Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam
Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) is that notable name that remains etched in the history of Hindi Film Music as ‘an unsung composer’. Whether Dattaram’s continuing as SJ’s assistant was a tactical error, or whether he could not create his own ‘musical identity’ or was so modest that he would unhesitatingly respond to the calls by other music directors to play dholak and such theories that postulate the reason(s) for such a fate remain inconclusive. However, as we listen to his compositions of the years when the work came to him in bits and pieces, Dattaram’s music comes out as fresh as it was when he stepped out as independent music director.
We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.
Till now we have covered, Dattaram’s compositions from the films during
Dattaram did not seem to have any film in 1966 and 1967. He had one film Farishta in 1968 and two films, Baalak and Beqasoor in 1969.We will listen to the songs from these three films in the present episode.
Farishta (1968)
Dattaram teams up with Asad Bhopali, a highly respected lyricist, for the film.
Duniya Ek Jhamela Hai …. …. … , O Diwane Humse Mil Aa Mila Le Dil Se Dil – Asha Bhosle
In line with the thriller film formula, whenever something exciting is going to happen, a club song pops in. Dattaram takes up the cue and sets the tone with guitar-based dance tune.
Dekhi Teri Duniyaa Arre Dekhe Tere Kaam – Mukesh
The song situation is framed as a street song, where the song being rendered by the performer fits the state of mind of the lead actor. The song is meant to convey sorrowful pensive mood and that seems to have led Dattaram to choose Mukesh as the playback singer.
Ek Khoobsurat Ladki Meri Nayi Mulaqati – Kishore Kumar, Asha Bhosle
Dattaram seems to finally awake to the reality of using Kishore Kumar for a mischievous song.
Does it not sound very prophetic, just a year before Kishore Kumar was to sweep the market with his Aaradhana numbers!
Bhaiyya Mere Pyaare Raakhi Bandhaao Bhaiyya – Asha Bhosle
Dattaram comes with a very original, fresh, dance tune for a traditional ‘rakhi’ situation
Rut Badli More Rasiya Mile, Rasiya Mile Ji Man Basiya Mile – Asha Bhosle
Dattaram creates a very playful tune for song that reflects the happy mood of the protagonist.
Baalak (1969)
Baalak was film based on an idealist story, but hardly made any impact on the box office. The songs for the film are penned by Bharat Vyas.
Sun Le Bapu Yeh Paigam, Meree Chitthi Tere Naam – Suman Kalyanpur
As I listen to the song, I recall that this child song was heard quite often on radio those days. That in turn goes on to show that Dattaram had not lost his touch after a good decade of his stupendous entery with the Ab Dilli Door Nahi numbers.
Bhagwan Ki Dekho Bhul Bichad Gaya Dali Se Ek Phul – Mohammad Rafi
As generally is the case with the background songs, this song also encapsulates the essence of the story of the film. Dattaram easily turns back to Mohammad Rafi for the playback.
Chandaniya….. Chandaniya Hai Raat Sajan Rahiyo Ke Jayiyo – Asha Bhosle
Dattaram seems to have fallen back on Shankar’s style of orchestration for this mujra song
Mera Naam Hai Mehmud Rahta Har Jagah Maujud – Shanti Mathur
Dattaram’s adroitness in selecting the playback singers is reflected in the selection of Nanha Munna Rahi Hun (Son of India, 1962) fame Shanti Mathur as playback for the song.
Beqasoor (1969)
The film, which appears to a Hindi-film-formula, B grade, stunt film, had four songs, all written by Farooq Kaiser.
O Sanam Mera Saath Dena Pyar Ki Raah Mein – Suman Kalyanpur, Mohammad Rafi
Dattaram composes a playful romantic mood duet.
Rukhsana…… Haye Rukhsana .. Dekhoji Mere Pichhe Mat Aana – Asha Bhosle, Mohammad Rafi
Here is another very playful song with Mohammad Rafi and Asha Bhosle at their best ‘harakatein’ moods.
Naam Gulabi Hai Mera – Asha Bhosle
Dattaram creates a catchy ‘club’ song that comes up as a very appealing, overall, construction,.
Mohabbat Se Keh Do (Asha Bhosle) is the song for which I could not trace digital link on the net.
On that note, we reach the last leg of Dattaram’s career as independent director, with two of his last films, in the next, the last in the present series, episode.
Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) unfortumately, popular as the rhythm arranger for Shankar Jaikishan’s orchestra and for his ‘dattau’s thekka’, and not as an independent music director, in the Hindi film world circle. Many stories and theories have been written on how great he was in so far as rhythm is concerned or whether he was creative enough to be a music director or was he commercial-minded enough to build on his early success and so on. Even when his career as independent music director does not have many (successful) films, it was apparent that his talent had not weathered away with the strikes of misfortune.
We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.
Till now we have covered, Dattaram’s compositions from the films during
Dattaram did not have any film in 1964. Many of his films seemed to be not doing well on the box office. This would have affected flow of whatever offers Dattaram would normally have been receiving. So, Dattaram seemed to have done what anyone perhaps would have done under the circumstances. He signed C grade films, so that his name remains active as independent music director. The year 1965 has three films, More Man Mitwa, in the Magahi language and two Daara Singh starrers – Rakaa and Tarzan comes to Delhi.
We will take all the available YT songs from the three films for which Dattaram composed music in 1965 for the present episode.
Morey Man Mitwa (1965)
The regional language film More Man Mitwa was a social drama, with Naaz, Sudhir and Sujit Kumar in the lead roles.[1]
Kusum Rang Lehnaga Managde Piyawa Ho – Mohammad Rafi, Asha Bhosle – Lyrics: Harshchandra Priyadarshi
The song has weaved in all the local flavors of the subject of demands, and ready acceptance thereof, for a colorful dress and all the paraphernalia that goes with it. Dattaram has used a strong dholak-based rhythm for a folk-dance tune.
More Mann Mitwa Suna De O Gitwa Balamawa Ho Pritava Jagai He More Man MaN – Mukesh, Suman Kalyanpur
The song is a simple romantic duet, set to a lusty rustic flavor.
Mere Aansuon Pe Na Muskuraa Kai Khwab The Jo Machal Gaye – Mubarak Begam – Harishchandra Priyadarshi
Dattaram has scored a scoop here as this song remains one of the most remembered Mubarak Begum songs. This song can easily throw away all the theories of good banner, reputed lyricist or a top-rung singer and popular artistes on the screen to become a song a popular while earning a nod from the critics as well.
One would certainly not miss the easy glide path Mubarak Begum takes to reach a high octave at the beginning of each stanza and then smoothly revert back to the low scale, so fluently maintains control over the diction as well as melody through the entire passage.
Raaka (1965)
After the stunning box -office success of initial few movies, Daara Singh was flooded with a string of movies in this period. Each of the film had the then struggling, but undoubtedly highly meritorious music directors. Daara Singh never claimed any histrionic talents, nor he would have aspired for such an unexpected flow of films while honing out his wrestling skills. Most of the music directors or Daara Singh’s co-female stars could not attain the escape velocity that could take them to a higher orbit of A grade films, except the Laxmikant Pyarelal (from amongst the music directors) and Mumtaz (from amongst the lead female artists).
Asad Bhopali was the lyricist for the film.
Aadmi Majbur Hai Taqdeer Par Ilzam Hai, Baat Kehne Ki Nahi, Ye Sab Tera Hi Kaam Hai – Mohammd Rafi
The song is apparently being sung as a matter of a discourse by a monk to the devotees to the temple. But, close-up shots of the female protagonists, Mumtaz and Ganga, the two ends of a love triangle around Daara Singh (Raaka),seem to reveal the deeper meaning that these words have to their lives.
Dattaram has cleverly used the presence of devotees as chorus for the interlude music.
Aside Trivia: While surfing through a relevant post on Atul’s Song A Day, I learnt the Ganaga, the other female artist in the song, also has played another major heroine’s friend role in Padosan (1968). She smells rat in the singing of the song Kahena Hai Aaj Tum Ko Ye Paheli Baar, by Sunil Dutt and clears off the smoke veil to reveal that it is in fact Kishore Kumar who is real the playback voice on the screen.
Hum Bhi Naye Tum Bhi Naye Dekho Sambhalna – Manna Dey, Mohammed Rafi, Kamal Barot, Asha Bhosle
The song is a typical public dance song arranged in the films which have dacoit or similar background.
Dil Ki Betabiya Le Chali Hai VahaN, Zindagi Hai JahaN, Hal-e-dile Puchho Na – Lata Mangeshkar
The song is filmed on Ganga, the female actress, that we talked in detail, in the previous song,
Dattaram has used flute as the key instrument through this happy mood song.
Bolo Na, Koi Mila Raah Mein, Achha, Aur Dil Kho Gaya, Phir Kya Hua, Are Haye Gajab Ho Gaya – Asha Bhosle, Chorus
Asad Bhopali’s out-of-the-box use of a quick enquiry-explanations session among the lead actress and her friends has very cleverly been weaved into the song by Dattaram. Dattaram also has very smoothly raised the pitch in the last line of the stanzas to match the meaning of the lyrics and mood.
Teri Meharbani Hogi Teri Meharbani, Haye Badi Meharbani – Mohammad Rafi, Asha Bhosle
Dattaram comes up with one of best-in-the-genre qawwali composition, with Mohammad Rafi and Asha Bhosle adding their won theatrics to add the greater effect to the lyrics of Asad Bhopali.
Ho Nain Se Nain Ulajh Gaye Re SaiyaN, Dil Ki Baat Samajh Gaye Re SaiyaN – Asha Bhosle
Dattaram has deftly blended use of western rhythm instruments in the opening and interlude pieces with that of dholak in the singing parts of mukhada and stanzas. The song does not lose cacophonic even though it is a very fast paced composition.
Tarzan Comes To Delhi (1965)
The Indian version of Zimbo came on the silver screen with a 1958 film, wherein Azad, a Parsee body-builder as the hero. The film had struck chord with a very wide cross section of population in the urban and rural North India. That led to the entry of another the then big name in the wrestling – Daara Singh – to the films. A torrent of various Tarzan and Kin Kong movies were reeled off in quick succession, with each film yielding excellent returns to the investments.
Anand Baxi is the lyricist.
Sun Re Sun Albele Kabse Hum Hai Akele…. Pyar Jata Ke Hari Dil Mein Bula Ke Hari, Ab To Aaja Aa Aa Aa – Suman Kalyanpur
Induction of Tarzan to the ways of modern civilization cannot be complete without a visit to a professional cabaret dance on a hotel dance floor!
Husn Iqrar Kare Ishk Inkar Kare, Aise Nadan Se Ab Kaise Koi Pyar Kare – Lata Mangeshkar
The song gives vent to the sweet tangs of frustration of the heroine who has not been able to get the hero, Tarzan, to the civilized way of falling into love to a beautiful lady. Dattaram comes up with a sweet composition even while all western instruments in the composition.
Kari Kari Ankhiyo Se Pyari Pyari Batiyo Se, O Sajna Balma Haye O Sajna Balma Haye, Kahe Meri Nindiya Churaye Haye – Mohammad Rafi, Asha Bhosle
Master Bhagwan joins the danseuse BelaBose to a duet dance song to enliven the evening of a community event.
Dil Lagale Dilwale Tujhe Samjhate Hai, Ye Umar Phir Na Aayegi – Asha Bhosle, Usha Mangeshkar
A hip-swing dance seems to have been organized to entice Tarzan to some designs of the villain!
Nigahe Char Karu Ye Meri Tamanna Hai, Kisi Se Pyar Karu Ye Meri Tamanna Hai – Asha Bhosle
The suave urban belle makes a direct, singing -dancing approach to the jungle Hero, in his own ecosystem!
The song seems to be another enticing way to mend the ways of Jungle Hero. Dattaram has successfully experimented with a long drum prelude in the song that seems to recreate the African atmosphere.
We will continue our journey with Dattaram’s bold musical efforts to keep his independent music identity afloat in the present series……
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Dattaram – Ham Aap Ki Mehfil Mein Bhule Se Chale Aaye
Dattaram (a.k.a. Dattaram Lakshman Wadkar), popular for his ‘dattau’s thekka’ in the Hindi film world circle – B: 1929 | D: 8 June, 2007 – is one of those musicians, like N Dutta, Ghulam Mohammad, Jaidev, G S Kohli etc.- who have played stellar role in making the Hindi film music of 1950s and 1950s as THE Golden Era of Hindi Film Music. Basically, a table / dholak player, he rose to efficiently handle rhythm section for Shankar Jaikishan, later assisted them as Assistant Music director, while he simultaneously also composed music for films on his own. He was also called to play dholak by other music directors as well, for example Dholak in Sari sari raat teri yaad sataye ( For Kalyanji Anandji in Aju Bas Sukriya (9158) or Tabla in Aaja Re Pardesi and Ghadi Ghadi Mera Dil Dhadke and Suhana safar aur ye mausam hansee.(all for Salil Chaudhury in Madhumati)
Dattaram (left) rehearsing with Mohammad Rafi (on right)
However, the focus our series on Dattaram is his work as a music director. We have imitated Dattaram’s songs from 1957 to 1959 in June,2018 and followed up those from 1960 and 1961 in June, 2019. Each of the films that we have covered had several songs that epitomized the capabaility and range of Dattaram’s creative talent as a music director. Therefore, we had been selective in presenting few of the representative songs from each film in these two articles.
For the article today, we have selected all songs form the two films. Each song was so is representative of Dattaram’s creative caliber, that leaving out any song would have been unfair to the basic purpose of the present series.
Neeli Aankhen (1962)
Ajit and Shakila starrer Neeli Aankhen was a film cast in the mystery film genre., with Ajit playing a double role. Unfortunately, shabby script, far from ordinary acting, unimaginative directorial approach resulted in the film to flop on the box office. The spectators who had seen the film in the cinema hall had only the songs of the film to carry home as sweet and likable memories of the film. The songs were popularly heard on radio and records t that time. However, the stigma of failed film left its shadow on the career of Dattaram as an independent music director.
Panchhi Ab Tu Hai Jaal Mein – Suman Kalyanpur – Lyrics: Gulshan Bawra
The song is conceived as a club /dance song on Helen on the screen. The rhythm and orchestration does create that effect but the basic composition has lost the touch of melody .
Nazar Ka Mil Ke jhuk Jaana Mohabbat Ki Nishani Hai- Suman Kalyanpur, – Lyrics: Gulshan Bawra
On the other hand, this song which is also . a fast-paced composition, set in club / party setting has been able to retain melody across the whole song. Dattaram has bended use of piano accordian with sitar very well, as countermelody as well as interlude orchestration.
Dekhiye Na Is Tarah Jhoom Ke – Geeta Dutt – Lyrics: Gulshan Bawra
Dattaram successfully experiments with Geeta Dutt for this club dance song, retaining all the charm of Geeta Dutt’s mellifluous tone, filmed on Helen. Dattaram has very skillfully blended chorus voices with the orchestration.
Teri Nazron Ne Aisa Kaata – Mohammad Rafi – Lyrics-Gulshan Bawra,
This is a mandatory Johnny Walker song. Dattaram has set the tune and the spacing of words to suit Johnny Walker’s signature style of acting out a song on the screen.
Ae Meri Jaan-e-Wafaa Maine Dekha Hai Ye Kyaa – Mukesh – Gulshan Bawra
The song opens on the screen with movement of the clouds in the sky around what is supposed to be moon (n the broad dayligt!), which is supported by a brief orchestration. Then we see drops of water falling on the surface of the river, which is supported by matching strokes of a string instrument. The scene moves to a group of fisherfolk humming their folk tune, which is supported by a string instrument in the counter melody. Then the main song commences. Each interlude music is also composed mainly with the humming sound of the chorus.. The tone is set to match the tonal quality of Mukesh.
Ye Nasheeli Hawaa Chhaa Rahaa Hai Nashaa – Manna Dey, Suman Kalyanpur – Lyrics: : Gulshan Baawra
This is a duet that people so easily remember, but that memory may not have captured the fact that its creator was Dattaram! The song opens with a pleasing prelude that sets the mood of the song. The way Manna Dey moves up and down the first word Yeh or extends a gap @ Nash….aaa is the ample proof of Dattaram’s creativity so effectively used in the final delivery of a song. Similarly, the variations built every time both singers begin their sentences in each interlude adds to the charm of the song. The song ends with the song gradually tapering off. This can be termed as strong influence of Shankar Jaikishan style song composition, who would use this tapering effect with the scene gradually going into a long shot on the screen. In this particular instance, the protagonists merge into the silhouette background. in a long shot.
Jab Se Tumhe Dekha Hai (1963)
The film was an easy-paced social-thriller drama where events happen as expected, with even obstacles cropping at regular intervals. This was an immensely popular narrative style in those days. Pradeep Kuamr, and ever adorable and lively Geeta Bali were in the lead roles. Dattaram’s music also must have made people feel worth their money spent on the tickets. Such films may not make very roaring business, but di make satisfactory score on the box office.
Tumhe Husn De Ke Khuda Ne Sitamgar Banaya Banaya – Lata Mangeshkar, Manna Dey, Asha Bhosle, Mohammad Rafi – Lyrics: Anand Baxi
The sufi prayer form, Qawaali, had become a very standard item song in Hindi films after roaring success of qawaali n Mughal-e-Azam (1959) and Barsat Kir Raat (1960). The film Jab Se Tumhen Dekha Hai (1963) is no exception to the norm. The qawwali set here – even by filmi qawwali standards – extremely pleasant to listen to. It has all the mandatory elements of a qawwali – a competition between parties, lovely music with the trademark harmonium and table, all the participants in traditional muslim dress code, . And of course, the synchronized clapping. A bonus of dance performance is also added.
The masala stuffing does not end at only this point. We have Shammi Kapoor, Shashi Kapoor, Kumkum, Shyama, Om Prakash and Bhagwan together in a qawwali scene – in a rarest of rare cameo roles – to add to the falvou. This songs can perhaps should take the honor of being crowbn=ned as “mother of all item numbers” !
Ye Din Din Hai Khushi Ke Aaja Re Aaja Saahei Meri Zindagi Ke – Manna Dey, Suman Kalyanpur – Lyrics: Shailendra
It seems Dattaram has mastered the knack of composing beauties in the form of Manna Dey – Suman Kalyanpur duets. Manna Dey’s alaap, soft intro of flute and fast beat rhythm instruments make an interesting prelude. He has used that ‘alaap’ taan in the orchestration of interludes as well. Suman Kalyanpur joins in that taan in the third interlude. The song end with a tapering off alaap in the voice of Suman Kalyanpur.
Aside Trivia: The young boy playing flute on the screen in the first stanza is Aditya, son of Geeta Bali and Shammi Kapoor.
Mohammed Shah Rangile Gaawat Aaj Prem Rog – Manna Dey – Shailendra
This song is not available in the digital form.
Chand Tale Jhum Jhum Thirak Rahi Hai Ghungharwaliya – Subir Sen, Suman Kalyanpur- Shilendra
Dattaram has very deftly composed a folk-based fast dance tune here. He has used his famous thekkto a special effect by way of chorus clapping. Dattaram’s moves like using voice of Subir Sen here probably went on to strengthen the impression that Dattaram could never come out from the shadows of Shankar Jaikishan school of music
Are Re Dil Kho Gaya Dhundu Kaha, Dhundu Kaha Ae Dilruba – Mohammad Rafi, Asha Bhosle – Lyrics: Shailendra
For this ‘masala’-formula song for a comedian, Dattaram has blended western and eastern rhthm instruments alternately in preude-interludes orchestration and actual singing .
Ham Aapki Mahafil Mein Bhule Se Chale Aaye…. Ho Maaf Khata Apani, Gardish Ke Hai Bahakaye – Mohammad Rafi – Lyrics: Shailendra
Delivering a song, full of litany of complaints for the beloved one, in full-fledged celebration party, mostly at the drop of a request, was a popular genre in Hindi film songs. As listeners of such songs, we were normally not disappointed by the overall quality of the song. So, for a music director, it would be always a challenge to come up with a song that would stand the competition. Dattaram passes the test with honors.
With the benefit of hindsight of having knowledge of how Dattaram’s career moved hereafter, the opening line of this song rings so prophetic. Dattaram too could never be accepted as A grade music director, even he had delivered a slew of successful songs, with varied moods, styles and playback singers.
We will have to wait for next episode to see what the future had in store for Dattaram.
We will continue remembering 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.
Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana
Picture – courtesy: Mustafa Kamaal Sikander
Dattaram (a.k.a. Dattaram Wadkar) had very early initiation into the music His first music teacher was Pandari Nageshwar, from whom he learnt to play tabla. Subsequently, he worked for Sajjaad Hussain for a few months, before he chanced to meet Shankar in a gym. With Shankar’s help, he secured a job at Prithvi Theatres. He became part of the trio that used to play the background music during the interval in the stage shows – the other two being Ram Ganguly on sitaar and Ramlal on shehnai. Dattaram became famous as a tabla player, and a special rhythm that he used to play became to be known as ‘dattu tthekaa’. (a percussion rhythm played on tabla).
Dattaram assisted Ram Ganguly in Raj Kapoor’s Aag (1948) and then onwards assisted Shankar-Jaikishan in Barsaat (1949). Dattaram continued to assist Shankar-Jaikishan in a majority of films, all the way up to ‘Dhoop Chhaon’ in 1977. He was part of the core RK music team of Shankar-Jaikishan, Shailendra, Hasrat Jaipuri, and Mukesh, besides himself.
In 1957, Dattaram made his mark as an independent music director with the RK film ‘Ab Dilli Door Nahin’. In his career as a composer, he created music for just about 21 films from 1957 to 1971. He is the one of those unfortunate composers, who did not succeed on the commercial parameters, even when his songs did become quite popular. In the initial phase even help from Raj Kapoor also could not turn the tables on his side.
In a series of tribute articles, we had listened to Dattaram’s songs from 1957 to 1959 in June,2018 episode of our present platform. We will listen to some of his known, and not so known, songs for the years 1960 and 1961. These songs epitomize the irony of Dattaram’s career – the success of his songs was not strong enough to provide the escape velocity required for the long term success as an independent music director.
Kala Aadmi (1960)
Many of us may not remember the film, but Mukesh solo from the film, Dil Dhundhata Hai Sahere Sahere, will ring instant recall.
The other songs from are also very good to listen to.
Aankh Mila Kar Vaar Karoongi Roko – Suman Kalyanpur – Lyrics: Hasrat Jaipuri
Dattaram has so skillfully used Suman Kalyanpur for a ‘typical’ club song. The song is filmed on Minu Mumtaz and others.
Ankhiyaan Milaa Ke Toone Mujhko Hi Jeet Liyaa – Lata Mangeshkar – Lyrics: Hasrat Jaipuri
This is a ‘party’ song, filmed on the film’s lead lady, Shayama, hence Dattaram brings in Lata Mangeshkar to playback the song. Prelude and interlude orchestration has strong shadow of Shankar Jaikishan style, but Dattu tthekkka’s distinct presence establishes the song as THE Dattaram composition.
Shriman Satyawadi (1960)
Dattaram once again takes up the musical baton for a film in which Raj Kapoor is lead actor, after Parvarish in 1958. As against his use of Manna Dey as the lead playback singer in Paravarish (except Ansoo Bhari Hai Ye Jeevan Ki Rahein), Dattaram has deployed Mukesh as Raj Kapoor’s lead playback singer in this film. The songs – Haal-e-Dil Hamara Jaane Na Ye Jamana and Ae Dil Dekhe Hai Hamne Bade Bade Sangdil – are copybook Mukesh-Raj Kapoor songs, and as can be expected had become quite popular.
Song is filmed as a Tonga /Victoria song, however, Dattaram has not resorted to the typical ‘tonga’ based rhythm. Dattu Thekka also been used very innovatively in the song.
Ek Baat Kahoon Wallah Ye Husn Subhan Allah – Mahendra Kapoor, Suman Kalyanpur, Mukesh – Lyrics: Gulzar Dinvi
Dattaram has experimented with Mahendra Kapoor as playback voice of Mehmood in the song. The song is an additional evidence of Dattaram’s range of capability, to be able to so easily handle a variety of song genres during his career.
We find PreSong Dances on YT, wherein we find Dattaram experimenting with different western dance tunes. Each piece has been created with a different set of rhythms and corresponding instruments. E.g.@3.36, we get to listen one of the most popular dance tune, wherein Dattaram has freely experimented with the use of rhythm and main composition instruments.
Dark street (1961)
Dattaram now seems to get trapped into waling up the dark street of B/C grade films for sustenance, which, typically, does not help his career.
Ajab Hain Is Duniya Ke Raaz, Jo Bhi Mile Wo Maskebaaz – Geeta Dutt – Lyrics-Gulshan Bawra
Use of Geeta Dutt for club dance is perhaps too late, since she was no more in the prime singer list by this time. However, B/C grade film constraints of tighter budgets further aggravate competition with big-budget, big-banner films for the time slots of the top-rung singer, So the music director has to make best of what is available. In most of similar cases, the song does work out as good, but not good enough to be commercially successful.
The song falls into a classic slot of all-female twin song genre. Both versions have been able to carve out quite distinct identity as individual songs, while complementing as twin songs of a happy and a sad mood.
Version 1
Version 2
First Love (1961)
We have one more film that has been lost in the obscurity, but its songs remain live even today.
Mujhe Mil Gayi Hai Mohabbat Ki Manzil, Koi Poochh Le Yeh Mere Hamsafar Se – Mukesh, Lyrics-Gulshan Bawra
Dattaram once again comes up with a winning Mukesh-song formula.
Maano Ya Na Maano Meri Zindagi Ki Bahaar Ho – Suman Kalyanpur, Mukesh – Lyrics-Gulshan Baawra
Dattaram seems to have preferred to err on the safer side and have selected a typical Mukesh-duet-song formula
We must also take note of one the most known Suman Kalyanpur songs, which was recorded in this film.
Beete Hue Din Kuchh Aise Hi Hai, Yaad Aate Hi Dil Machal Jaaye – Suman Kalyanpur – Lyrics: Gulshan Bawra
Dattaram uses Suman Kalyanpur’s voice to create a feeling of deep pathos. The song also epitomizes irony of fate – the song is considered to be a class creation that was well-received by the mass, but not its music director.
Zindagi Aur Khwaab (1961)
The competitive compulsion on Dattaram – to work in B/C grade, unknown banner films – seems to work as blessing in disguise as he gets chance to work with a wide range of lyricists. However, even this does not help in breaking the jinx to his career.
Dattaram gets to work on a mujra song here. He has been able to use Mubarak Begam well enough in the song.
Kidhar Main Jaaun Samajh Naa Paaun…Kabhi Kisi Ki Khushiyaan Koi Loote Naa – Mukesh – Lyrics: Pradeep
Once again Dattaram comes up with a trump of a Mukesh-pathos song. The song also is proof of Dattaram’s capability of handling different genres of songs – this is a ‘piano’ song.
Asides:
The film also has a very popular Manna Dey – Suman Kalyanpur duet – Na Jaane Kahaan Tum The Na Jaane Kahaan Ham The, Jaadu Ye Dekho Ham Tum Mile Hain.
In the chance meeting of this film, Meena Kumari was already a star, Manna Dey and Suman Kalyanpur were well –respected but remained the second-best choice. Dattaram has been struggling to come out of the down-hill path. Rajendra Kumar may be considered as perhaps the most-limited talent artist in the picture frame of the song, but was so lucky that he went to become golden-jubilee-kumar and retained stardom for a fairly long stretch of time.
Here we have Salil Chaudhari-styled, vivacious, fast paced, high-pitched song, that is orchestrated on SJ style.
We will now take up one Mohammad Rafi song from each of these films to end our episode with Mohammad Rafi song. Each of the song is of a different type, created for a different situation.
Beema Life Beema Policy! Babu Insurance Kara Lo, Mister Insurance Kara Lo – Kaala Aadmi (1960) – Lyrics: Hasrat Jaipuri
One does not need to be told that the song is filmed on Jhonny Walker.
Rang Rangeeli Bottle Ka Dekho Jadoo – Shriman Satywadi (1960) – Lyrics: Gulzar Dinvi
This time it is Mehmood who lip syncs Rafi on the screen.
Mujhe Jag Di Bana De Malika – Dark street (1961) – With Suman Kalyanpur – Lyrics: ?
We have a bhangra song, that has distinct use of Dattu Ttheka.
O Dekho Aayi Bahrein Layi, Woh Dekho Aayi Hai Senorita – First Love (1961) – With Suman Kalyanpur – Lyrics: Gulshan Bawra
This looks like a picnic song, which also was a very oft-used genre in Hindi film songs in 60’s.
Mera Bandar Chala Hai Sasuraal, Dekho Zara Latka. Hoy Betaa Ji Ke Laal Laal Gaal – Zindagi aur khwaab (1961) – With Kamal Barot – Lyrics:Pradeep
The songs is one more addition to Dattaram’s range of different genres – A Street song, based on folk music- and different playback singers – Kamal Barot.
We will continue our exploration tour of Dattaram’s music direction in the future episode(s), too.
We will continue remembering 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.
Dattaram (Lakshman Wadkar) – [?-?-1929 /8-6-2007] belongs to the illustrious Goa Club of Arrangers of Hindi Film Music. It was their association at gym that had attracted Shankar’s (of SJ duo) attention to Dattaram’s tabla-playing prowess. As would the dice of chances roll, that association got transformed into a very long relationship when Shankar Jaikishan got the breakthrough as music directors. Dattaram is said to have assisted Sajjad Hussain for about three months before joining SJ team
Dattaram did get fairly good commercial appreciation for the songs that he composed, and the songs that he has composed have etched their space in the history of HFM, But the success was not enough to provide escape velocity to propel him into the big league. Even as he graduated as an independent music director, he continued to assist Shanker – Jaikishan – more than 50 films in this capacity – till he decided to hang his gloves. He has done 19 films as independent music director.
His very atypical style of playing tabla was called Dattaram Theka (bit). Couple of the most known examples that comes to my mind, at the sheer speed of reflex action, are bits of dholak in Masti Bhara Hai Sama (Parvarish) or duff in Mera Naam Raju Gharana Anaam (Jis Desh Mein Ganga Behti Hai). Dattaram remains the important member of the Golden Years’ Music Director Club who would compose simple but hummable tunes.
Even as we will consciously pick up two relatively less heard songs from his films in this annual series on Dattaram, we shall also take note of the songs that have been quite popular too.
Ab DIlli Door Nahin (1957) was Dattaram’s maiden film, made under RK Films banner, had almost all actors who were not well-known names and additionally did not have Raj Kapoor in the cast, its subject that was very idealist, In other words, it was not a ‘mass’ film. Chun Chun Kar Ke Aayi Chidiya and Ye Chaman Hamara Apna Hai had set the cash registers ringing even then.
Jiyo Lal Mere Tum Lakho Baras – Ab Dilli Door Nahin (1957) – Lata Mangeshkar – Hasrat Jaipuri
This is the first ever song, set to Japtal in Bahiravi, Dattaram recorded as an independent music director. As recorded by other knowledgeable bloggers have noted, the song is picturized on Meena Fernandes, with Master Romi, a very young Vijaya Chaudhary and Motilal also visible in the picturisation.
Mata O Mata Agar Tum Aaj Hoti – Ab Dilli Door Nahin (1957) – Sudha Malhotra 0 Shailendra
Sudha Malhotra’s voice truly reflects the childlike vocal chords of an adolescent protagonist.
Parvarish (1958) had two songs Aansoo Bhari Hai Jivan Ki Raahein (Mukesh) and Masti Bhara Hai Sama (Manna Dey, Lata Mangeshkar) which were popular enough to have provided the push to Dattaram that could have leap frogged into the big league. But the fate seemed to have different ideas.
Jhoome Re…Ho Meri God Mein Taare Jhoome – Parvarish (1958) – Asha Bhosle – Hasrat Jaipuri
There would be many who would consider Lalita Pawar playing kind mother as an abnormal event in Hindi Films, but she lip-synching when she switched to character roles is too quite rare.
Dattaram, who had used Sudha Malhotra for a song on the child or Asha Bhosle for a song by a mother, now uses both the singers for mujhra dance. Raj Kapoor plays the table player on the screen.
Beliya Beliya Beliya Beliya Bheegi Si Bahoron Mein, Tumne Isharon Mein, Dil Mera Le Liya,,,,,Femiya Femiya Femiya Femiya Dekho Ji Hazaron Mein TumneIsharon Mein, Dil Mera Dil Mera Le Liya – Parvarish (1958) – Manna Dey, Lata Mangeshkar – Hasrat Jaipuri
Of all the Dattaram’s Manna Dey- Lata Mangeshkar duets that appear in this post, this probably is the only one that may remain the grey area of Very Popular to Not So Popular Songs. It is so light, so very fast and yet quite a hummable tune, set to very distinct theka not only in the rhythm but also in the orchestration.
For the records, other knowledgeable bloggers have identified the actress with Raj Kapoor on the dance floor as Jennifer Murray.
Quaidi No. 911 too had at least two songs that were quite popular – Mithi Mithi Baaton Se Bachana Jara – happy version and a sad version – (Lata Mangeshkar) and Pyar Bhari Ye Ghataye (Manna Dey, Lata Mangeshkar):
Ye Khile Khile Taare Hamare Hai Ishare… Aaja Re Aaja…Aa Bhi Jaa – Quaidi No, 911 (1959) – Mehmood, Lata Mangeshkar – Hasrat Jaipuri
Dattaram presents a club song in Lata Mangeshkar’s voice !
Tune Mera Maine Tera Dil Le Liya …Do Nain Mila Ke Haaye Re Diwana Bana Diya – Quadi No. 911 – Lata Mangeshkar – Hasrat Jaipuri
Here Dattaram has deftly experimented with street song .
Kehta Hai Pyar Mera O Mere Ladle – Santaan (1959) – a twin cradle-song in Hemant Kumar’s and Lata Mangeshkar’s voices – Hasrat Jaipuri
We have one more song to add to the variety of situations that Dattaram could so deftly handle.
Chhoti Si Dulhaniya Ki Shaadi, Pyari Si Dulhaniya Ki Shadi – Santaan (1959) – Lata Mangeshkar – Hasrat Jaipuri
This is a party song that is based on theme of a marriage song. Note the use of harmonium / accordion’s small stroke at the very beginning. This is used with a slight variation across the songs.
We will end today’s post with two Mohammad Rafi songs composed by Dattaram. First one is not-so-unknown duet with Manna Dey and the second one is an unknown solo. Both songs further validate Dattaram’s virtuosity in handling vastly different situations.
Mama O Mama … Gharwale Khaye Chakkar, Aisa Hai Apana Chakkar, Chakkar Mein Tum Nahin Aana – Parwarish (1958) – Hasrat Jaipuri
The song moves at almost the breathless pace….and if Raj Kapoor and Mehmood are very comfortable with dancing at that pace, Dattaram has been as comfortable in retaining the melody of his theka too. Records indicate that this song had stood 21st in Binaca Geetmala in 1958
Murakh Bande..Jeenewale Khushi Ke Liye Jiye Jaa, Apne Aansu Tu Hans Ke Piye Jaa – Santaan (1959) – Hasrat Jaipuri
The available clip essentially is an audio clip. But that does not leave any doubt that the song is a ‘background’ genre song.
We will continue remembering 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.
Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) is that notable name that remains etched in the history of Hindi Film Music as ‘an unsung composer’. Whether Dattaram’s continuing as SJ’s assistant was a tactical error, or whether he could not create his own ‘musical identity’ or was so modest that he would unhesitatingly respond to the calls by other music directors to play dholak and such theories that postulate the reason(s) for such a fate remain inconclusive. However, as we listen to his compositions of the years when the work came to him in bits and pieces, Dattaram’s music comes out as fresh as it was when he stepped out as independent music director.
The world is too small? or Is it? 