hemant Kumar has epitomised the high hopes by setting the opening scale of each stanza on a high note. The second version has pensive pathos mood. Hemant Kumar reframes the initial high notes of the stanza by extending them over the whole line.

Bade Bhaiya Laye Hai London Se Chhori, Dila Do Hamein Bhi Dulhan Gori Gori – Ek Hi Rasta (1956) – Lyrics: Majrooh Sultanpuri

Hemant Kumar conjures a beauty in the form of a children song. He seems to have taken all care to use only those instruments that are mostly seen being used on the screen in the song.

Hemant Kumar’s ingenuity as a composer is evidenced in the second stanza, wherein the song switches over to qawwali style singing because the lyrics talk about the Baarat (bride’s marriage procession).

The transition from qawwali back to the original marching rhythm is also very deftly managed @ 3.39

An interesting Trivia : @1.00 to 1.5 we get to listen a piece on harmonica which is the theme of another great Hemant – Lata duet from the film – Sanwale Salone Aaye Din Bahar Ke

We fast-forward to the later part of the Hemant Kumar’s musical filmography.

Bin Badal Barsat Na Hogi – Bin Badal Barsat (1963) – Lyrics: Shakeel Badayuni

Hemant Kumar has chosen to base the composition of this dance song on a folk tune, but the interlude orchestration has all the elements of a mystery-film song, since there seems to be some hidden story that connects the protagonist (Nishi) on the dance floor with the key spectator– Biswajeet. Asha Bhosle’s delivery of the song is also so composed that the elements of mystery and underlying melancholy of the main protagonist’s feelings remain evident.

Kyun Mujhe Itni Kushi De Di, Ki Ghabarata Hai Dil – Anupama (1966) – Lyrics: Kaifi Azmi

Here is a dance song staged on the screen as a party song. Hemant Kumar has again successfully used Asha Bhosle’s voice to blend the two moods, one obvious mood of joy, befitting what can be seen on the floor and the other a hidden underlying mood of the protagonist (Shashikala) in sync with lyrics of the song

Note: Originally published on SoY as Hemant Kumar’s Female Playback Singers . This part is the edited and improved-on-the-inputs-of-discussions thereupon version.

We will take up Hemant Kumar’s Hindi Song Compositions in Other Female Voices in the Second Part

Carnival of Blogs on Golden Era of Hindi Film Music – April 2020

Welcome to April 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

April was the month of COVID-19 induced nation-wide lockdown. So here are two posts on the subject:

Lockdown Lyrics: Songs for Covid-19 Times is a bunch of upbeat songs that, in some way or the other, relate to this lockdown. Enjoy!

Here a few representative ones :

Lipstick lagaanewaale – Shrimatiji, (1952) – Shamshad Begum – Jimmy – Raja Mahendi Ali Khan
Ek roz hamaari bhi daal galegi – Bandi, (1957) – Kishore Kumar – Hemant Kumar – Rajinder Krishna

My Favourites: Songs of Sickness looks at the songs that have the medical interpretations of the lyrics that would make for some interesting illnesses, e.g.

Chhuo Na Chhuo Na Alabele Mere Saiyan – Honeymoon (1960)- Sabita Banerjee, Mukesh – Salil Chowdhury – Shailendra

.“Guide, The Film: Perspectives” – Lata Jagtiani & Other Writers | Blue Pencil, New Delhi, 2019 | ISBN: 978-81-939555-2-9 – review is a good by-product of COVID-19 lockdown. A quote by RK Narayan, pointedly mentioned in the post, has all the more relevance in these times – loneliness is the only truth in life. The post also adds a very perceptive conclusion that “Marco discards Rosie, who, in turn, discards Raju, and, finally, Raju discards the physical world to self-actualise”, because there is room for only one at the peak of self-actualisation.

And then there is one for the children too, in the form of a list of some of the best children’s movies @ CHILDREN’S MOVIES TO SEE DURING LOCKDOWN

We pick up other tributes and memories:

The immortal voice: The echoing memories of KL Saigal on his birth anniversary – Sharad Dutt offers a tribute to KL Saigal on his 116th birth anniversary (4 April 1904 to 18 January 1947). A film career that merely lasted fifteen years (1932-1946), K L SAigal performed in just about 36 films and rendered about 185 songs in Hindi, Urdu, Persian, Punjabi, Bangla and Tamil, thus proving the dictum that it’s not the extensiveness but the intensity of those renderings that bequeaths the mantle of immortality.

[N.B. – For those who would like to know more about Sharad Dutt , here is Guftagoo with Sharad Dutt. Sharad Dutt has authored a national award winning book, Kundan: Saigal’s Life and Music, which has a treasure of archival records, rare photographs and posters of Saigal’s films.]

Versatile musical genius – Kamal Dasgupta – Sharad Dutt – With a career of about fourteen years, Dasgupta have approximately 8,000 songs under his belt including 80 Bengali movies – his unique contribution was the invention of a shorthand method for swaralipi

Anuradha, or the musical genius of Pandit Ravi Shankar, Lata Mangeshkar and Shailendra – Music is in every frame of Hrishikesh Mukherjee’s film, and the soundtrack is the kind that stays in one’s head for a long time. Anuradha won the National Award for the Best Feature Film and was nominated for a Golden Bear at the Berlin International Film Festival. To mark the 100^th birth anniversary of Pt. Ravi Shankar, it would be fittingly appropriate to spend time with the music of Anuradha.

Veteran Actress Nimmi No More – Yesteryear actress Nimmi (a.k.a. Nawab Banoo) breathed her last on 26^th March, 2020 evening in Mumbai. She was 88 years old.

We have two posts in a homage to the career of Nimmi –

Ten of my favourite Nimmi songs is a tribute to this beautiful actress in the form of some peppy, some heart-wrenching, some of very deep love or some of sheer despair songs.
The Greats: Nimmi takes a look at her some notable roles.

The isolation of Bhuvan Shome is all too real in a time of social distancing – The thing about Bhuvan Shome is that actually, very little happens. In terms of its actual plot, the 96-minute Hindi movie, adapted from a Bengali story by Banaphool, could easily be a 20-minute short film. But then it wouldn’t be the classic it is, the movie that pioneered an entire cinematic movement. As a tribute to Utpal Dutt’s 91st birth anniversary, watch Bhuvan Shome not only for the pioneering example of cinema it is, but also for its strangely beautiful depiction of a different kind of loneliness.

Ranjit Chowdhry (1955-2020): ‘Khoobsurat’ and ‘The Office’ actor dies at 65 – Across three decades, Chowdhry worked with Basu Chatterjee, Hrishikesh Mukherjee, Mira Nair, and Deepa Mehta.He passed away in Mimbai 0n 15-4-2020

Ranjit Chowdhry in Last Holiday (2006). | Paramount Pictures

Johnny Walker: Comedy’s Humane Face – Johnny Walker (a.k.a. Badruddin Jamaluddin Kazi) worked under a strict self-imposed regimen as to his demeanour. He was never loud. He never took recourse to slapstick and was never vulgar. He became another name for comedy in Hindi cinema. And if there were ever an idol to symbolize mirth and laughter, it would not be surprising if it resembles Johnny Walker in appearance.

Remembering Satyajit Ray: The Rare Master of All Trades – Though the world chiefly knows him as the creator of some of the most elegant films ever made, he was also a multi-talented mind.

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

Jawani Diwani was candyfloss Bollywood, but it turned many stereotypes on their head – To mark Balraj Sahni’s death anniversary (13-04-1973), here’s a throwback to Jawani Diwani, a movie that he is not known for, but that would be poorer without him. it is his character upon whom the wheel of Jawani Diwani turns. His is not the lead role, but it is the one that makes the gossamer-thin plot move forward, and he plays it with the restraint and dignity we all know him for.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up the last of Manna Dey’s Comedy Songs. For Mehmood

March 2020 episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958. Till now, we have covered :

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

We will now take up the articles on other subjects:

Amar Prem tells the story of relationships that have no name but the power to break hearts – Not Shakti Samanta, Rajesh Khanna or Sharmila Tagore — it was Anand Bakshi’s lyrics that gave this movie its soul.

Baaja that was Harmonium that was Music – Indian music has a history of a strange love-hate relationship with the harmonium. The present post presents songs which has visually appealing presence of Harmonium. I have picked up one song from this post here:

Main to chanda si gori naar – Sawan Aya Re (1949) – Shamshad Begum – Khemchand Prakash – ‘Gulshan’ Jalalabadi

‘Mera Sundar Sapna Beet Gaya’ – Filmistan Studio – It as a banner which with its wonderful music based high quality movies mesmerized its viewers leaving an indelible imprint on their minds. It was this banner which gave us ace composers like S D Burman(Shikari, 1946) and Hemant Kumar (Anand Math, 1952) and well-known producer-director like Subodh Mukherjee. The beautiful and bubbly actress of the 1950s, Shyama had also made her debut as a heroine under this banner. Hindi Cinema’s first totally western music inspired song – Aana Meri Jaan Meri Jaan Sunday Ke Sunday – was also made under this banner.

Revisiting ‘Yehi Sach Hai’, the short story that inspired ‘Rajnigandha’ – books to film – Nirupama Kotru – Manu Bhandari’s Yehi Sach Hai was published in 1966. Basu Chatterjee’s Rajnigandha, the 1974 movie based on Yehi Sachi Hai, waters down some of Bhandari’s more radical ideas, while retaining its core themes – a woman’s romantic dilemma, and her quest for a well-paying job.

A Rivière of Asha Bhosle – S D Burman Gems- Her transformation from Geeta-esque Asha to a complete playback singer with her own adaptable style is clearly seen under the baton of S D Burman. E.g.. Dil Ki Manzil Kuchh Aisi Hai Manzil – Tere Ghar Ke Samne (1963) – S D Burman – Hasrat Jaipuri

How film composers have used raag Maand to express love and longing – In Hindi cinema, both SD Burman (Piya Tose Naina Laage Re, Guide, 1965) and Naushad (Bachpan Ki Mohabbat – Baiju Bawra, 1952) picked Maand for situations that expressed passion.

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, we have picked up:

Jaane Kahan Gayee Dil Mera Le Gayi Woh – Dil Apna Aur Pree Paaryi (1960) – Mohammad Rafi – Shankar Jiakishan – Shailendra

Phir Teri Yaad Naye Geet Sunane Aayee – Bekhabar (1964) – S Mohinder – Raja Mahendi Ali Khan

O Lakshmi O Sarsu O Sheela O Rajni… Dekho Kya Kay Laya Ye Mausam Is Bar – Kahin Aur Chal (1965) [Unreleased] – Shankar Jaikishan – Hasrat Jaipuri

Hame Pyar Karne Na Dega Zamana, Agar Ho Sake To Mujhe Bhul Jana – Pyar Ki Baazi (1967) – with Geeta Dutt – Jimmy – Indeevar

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2019

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

अमिताभ बच्चनः ‘एंग्री यंग मैन’ से दादा साहेब फ़ाल्के पुरस्कार तक – Mihir Pandya recounts how Amitabh countered negative factors around him to create and created a dominant space for himself that has brought his career to this miles stone.

Why actor-producer Devika Rani was truly the First Lady of Indian cinema – Alaka Sahani – Actor, star, producer, studio boss. Devika Rani walked a path that few women in Indian cinema have managed to. As a new play on the pioneer gets ready to tour, a look back at her journey.

Devika Rani with Najam-ul-Hussain in Jawani Ki Hawa. (Photo: Wirsching Foundation)

We pick up other tributes and memories:

Asha Bhosle and the Five Elements that balance her struggles, and later her career: Earth (Ab Ke Baras Bhej Bhaiya Ko Paarti), Fire (Ye Kya Kar Dala Tune Dil Tera Ho Gaya), Water (Do Boonden Swan Ki, Ek Sagar Ki Chhip Mein Tapake ..), Air (Aage Bhi Jaane Na Tu..), Ether (Khaali Haath Shaam Aayi Thi ..)

Hans Jhakhar takes up two vital facets of the Ravi saga on SoY with Ravi and Asha Bhosle: A class combination and Shakeel Badayuni: Revitalising bond with Ravi

Khayyam and Asha Bhosle is the selection of Asha Bhosle’s songs composed by Khayyam. We have taken one song here to get the feel of the songs presented in the post:

Taaron Se Ankhiyaan Milaoon Main – Dhobi Doctor (1954) – Lyrics – Majrooh Sultanpuri

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di Judaai – Teesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Mukesh: A Different Romance in the Voice – Celebrating the uniqueness that was Mukesh – In this article, Monika Kar does not even attempt to list all of Mukesh’s songs that have made an impression, for there are way too many; it simply celebrates this singer for being who he was with sheer sincerity and goodness resonating in his voice.

वर्ल्ड गिटार डेः गिटार पर सुपरहिट धुन छेड़ने वाले वो सितारे जो गुमनामी में खो जाते हैं – Vandana profiles the unsung masters who played guitars in the Hindi film song and helped create some of the most popular songs.

The legendary actor Balraj Sahni as remembered by his son – Alaka Sahani – In a new biography of actor Balraj Sahni, son Parikshat recounts memories of his father’s off-screen life and the troubled yet loving relationship they shared.

The Maestros Called Laxmikant Pyarelal – The first song for which LP played together in the orchestra was a Marathi song – Tinhi sanja sakhya milaalya!! It was after that they became assistants to legendary composers like S D Burman and Kalyan ji Anand ji.

No, I Did Not Forget Noor Jehan’s Birthday! – For those who do not know about the series on this blog – or those who know but would like to look at it again – may please go to last year’s post, which includes links that will take you to prior Noor Jehan posts (including the post from 2015 that includes links to all the others going back to 2009).

Legendary Hindi film composer Usha Khanna shares her life’s journey through music at an event held on 21-9-2019 at Chowdiah Memorial Hall, Bengaluru, reports Shilpa Sebastian R

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

The Silent Tributes which became benchmarks in the Hindi film music and no they are not merely copied or inspired, they are tributes in the real sense. E.g. Bimal Roy filmed a boy sitting on a buffalo while Sadhana sings O Sajana Barakha Bahar Aaye. Gulzar pays tribute Bimal Roy by depicting boy playing flute sitting on the buffalo while the sisters in Namkeen sing – Aaki chali baaki chali

September, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

A Paen on Piano, like Aap Ki Haseeb Rukh Pe Aaj Naya Noor Hain or Dheere Dheere Machal Aye Dil-e-Bequrar and so on.

Music composer Vanraj Bhatia claims to be penniless, struggles amid hearing and memory loss

Only 29 of 1,338 Indian silent films have survived. One man is doggedly telling the story of the era – Who knows what’s out there, says Virchand Dharamsey, the writer of the authoritative filmography of the Indian silent film period between 1895 and the 1930s.

Khaike Paan Banaras – Don – The Banaras Paan Effect – Archana Chauhan notes that Tamil remake of ‘Don’, Billa (1980) has Rajnikant taking up the dance steps and the dress to match with that of Amitabh

‘Tawaifs’ of Awadh: The first women of Hindi cinema – Shivani Bhasin – These highly skilled courtesans sang, danced, wrote poetry, and were the purveyors of all that was considered good taste and high fashion.

Other cinemas, other cineastes: on Namrata Joshi’s Reel India is a very wide-ranging book, chronicling of magnificent obsessions – he obsessions of people who live outside the cinematic mainstream, but engage with films in myriad ways, not seeking monetary benefit but doing things because they are compelled to; because cinema is so central to who they are.

Window Romancing With Dev Anand – Amongst all his ways to win his lady love or sing a song, his most favourite style must have been window romancing. So many of his songs are around the doors, windows or balconies crooning soft lyrics in your ears. The takes a glimpse of few such songs and window romance with Dev Anand, e.g. Aise To Na Dekho Ke Hamse Nasha Ho Jaaye – Teen Deviyan (1965) – S D Burman – Majrooh Sultanpuri

The Romantic Rain Songs lists the rain songs of 1990s.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946 and have covered Suraiya , Shamshad Begum, Part 1 and Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari, Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi, and other female singers, viz. Dilshad Begum, Kalyani Das, Meena Kapoor, Neena ( Sitara Kanpuri), Beenapani Mukherjee, Susheela Rani, Jayshree, Parul Ghosh, Shanta Apte, Saraswati Rane, Lalita Deulkar, Anima Dasgupta, Shobha, Jyoti, Radharani, Iqbal Bano (Begum?), Snehprabha Pradhan, Baby Anu, Baby Mumtaz, Geeta Roy and Lata Mangeshkar. We have then concluded the Micro View of Female Solo Songs for 1946.

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:.

Ye Jhulfein Jadoo Sa Kar Rahi Hai, Tauba Tauba – Unreleased song – with Lata Mangeshkar

Abhi Kamseen Ho Nadaan Ho Jaane Jaana – Aaya Toofan (1964) – Laxmikant Pyarelal – Asad Bhopali

Shola Ulfat Ka Bhadaka De Mere Dil Mein Aag Laga De – Aurat (1967) – with Asha Bhosle – Ravi- Shakeel Badayuni

Jaane Kahan Gaye Tum.. Bechain Hai Nazare – Aaja Sanam (1975) – Usha Khanna – M K Javed

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.

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2018

Welcome to September, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Our focused topic for the month of September, 2018 is R K Studios, one of the last icons of the Golden Era of Film-making.RK Studios: The final curtain – Madhu Jain – With the Kapoors deciding to sell the iconic studio that was destroyed last year in a fire, a slice of film history has been lost forever – RK Films was in effect a Nargis-Raj Kapoor banner for a few years. Nargis played a much greater role in RK films than is widely known and acknowledged: supervising the lighting on occasion, going into the production details, recognizing the potential of the actress Nadira, giving generously when the money was needed, and much more. She was alongside him through much of their golden years together. They were in sixteen films together, beginning with Aag in 1948 and ending with Jaagte Raho in 1956.

And, now, we take up the tributes in September 2018:

Tere mandir ka hoon deepak jal raha, by Vijay Kumar – Pankaj Mullick’s voice had a clarity and a boom that, I am certain, would have reached the man in the last row of a listening audience, without the aid of a mike…He had the voice of a supreme bhakt!

Happy Birthday Lata Didi presents Lata Mangeshkar’s duets or trios with other Mangeshkar sisters.

Madan Mohan’s tuning with Lata Mangeshkar – For all the shared background and their lofty personal bonding, it has ever remained a mystery for many of music lovers as to why Madan Mohan did not use Lata Mangeshkar’s voice in his first film……

The title of the post – Lata Mangeshkar and S D Burman gave Bollywood many Immortal Songs – is a complete statement in itself.

Happy 92nd Birthday, Noor Jehan! has a recently updated playlist of Noor Jehan songs.

O Nigahen Mastana – the most romantic songs ever created by any music director, in which female singer simply hums her part.

The One and Lonely Kidar Sharma: An Anecdotal Autobiography and Anirudha Bhattacharjee and Balaji Vittal’s ‘S D Burman: The Prince Musician’ are the book reviews.

70 Years ago Dev Anand got his first Hit Film Lata Mangeshkar and S D Burman gave Bollywood many Immortal Songs as Ziddi, in 1948.

Hats off to Dev Anand – Dev Anand was known for very different hats /caps/headgears in different films, He was also very fond of these in his personal life as well.

Dev Anand’s dreams that couldn’t be Fulfilled gives us a view of Dev Anand’s unfulfilled projects.

In Memory of Dev Anand’s birthday are the songs that Hemant Kumar played back the screen.-

Guide: A Spiritual Odyssey – Dev Anand’s creative effort reached its apogee in Navketan’s Guide, a film that accommodates more than one perspective. On the occasion of Dev Anand’s birth anniversary (he would have been 95 today), Vijay Kumar relives the finer points of one of the finest Hindi films ever made, exploring its streams and currents of thoughts and views.

G P Sippy- A carpet merchant to the maker of Sholay – G P Sippy had turned a construction magnate and then plunged into filmmaking in 1951 with the Dev Anand film Sazaa and rolling of as many 17 films in his career.

60 Years of Madhumati which was released on 12 September, 1958, swept off a big gate collection and a host of awards.

The Musical Journey Of Asha Bhosle is a tribute to her on her birthday (8^th September, 1933)

Asha sings for Madan Mohan – I and Asha sings for Madan Mohan – II, are the solos songs and duets/trios etc. respectively.

Roshan aur Madan Mohan ki Asha draws some parallels and some not so parallels in the patterns willingness of the use of Asha Bhosle by these music directors.

Messenger of Love and Peace – 7^th September, 2018 is the 40^th anniversary of P L Santoshi. The post lists just a few more of his wonderful songs, with the films and singers mentioned. Let us hear this one – Tum Se Hai Pyar Mujhe Tum Se Hai Pyar – Teen Batti Char Rasta (1953)

King of Ghazal Talat Mahmood with Ghazal Maestros Madan Mohan and Roshan and Best of Mukesh by Roshan and Madan Mohan are the two articles in Soy’s series on Roshan and Madan Mohan that provide finer insight to the use of these two singers by these two music directors.

That Salil Chowdhry – A Creative Genius is evident from the fact that he was Composer, Music Arranger, Poet, Story writer and much more .

The Masters: Rajinder Krishan is a collection of his songs composed by Madan Mohan, and then a select compilation of his work with other directors.

The Guitar That Sang is the recollections of an elder brother of a nine-year older brother, David Vernon (Verni) Liddle, who was a guitarist who played for some of the greatest hits of Hindi cinema.

Sadhana – One photograph that changed her life! was published in the famous film paper “Screen” publicizing the Sindhi Film “Abaana”.

Piya aiso jiya mein samaye, by Vijay Kumar – Meena Kumari never looked so beautiful, and so fully subsumed in her role, as in this song. An anticipation of a rendezvous in privacy is writ large on her persona. Shakeel too understood the नज़ाकत of the situation and penned words befitting his stature as the poet of romance. And Geeta sang it effortlessly as if giving voice to her own emotions.

September, 2018 episode of Fading Memories, Unforgettable Songs is dedicated (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1955 – 1957

We have two more articles nearer to this subject: Jaiksihan ‘s forte was romantic and western tunes and Hasrat Jaipuri – A Love Letter written in Real Life becomes Immortal in Reel in the form of Ye Mera Prempatra Padhkar……The post lists other Hasrat Jaipuri romantic songs in tribute to him.

And, now the posts on other subjects:

Some of the Great Background Songs of Bollywood – Songs being heard from the background has been a very important genre for Hindi Films. The post has listed many known songs, in alphabetical order.

Aaj Kal Tere Mere Pyar Ke Charche – Brahmachari – Talk Of The Town – Gossip, the communication spreading through the grape wineyard, is autothermic, and once initiated, by a topic like the one in the preceding article, then is almost unstoppable.

In praise of visible film craft is about the simplistic idea that the elements of filmmaking mustn’t draw attention to themselves.

Royal Singing – It is often observed in popular culture that royals do not sing anything; if they do, many people think they should not be doing so. That’s because the arts—especially the performing kind—are seen as trivial affairs. The post lists some songs that were lip-synched by Kings, Queens, Princes and Princesses on Hindi film screen. Actors who portrayed the royals are mentioned too.

Shola Jo Bhadke – Albela – Sparks Of Love – The Cuban percussion at the beginning played by Chic Chocolate warns you of the fire that is about to spread. Geeta Bali herself looking like a luminous spark of that fire, with a Hawaiian lei around her neck, a floral top and a wraparound skirt.

Hindi songs featuring Umbrella, have included the songs where the prop, umbrella is seen throughout the song or at least for a significant portion of the song. Also someone has to handle the umbrella, if it’s just kept there, even if open won’t count for the list.

Badi Der Se Megha Barsa – Namkeen – Withering Woes – There are some who might flaunt that wait when it is over. The show off of that wait you have gone through to your partner might take the romance in your life several notches up. Of course the flaunt is merely a charade to spice up the romance. From here begins the roothna-manaanaa and all the banter. It will also be a treat if this charade of flaunt is in Asha Bhonsle’s voice.

‘Heroine teasing Hero’ songs – Hero ‘Chhed Chhading’ the heroine is a relatively common scenario in Hindi films, but the exact opposite is not that common. No seductive songs are included, as those songs are usually a part of a trap arranged for the hero. So even if it sounds like a teasing song, they don’t count. And, the target should be one single person and not men in general or a group of boys.

Two princes or two paupers? Parvarish, and an identity non-crisis – In view of the SC of India verdict on the Section 377 verdict, the fluidity of identity (sexual and other kinds) assumes a deeper meaning. Here is a reminder of an egalitarian 1950s Hindi film that simply sidesteps the identity question and even lampoons those who get all hot and bothered about it.

Of Trees And Hindi Film Songs – If ecologically, tress provide much needed oxygen, then they also provide a ready nourishment to human love, particularly between a male and a female.

The Ring Given to Suraiya by Dev Anand is still lying in the Arabian Sea – The real story revealed by Dev Anand in his autobiography” Romancing with Life” It was Suraiya herself who threw the ring far into the sea of Bombay only after the last meeting with Dev Anand….It was on the advice of his elder brother Chetan Anand that the actor decided to end his relationship with the actress and concentrate on his film career. While Dev eventually overcame the trauma of a broken relationship and moved on, Suraiya decided not to get married.

Can’t Play Sad Music – One of the world’s most charming musical instruments, the frame drum called tambourine has featured importantly in hundreds of our songs, but yet has unfortunately not been judged in the light it has deserved. This is true not just here, but abroad as well…In India it is called the daffli. Now the daffli also has a big brother called Daff, which is typically a similar frame drum, except much bigger,

The post lists The Songs shot in Shimla or nearby locations

Ventriloquism in Hindi Films is a well-researched post, on an interesting subject.

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein after having covered solo songs of Suraiya and Geeta Roy, Shamshad Begum. Rajkumari, Amirbai Karnataki (Part I and Part II) Zohrabai Ambalewali (Part I and Part II), we have now covered Khursheed, Noor Jehan & Kanan Devi, Meena Kumar, Naseem Akhtar and Zeenat Begum, Lalita Deulkar, Sharda Gangul and Mohantara, Paro Devi, Menakabai & Saroj Welingkar, Hamida Bano, Beenapani Mukherjee, Sitara Devi & Lata Mangeshkar in ‘other’ female singers. We have also presented a post that has presented Female Solos that I liked in 1947. We have also moved to Duets of 1947 with those of Mukesh with other female playback singers.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up one SoY post, one video clip and a few songs that basically have link with the topics discussed in the present post.

The story behind the song”Chahoonga Main Tujhe Saanj Savere” that tells how the song got in from nowhere.

Rsavare Matvare Kajarare Nain Tihare – Holiday in Bombay (1963) – with Balbir – N Dutta – P L SAntoshi

Le Gaya Zalim Ghari Samaja Ke Mera Dhadakata Dil – Bombay Race Course (1965) – Madan Mohan – Rajinder Krishna

Kisi Se Hamne Ye Poochha Mohabbat Kisa Ko Kahate Hai – Garibi (1949) – Bulo C Rani – Rajinder Krishna

O Gawalan Ku Mera Man Teri Chitwan Le Gayi – Champakali (1957) – Hemant Kumar – Rajinder Krishna

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

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

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.

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

We have covered duets of Mohammad Rafi – with Lata Mangeshkar, with 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 – Duets of Mukesh

Mukesh has had quite well-known duets with almost every other female playback singer for the year 1949.

Films like Dada or Shabnam or Sunhere Din or Thes had more than two duets. I have accommodated one duet here and one more in my Top Choice songs, but still had to leave out the third one. Fortunately these ones are easily accessible on YT.

+ Lata Mangeshkar

Tirchhi Nazar Hai, Patli Qamar Hai – Barsaat – Shanker Jaikishan – Shailendra

Yeh Duniya Hai…. Yahan Dil Ka Lagana Kisko Aata Hai – Shair – Ghulam Mohammad – Shakeel Badayuni

+ Shamshad Begum

O Badi Julmi Tamanna Hai Dil Mein, Ho Aaj Mere Dil Mein – Dada – Shaukat Dehlvi – Majrooh Sultanpuri

Pyar Mein Tumne Dhokha Shikha, Ye To Batao Kaise – Shabnam – S D Burman – Qamar Jalalabadi

Maine Dekhi Jag Ki Reet, Sab Jhuthe Ho Gaye – Sunehare Din – Gyan Dutt – D N Madhok

+Surinder Kaur

Sari Duniya, Four-twenty…. Sari Duniya… – Dada – Shaukat Dehlvi– Shevan Rizvi

Dil Do Naino Mein Kho Gaya, Bura Hua Ya Bhala – Sunehare Din – Gyan Dutt – D N Madhok

+ Rajkumari

Bolo Bolo Sajan Bolo – Thes – Snehal (V G Bhatkar) – Kidar Sharma

+ Suraiya

Badra Ki Chhaon Tale Nanhi Nanhi Bundiya – Lekh – Krishna Dayal – Raghupat Roy

+ Geeta Roy

Kismat Mein Bichchadana Tha, Hui Kyon Unse Mulaqaat Re – Shabnam – S D Burman – Qamar Jalaabadi

+ Asha Bhosale

Ye Qafila Hai Pyar Ka Chalta Hi Jaayega – Lekh – Krishna Dayal –Qamar Jalalabadi

We will take up some more Male Female Duets for 1949 in the next episode.

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

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

As always, we first take up posts that focus on memories –

The Many Moods of Meena Kumari – with the exception of sadness – and indeed the listing in the post and in the discussion thereon present Meena Kuamri in so different moods that it now appears she was known more as ‘tragedy queen’.

SoY has already presented OP Nayyar’s songs for Rafi, Mahendra Kapoor and Shamshad Begum. Best songs of Asha Bhosle by OP Nayyar – on her 83^rd birth anniversary (b. 8 September 1933) – now, does succeed in bridging the obvious gap while deftly handling the difficult task of presenting a representative set of songs from 300+ to choose from.

For Noor Jehan’s 90th Birthday, Here’s a Lovely Performance by Her from 40 Years Ago listing of songs (and other things), along with the times in the video when they appear:

0:00                 Awaaz De Kahan Hai
2. 5:06             Talk and Interview
3. 9:17             Sanu Nehar Waley Pul Te Bulake
4. 13:59           Mujhse Pehli Si Mohabbat
5. 20:04           Chithi Zara Saiyaanji
6. 24:30           Bhoolnewale Se Koi Keh De

Kahin Door Jab Din Dhal Jaaye – Mukesh’s Hit Songs for Heroes – Peeyush Sharma takes up on a journey through some of Mukesh’s hit songs, which he sang for the reigning heroes or stars of his time, presented in the alphabetical order in the article, in a tribute to the Golden Voice Mukesh. V. Balsara, the music director settled in Calcutta, had (once) commented that one Mukesh song in the film assured that at least one song would be a hit. The article has a special mention of Saath Ho Tum Aur Raat Jawan (Kanch Ki Gudiya, 1961, Suhrid Kar / Shailendra / Asha Bhosle and Mukesh, picturized on Manoj Kumar and Sayeeda Khan) on Public Demand.

rekha-_the-untold-story

For Rekha, the show won’t end– Sanjukta Sharma – ‘Rekha: The Untold Story’ taps into that irresistible fantasy of knowing a who has been mythologized all her life.

Lucknow’s Great Son: Naushad Ali recollects the LP record (Odeon ‎– 3AEX 5015) ’The Genius of Naushad” that has a collection of some of his greatest hits sung by voices as diverse as Mohammad Rafi, Mukesh, Suraiya and Shamshad Begum.

Music by Naushad, lyrics by Shakeel Badayuni: The great partnership in Hindi film music history is an excerpt of Ganesh Anantharaman’s book Bollywood Melodies A History of the Hindi Film Song, published by Penguin Random House India.

We now take a look at posts on other subjects –

My Favourites: Picnic Songs – Picnics in Hindi films today seem to have gone the way of the dodo, but they were a staple, indeed, integral part of the narrative in the 60s and 70s. Picnics were the perfect occasion to include a song; mostly, it was there so the hero and heroine could a) tease each other b) make fun of the other c) fall in love with each other.

Dekho Dosto Chhed Ka Maza! – Guest article by Shalan Lal – The Chhed chhad songs or the sketches are sub-division of a general term called Comedy. The post and as is always the case, the discussion thereon , are quite scholarly penned presentations of songs and views thereon.

My Favourites: Zulfein – History, mythology and fairy tales are replete with hairy tales……But. Hindi films knew how to celebrate hair. Especially women’s hair, because ‘zulfein’ seemed to refer only to women’s hair. So here are some …‘zulf’ songs, songs that are romantic, sensuous, playful… and extremely lovely plus a bonus song. This has nothing to do with romance, or passion –

Zulf ke phande phans gayi jaan – Mujrim (1958) – Mohammed Rafi – OP Nayyar – Majrooh Sultanpuri

Ten of my favourite Aankhen songs is again a very meticulously curated list that includes

Aankh khulte hi tum chhup gaye ho kahaan (Munimji, 1955): For a change, a song that isn’t about praising the eyes of the beloved. Instead, our distressed heroine sings about her own eyes.
Do pal jo teri aankhon se peene ko mile (Bahaaron ke Sapne, 1967) – Eyes so intoxicating that one who is fortunate enough to ‘sip’, even if only momentarily, from them—to partake of the love those eyes offer—will have lived a hundred years in those moments.

‘Mother India’ at the Oscars: ‘The audience laughed with the characters and cried with them’ – Bunny Reuben – Here’s what Sylvia Norris wrote (“Filmfare:” June 6, 1958): The day Mehboob Khan met Cecil B. DeMille in Hollywood; he was referred to as ‘The DeMille of India’. This is a title he richly deserves; not only for his latest spectacle, Mother India, but for the thirty years of devotion he has given the Indian film industry.

Here is one batch of articles from the recent past editions of Scroll.in last month-

The debt owed by Gulzar’s lyrics to Mirza Ghalib – Manish Gaekwad recounts how the lyricist isn’t shy to admit, in the series of conversations with Nasreen Munni Kabir’s book ‘In the Company of a Poet’, that the song ‘Dil Dhoondta Hai’ from the film ‘Mausam’ was inspired from Ghalib’s couplet.

In Missing silent film ‘Bilwamangal’ finally returns to India, Scroll Staff narrates the story of a digital version of 20-minute duration that arrived at the National Film Archive of India from Cinematheque Francaise in Paris.

Akshay Manwani in a Film flashback: To understand Hindi cinema of the 1960s, start with 1957 hat-tips a great year in which apart from ‘Pyasa’ and ‘Mother India’, several other films also shaped the future of Hindi cinema on various fronts, showing early signs of the frothy ’60s.

The ‘Prabhat touch’: How the legendary studio became a respectable workplace for actresses – Zinnia Ray Chaudhuri presents the essay, titled Teen Deviyan: The Prabhat Star Triad and the Discourse of ‘Respectability’ – available on the free online encyclopedia Sahapedia, – in which film historian Sarah Niazi reflects on the circumstances at the film production company that boosted the presence of women in various capacities.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, we continued the journey now with Solo songs of Lata Mangeshkar. After part 1 and 2 we covered of part 3 and the review – Summing Up: MY Top Lata Mangeshkar Solo Songs and have moved on to Male-Female Duets category. We have covered duets of Mohammad Rafi with Lata Mangeshkar, Suriya and Shamshad Begum and Geeta Roy and other female playback singers..

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

Bringing Generations Together – Rafi Sahab’s Magic – Achal Rangaswamy discusses with son whether Mohammad Rafi would have been able to sing the songs being “dished out” and how.

I look forward to receive your inputs for further enriching the contents of the posts…..