C Ramchandra – The world is too small? or Is it?

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

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

The first post that we take celebrates the Republic Day of India. Shri N Venkatraman pays the tribute through ‘Vandya Vande Mataram’: The story of a Song Perennial.

Anand Math is the anti-establishment film to watch and learn from – Madhavi Pothukuchi – While the nature of the actual rebellion is disputed — some historians say it was an all-Hindu uprising, while some say it was simply an anti-imperialist movement, and still others dispute its authenticity — the film and the book show it as an all-Hindu, anti-imperialist, nationalist movement.

Happy Valentine’s Day! has been celebrated on the HFM Weblog world too with Hindi Film Songs, albeit from the post-2000 years.

We pick up other tributes and memories:

Returning to “Hum Dekhenge” (and a Happy Upcoming Birthday to Faiz Ahmed Faiz!) – Noor Jehan performed “Mujh Se Pehli Si Muhabbat” in defiance of a ban of Faiz by one military ruler of Pakistan – Muhammad Ayub Khan – and Iqbal Bano performed “Hum Dkehenge” in defiance of a ban by another – the notorious Muhammad Zia-ul-Haq

Mehfil celebrates ‘C Ramchandra’ Month! is carried forward with C Ramchandra – 60s & 70s and Marathi songs by C Ramchandra

The Masters: OP Nayyar – Here is a song remembered in the post – Dekho jadoo bhare more nain – Aasmaan (1952) – Geeta Dutt – Lyrics Prem Dhawan

OP Nayyar’s music turned Howrah Bridge from a movie to a whole mood – Madhavi Pothukuchi – Lyricist Qamar Jalalabadi ascended to the height of his career with the lyrics. They were playful, fun, and enticing and went with the mood Nayyar was intending to set with the music.

Savere Ka Suraj – An Invaluable Art Piece – OPN and Kishore Kumar, deliver a composition which was absolutely classical by theory and amazingly melodious in terms of output. Here is a tune which is having disjointed structure.

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

Arth may have been based on Mahesh Bhatt’s life, but Jagjit Singh played a starring role – Samira Sood – Arth was the first movie for which Jagjit Singh and his wife, Chitra, composed the music together, and he sang every song in it. It is, perhaps, the best movie by which to remember him in the week of his birth anniversary.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. February, 2020 episode covers Manna Dey- Mehmood combination songs till 1966 starting with Manna Dey’s songs for Mehmood in the January 2020 episode from the beginning of Mehmood’s acting career, till Ziddi (1964)

Madhubala and K Asif’s grandeur is what makes Mughal-e-Azam an epic – Madhavi Pothukuchi – A film with one of the highest production costs and the biggest collections, Mughal-e-Azam’s success can be put down to Madhubala’s grace and beauty.

February 2020 episode of Fading Memories, Unforgettable Songs takes up Part 1 of Talat Mahmood duets with Geeta Dutt. In our series on Talat Mahmood’s rare duets, we have covered –

2017: Some of the Talat Mahmood Duets receding from the memory

2018: Talat Mahmood’s Duet Combinations with Rare Co-singers

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

We will now take up the articles on other subjects:

How Sridevi gave Yash Chopra’s career a fresh lease of life with Chandni – Sridevi – The Eternal Screen Goddess, by author and screenwriter Satyarth Nayak, charts the actress’s five-decade-long journey from a child star to India’s First Female Superstar.

Film Songs Based on Classical Ragas (13) – An afternoon with ragas: Bhimpalasi and her Sisters – I have picked up are some of the less known songs based on this raag from Shri Subodh Agarwal’s’ comeback post.

Taqdeer banane wale ne kaisi taqdeer banayi hai – Sheesh Mahal (1950) – Pushpa Hans – Vasant Desai – Bahzad Lakhanavi
More mandir ab lau nahin aaye – Mahatma Kabir (1954) – Asha Bhosle – Anil Biswas – Chandra Shekhar Pandey
Lag gayee ankhiyan – Jeevan Jyoti (1953)- Geeta Dutt and Mohammad Rafi – SD Burman – Sahir Ludhianvi

FFSI Initiates Campaign to Save the Ancestral Houses of Ray, Ghatak and Sen – Buoyed by the human chains formed in Rajsahi, Dhaka and Toronto to demand restoration of the decaying ancestral houses of the legendary filmmakers Satyajit Ray, Ritwik Ghatak and Mrinal Sen, the FFSI has decided to initiate an international campaign.

Dinesh Shailendra Narrates Story Behind The Anari Song – Shailendra was woken up… He went out…. As soon as RK saw him, he jumped out of the car and rushed to embrace Shailendra….. RK muttered ” Mainey abhi Anari ka gaana sunaa…. jeeyo mere Pushkin…” !.. Years later, it will be discovered that Shailendra has, in this song, actually predicted the pattern his life will follow…. This song is one that we all identify with at certain times in our lives…It has been quoted in the Indian Parliament by Atal Bihari Vajpayee and incidentally, even in the Pakistan Parliament by Nawaz Sharif !!!

Film Songs From Firmament – songs which were not picturised on any actor, but they still played an important role in either conveying a message to the actors on the screen, or just depicting the situation on the screen for the viewers.

Cinemaazi: Chronicling Indian Film Heritage and Its Unscripted Stories – Cinemaazi, an initiative to chronicle, archive, curate, preserve and exhibit the mammoth cinema heritage of India, by far the world’s biggest and most varied film industry, was launched in New Delhi on January 31.

On Nandita Das’s Manto & I – A single, very particular voice runs through this coffee-table book by Nandita Das, the voice of a reader, writer and director who became deeply interested in Saadat Hasan Manto and eventually realised her dream of making a film about him. An earlier post about Manto the film is here.

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:

Na Tajshahi, Na Badshahi – Shirin Farhad (1956) – S Mohinder – Tanvir Naqvi

Duniya Kya Hai – Sarhad (1960) – C Ramchandra – Majrooh Sutanpuri

Pani Hota To Doob Hi Jaate – Mian Bibi Razi (1960) – with Kamla Sista – S D Burman – Shailendra

Wah Wah Re Teri Chaal – Do Dilon Ki Dastan (1967) – O P Nayyar – Raja Mehdi Ali Khan)

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 – January 2020

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

The first post is about the end of the year –

Oh, what a world – As we get close to the end of the 2010s, it’s difficult to think about the state of the world. The post ends 2019 with four songs of 1940s/50s period of Indian Cinema. About different times, of course (with one even being about ancient times – supposedly), but also – needless to say – very relevant to our own.

- Ajab Tori Duniya – Do Beegha Zameen (1953) Mohammad Rafi and chorus – Salil Chowdhury – Shailendra
- Yeh Duniya Mil Bhi Jaaye To Kya Hai – Pyasa (1957) – Mohammad Rafi – S D burman – Sahir Ludhyanavi
- Ye Duniya Ye Duniya – Yahudi (1958) – Mohammad Rafi – Shankar Jaikishan – Shailendra
- Dekh Tere Sansar Ki Haalat Kya Ho Gayi Bhagwan – Nastik (1954) – Pradeep – C Ramchandra – Pradeep

Songs of Yore opened the New Year with some nostalgia of Americana @ Romancing the Route 66.

And, now the major event of January 2020 –

January 14, 2020 marked the 101st birth anniversary of poet and social activist Kaifi Azmi. Google Doodles has paid tribute to the legend who was one of the pioneers to bring Urdu poetry to mainstream Hindi films.

Google Doodle pays tribute to famous poet and songwriter Kaifi Azmi on 101st birthday

Google Doodle celebrates Kaifi Azmi’s 101st birth anniversary: Here are some of his best Bollywood songs

दिल को गहराई तक छूने वाले हैं कैफी आजमी के ये शेर

Remembering Kaifi Azmi’s dialogue in verse for the classic Hindi film ‘Heer Raanjha’ – The Progressive writer and film lyricist left his distinctive stamp on the 1970 adaptation of the Punjabi romance. – Chetan Anand’s Heer Raanjha was set in a rugged landscape and revolves around hearty village folk. Kaifi Azmi not only wrote the dialogues of lead charchters but also those of rest of ensemble cast as well.

We pick up other tributes and memories:

Mehfil celebrates ‘C Ramchandra’ Month! with the opening post on his songs that he himself sung, in the name of Chitalkar. This is followed up by – C Ramchandra – The 1940s , C Ramchandra – The 50s (Part I) and C Ramchandra – The 50s (Part II).

Utpal Dutt Today: How would the thespian have fared in the age of Netflix and Chill? – Gautam Chintamani – It’s 26 years since Utpal Dutt passed on. Would he have achieved the same glory today with online platforms, where ‘content’ and ‘actor’ surpass the ‘star’, but have a much shorter screen life?

Flawed Genius – Sahir Ludhianvi was many things all at once – a failed romantic, a bitter cynic, a master egotist, a generous mentor, a firm friend. Above all, he was a stellar poet and master lyricist. This, then, is the man on whom the book – Akshay Manwani’s Sahir Ludhianvi: The People’s Poet (Harper Collins Publishers India; ISBN: 978-93-5029-733-9; Rs.399; 320 pages) – shines a spotlight.

The World of Javed Akhtar: 124 Rare Exhibits to Celebrate the Legend’s 75th Year – Silhouette Magazine goes backstage to speak to the curators, Pradeep Chandra and S M M Ausaja, and bring an exclusive preview.

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

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we took up Manna Dey’s Comedy Songs, starting with Manna Dey’s songs for Mehmood. The January 2020 episode explores Manna Dey- Mehmood bond from the beginning of Mehmood’s acting career, till blossoming into comedy songs in 1964 with Ziddi songs.

C.I.D. — when Bollywood musical met noir in signature Dev Anand style – Samira Sood -The 1956 classic also introduced one of Hindi cinema’s most loved actors – Waheeda Rehman. Ask anyone born after 1980 and they’ll tell you — if at all they’ve heard of C.I.D. — that the one thing about the movie that has immediate recall is the song Yeh Hai Bombay Meri Jaan.

RD Didn’t Get His Due, But He’ll Never Be Forgotten: Asha Bhosle – Khalid Mohamed – RD Burman passed away at the age of 54, on 4^th January, 1994. And it was only posthumously – or should we say belatedly? – that he has been acknowledged as a music wizard.

January 2020 episode of Fading Memories, Unforgettable Songs takes up Jaidev: Brilliant, But Underrated, Composer: 1971, in continuation of the series on Jaidev. The first two articles related to Jaidev’s songs from 1955 to 1963 and from 1964 to 1970 .

Dr. Pradeep Sheety adds: Lata’s NFL Jayate Jayate Jayate … was originally a Kannada film song by Manna Dey, Amber Kumar and Krishna Kalle from the movie KALPAVRIKSHA,1969, with Jaidev’s music. Lyrics by Ku Ra Seetaram Shastri. A lovely song. Unlike the patriotic Hindi version, it is about the role of truthfulness and honesty in life.

We will now take up the articles on other subjects:

Smita Patil’s portrayal of a flawed, messy actor in Bhumika is fascinating and powerful – Samira Sood – Based on memoir of Marathi actor Hansa Wadkar, Smita Patil’s Bhumika, a film by Shyam Benegal, is a brutal & unflinching look at the life of a female movie star in Bombay. Not only Patil’s performance, but also the sensitive writing (Shyam Benegal and Girish Karnad, with Satyadev Dubey for dialogue) shine through.

Amol Palekar interview: ‘The challenge is always to try something else’ – Nandini Ramnath -One of Indian cinema’s best-loved actors is back with a new play after 25 years. What will it take to make him return to the movies?

Surrogate Songs – The purpose of such songs was really to focus on the lead actors who were quietly enjoying the song and dance, wishing in their hearts they could do it themselves. We will draw upon one song to understand the theme –

Bichhade huye milenge phir kismet ne gar mila diya – Post Box 999 (1958) – – Mohammad Rafi and Asha Bhosle – Kalyanji-Virji Shah – PL Santoshi

To which I have added my own submission –

Jaane Kahan Gayi – Dil Apana Aur Preet Parayai (1960) – Mohammad Rafi – Shankar Jaikishan – Shailendar

Night Songs By Shailendra, by Swapneel Sathe, is a night tour enjoying various flavors of emotions depicted from some selected night songs from the pen Shailendra.

Shabana Azmi is what Sarat Chandra Chattopadhyay thought of when he wrote Swami – Madhavi Pothukuchi – The 1977 film is an excellent tribute to Sarat Chandra Chattopadhyay’s book, which put the woman and her desires and angst in the forefront.

“Essayed Sisyphean roles with effortless ease” is a short review – for India Today – of a new book about Dilip Kumar – Dilip Kumar: Peerless Icon Inspiring Generations (by Trinetra Bajpai and Anshula Bajpai).

Chashme Buddoor, aka Saeed Jaffrey, and the art of making a small role fill the screen – Samira Sood – The 1981 rom com and buddy film starring Saeed Jaffrey shows you don’t have to be centre stage or mainstream to have an impact.

Actor Saeed Jaffrey on the sets of Chashme Buddoor with Deepti Naval and Sai Paranjape | Twitter: @FilmHistoryPic

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:

Apni Chhaya Mein Bhagwan Bitha Le Tu Mujhe – Insaniyat (1955) – C Ramchandra – Rajinder Krishna

Tum Jahan Jaaoge – Chor Darwaza (1965) – Roy Frank – Kaifi Azmi

Kitana Rangeen Hai Ye Sama – Picnic (1966) – With Asha Bhosle – N Dutta – Sahir Ludhyanavi

Tere Kooche Mein Tera Deewana – Heer Raanjha (1970) – Madan Mohan – Kaifi Azmi

Chanpa Khili Daar – Faisla (1974 /1988) – with Asha Bhosle – R D Burman – Majrooh Sultanpuri

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 – January, 2018

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

We recall film Samrat (1954) song Sabko Mubarak Naya Saal to open our January, 2018 account of the 6^th year of our Film Song Blog Festival.

SoY has also presented It’s prose, It’s recitation, It’s a song to mark the New Year. The post has very simply presented dialogues delivered in a sing-song style, which was a characteristic of the Parsi theatre in which there was no clear distinction between dialogue-recitation-song. For example:

Tu Dil Ka Khuda Rooh Ka Kirdagaar by Mohammad Rafi (?) from Parda (1949) – Lyrics: Tanveer Naqvi, Music: Sharmaji – which HFGK lists it as a ‘song’.

The tributes in January, 2018:

Tum Kya Jaano Tumhari Yaad Mein: Lingering Melodies of the Versatile C Ramchandra – Peeyush Sharma pays tribute on 12th January 1918 being the 100th birth anniversary of the affable genius CR….Albela (1951) has a double role by Bhagwan, in which one of the roles was of an established singing theatre artist who inspires our hero Bhagwan to become a singing star. In the smaller role of the theatre artist it was Rafi lending his voice while Chitalkar was the voice of the hero when he hits stardom. This idea was borrowed by director, H.S. Rawail in Shararat, 1959 where he had two Kishore Kumars. Having one Kishore sing in his own voice (Hum matwale naujawan), he got the second Kishore sing, Ajab hai dastan teri ae zindagi, in Rafi’s voice……

Contrary to popular belief, Mohammed Rafi registered his first all India hit under CR’s music direction in Safar, 1946…. The song was Keh ke bhi na aaye tum, ab chhipne lage tare. CR had the conviction to give Rafi two solos in the film and they worked well (other one was Ab wo hamare ho gaye, ikeraar karen ya na karen). Rafi’s next major hit too came from CR, next year in Saajan, in which the main attraction was the Rafi song, Humko tumhara hi aasra, tum hamare ho na ho. The song had already gained a hit status. It also had a duet version by Rafi with Lalita Dewoolkar.

Chitalkar Ramachandra Sings: Ten Songs – Unlike SD Burman’s instantly recognizable voice, Chitalkar’s was a little more elusive—to the average listener, he can be recognized at times, but more often than not, he sounds like someone else altogether…

The Greats: Geeta Bali – She was also the love of Shammi Kapoor’s life (you can listen to him talking about her here) – they met while acting in films like Miss Coca Cola and Coffee House, and fell in love with each other during the shooting of Rangeen Raatein.

Rahen Na Rahen Hum, Mehka Karenge . . . is a tribute to Suchitra Sen who was always in a league of her own and will remain so in the history of Indian cinema.

Poet and lyricist Neeraj: ‘Poetry has kept me intoxicated throughout my life’ – Aditya Sharma – Gopaldas Saxena ‘Neeraj’, who imparted his distinctive flavour to Hindi film songs in the late 1960s and early ’70s, turned 93 on January 4.

Neeraj (far right) at a recording with SD Burman (far left). Courtesy Milan Prabhat Gunjan.

Vijay Anand – A Committed Filmmaker – who knew the language of making of the film song and presented it in the form of very visual poetry:

N Dutta’s film tunes are not heard as widely but they should not be forgotten – Rudradeep Bhattacharjee – Amongst his earliest songs, Ab Woh Karam Karen Ki Sitam (Marine Drive); Yeh Baharaon Ka Sama (Milap) and Maine Chand Aur Sitaron Ki Tamanna Ki Thi (Chandrakanta, 1956) stand out…Remember the classic Tu Hindu Banega Na Musalman Banega ?. The same melody had been used by the composer earlier for Kya Kya Na Sitam Tujh Pe Huye (also sung by Rafi) in the lesser-known Nirupa Roy tear-jerker Mohini (1957).

Dattaram Naik with Mohammed Rafi. Courtesy : Roop Naik

N Datta with Asha Bhosle and the violinists

N Datta – A Tribute – N Datta was at home with classical based songs (though less in number) as well as club songs, where he used all the forms from Rock N Roll to Waltz. We have picked up a couple of representative songs in the end of our post. He has also composed patriotic songs, ‘Sare Jahan Se Achha‘ from Bhai Behen is one of the examples,

Talat Mahmood Was the First Voice of Shammi Kapoor not Mohd Rafi !!! in his movies like “Thokar”, “Memsahib”, “Naquaab”, “Sipah Salar”, “Mehbooba”, “Chor Bazaar”,”Laila Majnu” and “Mohar”

Lata sings for Chitragupt in what can be termed as an endless list of some of the sweetest songs. Here is one example:

Diwane Hum, Diwane Tum, Kise Khabar – Bezubaan (1962) – Lyrics: Prem Dhawan

The Great Biopics Of Bollywwod is a read on some of the greatest biographical movies made of time.

January, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to : Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963.

And, now the posts on other subjects:

‘Toone Zindagi Me Ek Baar Pi’ – Bahadur Sohrabji Nanji has had a duet ‘Dekhoji Baat Suno Humse Tum Aan Milo’ with Mubarak Begum for M A Rauf composed movie Basera (1950)…. He played the Harmonium for Shankar Jaikishan for Seema (1955)’s song ‘Humen Bhi De Do Sahara Ki Besahare Hain’ and Dil Ek Mandir (1963)’s song ‘Yaad Na Jaaye Beete Dinon Ki’. He also played the piano for Seema’s song ‘Suno Chhoti Si Gudiya Ki Lambi Kahani’ and Organ for ‘Kahaan Jaa Raha Hai Tu Ae Jaane Waale’ …. He also worked with Roshan as assistant and arranger for 16 movies

Baar Baar Din Ye Aaye, Tum Jiyo Hazaaron Saal … is a list of some of the good birthday songs.

Of Whiners and Doormats – the predominant emotion here is either an exultation of their martyrdom or a deep mourning of their fates, to fit the twin (complementary) themes of self-abnegation and self-pity, like in a song: Mujhko sahara denewale – Isi Ka Naam Duniya Hai (1962) – Asha Bhosle – Ravi – SH Bihari

Music Has No Boundaries: 7 Indian Songs That Became Huge International Hits – Sanchari Pal – Jimikki Kammal isn’t the first song from India to become a global hit. These 7 Indian songs went viral across the globe before ‘going viral’ was a thing!

Returning To: Padmini’s Navarasa, Classical Dancing to Sia, and Bollywood Raag Yaman (plus) – The teacher in this video, Anuja Kamat, gives a detailed explanation about what makes these songs Raag Yaman, what notes and sequences Raag Yaman contains, and the variation called Raag Yaman Kalyan

Nuptials in Bollywood is an outstanding collection of songs of different hues the marriages in Hindi Films.

Looking for romance and finding RD Burman in ‘Jaane Ja’ from ‘Jawani Diwani’ – Nandini Ramnath says the song is a singing lesson from Kishore Kumar and Asha Bhosle.”As Vijay sings about hunting high and low for his beloved, Kumar’s voice climbs several octaves while Bhosle occupies the lower depths. Bhosle has barely any lines, but this is no Kishore Kumar solo. The singers are perfectly matched, proving Burman’s unmatched ability to orchestrate magic out of differently pitched voices, complex arrangements and wide-ranging musical instruments.”

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are? , during the month we have viewed Male-Female Duets of Other Singers in Part I and II, Female-Female Duets and Male- Male Duets & Triads, Triads+

In our tradition of ending our post with article or topical song, I have picked up N Datta’s songs that manifest his virtuosity over western tunes:

Laal Gaal Jaan Ke Lagu, Chor Chor Bhag Pardesi Babu – Mr X (1957) – Majrooh Sultanpuri

One Two Three Four Dil Ka Tu Hai Chor – Black Cat (1959) – with Suman Kalyanpur – Jan Nissar Akhtar

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

Fading Memories…. Unforgettable Songs: August, 2017

Shailendra and “Other” Music Directors

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Asides:

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

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

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

by Ashwini Bhide

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

Here are two representative classical pieces of Raag Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

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

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

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

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

Their next association is 1965’s Chhoti Chhoti Batein.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

[i] Virasat – Lyricist ‘Shailendra’

The Micro View of the Songs of 1948 @ SoY : Setting The Stage

Wait for the curtains to go up for a review of songs for the particular year @ Songs of Yore is more than an eager wait. It is preganat with more unknown songs now. Having covered songs of 1955, 1953, 1951, 1950 and 1949 in the previous years, SoY has now crossed the threshold well into the Vintage Era as it now ventures into ‘Best songs of 1948: And the winners are?’

As noted in the overview turnkey article, we now enter the period which has two quite distinct characteristics:

One, Lata Mangeshkar did sing over 40 songs of which you can count about ten memorable and a couple of all-time great songs, yet she was not the sole pole star, as she became from 1949 onwards. Therefore, dividing the female playback singers as Lata Mangehkar and ‘others’ as (has been) done for 1949, 1950 and 1951 would not be a true reflection of reality.

Secondly, the Vintage Era also means entering a period of more unknown than known, therefore, the year-wise review would now be more a discovery trip.

The post under consideration – Best songs of 1948: And the winners are? – has presented quite an encompassing overview in an established template: –

Musical landmarks: Like a golden Jubilee (Mela) and a silver Jubileen (Anokhi Ada) under the belt Naushad hasestablished his morchical position. His nearest rival C ramchandra has Nadiya Ke Paar and Kidkiin the year under review. Ghulam Hiader has presened his swan song on now the Indian soil – Shaheed. Raj Kapoor directs his maiden film Aag with Ram Ganguly as music director. Lata Mangeshkar has hardly any presence in these films.

Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –

Anil Biswas:

Gajre

Door papia bola – Suraiya
Baras baras badly bhi bikhar gayi – Lata Mangeshkar

Veena

Wo teekhi nazron se mere dil par – Mukes

Husnlal Bhagatram

Tere Naino Ne Chori Kiya – Suraiya

O Door Jaanewale – Suraiya

Khemchand Prakash

Marne Ki Duaen Kyon ManguN– Kisore Kumar’s maiden solo song – Ziddi

Chanda Re..Ja Re Ja Re – Lata Mangeshkar – Ziddi

Ghulam Haider

Grihasthi

Tere naaz uthane ko ji chahta hai – Mukesh & Shamshad Begum

Pugree

Ek teer chalanewale ne dil loot liya – Mukesh & Sitara (Kanpuri)

S D Burman

Vidya

Laayi khushi ki duniya – Mukesh & Suraiya

Bahe na kabhi nain se neer – Mukesh

Debut

Asha Bhosle – Only a line Bahana Khush Ho Ke Sangam Manaye – in a chorus in the song Sawaan Aya Re – Chunariya

Kishore Kumar’s first duet with Lata Mangeshkar – Ye Kaun Aya Re – Ziddi

Prem Dhawan – Chanda Re..Ja Re Ja Re – Ziddi

RK Films – Aag

Geeta Dutt – Lata Mangeshkar’s maiden duet – Har Shai Pe Jawani Hai – Majboor

Mukesh – Lata Mangeshkar duet – Ab Darne Ki Koi Baat Nahin – Majboor

Ab Yaad Na Kar – Ankoha Pyar

Khayyam (as Sharmaji & (Rehman) Vermaji with Aziz Khan) – Dil Dil Yun YuN Karata Hai – Geeta Dutt, Aziz Hindi – Heer Ranja

Lata Mangeshkar first song with Shamshad Begum and Mohantara – Khushiyan Manayen Na Kyun Ham.. Kismat Hamare Saath Hai.. Jalanewale Jala Karen – Khidki

Surinder Kaur – Itne Door Hain Huzoor Kaise – Pyar Ki Jeet

Padmini as dancer-actor in Uday Shankar’s Kalpana

S Mohinder – as music director in film Sehra and as a singer Ae dil Uda Ke – Sehra

Jaan Nissar Akhtar – as lyricist in Shikayat

Sahir Ludyanavi – as a lyricist for Badal Rahi Hai Zindagi – Azadi Ki Rah Par

Snehal Bhatkar – as a music director in Suhaag Raat

Bharat Bhushna and Geeta Bali – as actors in Suhag Raat

Fact file and Trivia notes that five songs of Meena Kapoor for Anokha Pyar were recorded on Lata Mangeshkar; Leela Chitnis played mother for first time in Shaheed; Mohammad Rafi holds a falg pole in Watan Ki Rah Mein Watan Naujawan Shaheed Ho; Ameerbai Karnataki composed music for Shahnaz, once only in her career; Vidya Nath Seth sang firve songs for Rooplelka of which he composed one song too.

List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the title Memorable Songs of 1948, by adding the relevant link to YT file.

For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have thir own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1948.

The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as

Best male playback singer
Best ‘other’ female playback singer
Best songs of Lata Mangeshkar
Best duets
Best music director

are concerned for the year 1948.

All the posts that will appear on this subject here have been tagged as Songs of 1948 @ SoY.

The Micro View of the Best Songs of 1949 @ SoY – MY Top Music Director(s)

The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).

Naushad had huge contribution in the huge success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later.

Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe

Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film –

Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham

Here is the such first maiden final scene

Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history.

Ek Teer Chala Dil Pe Laga

Husnlal Bhagatram, who too appear quite prominently in Male Solos, Female Solos or even Duets lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year.

Tum Mujhko Bhul Jao Ab Hum Na Mil Sakenge

Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats.

Balam Tujhe Mera Salam

However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.

Gyan Dutt has Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.

Javani Ke Din Hai Yeh

S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam.

Hum Kisko Sunaye Haal Ke Duniya Paise Ki

Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).

In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.

1949 had so many other than Lata Mangeshkar – Mohammad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.

In the ultimate analysis that will remain the sole importance of the year 1949 in the history of Hind Film Music – a threshold that provided the escape velocity to Lata Mangeshkar and Mohammad Rafi even when many other singers were so strong on their spheres.

SoY has presented a very comprehensive summary of all the discussions @ Best songs of 1949: Final Wrap Up 5. The detailed analysis leads to the conclusion that the Best Music director of 1949 goes to Naushad.

P.S.

I have compiled a meta write-up of my micro-view of the songs of 1949, in pdf form. Here is the link:

https://drive.google.com/open?id=0B_GJ0xhT0LUuamJWTlRoQUJiVUE

Fading Memories….Unforgettable Songs: February, 2016

We are meeting soon after the 26^th January, India’s Republic Day. If we do not get to listen to the patriotic songs from films on such an occasion, then the celebrations would seem to have to remain incomplete. Our friend Samir Dholakia does not disappoint and has very timely remembered

Mere Watan Se Achchha – Ladki (1953) – Lata Mangeshkar – C Ramchandra – Rajinder Krishna

Naresh Mankad also has added up

Main Hoon Bharat Ki Ek Naar – Lata Mangeshkar – N. Sudershan, from the same film.

Harish Raghuvanshi has sent in a gem of the vintage era:

Main To Udas Hoon Magar, Woh Bhi Hai Sogwar kyoon, Unke Bhi Dil Men Dard Hai, Aye Dil-e-Bequarar Kyon – Kamal (1949) – Surendra – S D Burman – Prem Dhawan

The full lyrics of the song are posted @ Main to udaas hoon magar.

Atul’s Songs A Day has posted nine other songs from this film:

Samir Dholakia remembered Ye Duniya Rahe Na Rahe Kya Pata – Mitti Mein Sona (1960) -Asha Bhosle – O P Nayyar – S H Bihari

Bhagwan Thavrani sees the similarity of this one with Madan Mohan tune which was composed almost 4 years earlier…. Kahin Chal Na Dena – Ek Shola (1958) – Mohammad Rafi, Asha Bhosle

Bhagwan Thavrani also very fondly informs us that his elder brother is even a greater ‘music buff’. They hold long sessions in the evenings, discussing songs around a particular music director, singer, lyricist, era or raag. Here is one song that had come up in one of these sessions, while discussing notable Suman Kalyanpur songs –

Likh De Piya Ka Naam, Sakhi Ri Piya Ka Naam – Saranga (1961) – Saradar Mullik – Bharat Vyas

Here is one more equally poignant VIDAI – farewell to the bride to her new married life – song, composed by Ravi, who, perhaps next to O P Nayyar, has given some of the best songs of Asha Bhosle.

Jaa Ri Sakhi Saj Dhaj Ke – Ghunghat (1960) – Lyrics : Shakeel Badayuni

In a tribute to Mahendra Kapoor, Bhagwan Thavarani states that this duet may not qualify as a vintage corner forgotten melody which needs to be dusted off and presented to all connoisseurs of music…but I’m helpless ! For two reasons – one, I have a personal affinity for this duet…..or perhaps, for some personal reasons hidden in the subconscious…AND then for the Great Helen ! She has no peer as far as dancing is concerned. Just watch body movements….. she displays during each interlude. It’s lightening, killing, intoxicating, maddening and what not !

Chhod Kar Tere Pyaar Ka Daman Ye Bat Den Ke Ham Kidhar Jaayen – Who Kaun Thi (1964) – Mahemdra Kapoor, Lata Mangeshkar – Madan Mohan – Raja Mendi Ali Khan

We also take up the opportunity to recall some of the (relatively) for gotten solo songs of Mahendra Kapoor

Kho Gaya Hai Mera Pyar – Hariyali Aur Rasta (1961) – Shanker Jaikishan – Hasrat Jaipuri

Tum Kitni Khubsurat Ho – Wahan Ke Log (1967) – C Ramchandra – Shakeel Badayuni

In a tribute to Subir Sen, on his passing away in December, 2015, Samir Dholakia has remembered

Sedin Dujane Dulechhinu Bone, Phulodore Bandha Jhulona Bolo Na Bolo Na – Anubhav (1971) – Kanu Roy

This Ravidra Sangeet song has been rendered in their own style by several other artistes. We have picked up its famous Hindi version Nain Deewane – Afsar (1950) Suraiya S D Burman and Hemant Kumar (Mukhopadhyay)’s Bengali rendition in this clip.

Pandit Ravi Shankar had sang this song along with his rendition on sitar at a London concert in June 2011.

Na Jaane Kyon Hota Hai Yeh Jindagi Ke Saath – Chhoti Si Baat (1976) – Lata Mangeshkar – Salil Chaudhary – Yogesh , which had a beautiful Bengali version Pogol Hawa by Subir Sen

In the 1950s, Sen added a unique romantic touch to hit Bengali songs such as “Monalisa Tumi Ki Bolona”.

We have picked up a few more of his rare (duet) songs from Hindi films:

Gori Tere Nakhat Naina – Hum Bhi Insaan Hai (1959) – with Geeta Dutt – Hemant Kumar – Shailendra

Dil Leke Jaate Ho Kahan – O Tera Kya Kahana (1959) – with Kamal Barot – Kalyanji Virji Shah – Farooq Kaiser

Pyar Mein Milna Sanam – Ardhangini (1959) – with Lata Mangeshkar – Vasant Desai – Majrooh Sultanpuri

Ghar Tum Bura Na Mano – Mehlon Ke Khwab (1960) – With Asha Bosle – S Mohinder – Raja Mahendi Ali Khan

We shall conclude our present episode with the journey with Peeyush Sharma through everlasting songs of Mohammad Rafi songs Fifty Years Ago: Films and Music of 1965 that seem to be on the path of oblivion…

Sab Mein Shamil Ho Magar Sab Se Juda Lagti Ho – Bahu Beti – Ravi – Sahir Ludhyanvi

Zindagi Ke Mod Pe Jo Koi Rasta Mila, Teri Gali Se Ja Mila – Bedagh – Roshan – Shakeel Badayuni

Phir Teri Yaad Naye Geet Sunane Aai – Bekhabar – S Mohinder – Raja Mehndi Ali Khan

Mera Ban Jaye Koi Ye Meri Taqdeer Nahin – Ek Sapera Ek Lootera – Usha Khanna – Asad Bhopali

Meri Nigaah Ne Kya Kaam Lajawab Kiya – Mohabbat Isko Kahate Hain – Khayyam – Majrooh Sultanpuri

Hamen Kya Jo Har Su Ujale Huye Hain, Ke Hum To Andheron Ke Paale Huye Hain – Namaste Ji – G S Kohli – Anjaan a.k.a. Lal Ji Pandey

Kuchh Aisi Pyari Shakla Mere Dilruba Ki Hai, Jo Dekhta Hai Kehta Hai, Kudrat Khuda Ki Hai – Naya Kanoon – Madan Mohan – Hasrat Jaipuri

Dil Tadpe Tadpaye, Jo Unke Milan Ko Tarse Wo To Na Aaye, Mausam Aaye Jaaye – Poonam Ki Raat – Salil Chaudhary – Shailendra ( Peeyush Sharma notes : Salil was not in favour of taking Rafi for this song. I have personally confirmed this with him during my three meetings with him. After trying out Mukesh and Manna Dey, Kishore Sahu insisted on Rafi, who was summoned to render this difficult number. And what a job he did!)

Teri Meherbani Hogi Badi Meharbaani Haye Teri Meherbaani – With Asha Bhosale and Chorus – Raaka – Dattaram – Asad Bhopali

Icing on the cake is this song sent in by Biren Kothari:

Maar Gandasa Mar Jaana – Chhai (1950) – Hansraj Behl, Verma Malik – a Punjabi comic song is from very old classic punjabi movi. Very – very rare feature of the song is PRAN along with SUNDER and KHARAITI on the screen. . .

The song seems to have been inspired on Mohammad Rafi – Ameerbai Karnataki superhit Maar Katari Mar Jaana – Shenai (1947) – C Ramchandra

We will meet again on 2^nd 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….

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The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Lata Mangeshkar songs of C Ramchandra

The well – established review format of ‘Best songs of year’ takes up an in-depth review at four broad levels:

Best male playback singer Best female playback singer Best duets Best music director

We will first take up Female Solo Songs. End of 40s and very early years of 50s did see a very distinct transition from the female playback singers of the vintage era to the near-complete hold period of Lata Mangeshkar. That has necessitated two sub-divisions within the category of Female Solo Songs – Songs of Lata Mangeshkar and The Songs of Other Leading Female Playback Singers. So here we go with Memorable Songs of Lata Mangeshkar for the year 1950: Among various music directors who used Lata Mangeshkar’s voice in the year 1950, C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad seem to account for a large share of the songs. Presently, we will listen to the memorable songs of Lata Mangeshkar under the baton of C Ramchandra.

1. Aisi mohabbat se hum baaz aajye – Nirala – PL Santoshi