Dattaram

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.

However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.

If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

The songs from 1958 in 2020, and

The songs from 1959 in 2021.

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani), Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.

An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.

Music Director: Khayyam

Bambai Ki Billi

This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.

Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!

Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt

This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.

Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.

Baarood

Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.

Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein…. Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara – Mohammad Rafi

A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.

Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar

This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.

Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar

For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.

Music Director: Dattaram

Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.

Kala Aadmi

Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur

Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.

Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge – Mohamamd Rafi

To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.

If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.

Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar

We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.

Music Director: O P Nayyar

Kalpana

Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.

The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.

O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle

The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!

Music Director: Sardar Malik

Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.

Mera Ghar Mere Bacche

There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.

The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.

Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur

We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.

Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle

No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.

Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai ….. – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal

Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.

Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle

Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!

Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh

We have a here a good-to-listen, but difficult-to-hum pathos mood composition.

As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.

Fading Memories…. Unforgettable Songs: June 2021

Dattaram – Mere AansuoN Pe Na Muskuraa

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

1957 to 1959 in In 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

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!

Chham Chham Baje Payal Matwali, Kabhi Jiya Ghabraye Kabhi Nain Sharmaye, Piya Kaisi Najar Tune Dali – Asha Bhosle, Usha Mangeshkar

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.

[1] Part 1 and Part 2

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

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

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

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

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

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

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

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

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

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

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

We now move on to other tributes and memories:

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

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

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

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

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

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

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

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

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

Pyarelal (left) and Laxmikant. Courtesy Rajeshwari Laxmikant.

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

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

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

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the 2020 episode.

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

We now move on to songs on other subjects –

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

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

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

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

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

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

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

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

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

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

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

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

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

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

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

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

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. Even though the widespread impression is that along with Shailendra, his major work was Shankar Jaikishan, he has done sumptuous work with many other music directors. With Shankar Jaikishan, as would be obvious, all the available situations in a film would be shared Shailendra. That would offer Hasrat Jaipuri ample spare time. It is also said that he was also worldly wise to spread his eggs among many baskets. That seems to have made himself open to be associated with other music directors. He is even said to carved out other streams of income with the help of savings generated from the income of songs-writing.

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for the year 1959, with Roshan, Dattaram and Kalyanji Virji Shah. Except for two films with Dattaram, Hasrat Jaipuri was neither the sole nor the major lyricist in the films discussed herein. Whether he was chosen for a situation for which he would prove to be a better choice, what sort of rates he would have charged are some of the questions for which it would be interesting to know the reasons.

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

Ik Baat Sun Matwale Kahate Hai Nazar Ke Pyale – Asha Bhosle

This is a signature club song. Roshan has successfully tried hand with using western rhythm instrument in Mukhada and then switching over to Dholak as rhythm instrument in the main lines Anataras, ending with western instrument rhythm instrument. Hasrat Jaipuri has penned lyrics pregnant with the message enshrouded for those whom the song is actually addressed.

Akiyon MeinDil Khoya Batiyon Mein Dil Khoya, Main Ise Dhoondh Loongi Baabu – Asha Bhosle

We have here a club song that is peppier. The song is straightforward a tantalizing one

Qaidi No.911 (1959)

Hasrat Jaipuri was the sole lyricist for the film. Meethi Meethi Baton Se (Lata Mangeshkar) and
Pyar Bhari Yeh Ghatayein (Manna Dey, Lata Mangeshkar) are two well-known songs.

Tere Teer Ko Hamne Pyar Se Dil Mein Rakh Liya – Lata Mangeshkar, chorus

This time Dattaram comes up with club song. However, playback singer is Lata Mangeshkar, who might have agreed to sing the song to help bolster Dattaram’s career.

Tune Mera Maine Tera Dil Le Liya … Do Nain Mila Ke Haye Diwana Kar Diya – Lata Mangeshkar

This one is street-play genre song. This genre was also a popular genre in those days. Dattaram smartly blends his ‘theka’ with the orchestration pieces of harmonium.

Yeh Khile-Khile Taare Hamare Hain Ishare Aaja Re Aaja – Lata Mangeshkar, Mehmood

This is again a peppy club song that is a blend of tantalization that is impregnated with hidden message to a particular client – dressed up as an Arab, which itself can be a masquerade.

Santan (1959)

Hasrat Jaipuri is sole lyricist here too. Kehta Hai Pyaar Mera (Twin version – Lata Mangeshar + Hemant Kumar). Dil Ne Use Maan Liya (Mukesh) and Bole Ye Dil Ka Ishaara (Manna Dey, Lata) are the well-known songs.

Aside Trivia: There are at least three other films with this title, a 1946 film (Music: Ramchandra Pal; Lyrics – Anjum Pilibhiti), a 1976 film, which also has Hasrat Jaipuri as sole lyricist with Laxmikant Pyarelal as music director and a 1993 film9 Music: Anand Milind; Lyrics – Sameer).

Chhoti-Si-Dulahaniya Ke Shaadi, Pyari Si Dulhaniya Ki Shadi – Lata Mangeshkar, chorus

Here we have a (all-kid girls) party song so ably created by Dattaram and Hasrat Jaipuri weaving in simple events with meaningful lyrics of a marriage function.

Chham-Chham Mein Naachu Jhumati Bahar Mein, Jane Kis Khayal Mein Baje Man Ke Taar – Lata Mangeshkar

The young heroine is bubbling with the first acceptance of her love –

Jane Kyu Ye Jiya Lehraye
Raz Hi Samajh Na Aaye….
Haye Re Sharm Si Lagi Haye Re Na Bola Jaye
Haye Re Na Bola Jaye Chhalke Hai Pyar Haye

Jeene Wale Khushi Se Jiye Ja Apne Ansoo Tu Khushi Se Piye Ja – Mohammad Rafi, chorus

Dattaram had so masterfully used choir chorus in the counter melody in this background song. Hasrat Jaipuri dutifully pens lyrics that fits the situation like a T. Mohammad Rafi is his usual theatrics best for such songs.

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

The film had six songs, penned by four lyricists Gulshan Bawra, Indeevar, Shor Niyazi and Farooq Qaiser, with one song each, in addition to two songs by Harat Jaipuri. No less than eight playback singers have been deployed for these six songs.

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

Baabu Na O Baabu Na … Dil Maange Dil De DooN, Jaan Maange Jaan De DooN, Teri Ada Pe Main Cheen Aur Japan De DooN – Manna Dey, Mahendra Kapoor, Suman Kalyanpur

The use of Baabu Na (No Please O Baabu) is a very clever ploy. The opening lines of the song set stage for the two competitors, at a club performance, by openly bidding for the common prize of a beauty.

Satta Bazaar (1959)

That Gulshan Bawara (3 songs), Indeevar (2 songs) and even Shailendra (1 songs) are the other lyricists, indeed makes the film as an ideal case to know why these lyricists were chosen for the film. Interestingly, it is also noteworthy that after Anandji joined his elder brother. And the duo was well established, Hasrat Jaipuri has worked with Kalyanji Anandji off and on in films like Jee Chahta Hai (1965, sole lyricist), Ghar Ghar Ki Kahani (1970, 2 songs), Rakhwala (1971, 1 song), Apradh(1972, 1 song) etc.

Aside Trivia: The present film was produced by Ravindra Dave under his production banner ‘Nagina films’. Laxmikant was the assistant to the music director, Kalyanji Veerji Shah – thus both hyphenated respective partners – Pyarelal and Anandji- have to yet to join the respective duo teams.

Kaheti Hai Meri Aankhein, Ye Jaadu Bhari Aankhein, Hua Hai Tum Se Pyar…., Tumhari Yaad Aaye Jiya Ko Tadpaye.- Lata Mangeshkar

Hasrat Jaipuri’s signature beginning with the initial couplet- Sakhi – is seamlessly joined with the principal opening line Teri Yaad Aaye.. in this mujra song

Zara Thehro Ji Abdul Gaffar Rumal Mera Le Ke Jaana… O Main To Layi HuN Jamun Se Bahar, Rumal Mera Leke Jaana – Mohammad Rafi, Suman Kalyanpur

Kalyanji has set the song to the Gujarati folk tune of a garba in this essentially a street play song, rendered by the two Pathani-dressed artists. Hasrat Jaipuri has successfully weaved in the lyrics that spell sweet tit-a-tat between the two protagonists – Sabita Chatterji and Johnny Walker.

Aside Trivia: The sad-faced hero is Suresh, who may be better recalled as an actor who had sung Suhani Raat Dhal Chuki (Mohammad Rafi; Dulari, 1949; Music – Naushad; Lyrics- Shakeel Badayuni)

We will continue with Hasrat Jaipuri’s songs for other music directors in our next (year) episode.

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.

Fading Memories…. Unforgettable Songs: June 2020

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

SJ had used Subir Sen earlier in Kathputli – 1957- (Manzil Wahi Hai Pyar Ki ); Chhoti Bahen – 1959 – (Main Rangila Pyar Ka Rahi), Aas Ka Panchhi – 1961) (Dil Mera Ek Aas Ka Panchhi), Roop Ki Raani Choron Ka Raaja -1962 (Aaja Re Aaja Aaja Prem Duware), and later on in Apne Hue Paraye -1964 (Gagan Ke Chanda Na Puchh Ham Se)

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.

Carnival of Blogs on Golden Era of Hindi Film Music, June 2019

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

We will open the present post with the birthday celebration of SoY – Songs of Yore completes nine years by sharing some exceptional songs the author came across in the year that was. Here is the one for the quick view –

Diwana Kah Ke Logon Ne Aksar Mujhe Bulaya Hai – Majboor (1964) – Mahendra Kapoor and Lata Mangeshkar – Kalyanji-Anandji – Anand Bakhshi,

Google Doodle on 87^th birthday of Amrish Puri

Memories of Mogambo: Little-Known Stories About the Legendary Amrish Puri – by Ananya Barua – From a lecherous villain to a sphinx-faced guardian of morality, Amrish Puri’s ability to intimidate remains unmatched in Bollywood. But did you know that the talented thespian once worked as an insurance agent?

And now we pick up tributes and memories:

Girish Karnad –

- The untold story of Girish Karnad – Girish Karnad did not create a spectacle out of his death. He had scripted it that way. …This was not totally unexpected. It was in keeping with Karnad’s unsentimental public persona, and a certain rational, pragmatic pursuance of life, all through its eight decades.

- Girish Karnad, the Renaissance man of Indian culture, dies at 81 – Salil Tripathi – A playwright, actor, aesthete and classicist, Karnad delved into tradition to understand and explain modernity – The characters Karnad played were progressive, not radical; some of those characters were morally flawed and compromised. Life was not about absolutes; Karnad understood that as human condition. But his commitment to integrity was absolute.
- Storyteller With A Cause – Girish Karnad – While Girish Karnard’s capability as an actor is well acknowledged, he also emerged as a very impactful storyteller through his art of combining underlined message with an alluring storyline and simultaneously writing award winning books too. Kalpana Swamy recounts one such unusual work of his is 1992 multiple awards winning film Cheluvi, starring Sonali Kulkarni

Actress-singer Ruma Guha Thakurta passes away on 3^rd June,2019 at age of 84. After making her silver screen debut with Hindi film Jwar Bhata in 1944, Ruma Guha Thakurta, a niece of filmmaker Satyajit Ray, went on to star in Bengali movies. Apart from acting, Ruma was a popular playback singer too.

70 years of Shankar-Jaikishnan – Rajgopal Nidamboor – Melody was S-J’s complete existence…The power of their melodies evokes a distinctive feeling, replete with that perpetual velvety touch…There is that innate sense of transcendent particle running through their compositions.

Ilaiyaraaja: Music is more like a spiritual seeking that takes one to unknown levels – S Subhakeerthana – Ilaiyaraaja, who turns 76, gets talking about his early years as a music director and why his tunes have a unique space in the hearts of both commoners and connoisseurs.

Ten of my favourite Rajendra Krishan songs are presented to mark the birth centenary of the lyricist.

Remembering a Forgotten Singer! – Lalita Deulkar – Her voice had the typical tone of vintage era and it was eloquent. Her Hindi pronunciation was also good, if we consider her pure Marathi background and that she had not taken much formal training in music. Her voice could express any emotion very easily and very effectively. If she had continued her singing career, we would have got more opportunities to listen to her songs of different genres.

Hemant Kumar’s duets with ‘other’ singers is a tribute to mark 99^th birth anniversary of the music director -singer – While Lata Mangeshkar personified melody and sweetness with Hemant Kumar, the ‘other’ singers brought their own unique verve and joy, and combining with his deep melodious voice created a different kind of charming effect. Illustrative songs from this list:

Ye Mast Nazar Shokh Ada Kiske Liye Hai – Bandi (1957) – with Geeta Dutt – Hemant Kumar – Prem Dhawan

Ye Pyar Bhara Dil Hai Mohabbat Ka Khazana – Yahudi Ki Beti (1956) – with Asha Bhosle – Kamal Mitra – Kaifi Azmi

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

The Super Hits and the Forgotten Gems: 50 Years of Bappi Lahiri – One tends to overlook the many achievements of the composer Bappi Lahiri, overshadowed as they have been by his ‘Tathaiyya, tathaiyya’ brand of cacophony, his infamous penchant for gold jewellery and his heavily accented Bengali voice. Shantanu Ray Chaudhuri revisits the top 5 bona fide hits (of the many of Bappi Lahiri’s illustrious career) and 5 of the best songs that people have forgotten he had composed.

“Mai Jaan Gayi Tujhe Saiyan”- Kammo, whose first name is Kamarjehan . She got her first chance as solo dancer in Sindabd The Sailor (1952) song Jis Roz Se Hamne Tera Deedar Kiya (Music: Chitragupta- Lyrics: Shyam Hindi). She went on to work for over 60 films in her two decades long career.

RIP, Queen Harish (the World-Famous Rajasthani Folk Artist and “Dancing, Whirling Desert Drag Queen” Who Also Posted Comments on This Blog Close to Twelve Years Ago) – “He was an enhancer of life; investing his heart and soul into every move,” says writer and historian William Dalrymple, who loved watching Queen Harish perform.

June, 2019 episode of Fading Memories, Unforgettable Songs takes up. Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana. This in continuation to the previous article in 2018 wherein we had covered Dattaram’s songs from 1957 to 1959

And, now commence the posts on other subjects.

The Navketan Ladies – If Dev Anand portrayed characters were mostly those on the fringes of urban society, intrinsically decent, but flawed, morally grey, human, the leading ladies of Navketan were fully fleshed-out characters; they might be the keepers of his characters’ conscience or the beacon of hope, but they got to live finely nuanced lives on screen. Nearly all the heroines in his films were strong, independent women.

The Classical Music Giants contribute to Hindi Cinema – Part I deals with the composers, who originally were related to classical music as a popular instrumentalists or classical vocalist and Part II looks at the contribution of classical vocalists to Hindi films, as a playback singer.

Ten of my favourite tree songs lists the songs with two primary conditions – the tree should be named in the first two lines, and, one song from one species of the tree only. Here are a couple of illustrative songs:

- More angna mein laaga (Aurat, 1940)
- Chalo chalo chalein hum babool ke tale (Ali Baba Aur Chaalees Chor, 1954)

We had covered first and second part of the three-part dissertation Chorus Songs in the Hindi Films of Yore. The third part concludes the three-part thesis on chorus songs with the Golden Decade of the 1950s.

Ab Ke Burmans Sawan Mein – The Burmonsoon Songs – Sudheer Kulkarni recollects monsoon songs of SD-RD father son duo.

Flashback series:

- why you should watch Basu Chatterjee’s Sara Akash – Because it helped bring in a New Wave. And shows a glimpse of what the “Middle Cinema” could have looked like, for bringing formal inventiveness to a story that could have been made into a sweet little tele-drama, because it’s an adaptation of an important Hindi novel – and for a look at the inner life of a young man who has no idea what he wants, for Mani Kaul as an actor – playing almost a dialogue-less role of the elder brother.
- Reasons to watch the anti-war film Aman (apart from the Bertrand Russell cameo) – Because it’s one of the oddest films of its time, combining surface gloss with a serious, compassionate look at the horrors of nuclear war, For a (possible) glimpse of the teenage Naseeruddin Shah – one of the extras walking alongside a large funeral procession at the end, if only one could spot him!

The continuing story of Kamini Kaushal – Uday Bhatia – The 92-year-old actor appears in a small part in ‘Kabir Singh’

Bicycles and Bollywood Songs – Part 1 and Part 2 – Aditi Thakur relives the delights of bicycle rides in Hindi film songs, like, Kaise Bheege Bheege – Apna Ghar (1960) – Mohammad Rafi, Suman Kalyanpur – Ravi – Prem Dhawan

Following the overview article, Best songs of 1946: And the winners are?. , we have also rolled out The Micro View of Best Songs of 1946, beginning with Male Solo songs. Having covered Mohammad Rafi, Mukesh, Manna Dey, G M Durrani and Ashok Kumar till now, presently we have taken up solo songs of K L Saigal and then wound up the micro view of male solo songs with MY top Male solo songs. Best Songs of 1946 – Wrap up 1 has gone on to select K L Saigal as the Best Male Singers for 1946 for his three songs – Gham diye mustaqil/ Jab dil hi toot gaya/ Ae dil-e-beqaraar jhoom. I have collected all the posts for Male solo songs @ Male Solo Songs for ease of reading and downloading.We have then commenced micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1.

To end the present post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

More Raja Ho.. Le Chal Nadiya Ke Par – Nadiya Ke Par (1948) – C Ramchandra –

Masoom Chehra Ye Qatil Adayein Ke Bemot Mare Gaye Ham Bechare – Dil Tera Diwane (1962) – With Lata Mangeshkar -Shankar Jaikishan – Hasrat Jaipuri

Mere Junglee Kabutar – Ek Kali Muskayi (1968) Madan Mohan – Rajendra Krishna

Iss Vishal Dharati Par Chahe Rahein Kahin Ham Sathi – Love in Canada (1979) – with Hemant Kumar – Hemant Kumar – Yogesh

Congress Ko Vote Do – NFS – Shankar Jaikishan – Kazi Saleem

This song was recorded for All India Congress Committee, New Delhi.

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.

Fading Memories…. Unforgettable Songs: June, 2019

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.

Rut Albeli Mast Samaan, Saath Haseen Har Baat Jawaan – Mukesh – Lyrics: Gulzar Dinvi

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.

Itne Bade Jahaan Mein Apna Bhi Koi Hota – Suman Kalyanpur – Lyrics: Indeevar

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.

Phool Bagiya Mein Bhanwre Aaye, Akeli Chameli Ghabraaye – Mubarak Begam – Lyrics : Pradeep

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.

Kateele Kateele Nasheele Nasheele Kaise Jhonke Aaye, Hawaa Ke kaise Jhonke Aaye – Suman Kalyanpur – Lyrics: Shailendra

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.

Fading Memories…. Unforgettable Songs: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too.

Just as Hasrat Jaipuri invested his earnings in real estate or rental property, on his wife’s advice and create another independent stream of income, he also prolifically wrote lyrics for music directors other than Shankar Jaikishan. We have been trying to get some of his less heard songs with other music directors on one page in this forum. We commenced the series in 2017 wherein we had covered his songs with other music directors from 1950 to 1953, and then in 2018 the songs from 1953 to 1955. In this episode, we will cover Hasrat Jaipuri’s songs with other music directors for 1956 and 1957. In order to keep our catch-pool wider enough, we have repeated some of the HJ – music director relationship that may have been covered in the earlier episodes as well.

1956

HJ had 19 songs – Basant Bahar (1), Chori Chori (5), Halaku (3), New Delhi (2), Patrani (2), Kismat Ka Khel (2), Rajhath (4) – with Shanker Jaikishan and 11 songs with 6 music directors – Dilli Darabar (S N Tripathi, 4), Insaaf (Chitragupta, 2), Naquabposh (Ramlal, 2), Shailaab (Mukul Roy, 2) and Toofan Aur Diya (Vasant Desai, 1) – in 1956.With Vasant desai this is his second consecutive V. Shantaram film, after Janak Janak Payal Baje in 1955.

Music Director: S N Tripathi

Dilli Darbar – The film has Hasrat Jaipuri’s professional alter ego, Shailendra, as his partner lyricist in this film. It seems that none of three songs of Hasrat Jaipuri are available on YT.

Music Director: Mukul Roy

Film: Sailaab –

Sailaab was produced by Mukul Roy, in virtual partnership with Geeta Dutt, her sister, and was directed by Guru Dutt.

Haye Re Haye Re……Baje Dil Ke Taar Kare Pukaar – Lakhsmi Shankar

We have no basis to find out why was the song awarded to Lakshmi Shankar. None the less, the song is very pleasant to listen to.

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

The song a is a typical solo a young girl in love that is not spelt out in public, would sing to vent her feelings.

Music Director: Chitragupta

Insaaf is another film for which the song written by Hasrat Jaipuri does seem to have been uploaded on YT.

Music Director: Ramlal

Naqabposh also has the similar fate in so far as Hasrat Jaipuri’s songs are concerned.

Music Director: Vasant Desai

Fim: Toofan Aur Diya

All other songs for this film has been written by Bharat Vyas.

Neegahe Neechi Kiye Haaye … Sar Jhukaye Baithe Ho….Tum Hi Ho Jo Dil Mera Chrauye Baithe Ho…..Dil Tumne Liya Hai Mera Jaan – Shamshad Begum

The song is essentially a mujhra dance, but the song is based on garaba folk tune. However, use of harmonium pieces helps the song to retain its mujhra dance character. Use a prelude couplet in the song is the tell-tale indication of it being a Hasrat Jaipuri song.

1957

HJ’s score was 5 songs with Shanker Jaikishan – Begunah (3), Kahputili (2) – against which he had written 25 songs for Dattaram (Ab Dilli Door Nahi, 4); Roshan (Coffee House, 1); O P Nayyar (Johnny Walker, 6); Basant Prakash (Maharani, 3) and (Neelofar, 3) ; N Dutta (Mohini, 2) and (Mr. X, 3); Vinod (Mumtaz Mahal, 3).

Music Director: Dattaram

Film: Ab Dilli Door Nahi

As is well-known, Ab Dilli Door Nahi was the maiden film of Dattaram as independent music director. Hasrat Jaipuri’s Choon Choon Karati Aayi Chidiya (Mohammad Rafi) remains hugely popular even today. Jiyo Laal Mere Tum Lakho Baras (Lata Mangeshkar, chorus) was well-acclaimed among the critics.

Lo Har Cheez Le Lo Zamane Ke Logo, Baharon KI Ham To Ada Bechate Hai – Asha Bhosle, Geeta Dutt, Sidha Malhotra and chorus

The song opens with a HJ-signature prelude couplet Idahr Bhi Ek Nazar Jaanewalo….and then runs into a high-pitched street sale of toys by the young children. Lyrics befit the simplicity of the adolescence of the protagonists and yet have very deep meaning.

Aside:

The child actor who opens the main lines of the song is Amjad Khan.

Bhej Chhanna Chhan Khoob Rupaiyya, Ham Tere Kehlate Hai – Mohammad Rafi, S Balbir

The prelude couplet sets the tone of the song when the protagonist yearns the a fourth of a crore as side-kick gift from the almighty. The song goes on to spell out the details of the application, seriously by presenting in a lighter tone.

Music Director: Roshan

Film: Coffee House

Prem Dhawan was the principal lyricist for the film, however Shailendra and Hasrat jaipuri have got one song each to write in the film.

Tod Diya Dil Tune Sanwariya – Asha Bhosle

The prelude couplet marks the Hasrat Jaipuri’s signature style. The song is drenched in pathos mood, even if set to a quicker rhythm.

Music Director: Basant Prakash

Film, Maharani is one more film for which we do not find Hasrat Jaipuri’s songs on YT, even as all songs, except one, were written by Hasrat Jaipuri.)

Film: Neelofar

The film has two pairs of music directors and lyricists. Basant Prakash has teamed up with Hasrat Jaipuri for three songs and Avinash Vyas has teamed up with Pandit Mathur for two songs.

Nazuk Bahar Hoon, Dil Ka Qarar Hoon Duniya Hai Mujh Pe Nichhar, Laayi Hoon Main Ankhon Mein Pyar – Asha Bhosle

The song is simple dance song, both in terms of simplicity of the lyrics as well as that of the composition.

Naache Dil Mera Chhamma Chhamm…. Meri Aankhon Mein Sanam Hai, Meri Saanson Mein Sanam – Sudha Malhotra

A lilting dance song is set to so-called Arab tune.

Music Director : Vinod

Film: Mumtaz Mahal

Out of the seven songs, one each is written by Pandit Priyadarshi and Kaifi Azmi and the rest five are written by Hasarat Jaipuri. We have picked up only one song here.

Main Dil Ka Saaj Bajata Hoon Chaahat Ke Nagme Gaata Hun – Talat Mahmood –

The song fits the possible feelings that music director, Vinod, may have about the way his own music was treated by the commercial world of Hindi films.

Music Director: N Dutta

Film: Mohini

The film has two HJ songs, of which the video clip of Raat Yeh Bahar Ki Tere Pyaar Ki (Asha, chorus), seems that the video of this song seems to have been removed on YT and does not seem to have been restored.

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

The HJ-signature prelude couplet has been very cleverly used as an opening gambit to draw the initial attention of the king. The song then goes on as dance recital wherein the lady engages the attention to put forth her love.

Film: Mr. X

Mr. X had Ashok Kumar in the lead role, but the film was a thriller in which the hero becomes invisible. The film had as many as four lyricists – Majrooh Sultanpuri, Tanvir Naqvi, Bharat Vyas all had one song each whereas Hasrat Jaipuri had three songs. We have picked up two representative songs here…

Mein Pyar Ki Laila Hoon , Paogi Na Tum Aisi, Ye Chand Bhi Deewana, Surat Hai Meri Aisi – Manna Dey, Sudha Malhotra

In this duet, it is the lady-love who praises her own beauty for which even Moon is jealous. The poor love musters up courage to reply in the second stanza only. He goes on add to her praise and in the process is ready to throw away all the trivia of the worldly pleasures.

Sadke Tere Chaal Ke’ Kajara Vajra Dal Ke, Jaanewali Aana Kabhi Yaar Ki Gali – Mohammad Rafi, Geeta Dutt

A very playful duet wherein the lady love is lavished with all top-of-the-head -sounding praises by her beauty-and-style infested lover. The lady love also takes the praise in her stride with a chin-up demur.

Music Director: O P Nayyar

Film: Johnny Walker

This is a full-scale film in so far as role of Hasrat Jaipuri as lyricist is concerned. O P Nayyar is also in his usual full flow.

Thandi Thandi Hawa Pooche Unka Pata – Geeta Dutt, Asha Bhosle.

The present song is filmed on Shyama and Sheila Vaaz. This is one of the two duets by Asha Bhosle and Geeta Dutt in the film – Jhuki Jhuki Pyar Ki Nazar Dekhe Unhe

We will leverage the advantage of having Mohammad Rafi’s ssongs in the film to maintain our tradition of ending the episode with Mohammad Rafi songs.

Ae Dil Tu Na Dar Is Jahan Se…– Mohammad Rafi

Mohammad Rafi is in his full Johnny-Walker style in the song.

Muh Se Mat Laga Dekh Zaraa Cheez Hai Buri – Mohammad Rafi, Manna Dey

Mouhamad Rafi and Manna Dey have joined to sings duets across a variety of moods and genre. Her we have one of the finest Raf-Manna Dey duets in a very light situation.

We will continue our journey of Hasrat Jaiuri’s songs for other music directors in our next episode.

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.

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

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

The month of June is the month of anniversary of one of our most frequently visited blogs – Songs of Yore. SoY has completed 8 years this June. True to the spirit and now the tradition, the 8^th Anniversary post has presented songs that are not only not heard of but have very interesting stories to go along with.

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

Suraiya: The Last Nightingale of Bollywood – While paying the tribute to her on 89^th birthday (15^th June, 1929), D P Rangan has traced her biography and presented 20 of her less-heard songs.

Shyama- Sun Sun Sun Zalima – An early song where Shyama first made an impact is the second version of the main love duet, ‘Tu Mera Chand Main Teri Chandni’, from A.R. Kardar’s Dillagi (1949) starring Suraiya and Shyam. The original version was filmed on the stars, but this version on Shyama voiced by Geeta Dutt is less known.

Remembering Legendary Composer Vasant Desai, born as Atmaram Desai on 9th June 1912, known popularly by his nickname, Vasant Desai. His compositions in Hindi and Marathi films had their share of popularity. He has composed background scores for very unique films, like Yaadein (1964) and Achanak (1974), over and above many others like Zalzala (1952), Ferry (1954), Kabhi Andhera Kabhi Uajala (1958).

Nutan- An Actress Par Excellence – 4 June 1936 / 21 February 1991 – Nutan’s mother, and a leading actress of her times, Shobhana Samarth launched her in Hamari Beti (1950), and the rest, as is said, is history. Nutan had a song in her own voice in the film too

Tujhe Kaisa Dulha Bhaye Re Banki Dulhaniya – Hamari Beti (1950) – Snehal Bhatkar – Pt. Phani

Snehal Bhatkar – A Tribute – was born as Vasudev Bhatkar on 17th July 1919, and passed away on 29^th May, 2007 in Mumbai.

[Note: We had also published a ‘Fading Memory..Unforgotten Songs’episode, Snehal Bhatkar – Hamaari Yaad Aayegi, last year.]

Rajendra Krishan-The Lyricist who gave us many Immortal Songs – born on June 6, 1919 to Parvati and Jagannath Duggal in Jalalpur Jattan of Gujarat district (now in Pakistan), Rajendra Krishna was an equal among the great contemporary stalwarts. He gave lyrics to a wide variety of songs, ranging from Ghazals to Bhajans, Geets to Nazms with great flair. His songs are simple, inventive and full of meaning.

May, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Dattaram, wherein we had remembered his songs from Ab Dilli Door Nahi, Paravarish, Qaide No. 911 and Santan.

And, now the posts on other subjects:

What’s the Good Word? – On 31st May 2018, for the 11^th year running, Indian kids dominated the annual championships of the Scripps National Spelling Bee championship. The winner was Karthik Nemmani. Taking the cue from this event, the post goes on enlist songs to do with words and spellings –

For Dev Anand,flirtation was an innocent pastime – Author has picked up these narratives from Dev Anand’s autobiography Romancing with Life before presenting 10 Romantic Songs of Dev Ananad.

How SD Burman missed out on a Filmfare Award for his greatest soundtrack ‘Guide’ – Anirudha Bhattacharjee & Balaji Vittal – Edited excerpts from a new biography, S.D. Burman: The Prince-Musician, of the celebrated music composer reveal the background maneuvering that denied ‘Guide’ its glory.

‘Every Song Has a Story’: In Conversation with Anirudha Bhattacharjee and Balaji Vittal with Antara Nanda Mondal on the occasion of S.D. Burman: The Prince-Musician. The writer duo talk about how their adoration for music maestros SD Burman and RD Burman, their love for music and their curiosity behind the making of those evergreen songs led them to write biographies of their idols – their challenges, discoveries, the journey and more.

The Greats: Nargis and The Many Moods of Nargis are the two key posts penned to document the author’s new found adoration of Nargis. Additionally, there are reviews of her films Lajwanti (1958), Raat aur Din (1967) and Barsaat (1949) till now in June, 2018.

Bombay in songs which are unheard and un-posted.

‘Bandits, Indian Style’ recalls the songs from movies that revolved around the Indian style dacoits. Each of the film mentioned herein also has documented the name of the actor who played the role of the dacoit too.

The Popularity Of Bollywood Songs is captured here in one song from each decade, starting with ‘30s.

Romantic, sad, a stage performance, a Mujra, and club Songs of ‘Dil Lagana’ in nearly all sorts of songs that have been presented in this post.

I Compose I Sing – ‘Aaj jaane ki zid na karo amazes not only for its unbeatably high number of people rendering it, but also in the fact that every single person who has sung it has stuck to the same original tune made in 1973.’ On that note of composition of the song, the article goes on to list a few instances of artists who sang for themselves.

Ten of my favourite dream sequence songs is a follow up post to the last month’s Ten of my favourite Khwaab/Sapna songs. And then we have Ten of my favourite ‘dreamt’ songs are the songs that are actually dreamt. People fall asleep and, in their dreams, a song plays out.

Actions Speak Louder Than Words – The idea of charming the snakes is Indian. The modus operandi of this process to charm involves swaying the snake repeatedly to hypnotize the creature. If that works, the phrase “actions speak louder than words” will find endorsement. The instrument used for the job is called been, which is a generic name, the specific one being pungi. Kalyanji (Anandji) Shah decided to play an early French synthesizer called clavioline to simulate the pungi’s sounds, initially in Naag Panchmi (1953, Music: Chitragupt, Lyrics: G S Nepali). The key song here was the Asha Bhosle-rendered “O Naag Kaheen Ja Basiyo Re”.

Hindi songs with Sapera (Been) Dhun – The first Sapera based Hindi films was ‘Sapera’ in 1939. We have not been able to get a song from it with the Been dhun.

The dancing girl, the king and the nation begins with a narrative review of Amrapali (1966) and Vyjayantimala’s enactment of eponymous heroine who is a performer, dancing for the pleasure of others as well as for self-expression. The post then goes on to introduce Ruth Vanita’s book Dancing with Nation. The book examines the cultural importance of the Hindi-film courtesan (a word used to cover such designations as nartaki, devdasi and tawaif – all terms with subtle differences in meaning, which have experienced semantic shifts over time).

We have commenced Micro View of Best songs of 1947: And the winners are? with male solo songs of Other Male Singers and concluded micro review of male solo songs with MY Top Male Solo Songs. We have then continued with micro view of female solo songs, wherein till now we have covered solo songs of Suraiya and Geeta Roy.

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

Tune Teri Nazar Ne Kafir Bana Diya – Fariyad (1964) – With Mubarak Begum – Snehal Bhatkar – Kedar Sharma

Gori Kar Le Tu Aaj Singar – Inasaniyat (1955) – C Ramchandra – Rajinder Krishna

Dilbar Dilbar Hayya Habi O Dilbar – Aao Pyar Karein (1964) – Usha Khanna – Rajender Krishna

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

Fading Memories…. Unforgettable Songs: June, 2018

Dattaram – Ab Dilli Door Nahin??

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.

Jaane Kaisa Jaadu Kiya Re Bedardi Balam – Parvarish (1958) – Sudha Malhotra, Asha Bhosle – Hasrat Jaipuri

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 .

Year 1959 had another film – Santaan – under Dattaram’s belt. Here too he has given a Manna Dey, Lata Mangeshkar duet Boley Ye Dil Ka Ishara and a happy and a sad twin version song, Dil Ne Use Maan Liya, Jiska Andaz Naya in Mukesh’s voice.

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 21^st 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……..

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