We had stopped publishing the songs that have been covered in the Memorable Songs list for the year. As such, here are the Male Solo songs which are not covered in Memorable Songs of 1943.
As had been noted in the overview article, 1943 has 119 male solo songs for which the singers are identified in HFGK. However, I could not find 57 of these songs on YT.
For the purpose of the present Micro Review, we have divided the Male Solo songs that are available on YT and not covered Memorable Songs of 1943 – one that has songs of G M Durrani and the other with all other singers.
We first take up the male solo songs of singers other than G M Durrani for the year 1943.
K C Dey – Mange Ja Har Bar – Andhera – Pt. Indra – Gyan Dutt
K C Dey – Bol Bol Tu Is Duniya Mein Sab Se Meethe Bol – Badalati Duniya – ? – K C Dey
K C Dey – Chandani Raat Hai Chandani Raat – Manchali – ? – H P Das
Before we fully explore this dimension, it is certainly worth its while to note that Manna Dey has recorded quite a few comedy songs for what is broadly termed as Hero in the cinemas. We begin our present, and last for the time being, leg of Manna Dey’s career journey.
The active singing careers of some of the playback singers like Mohammad Rafi, or Kishore Kumar or Manna Dey have spread over several decades and were so potently dominant in their own times that each one having rendered playback voices for the Kapoor Brothers Trio has not attracted any attention. Manna Dey singing a comedy song for each of the three Kapoor brothers, there for does require a special mention.
Manna Dey and Raj Kapoor
Manna Dey had emerged as the principal alternative playback voice for Raj Kapoor from the very first film – Awara (1951) – of their association. It was therefore very obvious that he would get to sing special situation songs like, a sad song Tere Bina Aag Ye Chandani or sheer romantic duet Pyar Hua Ikrar Hua or very light-station dance number Mud Mud Ke Na Dekh or a song bordering to a classical comedy song Dil Ka Haal Sune Dilwala.
However, the first truly comedy song that Manna Dey sang for Raj Kapoor for the first time came up in Paravarish (1958)
Mama Oh Mama Oh Pyare Mama.. Gharwale Khaye Chakkar… – Paravarish (1958) – with Mohammad Rafi – Dattaram – Hasrat Jaipuri
Manna Dey was used as (almost) a default playback for Raj Kapoor in this film. So it was very natural that Manna Dey would playback to Raj Kapoor and Mohammad Rafi to Mehmood.
Next big comedy song that Manna Dey sang for Raj Kapoor came up in Dil Hi To Hai (1963)
Laaga Chunari Mein Daag Chuupaun Kaise – Dil Hi To Hai (1963) – Roshan – Sahir Ludhyanavi
It was Mukesh who was the default playback singer for Raj Kapoor in this film. However, for so strong classical rag-based comedy song, Roshan easily seems to have preferred Manna Dey
One of the rarest find while working for this entire series is Manna Dey’s Comedy Song for Vijay Ananad.
O Mister, O Mister Suno Ek Baat – Agra Road (1957) – with Geeta Dutt – Roshan – Prem Dhawan
Vijay Anand was considered to be one of the most competent drifters of the films. Picturization of the songs was his forte. He would suddenly briefly appear, in Alfred Hitchcock’s signature style, in some in the films he directed, His attempts to act, and that too as lead actors, have been considered to be equally rare, and by and large not very successful.
Agra Road was his first maiden such effort. The film direction was in th every able thriller film directors, (Nagina -1951– fame) Ravindra Dave.
Here Vijay Anand is seen lip-synching Manaa Dey in a very light situation dance sequence. Of course, he himself wi very seriously dressed in a full suit, a tie, shoes and all.
Manna Dey’s Comedy Songs with Other Comedians
After Hato Kahe Banao Jhoothi Batiyan (Manzil, 1960) for Mehmood, we get to listen Manna Dey’s comedy songs for full-fledged comedians in 1962 for Johnny Walker.
Manna Dey’s comedy songs for Johnny Walker
The default playback voice for Johnny Walker has always been Mohammad Rafi. Mohammad Rafi had in fact so much developed a style of throw of words that synched perfectly with Johnny Walker’s theatrics that just by listening to a song one would know this is Johnny Walker song..
Arre Kisne Chilman Se Maara – Baat Ek Raat Ki – S D Burman – Majrooh Sultanpuri
It is probably no coincidence that it is S D Burman who has chosen to use Manna Dey for Johnny Walker, taking on a contrarian step of not using Mohammad Rafi.. In fact SDB has already used Mohamad Rafi for Johnny Walker, right in this film – Aaj Ka Din Bhi Pheeka Pheeka. However, for this classical styled mujra, S D Burman has opted for Manna Dey. S D Burman has maintained spaces for Johhny Walker’s signature theatrics, while creating one of the most iconic comedy song in the annals of Hindi film history.
We have next three songs, all composed by Kalyanji Anadji.
Mere Mehboob Mujhko – Haseena Man Jayegi (1968) – with Asha Bhosle – Kalyanji Ananadji – Qamar Jalalabadi
This is a masala comedy song involving a sulking ‘the other half’ with our ‘comedian’ displaying all the theatrics available in his arsenal to win her over.
Ek Anar Do Bimar – Baazi 1968 -Kalayanji Anandji – Shakeel Badayuni
The templates are so rigidly cast, that even a new combination of music director – lyricist also is not able to inject any noteworthy variation.
Haye Re Raama Raam Qasam Kaisa Aaya Ye Zamaana – Ek Haseena Do Deewaane (1972) -Kalyanji Anandji – Qamar Jalalabadi,
If a film has a comedian, and that too of the order of Johnny Walker, or Mehmood, he has to be allotted one song. By now there are some standard templates typecast. Any one of that template style will be lifted up and a song will be worked out by crafting some variation here or some variation there.
We would once again to end an episode in this series by ruefully noting the sudden drop in the quality of compositions that Manna Dey had to sing as the years pass, starting always from an iconic song to end with most certainly the forgettable song.
We have one song that can help us move away from that gloom –
Munh Se Mat Laga Ye Cheez Hai Buri – Johnny Walker (9157) – with Mohammad Rafi – O P Nayyar – Hasrat Jaipuri
This is an all-Johnny Walker- Mohammad Rafi song. Manna Dey has played back for some unknown ‘on-screen’ friends. But that has not made a shade of difference to Manna Dey – he matches a note-to-note with Mohammad Rafi.
That is the beauty of a really ‘class’ composition!!
We still have one more episode-worth material for Manna Dey’s comedy songs for Other Comedians. We would take that up in our next episode.
Hindi Film World celebrates centenary birth year of Manna Dey. In a series of articles that I have planned to run in 2019 and 2020, I have tried to present songs from different angles, wherein focus is not on what is considered Manna Dey’s core niche areas, like classical songs, comedy songs etc.
We would confine our horizon of discussions to end decade of 70’s.
Satyajit Ray had once mentioned that listeners would be “more shocked than surprised if they were made to hear a voice outside a coveted set of six singers”. Maybe six was just an empirical number he had in mind, but throughout his career, Manna Dey certainly was not one of the six when the requirement was singing for the lead actor. He was always the seventh, in the role of a specialist.
Manna Dey (a.k.a Prabodh Chandra Dey – B: 1st May, 1919 /\ D: 24th October, 2013) was groomed into the classical singing, with extra eye for perfection, experimentation and complete dedication. He was so much singer to the core, that he might probably never have explicitly thought of shaping his career path on the more worldly success matrix.
He has recorded songs of types and hues in around 16 languages. His classical songs are remembered fondly by critics as well as the common listeners. His comedy songs earned so high a respect that he got typecast for these songs. In fact, every type of song genre that he touched, led to typecast him for that genre. However, as the destiny may have chosen not to bestow Manna Dey with the coveted ‘commercial’ recognition of That Hero’s Voice even he had string of exceptionally successful songs for the leading male actor of the film. Many of his sings in this category for so called B category films earned fame, that turned out to be not enough to earn long term success to the heroes of these films, was also not that longer.
In our today’s article we will try to remember his songs for the lead male actors of different times. Our aim is not seeking any ‘whys’, but to collect Manna Dey’s representative songs from the perspective of the contemporary lead actors on one-page.
As is well-known Manna Dey commenced his Hindi film song career with a duet, Jaago Aayee Usha Panchhi Boley with Suraiya for Tamanna in 1942. The song has been filmed on a beggar and his young assistant. Manna Dey played back for the beggar. His first song thus was a ‘beggar’ genre song. His second song was for film Ram Rajya (1943), a ‘bhajan’ genre song. However the wait for films which had strong social content and also had one of the three of Great Trinity of the lead male actors of Indian Cinema as the upcoming stars.
With Dilip Kumar
Manna Dey and Dilip Kumar have got together in Dilip Kumar’s debut film Jwar Bahata (1944). Manna Dey gets to sings Bhula Bhatka Path Hara Main Sharan Tumhari Aaya, Kah Do He Gopal, for which Anil Biswas composed music. The song is set to Bengal’s folk baul style, which the medicants used for their compositions. Dilip Kumar was the male lead, but the only song that he would have sang – Sham Ki Bela Panchhi Akela – on the screen was played back by Arun Kumar Mukherjee. Manna Dey has never played back for Dilip Kumar. Closest these titans can have been said to come is in Insaan Ka Insaan Se Ho Bhaichara, Yahi Paigam Hamara (Paigam, 1956; Music: C Ramchandra) which rolls around Dilip Kumar as the key protagonist and Manna Dey sings in the background.
With Dev Anand
It was as far as back as in 1947 that Manna Dey got to play back for Dev Anand, who was the lead actor for Aage Badho. HFGK credits the duet, Sawan Ki Ghatao Dheere Dheere Aana – (Music: Sudhir Phadake, Lyrics: Amar Varma) to Manna Dey and Khursheed, for Dev Anand and Khursheed respectively on the screen.
Even at the cost of being repetitive, it should be noted that the opinions are sharply divided along the loyalty lines in so far as credit for the male singer goes. Several other net-resources and many of Rafi’s keen listeners credit the male part of the song to Mohammad Rafi.
Manna Dey played back for Dev Anand again next year in Hum Bhi Insaan Hai (Music: H P Das, Assistant – Manna Dey; Lyrics: G S Nepali) . Ham Tere Hai Hamko Na Thukarana O Bharat Ke Bhagwan Chale Aana– is in the form of a prayer that Dev Anand, possibly as a teacher in the school or a children home type of institution. sings to the children.
Part 1 and Part 2 of the song, O Ghar Ghar Ke Diye Bujhakar Bane Hue Dhanwan , has idealist tone.
Dev Ananad and Manna Dey have, then, combined in Amar Deep (1958; Muisc C Ramchandra; Lyrics: Rajinder Krishna) triad dance song Is JahaN Ka Pyar Jutha. The first stanza focuses on Johnny Walker for whom, naturally, Mohammad Rafi has provided the playback. Dev Ananad commences second stanza @ 3.47 with a hearty alaap of Manna Dey to dancingly sing Ab Kahan Wo Pahele Jaise Dilbari Ke Rang ….
Manna Dey did sing genuinely romantic songs for the hero in these songs, even if he was that ‘seventh’ choice.
Dev Anand – Manna Dey were brought together, once again. for one of the all time classics Chale Jaa Rahein Hai Kinare Kinare (Kinare Kinare, 1964; Lyrics: Nyay Sharma) by Jaidev.
With Raj Kapoor
Manna Dey was called on to sing for Raj Kapoor in Aawara (1951) in the classic two-song part dream sequence Tere Bina Aag Ye Chandani ….. Ghar Aaya Mera Pardesi. Since then, Shanker Jaikishan have so profusely used Manna Dey’s voice for Raj Kapoor in RK films as well as other films that Manna Dey-Raj Kapoor- Shankar Jaikishan relationship can be dealt only as set of full-fledged articles.
Manna Dey’s voice has also been used quite extensively for Raj Kapoor by other music directors as well.
I have selected two songs to present the glimpse of the relationship –
Duniya Ne To Mujhko Chhod Diya, Khub Kiya Are Khub Kiya – Sharda (1957) – C Ramchandra – Rajendra Krishna
Has Kar Hassa Masti Mein Ga, Kal Hoga Kya Hoga Ky Bhul Jaa – Bahurupiya (Shelved) (1964) – Shanker Jaikishan – Shailendra
Manna Dey’s playback singing relationship with the Trimurti of Indian Films – Dilip Kumar, Dev Anand and Raj Kapoor – has so far followed the Manna Dey’s career in the chronological sequence. So, we will follow the similar pattern to explore his playback singing relationship with other mainstream male lead players.
With Ashok Kumar
Manna Dey’s first major association with Ashok Kumar was for the film Mashaal (1950) where he was assisting S D Burman. Upar Gagan Vishal for that film is considered to be the game changer for S D Burman as well as Manna Dey. However, it is not filmed on Ashok Kumar’s lips in the film.
During ‘50s, Ashok Kumar did maintain the status of a lead male actor, but generally not as the romantic hero. This probably created an ideal platform for Manna Dey’s playback singing relationship with Ashok Kumar. Manna Dey sings two songs for Ashok Kumar in Savera (1958, Music – Shailesh Mukherjee; Lyrics – Shailendra). The first one, a duet with Lata Mangeshkar, Chuuppa Chuppi .. Aagad Baagad Jae Re, is light-mood duet, addressed mainly to the children in the film.
It was in the same year that Ashok Kumar lip-synced Manna Dey in Baabu Samjo Ishare (Chalati Ka Naam Gaadi, with Kishore Kumar; Music – S D Burman; Lyrics;ajrooh Sultanpuri), wherein Manna Dey matched notes by notes Kishore Kumar’s theatrics.
Ashok Kumar – Manna Dey got together for Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), a comic-situation oriented classical-based song.
in 1963, S D Burman used Manna Dey as playback singer for Ashok Kumar in Meri Surat Teri Aankein for an Ahir Bhairav benchmark Hindi film song, Poochho Na Kaise Maine Rain Bitayi (Lyrics – Shailendra). However parallel use of Mohammad Rafi for a playful semi-classical Naache Man Mora Tikra Dheegi Dheegi succinctly epitomizes the entire career of Manna Dey – respected on high pedestal, but not preferred normally, exceptions accepted.
Anurodh (1977) also has a twin Manna Dey – Ashok Kumar song Tum Besahaara Ho To (Music: Laxmikant Pyarelal; Lyrics: Anand Baxi). The first version is a happy version, where Ashok Kumar playfully sings the message to the children.
Second version is more in the form of a prayer, that also provides strong vibes to the main protagonist, Vinod Mehra as well.
We will continue our Manna Dey memoirs and take up Manna Dey’s songs for the ‘next-gen’ lead actors who entered Hindi Cinema in ‘50s.
On Manna Dey’s 100th Birth Anniversary, a Look Back at His Journey
SD Burman’s compositions with (the so-called ‘mainstream’) male playback singers like Kishore Kumar, Mohammad Rafi, Mukesh, Talat Mahmood, Hemant Kumar or Manna Dey or songs in his own voice seem to have been discussed well on different blogs . The discussions have been observed to spread over different contexts like songs composed for heros – for Dev Anand as well as for ‘other’ heroes, composed on comedians like Jhonny Walker or Mehmood, Kishore Kumar or Mohammad Rafi’s duets with either Geeta Dutt or Asha Bhosle or Lata Mangeshkar and many other variants and sub-variants .
The statistics also reflect a similar picture. The songs that S D Burman has composed for Kishore Kumar (115 songs) and those for Mohammad Rafi (90 songs) constitute around 60% of the total around 342 male (solos, duets etc.) songs. If we add S D Burman’s songs for other mainstream singers like, Mukesh, Talat Mehmood, Hemant Kumar and Manna Dey, we would cover around 83 % of SD Burman’s male songs His songs in his own voice would add further add up to 4%.
This 87% songs account for (2+4+1) 7 singers. If we call this a classic 80+% ‘Head’ of a rank-frequency power law curve, the 34 songs spanning 18 ‘other’ male singers, a good 13 % of S D Burman’s male songs, would make a perfect ‘Long Tail’ that does not seem to have been discussed as much.
For the purpose of our discussion of S D Burman’s songs for ‘other’ male singers, we will slice SDB’ career in three period slots such that each one has had a very definitive set of external factors that seem to reflect his selection of ‘other’ male singers.
As we will see in a short while, each of these three phases has its own distinct pattern in so far as SBD’s use of ‘other’ male singers. It would also be not out of order to note that, barring a few cases, most of these singers have appeared only in song(s) for only one S D Burman-composed film.
For our present post, we have taken S D Burman’s songs of ‘Other’ Male singers for the first phase of his career. That phase commences from the beginning of SBD’s Hindi Film career in 1946 and would end in1949, leaving out ‘Mashal’ for the next phase.
S D Burman had composed music for 8 films in this period. We have covered 5 films in our post. The 3 films we have not covered are:
Chittorvijay (1947) songs do not seem to have a trace of the digital version on net. The film had had Raj Kapoor, Madhubala, Surendra etc. in the lead. The lyrics of the first line of the songs would lead us to believe that the songs were in female voices. But the trail goes cold beyond that.
Vidya (1948) had Dev Anand and Suraiya in the lead. The male songs, filmed on Dev Anand, have been rendered by Mukesh.
Shabnam (1949) had Dilip Kumar and Kamini Kaushal in the lead. Here too, the male songs are rendered by Mukesh.
This period has one more Raj Kapoor film for which S D Burman has composed the music. Raj Kapoor sings his own songs for that film. 1n 1950, SDB-RK had one more film – Pyas. The male songs, filmed on Raj Kapoor for that film, have gone on to Kishore Kumar.
With these major indicators, the scenario for S D Burman’s career’s first phase can best be summarised as:
This period of 1946-1949 is the period when The Trio of Hindi Films – Dilip Kumar, Dev Anand and Raj Kapoor – were still the budding, struggling, young actors. Their star-image blazing films were to appear only in 1949 or thereafter. Since they were not stars themselves, they seem to have gone on with any playback singer who was the then flavour of the day. S D Burman himself was still not on the firm footing. That was to happen in Mashaal (1949), His branding association with Navketan was to happen in 1950 with Navketan’s maiden venture Afsar. Moreover, Male playback singing is yet to become the oligopolic turf of ’50-60’s singers Mukesh, Talat, Rafi or Manna Dey. The actors on the screen were still expected to playback their own songs.
We open the curtains for the day with this rather long prelude –
S D Burman – S L Puri
S L Puri seems to have played minor to major roles in several films between 1934 and 1957. Not very definitive documentation on him seems to be available on net.
Babu Re Babu Re Dil Ko Bachana – 8 Days (1946) – with S D Burman – Lyrics: Qamar Jalalabadi / G S Nepali (?)
What we have is an audio clip, so we assume that S L Puri would have sung for himself, However for who did S D Burman played back is not known. These details apart, S D Burman singing a very light song is novel, and a pleasurable, experience!
S D Burman – Chitalkar
How would SDB and CR have teamed as music director-singer combination remains a matter of conjecture – may be C Ramchandra was still not established as music director in his own rights, so he would have been accepting the stand-alone singing assignments or was his availability on Filmistan rolls the catalyst for this combination ? We know not.
Ik Nayi Kali Dubli Si Dulhan Ban Ke.. – 8 Days (1946) – with Meena Kapoor – Lyrics: G S Nepali
The song appears to be a wedding-occasion song, but cast in a lighter tone.
S D Burman – Chitalkar music director-singer duo has one more song on the records. The song is from a film which dates a good six years after their maiden combined venture. However, we have included that song here to bring all the songs of SDB-CR combination on the same page.
Teriya Teriya Teri Yaad Sataye Teri Yaad – Chalis Baba Ek Chor (1954)- with Lata Mangeshkar – Lyrics: P L Santoshi
The way Teri Yaad has been played up as Teriya Teriya, the mood, and the composition of the song would lead to believe that song would have been composed by C Ramchandra !. Moreso, when film belongs to the phase of S D Burman’s career where he, and for that matter most of the then other established music directors, had well settled with using only the main stream male singers for his songs.
Is that P L Santoshi’s influence, since he was the director of the film as well?
S D Burman – Ashok Kumar
This is the first year of S D Burman in Hindi Film Industry. Ashok Kumar is already the default lead actor for Filmistan banner at that time. Ashok Kumar also used to sing his own songs in that period. So, the combination would not cause many surprises.
Their next association was in Mashaal (1950), by which time Ashok Kumar probably had decided to focus more on his acting. So it is also not surprising that S D Burman has used different singers for Ashok Kumar after this one film.
In the subsequent instance of such a situation, in Meri Surat Teri Aankhen (1963), S D Burman has even used two different singers – Manna Dey and Mohammad Rafi – as he used to do for Dev Anand too, by that time.
Dol Rahi Hai Naiya – Shikari (1946) – with Chorus – Lyrics : G S Nepali
Dol Rahi Hai Naiya – Shikari (1946) – with Paro Devi – Lyrics : G S Nepali
This is the twin of the foregoing song.
Har Din Hai Naya – Shikari (1946) – with Amirbai Karnataki – Lyrics : G S Nepali
S D Burman – Shyam Sundar
That this Shyam Sundar is not the then famous actor Shyam is not difficult to know. It seems there was another Shyam Sundar who as primarily a music director. Making any statement beyond that is simply outside the domain of my limited knowledge of the pre-1950 Hindi Film Music world.
Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: Y N Joshi
Hero’s sidekick friend has landed upon photograph of the beau who has stolen way his heart. So who would miss the occasion of the pulling the leg and get away with?
Muhobbat Ki Na Khana Mithai Na Khana Muhobbat Ki Mithai – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: (?)
HFGK is silent about the singer or the lyricist. When we llot the video and listen to the song, it is not difficult to surmise that singer is none other but Shyam Sundar.
Sar Phod Phod Ke Mar Jaana Kisi Se Dil Na Lagana – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: Y N Joshi
It seems that now the well-wisher friend of the hero has taken up on himself to get the hero’s lady love to nod in favour of his friend.
S D Burman- Raj Kapoor
Dil Ki Rani (1947) is the second instance when S D Burman and Raj Kapoor have teamed up. In those years, that cannot be the news. The news is Raj Kapoor singing for his own song – whether on his own volition or on the direction of the music director S D Burman, is obviously not known. The fact remains that this is only one such incidence of the kind.
O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – Lyrics: Y N Joshi
Hero is an upcoming singer. Here he is recording his song for radio.
O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – With Geeta Roy – Lyrics: Y N Joshi
The song has become so famous that people from all walks of lives keep singing the song. Technically, this can be termed as Raj Kapoor’s playback song for other actor(s).
S D Burman – G M Durrani
The film is Do Bhai (1947). By now, S D Burman seems to have settled with choosing Geeta Roy for female playbacks. Incidentally, Mera Sundar Sapna Bit Gaya is the first major evergreen, all-time hit song under S D Burman’s baton.
Aji Preet Ka Nata Toot Gaya – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan
G M Durrani was a well-established singer then.
S D Burman – K S Ragi
KS Ragi is one more unknown name to me. So I search for more information on him on some more versed blogs on the film songs. I do not have to search a great deal, since I land upon a post guest written by Shri Arunkumar Desmukh, wherein he has provided this basic information about K S Ragi:
“Kewal Singh Ragi was born and brought up in Hanamkonda, Warangal in erstwhile Andhra Pradesh (now it comes in Telangana).. When he was in his teens, he ran away to Bombay.. and as luck would have it, managed to get entry into All India Radio and started singing there. He was in Bombay for 12 years. He not only got a chance to sing in films,but he composed music too as well as acted in some films,like Daag-52 and Patita-53 etc….He sang in films from 1940 to 1952 and sang songs with Geeta Roy, Shamshad Begum, Uma Devi, Kishori (supposedly, his own sister), Zebunnisa, Khursheed, Roshan ara Begum, Razia Begum etc.…. Some of the films he sang in were, Do Bhai-47, Namumkin-46, Hamari qismet-49, Siskiyan-58, Bulbul-51, Humraz-40, Azamaish-52 etc. He gave music to Bulbul-51 and Siskiyan-58 (unreleased).”
Yaad Rakhana Mujhe Yaad Rakhana, Preet Ki Duniya Meri Abaad Rakhana – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan
A close look at the video clip shows that the present song as well as the previous song has been sung by the same actor – Ulhas – on the screen, but S D Burman has chosen to use different playback singers. This practice of choosing different singers for the same actor in one film – most particularly in the case of Dev Anand – based on the demands of his tune was to become a major differentiator, in the years to come, that separated S D Burman form his peers .
S D Burman – Surendra
The film is Kamal (1949). Surendra was already an established actor-singer by this time. However, S D Burman has very deftly handled the actor as a singer.
Main To Hun Udaas, Woh Bhi Hai Saukh Jafar Gham, Unke Bhi Dil Mein Dard Hai, Ae Dil-e-Udaas Kyun – Kamal (1949) – Lyrics: Prem Dhawan
Is the use of Ae dil-e-Udaas Kyun, which were closely rhymes similar to K L Saigal’s Ae Dil-e-Bequarar Kyun do we see a subtle attempt to encash Surendra’s fame as ‘Bombay K L Saigal’!
Ab Raat Gayi Beet Re – Kamal (1949) – Lyrics: G S Nepali
Here is the song that presents both Surendra and S D Burman the way we have always known.
Jhoom Jhoom Ke Naache Manwa Gaye Ja Gaye Ja – Kamal (1949) – Lyrics: Prem Dhawan
To me, it appears tune is more akin to S D Burman’s style of singing!
Kahane Ko Hai Taiyar Magar Kaise Kahe Hum – Kamal (1949) – with Geeta Roy – Lyrics: G S Nepali
Surendra joins in only the last stanza.
S D Burman – Motilal
S D Burman once again explores the vocal chords of someone who is known as an actor …
Pyara Pyar Hai Sama My Dear Come to Me – Kamal (1949) – with Meena Kapoor – Lyrics: Raja Mahendi Ali Khan
Most of us would not be able associate either Motilal or Raja Mahendi Ali Khan in such a light mood!
Thus ends the period when it is said that S D Burman was highly dissatisfied with the fruits of his labor at Bombay and was very actively considering going back to Calcutta.
At this point his career is delicately poised at To Be or Not To Be.
We also take a pause at this point and will resume S D Burman’s career journey through the vehicle of his songs for ‘Other’ Male Singers in the next part of this post.