Tag: Bulo C Rani

Fading Memories…. Unforgettable Songs: July 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1944-1946

To commemorate the memory of Mohammad Rafi on his birth anniversary, December 24, 1924, @ Kotla Sultan, Sindh and death anniversary, July 31, 1980 @ Mumba, we have had taken up Mohammad Rafi’s first solo song with a music director, from December 2016 till 2020. The present series of Mohammad Rafi’s First Duet Song with the Music Director is the natural follow-on series.

The series is quite simple at its core. Mohammad Rafi’s exceptionally long career is divided in five-year periods, pick up the first ever association with music director(s) in the chronological order in that five-year slot and then pick up the first film which has the first duet song of the music-director – Rafi combination. If the film has more than one duets, then we take up the least heard one for a closer look and take note of the others. The primary focus would be male-female duet, but we will take due note of first male-male duet or even triads from that combination if and as and when they come up in later years. We will limit the scope of the present series till the year 1969.

I do not have any pretense of evaluating influence of different music director on Mohammad Rafi’s singing style or the contribution of each other to the furtherance of each other’s careers Our goal is quite simple: refresh our memories of Mohammad Rafi’s fading-from-the-memory-duet-songs and bring them on one page and enjoy them on the call.

1st Five-Year Period: 1944 -1948

That Mohammad Rafi’s talent was first taken note of in 1937 in public function whereat he sang for K L Saigal, his initial introduction with music director Shyam Sundar are now a matter of folklore. Shyam Sundar recorded the first ever film song of Mohammad Rafi in Punjabi film Gul Baloch (which was released in 1944) in 1942. As is well-known now, that was a duet, with Zeenat Begum – Pardesi…Sohneys Oye Heeriye Oye. The song had become an instant hit, well before the film was released. The records also show that that film had one more duet, composed by Dhani Ram, with Munnavar Sultana – Achhanve – too.  

1944

Once Mohammad Rafi reached Bombay (as it was then known) from Lahore, after Shyam Sundar gave him an introduction letter, the way Mohammad Rafi could meet Naushad are the events very vividly covered in Mohammad Rafi’s biographies. For the purpose of our present series, the story begins after Mohammad Rafi got his first break in Hindi films under Naushad, which happened to be a chorus song – Hindustan Ke Hai Hum, Hai Hindustan Hamara; record # GE3416 – in the company of Shyamkumar, Allauddin Naved and B. M. Vyas in the film Pahele Aap.

The year 1944 has one more landmark in Mohammad Rafi’s personal life- his marriage with Bilquis Bano.

Naushad’s association with Mohammad Rafi took some time before it turned into a Fevicol bond. Naushad–Mohammad Rafi combination has yielded around 149 songs to the Hindi film industry.

Tum Dilli Main Agre, Mere Dil Se Nikale Haye Fasla Sau Kos Ka, Humane Sawan Bito Jaaye – Pahle Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3419]

A close listening to the lyrics indicates that Mohammad Rafi seems to be singing for an actor who plays a female role in this nautanki song.

We will make an exception here and listen to another duet from this film –

Ek Bar Unhein Mila De, Phir Meri Tauba Maula… Ab To Lagi Booja De, Phir Meri Tauba Maula – Pahele Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3417/19]

Mohammad Rafi seems to have been given a second fiddle in comparison to more experience Shyam Kumar, but that has not deterred the budding singer a bit.

1945

We have four music directors opening their relationships of duets with Mohammad Rafi in the year 1945.

Shyam Sundar is always remembered for his meticulous choices of instruments (Kis Tarah Bhoolega Dil; Gaon Ki Gori, 1945), wonderful composition (Mausam Aaya Hai Rangeen; Dholak, 1951) and choice of singers (Saajan Ki GaliyaN Chhod Chale; Bazar, 1949).

Jab Dil Ho Kaabu Mein to Dildar Ki Aisi Taisi… Tauba Tauba Husn Ke Sarkar Ki Aisi Taisi.. – Gaon Ki Gori, a.k.a. Village Girl – with G M Durrani, an unknown male singer – Lyrics:  – Wali Sahab – Music: Shyam Sundar

This song is on record number GE3596, i.e. later in then the Pahle Aap songs here above,  but is widely considered as Mohammad Rafi’s first Hindi film song.

Incidentally, during his very initial years, G M Durrani was Mohammad Rafi’s role model for singing. As fate would have it, it was Mohammad Rafi who played back to GM Durrani  in Unke Khayal Aaye To Aate Chale Gaye (Lal Paththar, 1971; Lyrics:  Hasrat Jaipuri; Music – Shanker Jaikishan)!

H P Das (1905 – 1989) was one of the leading Bangla music directors who was successful in Hindi films as well.

Dil Diye Chalein… Hum Jiye Chalein Aise – Begum – with Mohantara Ajinkya – Lyrics: G S Nepali – Music – H P Das

We have a very pleasant, fast-paced song. Mohammad Rafi sounds so young.

Gobind Ram was a versatile music director of 40s. He is considered to have great influence in shaping the Hindi film music of 40s.

Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya – Hamara Sansar – with Shamshad Begum, Zohrabai – Lyrics: Ramesh Gupta – Music: Govind Ram

Mohammad Rafi sings in lower scale to begin with then raises the scale to higher octave.

Asides: Mohammad Rafi acted in a cameo role in Laila Majnu song Tera Jalwa Jisne Dekha (with S D Batish and chorus; Lyrics: Tanvir Naqvi- Music: Gobind Ram)

Alla Rakha (a.k.a. A R Qureshi) would need any introduction to those who have even rudimentary exposure to the classical music. He was basically the famous tabla player, who composed music for around 30 films between 1943 and 1958.

Topi Wale Babu Ne Dil Chheena Re Mora Man – Kul Kalank – with Amirbai Karnataki – Lyrics: Roopbani – Music: A R Qureshi

For relatively new entrant, Mohammad Rafi exudes fair amount of confidence.

1946

Mohammad Rafi’s career wagon seems to be picking up the momentum, wih 8 muisc directors using his voice for the duets.

Firoz Nizami was the first music director who gave Rafi popularity in Lahore by offering him a chance to sing for AIR at its Lahore radio station.

Main Jab Chhedun Prem Tarana Naache Mere Saath Jhamana– Amar Raj – with Mohantara Ajinkya – Lyrics: Pandit Fani – Music : Firoz Nizami

Interestingly HFGK mentions ‘other singer’ to accompany Mohantara Ajinkya.  Shri Sudhir Kapur explored the matter in details and what comes out is truly unbelievable. The details can be read@ Main jab gaaun geet suhaanaa

Asides: It would be opportune to enlist the song on the side 2 of that fateful record GE3795 – a solo by Mohammad Rafi

S Quereshi is not a familiar name among the music directors.

Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne – Arab Ka Sitara – with Ameerbai Karanataki – Lyrics: Shewan Rizvi – Music: S Quereshi

HFGK does not have names of the singers identified for the songs of the film. I have selected the song from one of the highly authentic-considered spreadsheet compilations of Mohammad Rafi’s filmography by Mauveen. However, when we listen to the song, female voice is accompanying in mukhada and then is part of the chorus, only. So, for all practical purposes, the song is a Mohammad Rafi solo only.

Shankar Rao Vyas was a classically trained vocalist and musician. He had 35 Hindi, 5 Marathi and 3 Gujarati films to his credit in the career spanning 1937 to 1955.

Naino Se Mad Madira Pilaakar Tumne Humein Deewana – Ghunghat – with Nirmala – Lyrics: Ramesh Gupta – Music: Shankar Rao Vyas 

We have here a romantic song that begins in form of exchange of dialogue that is acceptance of mutual love.

S N Tripathi[1] who worked under the baton of legendary Saraswati Devi was a versatile artist a music director, director, and actor.

Jai Hind…Ye Hind Ki Kahaniyan… Sansar Ke Itihas Ki Ye Hai Amar Kahaniya – Mansarovar – with Geeta Dutt, Binapani Mukhrjee – Lyrics: Saraswati Kumar Dipak – Music: SA N Tripathi

HFGK lists the singers as ‘Chorus’ only. However, Geetadutt.com and other reliable sites mention Geeta Dutt and Beenapani Mukherjee as co-singers along with chorus.

Premnath has had formal training of music in his formative years. Rangbhoomi is his maiden film as an independent music director. He has given four songs to Mohammad Rafi, one with chorus and three duets with Shamshad Begum.

Khud Samajh Lo Iletajha Kya Hai, Hum Hi Keh De To Phir Maza Kya Hai – Rangbhoomi – with Shamshad Begum – Lyrics: Arzoo  Lakhanavi – Music Premnath

Mohammad Rafi sings in a typical vintage era style here.

Other duets are: Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar (with Shamshad Begum – Lyrics: Arzoo Lakhanvi) does not seem to be available on YT and Jo Aage Badhe Use Peechhe Hata Do with Shamshad Begum – Lyrics: Pandit Fani) – a second part of the Rafi and Chorus song Sue Manzil Badhaye Chala Chal. – is available together in one clip@ https://youtu.be/KHAk87nu8w8

Hanuman Prasad is known mostly for the discovery of Geeta Roy, when she was 16, and gave her few lines in foiur songs of film Bhakta Prahlad (1946). He is also director of the present film, Raseeli.

Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun – Raseeli – with Shamshad Begum- Lyrics: Hanuman Prasad – Music: Hanuman Prasad

Here is the song that is inherently poignant, as Rafi and Shamashad render it in low octaves. It must have been quite an experience to the budding Rafi!

The film has another Shamshad – Rafi duet, Yah Nayan Kyun Sharma Gaye (Lyrics: Gaafil Harnaalvi) where Rafi can be heard in early raw tone.

Bulo C Rani is a leading vintage era music director.

Jaao Jaao Na Bolungi Main Accha Ji Hato Hato – Saalgirah – with Kaumudini Deekshit , an unknow female singer – Lyrics: Wali Sahab – Music: Bulo C Rani

This a mischievous mood romantic song, where Mohammad Rafi indulges in music-director guided ‘harkats’ of interrupting with Aisa Kya and all. In the later years, Mohammad Rafi was known to do so spontaneously to make the songs lively.

Taufil Farooqi (1916-1988) is fondly recalled as creator of the original Zumka Gira Re (Dekhoji, 1947 – Shamsahd Begum).

Baithe Hain Tere Dar Par Kuchh Karke Uthenge – Sona Chandi – with Shamshad Begum – Wali Sahab – Music: Taufil Farooqui

This can be considered maiden Chhed Chaad song for Mohammad Rafi.

We will make an exception to include another duet –

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – with Amirbai Karnataki – Lyrics: Khawar JamaN – Music: Taufil Farooqui

Here we have a totally romantic duet. Mohammad Rafi quite easily matches sur-by-sur with experienced Amirbai.

We will take up Mohammad Rafi’s First Duet with a Music Director for the years 1947 and 1948, of the First Five-Year Period: 1944-1948, in our December 2021 episode.

[1] S N Tripathi’s Unremembered Songs from 1941 to 1968

Carnival of Blogs on Golden Era of Hindi Film Music – May 2021

Welcome to May 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our tribute to Vanraj Bhatia who left for heavenly abode on 07.05.2021.

(Photo: Rajya Sabha TV/YouTube)

Vanraj Bhatia dies at 93, He was best known for the music of films such as Ankur, 36 Chowringhee Lane and TV show Tamas, has passed away at the age of 93. The veteran music composer was battling poor health and financial constraints.

‘An Indian film without songs is meaningless’ – Jyoti Punwani draws memories from her interviews with the legendary composer – Vanraj Bhatia himself explained what made his music so unique…. “The first duty of music is to express the film’s texture, and the second is to be able to stand on its own feet. It must be absolutely perfect,” he said…. “When I compose, I make the music matter in the film, even if the director pushes it into the background. Like my teacher would say, you must speak the same language as everybody else, but infinitely better.”

When Vanraj Bhatia asked me to mail his opera DVD and resume to the world’s major opera houses – Luis Dias – In an interview in early 2013, the great music composer professed to me his love affair with opera and shared his earnest hopes.

Night Music for Solo Flute (Rachel Woolf) by Vanraj Bhatia

Legacy Of The Enigmatic Vanraj Bhatia – Sunil Sampat – On the occasion of a felicitation of Bhatia at the NCPA in March 2017, Zakir Hussain said, “Vanraj Bhatia is India’s greatest ever composer. Period.” 

Young Vanraj with his family

Vanraj Bhatia’s extraordinary, multi-faceted oeuvre – Ranjit Hoskote – The composer’s transcultural experiments were always intense and persuasive.

I have always liked Vanraj Bhatia’s interview with Irfan, of Rajya Sabha TV – Guftagoo with Vanraj Bhatia for his candid views. The song that Vanraj Bhatia refers to @22.48 is Barse Ghan Saari Raat – Tarang (1984) – Lata Mangeshkar – Vanraj Bhatia – Raghuvir Sahay

It’s a long narrative number describing a deserted wife’s desolation. About the song, Lataji recalls, “It was one of the most difficult and complex songs of my career. [Ref: Vanraj Bhatia’s CHALLENGE for Lata Mangeshkar – SUBHASH K JHA]. The story that is connected with the song is also narrated by Harish Bhimani in In Search of Lata Mangeshkar’ (1955, Harper-Collins, ISBN 81-7223-183-0) – excerpted as hereunder, as a footnote on page 102 – “Composer Vanraj Bhatia rushed in excitedly….exclaiming, “(Lata) Bai stayed back yesterday to listen to my recording !”……”….The intent of this passage is that Lata Mangeshkar, who never waited to check back on her recording, was keen to know how the song was recorded.

We now move on to other tributes and memories:

The Masters: Majrooh Sultanpuri – Majrooh’s simple turns of phrase expressed the most profound emotions. With more than 6,000 songs in over 300 films to his credit, Majrooh’s poetry traversed the gamut from the soulfully romantic to philosophical, cynical and devotional.

Remembering Bulo C Rani who debuted as independent music director in Pagli Duniya (1944).

Remembering Naushad: The music director beyond compare – Ajay Mankotia – Naushad passed away on May 5, 2006 – 15 years ago. But old masters never die. The music lovers and connoisseurs still adore him.

India’s DeMille: Remembering Mehboob Khan on his 57th death anniversary – Shaikh Ayaz   – We know him as the ambitious maker behind Bollywood’s greatest ode to Indian womanhood (1957’s Mother India) and perhaps as the founder of Mumbai’s iconic Mehboob Studio. But Mehboob Khan was more than that.

‘Teesri Kasam’ was the perfect meeting of minds between Phanishwarnath Renu and Shailendra – Phaniswarnath Renu had named his youngest daughter Waheeda Rehman, after the actor who played the lead in Teesri Kasam.

Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey – Even as several of Dattaram;s songs with Mukesh and Manna Dey have had large following, Dattaram was not limited Mukesh And Manna Dey.

Kaif Irfani – A Forgotten name – Here is his very popular, romantic song Dil Tujhe Diya Tha Rakhane Ko – Malhar (1951) Mukesh / Music – Roshan

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

Laxmikant-Pyarelal’s story is as much about friendship as it is about their tunes – Ganesh Vancheeswaran – The 1963 B grade film, Parasmani set the tone for an unprecedented 35-year-long run for Laxmikant-Pyarelal, in which they offered 3,000-odd songs they composed in about 500 films.

Pyarelal (left) and Laxmikant. Courtesy Rajeshwari Laxmikant.

Ban Mein Bahar Aa Gayee, Man Mein Umang Chaa Gayi – Balwant Singh was born in 1918.He got his break aas a singer, for Bomaby Talkies’ film Jeevan Prabhat (1937).. Here is his duet with Devika Rani from the film – Tum Meri Tum Mere Saajan (Music – Saraswati Devi = Lyrics: J S Kashyap).

Digging (Into) the ’60s and early ’70s Songs of Usha Uthup/Iyer – Usha Uthup has a very special voice as far as Indian film singers go, a bit lower and thicker even than many western female singers’, and it often has a certain unusually appealing hoarseness too. before she sang in Hare Rama Hare Krishna for R.D. Burman, she got a role singing as part of a Shankar-Jaikishan soundtracks in Bombay Talkie (1971) – Hari Om Tat Sat and Good Times and Bad Times..

May 2021 episode of Fading Memories, Unforgettable Songs takes up Manna Dey – Chale Ja Rahein Hai…. 1954 – 1955. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the 2020 episode.

When Rafi sang for Hanuman, Manna for Ravan… – On the legendary Manna Dey’s 102nd birth anniversary, Subhash K Jha traced an interview he had done with Mannada way back in 1997.

We now move on to songs on other subjects –

Romantic Songs with a Third Person – These are songs where apart from the couple in love, there is someone else in the frame – either obtrusively or unobtrusively

Here’s A Vintage Pic Of Raj Kapoor And Wife Krishna –

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

  • Sharada: Of love that is beyond labels – Starring Meena Kumari and Raj Kapoor, LV Prasad’s Sharada is the kind of romance that makes you question your understanding of love, and how meaningful relationships can exist, even with the strangest labels.
  • Awara: Of nature vs nurture – Starring Raj Kapoor, Nargis and Prithviraj, Awara is set in an era where climbing out of the vicious cycle of poverty was near impossible, and strangely enough, times haven’t changed much in the last 70 years.

The Catch-22 Songs which juxtapose options and thus, present dilemmas. Some are frivolous whereas the others are weighty.

Composers sing for themselves: Ten songs are the songs where a composer actually recorded—and it was included in the film in question—a song in his/her own voice

Anand Bakshi on his legacy as a film lyricist: ‘My songs will beat just as our heart beats’ – An excerpt from a biography, Nagme, Kisse, Baatein, Yaadein – The Life & Lyrics of Anand Bakshi, Rakesh Anand Bakshi, Penguin Random House India, of the songwriter whose career in Hindi cinema spanned six decades.

Rabindra Sangeet in Films: 10 Songs  – Sankhayan Ghosh presents a range of songs, from the obvious to the not-so-obvious to the innovative.

Regional Star, Hindi Also-Ran: Ten Actors, Ten Songs –who, for some reason or the other, never could make it big in Hindi cinema.

‘क्या भूलूँ क्या याद करूँ’ – a journey into what one wants to forget and what to remember.

In continuation to our 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.

Tum Hase To Gam Sharmaya – Dana Pani (1953) – with Shamshad Begum – Mohan Junior – Kaif Irfani

Aate Jaate Aankh Bachana ..Haye Re Tera Jawaab Nahin – Mehbooba (1954) – with Shamshad Begum – OP Nayyar – Majrooh Sultanpuri

Mujhe Jag Ki Bana De Malika, Phir Malik Ban Mere Man Ka – Dark Street (1961) – with Suman Kalyanpur  – Dattaram – Gulshan Bawra

Shokhiyan Nazar Mein Hain – Aasra (1966) – Laxmikant Pyarelal – Annad Bakshi

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.

The Micro View of Best Songs of 1945 @ SoY :: Male Solo Songs – Vintage Era Singers [2]

We had taken up first batch of 10 Vintage Era Male Solo Songs fro the year 1945 last week.

Presently, we will take up the concluding batch of 10 more Vintage Era Male Solo Songs fro the year 1945.

Falak Ke Chand Ka Hamne Jawab Dekh Liya – Ek Din Ka Sultan – G M Durrani – Shanti Kumar – Wali Sahab

O Varsha Ke Pahle Badal, Mera Sandesh Le Jana – Megh Doot – Jagmohan – Kamal Dasguta – – Faiyaza Hashmi

Mubarak Ho Ye Jalsa Tajposhi Ka – Nagma-e-Sahara – Khan Mastana, Chorus, – C Ramchandra – Ehsan Rizvi

Hawa Tera Jo Udhar Ho Jaana, Sandesha Mera Tu Leti Jaana – Parinde – Surendra – Pt. Govind Ram – Rammurti

Pinjare Ke Panchhi Ud Ja Re, Ud Ja – Preet- Bulo C Rani – Bulo C Rani – D N Madhok

Tooti Hui Kashti Ka Kaun Bane Sahara – Sanyasi – Amar- Naushad – Pt. Budhhi Chandra Agrawal ‘Madhur’

Hindustan Ki Khatir Hum Jaan Lada Denge – Village Girl – G M Durrani, Chorus – Shyam Sundar – Wali Sahab

Kahe Man Bechain Sajani – Wasiyatnama – Asit Baran – R C Boral – Zakir Hussain

Main Us Se Karu Pyar – Yateem – G M Durrani – Khursheed Anwar – Zia Sarhadi

Muddat Ke Bad Aye Ho, Kahan Kaise Mijaj Hai – Zid – Sundar, Chorus – G A CHisti – Shanti Swaroo Mathur

HFGK mentions the singers as Sundar and chorus, whereas the female voice in the song comes in more like a duet song.

We will take up Solo Songs of K L Saigal for the year 1945 in our next episode.

The Micro View of Best Songs of 1947 : Male Solo Songs – Other Male Singers

On the whole, this list does present quite a kaleidoscopic picture pf the range of male singers. It would be interesting to note the presence of lyricist like G S Nepali or Music Directors like, Bulo C rani or Sardar Malik or even actors like Raj Kapoor in this list. Would it mean that there were not many known names in the field?

G S Nepali – Azad Hai Ham Aaj Se, Jailo Ke Taale Tod Do – Ahinsa – C Ramchandra – G S Nepali

Rafiq Ahmad – Apna Ghar Pahechan Bande..- Amar Asha – Shanti Kumar –

S D Batish – Aashiyan Apna Luta Apni Nazar Ke Samane – Arsi – Lachchiram / Shyam Sundar- Sarshar Sailani

Raj Kapoor – O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – S D Burman  – Y N Joshi

There is a duet version of the song in the film, in which Geeta Roy accompanies Raj Kapoor.

I have not been able to locate the soft link for this song:

Raj Kapoor – Piya Milane Naveli Jaaye Re – Jail Yatra – Ninu Mazumdar – Rammurty

Shyam Sundar –Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Shyam Sundar – Muhobbat Ki Na Khana Mithai Na Khana Muhobbat Ki Mithai – Dil Ki Rani (1947)  – Lyrics: (?)

Shyam Sundar – Sar Phod Phod Ke Mar Jaana Kisi Se Dil Na Lagana – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Ninu Mazumdar – Duniya Saari Jail Re Jiski Oonchi Diwarein – Jail Yatra – Ninu Mazumdar – Sajjan

Krishan Chandra Goel – Vrindavan Ki Kunj Galin Mein Lathile Dhen Charae – Krishna Sudama – Shyam Babu Pathak –

Hemant Kumar- Ishare Ishare Mein Duniya Badal Li – Manamani – Kamal Dasgupta –

Bulo C Rani – Kal Chalate Chalate Unse Mulaqat Ho Hayi – Mulaqat – Khemchand Prakash – Qamar Jalalabadi

Amar – Bhool Ja ….Aye Wo Batein Bhool Jaa – Natak – Naushad Ali – Majrooh Sultanpuri

R P Sharma – Aye Bewafa Zamane Ham Se Daga Na Karana – Renuka – Sardar Malik – Qamar Jalalabadi

Malik Sardar – Sunati Nahi Duniya Kabhi Fariyad Kisi Ki – Renuka – Sardar Malik – Qamar Jalalabadi

Rati Kumar Vyas – He He He Mulak Kathiawad Dharti Par Dujo Nahi – Woh Zamana – Bulo C Rani – Pandit Indra

We will take up MY Top Male Solo Songs for 1947 in our next episode.

Fading Memories….Unforgettable Songs: January, 2016

The songs that we have for the present episode, incidentally, presents quite an interesting mix – both in terms of music directors or playback singers or even the year in which these songs were first released.

Harish Raghuvanshi remembers:

All songs of ‘Saawan’ (1959) – Hansraj Behl – Prem Dhawan

As we listen to this anthology, we get to listen to several songs that have faded up in the memory, along with some which remain evergreen…..

For those who would prefer to listen to each song individually, here is the bouquet of these gems to pick and choose from:

Bhagwan Thavrani has remembered a wide range of the songs, with equally interesting commentary:

Mere Laadlo Tum to Fulofalo – Sant Gyanenshwar (1964) – Lata Mangeshkar – Laxmikant Pyarelal

This is a wonderful lori with wonderful words and usual Lata magic, still it’s almost forgotten…

There is a second version of this song.. in Mohammad Rafi’s voice

O Mrignayani Chnadramukhi – Rang Birangi (1983) – R D Burman

It’s a classical song by Pt. Vasantrao Deshpande with (perhaps) Arti Mukherjee…but I like the picturisation of the song and wonderful rendering by the Maestro Om Prakash and Chhaya Deviboth actors enact their “seen it all ” feelings in a deft manner and their love for each other shows…and how !  साथ जियेंगे साथ मरेंगे गाते गाते गाना.. ..lyrics is by Yogesh ( or is it Maya Govind ! )..

Saari Duniya Se Poochha – Milan (1958) – Lata Mangeshkar – Hansraj Behl

We all remember this 1958 film MILAN for that divine Lata number हाए जिया रोए, but listen to this one…it is a wonderful tune which all of you might have heard often …just trying to take it out from the shadows of more famous one….!

Jahanwale Tune Ye Kya Jindagi Di Jo Aaj Tak Hua Na – Gule Bakawali (1963) – Mohammad Rafi – Hansraj Behl – Gulshan Bawra

Immortal Rafi … Raag Darbari tune by Hansraj Behl . same Raag as in . हाए जिया रोए

Alvida Jaan-e-wafa – Benazir (1964) – Lata Mangeshkar – S D Burman

This gem is from Bimal Roy’s BENAZIR, a flop and forgotten film of the 60’s. It was directed by an unknown director Khaled. It was a Muslim social featuring Ashok Kumar, Meena Kumara, Shashi Kapoor and Tanuja among others. Music had the unique combination of Sachin Dev Burman and Shakeel Badayuni. The film had famous Rafi solo ‘ Dil Me ek Jaan-e-Tamanna Ne Jagah Pai hai ‘ and a couple of other Lata solos which are excellent yet not very popular. To me, this Lata song takes the cake. It was deleted from the film, hence only audio of the song is available. The lyric is so meaningful and a bit tragic.

Samir Dholakia remembers songs –

Beeta Hua Ek Sawan – Shokhiyan (1951) – Lata Mangeshkar – Jamal Sen, as remembered by Mahesh Joshi of Rajkot

One of his melodious but lesser known song…… This song was originally created for film “Shokhiyan “of Kedar Sharma, who introduced him in film. But somehow this beautiful song was not included in that film. After the death of Jamal Sen in 1979 , Kedar Sharma utilized the same in tele film named “Pahela kadam” in 1980.

Here are two songs which were the main subject of Arun Kumar Deshmukh’s posts on Atul’s Song A Day

Samaa Ye Pyaar Ka Bahaar Ke Ye Mele – Baaghi Sipaahi – (1958) – Manna Dey, Asha Bhonsle – Shankar Jaikishan –

This is the 2nd of Manna Dey – Asha Bhosale duets. First one – Raat Gayi Phir Din Aata Hai – was in 1953 film – Boot Polish. Boot Polish also had triad – Thahar Jara O Jaanewale (Manna Dey, Asha Bhosle, Madhubala Zaveri). They went on to record 168 duets till 2005. As against this, Manna Dey – Lata Mangeshkar pair have recorded 106 duets.

Aaja Aaja Aaja Nadiya Kinaare – Raajhath (1956) – Lata Mangeshkar -Shankar Jaikishan – Shailendra –

presented by Helen on the screen

In Four Aces and A Queen, Parag Sankla has presented less remembered songs of Geeta Dutt, by Hansraj Behl, Chitragupt, Bulo C Rani and Avinash Vyas. We have picked up one representative song of each of the music directors mentioned in the article but for which the video links were not provided

Do Roz Ka Jalwaa Hain, Dikhane Ke Liye Hain – Rajput (1951) – Geeta Dutt, Hameeda Bano and Chorus – Hansraj Behl –

An all-female quawaali, indeed a rare one in so far as Geeta Dutt is concerned.

Nadiyaa Kinaare Mora Dera, Mashal Jale Saari Ratiya – Tarang (1952) –

a quartet with Mohammad Rafi, Shamshad Begum, Geeta and composer Chitragupt himself singing a few lines! Between the year 1958 and 1963, this wonderful singer and Chitragupt created as many as fifty plus songs….

Jawaniya Nigodi Sataaye, Ghoonghat Mora Khul Khul Jaaye – Darogaji (1949) – Bulo C Rani – Geeta’s voice could turn so youthful and natkhat…..

Gun Gun Gunjan Karata Bhanwara – Har Har Mahadev (1950) – Avinash Vyas – Gun Gun so creatively succeeds in recreating the humming of the wasp…

K S Bhatia and other readers have been in enriching the post My favourite ‘special’ Asha Bhosle songs by way of quite interesting add-on comments. In fact the avalanche of such songs by all the readers would call for several separate posts to do the justice. We have picked up one song here:

Aap Ki Baaten Aap Ki Kasmen Sab Jhoote – Kala Samunder (1962) – N. Dutta

The discussion also has added a few songs like this one by Suman Kalyanpur as well.

Meri Preet Mera Pyar Bole Aaj Baar Baar – Teerath Yatra (1958) – Suman Kalyanpur – Suresh Talwar

https://www.youtube.com/watch?v=7qnkA_d_No4

I had fairly encouraging discussion with Maulika Dersari w.r.t. our December, 2015 episode. While she fondly remembered Zindagi Kitni Khoobsurat Hai, Aayie Aap Ki Zaroorat Hai (Hemant Kumar in 1963 film ‘Bin Badal Brsaat’ ). This one has twin version in Lata Mangeshlar’s voice as well. That led me to search for Hemant Kumar’s duet with Lata Mangeshkar :

Ho Dheere Dheere – Aagosh (1953) – Roshan – Shailendra

We shall conclude our present episode with Mohammad Rafi songs composed by Anil Biswas for ‘Heer’ (1956)

O Khamosh Jamana Hai – with Asha Bhosle – Majrooh Sultanpuri

Le Jaa Uski Duaaen, Jo Tera Na Ho Saaka – Majrooh Sultanpuri

Preet Ka Rogi Ho Ya Jogi, Allah Teri Khair Kare – Rajendra Krishna

We will meet again on 2nd Sunday of the next month… with more unforgettable songs that have started slipping out of our memory….

If you have such songs to share, you are most heartily welcome…..

The Micro View of The Best Songs of 1950 @ Songs of Yore – Summing Up – II: Duet Songs and The Best Music Director

We now conclude our micro-view of songs of a particular year – Best songs of 1950: And the winners are?. We have covered up documentation of the further micro-review of the songs C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad, Anil Biswas and other Music directors’ Lata Mangeshakar’s songs, as well as those of Suraiya and Shamshad Begum in June 2015 and Rajkumari, Geeta Roy and Other female Singers in July 2015.. We had then continued to explore Male Solo Songs of Mukesh, Talat Mahamood, Mohammad Rafi, G M Durrani and Chitalkar, Manna Dey, Arun Kumar, Manmohan Krishna and Others too in July 2015. During August 2015, we had Other playback singers for Raj Kapoor and Male-Female duets of Mukesh, Mohammad Rafi, Talat Mahmood, G M Durani and Those of Chitalkar and Other Male Singers for our micro-review. In the concluding month of September, we completed micro-review of Triads / Triads+ too.

Having covered all the facets – Female Solos, Male Solos, Male-Female / Male-Male/Female-Female Duets and Triads /Triads + – in individual details from micro-view of ‘Best songs of 1950: And the winners are?, I presented MY choice of the TOP 10 songs in Female Solos as well those in Male Solos in the previous episode.

Summing Up – Duets

The last category in the songs section was Duets. We had extensively covered the most happening category of Male-Female Duet Songs as well relatively very selectively used category of Female-Female Duets and Male-Male Duets.

In the Male-Female Duets we had listened to 52 songs in all. These can be viewed wither from Male-Female duets angle or from Female-Male Duets angle. From the Male-Female angle, the duets of Mohammad Rafi (21), Mukesh (13), Talat Mahmood (7) and G M Durrani (6) total 37 songs. In the mirror, from Female-Male duets angle, this works out to 13 duets of Shamshad Begum, 11 of Lata Mangeshkar, 9 Geeta Roy, 5 of Suraiya and 3 each of Raj Kumari and Zohrabai Ambalewali – 44.

Here are My Favorite Male-Female Duets, in no particular order.:

Mukesh + Lata Mangeshkar – Zamaane ka dastoor hai yeh purana – Lajwaab – Prem Dhawan- Anil Biswas

Mukesh + Geeta Roy – Khayalon Men Kisi Ke Is Tarah Aaya Nahin Karte– Baware Nayan – Kedar Sharma – Roshan

Mukesh + Raj Kumari – Mujhe Sach Sach Bata – Baware Nayan – Kedar Sharma – Roshan

Mohammad Rafi + Lata Mangeshkar– Mahi O dupata mora de de – Meena Bazaar – Qamar Jalalabadi – Music Husnlal-Bhaatram

Mohammad Rafi + Suraiya – Dil Ko Hae Dil Ko ..Teri Tasveer Se Bahalae Hue Hain – Dastaan – Shakeel Badayuni – Naushad

Talat Mahmood + Lata Mangeshkar – Yaad aanewale phir yaad aa rahe hain – Anmol Ratan – DN Madhok- Vinod

Talat Mahmood + Shamshad Begum – Milte hi aankhen dil hua deewana kisi ka – Babul – Shakeel Badayuni – Naushad

G M Durrani + Pramodini Desai – Chiraiya Udi Jaye Re ….. Dodo Dodo Babu – Dilruba – – Gyan Dutt

Madan Mohan + Shmamshad Begum – Humse na dil ko lagana musafir – Aankhen – Bharat Vyas – Madan Mohan

And the icing on the cake is:

Hemant Kumar and Roma Devi (?) –Milte hi ankhen dil hua – cover version

Male-male duets were good to listen to after these many years. But the real evergreen duets do belong to Female – Female duets category..

Here are my favorites:

Shamshad Begum + Lata Mangeshkar – Kisi ke dil mein rahna tha – Babul – Shakeel Badayuni – Naushad

Geeta Roy + Suraiya – Preet ka nata jodnewale – Afsar – Narendra Sharma – S D Burman

Lata Mangeshkar and Amirbai Karnataki – Gore gore O baanke chore – Samadhi – Rajendra Krishna – C Ramchandra

Lata Mangeshkar and Sarswati Rane – Jab dil ko sataye gham tu chhed sakhi sargam – Sargam – PL Santoshi – C Ramchandra

Lata Mangeshkar and Saraswati Rane – Tinak tin tani do din ki zindagani – Sargam – PL Santoshi – C Ramchandra

1950 would certainly go as a very special year in the history of HFM in so far as the specific variety of Triads and Triads + goes. There would be very few, if any, years which may have so varied a crop of triads and triads + songs.

Here are My Favorite Triads and Triads

Mohammad Rafi + Shamshad Begum + Talat Mahmood + Chorus – Nadiya mein utha hai shor – Babul – Shakeel Badayuni – Naushad –

Mukesh + S D Batish, Shamshad Begum + Chorus – Jaao Sidharo He Raadha Ke Shyam – Arzoo – Jan Nissar Akhtar – Anil Biswas

Best Music Director

The year 1950 has presented a very interesting picture in so far as music directors are concerned.

There are MANY music directors at the very Bottom of the Pyramid who have hardly made any impact by their creations. Then a level above, are A FEW music directors, like Husnlal Bhagatram, Hansraj Behl, Ghulam Mohammad, Vasant Desai, Vinod, Madan Mohan, Snehal Bhatkar, who have had from one to several films, a song here or a song there that did attract fair amount of public and critic attention.

A rung above them are music directors like Roshan (Bawre Nain), S D Burman (Afsar), Anil Biswas (Arzoo, Beqasoor) who did not have many films in the year but did have at least one film that not only attained Great Success in those days, but went on to become ever-green as well.

At the top are C Ramchandra (Nirala, Samadhi, Sangeeta, Saragam, Sangram),  Naushad (Dastan, Babul) and Bulo C Rani (Jogan). Each of their films was a great musical success, several of the songs form each film went on to write their own records of commercial success as well as wen on to become evergreens as well.

So one may choose, as per own individual preference, either Baware Nain or Afsana or Dastan or Babul or Arzoo as the Film that had Best Music, but the C Ramachandra is MY CHOICE as the Best Music Director for the year. He has successfully crafted the music, as much for the class as that for the mass, in all the films, even when the films were primarily meant for the mass.

 

Concluded….

+++

The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Lata Mangeshkar songs of Anil Biswas and other music directors

This is Third of Memorable Songs of Lata Mangeshkar during our micro-revisit of the  ‘Best songs of 1950: And the winners are?.

In the First Part, we had a look at Lata Mangeshkar Songs of C Ramchandra, whereas in the Second Part, we had a look at Lata Mangeshakar’s Songs of Husnlal Bhagatram and Ghulam Mohammad.

In this third and concluding part, we will look at Lata Mangeshakar’s Songs of Anil Biswas and each of Lata Mangeshkar’s two Songs of S D Burman, Naushad and Bulo C Rani and one that of Vinod.

 

Anil Biswas’s Lata Mangeshkar Songs

Anil Biswas continues to repose his faith in vocal cords of Lata Mangeshkar, in two films that he did in 1950.

1. Mera naram karejawa dol gaya – Arzoo – Prem Dhavan

 

2. Aankhon se door ja ke jana na dil se door – Arzoo – Majrooh Sultanpuri

 

3. Kahan tak hum uthayein gham – Arzoo – Jaan Nishar Akhtar

 

4. Unhein hum jo dil se bhulane lage wo kuchh aur bhi yaad aane lage – Aarzoo – Majrooh Sultanpuri

All songs in one clip:

5. Matwale naino waale ke main waari waari jaaun – Beqasoor – Arzoo Lakhanvi

S D Burman’s Lata Mangeshkar  Songs

S D Burman’s very popular score of Afsar had Suraiya as The Female Playback Singer, which was obvious. His another film, Pyar, has Geeta Roy as the lead Feamle Playback singer. Even Mashal had one solo to Geeta Roy and duet to Shamshad Begum

1. Aankhon se door door hain par dil ke paas jo – Mashal – Pradeep

2. Aaj Nahin To Kal Bikhar Jayenge Yeh Badal – Mashal  – Pradeep

Naushad’s Lata Mangeshkar Songs

Naushad had only one film, but all the songs were top grossers. Shamshad Begum had primarily lent voice for Munnawar Sultana as well as to Nargis, whereas Lata Mangeshkar was used for Nargis in two slos and duet with Shamshad Begum. In the previous years, Shamshad Begum was the lead playback in Mela, then next year in Andaz, Lata got into the hot seat, this year situation again takes U-turn, to be reversed again completely in the subsequent years.

1. Panchhi ban mein piya piya gaane laga – Babul – Shakeel Badayuni

2. Lagan more man ki balam nahi mane – Babul – Shakeel Badayuni

Bulo C Rani ‘s Lata Mangeshkar Songs

1. Hans Hans Ke Mere Chain Pe Bijli Ghiraye Ja – Rasiya

2. Wo humse chup hain hum unse chup hain dilon ke armaan machal rahe hain – Rasiya – DN Madhok

Trivia: Not very surprised if this song reminds us of more popular song that has similar sounding opening lines : Woh Humse Chup Hai, Hum Unse Chup Hai, Mananewale Mana Rahe Hain – which also happens to be song in the year 1950. One more beauty of the song is that Chitalkar has lip sang for Raj Kapoor.

Other Music Directors’ Lata Mangeshkar Songs

More dwar khule hain aanewale kab aaoge – Anmol Ratan – D N Madhok – Vinod

 

Continued…………

Carnival of Blogs on Golden Era of Hindi Film Music – July 2014

Welcome to July, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the period of the current edition of the Carnival of Blogs on Golden Era of Hindi Film Music, we have birth anniversaries of two music directors whose work apparently spans two ends of the spectrum of Golden Period.

We take up the first chronological end – Anil Biswas.

Remembering Anil Biswas, The Singer – A tribute on Anil Biswas’s Birth Centenary (b. 7 July 1914; d. 31 May 2003)

“Songs of Yore heralded 2014 as the Year of Anil Biswas with Inaugural post by his daughter, Shikha Biswas Vohra – Anil Biswas: The Maestro and My Father. We have since had three more posts dedicated to him with his songs for Suraiya, Talat Mahmood, and his sister, Parul Ghosh…… Therefore, in our tribute to the Bhishm Pitamah in his Centenary Year, it is important to remember him as a singer too.”

The Maker of Mukesh: Anil Biswas’s opening paints a very vivid picture of the role of Anil Biswas – a Guru (of those days), in general, and the extent to which he would take pains for his passion – the music. While continuing the Centenary Tributes to Anil Biswas, SoY pays a very special tribute to Mukesh as well on his 91st birth anniversary (on 22nd July).

The Masters: Sajjad Hussain quite vividly portrays the nuances of Sajjad’s music. “According to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.”

Bulo C Rani – Phoolon Se Hum Shikhenge , Fariyad Na Karana, Ro Lena presents a bouquet of songs by one of the highly meritorious music directors of the Golden Period who could never hit the commercial success. The article is in Gujarati, but that should not come in the way of enjoying the melodies presented therein.

Atul’s Bollywood Song A Day– With Full Lyrics has crossed a great milestones of publishing 10,000 songs. To commemorate the event, several regular guest writers have contributed a post on this occasion. Visiting these posts is a subject by itself, which we would take up separately.

Forgotten Melodies (Part 2) – Sweet Melodies From My Father’s Films.

“When I did my previous post I was more or less sure about the songs that I would select for this post. I decided then that my next post would be a selection of songs that have struck a chord in my heart and songs that I have just liked because of the sweet melody and of course the lyrics.” The first part of the article – Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Films – has appeared in June 2014 episode of our Blog Carnival.

Kamal Hai?! Bindiya Songs has five songs but all of them relate to period beyond the extended end of our time scale. But Anu Warrier (Conversations over Chai) has added Khanke Kangnaa Bindiya Hanse , Lata Mangeshkar – S D Burman – Dr Vidya [1962] among others in her comment.

Makeover of the filmi doormats lists of five filmi doormats – Jameela in Chaudavi Ka Chand (1961)[ Badle, badle mere sarkar nazar aate hai]; Simran in Dilwale Dulahaniya Le Jaayendge (1995); Anjali in Kuchch Kuchch Hota Hai (1998); Lalita in Parineeta (1953 ) and (2005) and Chandramukhi in Devdaas (1935 ), (1955 ) and (2002).

Music, fantasy and colour in V Shantaram’s Navrang narrates ‘over-the-top explosions of colour and classical music in Hindi-film history’.

A Song For The Day is “a personal favorite” in as much as “the song stands for a sense of energy that accompanies longing and loneliness and infuses ephemeral pathos which depending on one’s mood may well turn out to be lasting.” The song neing discussed here is: Jab Chali Thandi Hawa, Jab Uthi Kaali Ghata, Mujhko Aye Jaan-e-Wafa Tum Yaad Aaye – Do Badan (1966) – Asha Bhosle – Ravi.

Kyunki Ye Ishq Ishq Hai Ishq ‘discovers’ the quawaali by Mubarak Ali Khan – Na Tu But Kade Ke Talab. Nusrat Ali Hateh Khan has also rendered this quawalli in his very unique style. And now let us listen what we have always loved to listen – Na To Carvaan Ki Talaash Hai

SoY has also commenced Best songs of 1951: Wrap Up 1 – The article goes on to sum up contributions by the readers and then presents – Songs of Yore Award for the best Male Playback Singer of 1951 goes to Talat Mahmood, and the best song is Meri yaad mein tum na aansoo bahana. Mukesh is given Jury’s Special Honour.

To end the current edition we will take up 75th Birthday (26th June) tribute articles –

However, I would like to recall his first two films only:

The Second one ….Bhoot Bangala (1965 )

And the First.. Chhote Nawab (1961)

And you guessed it right… these songs are also our tribute to Mohammed Rafi as well…..