Categories
Fading Memories….Unforgettable Songs

Fading Memories ….. Unforgettable Songs : March 2022

Ghulam Mohammed and His Singers : 1950-1952

Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.

This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s  ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’

In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.

Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.

As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.

Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.

With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.

Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri

Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.

One noteworthy feature of Ghulam Mohammed’s  compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.

Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics:  Shevan Rizvi

Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.

Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini

Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.

Since the song is not available on YT, here is an adio link: Hum Dil Hi Apna Haar Gaye.mp3

Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash

Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)

(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani

Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.

It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.

Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni

Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!

How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!

Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman

The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.

Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni

I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.

Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.

Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni

This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.

Zohrabai Ambalewali, Shamshad Begum – Dil Ke Sheesh Mahal Mein Aaya Yeh Matwala Chor – Amber (1952) – Lyrics: Shakeel Badayuni

In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.

Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni

Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!

Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.

Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni

I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.

Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.

Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!

What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!

Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni

Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.

Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!

We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

top-post-markGhulam Mohammed (1903 – 17 March 1968), born in the family of musician in Bikaner (Rajasthan), got his early training from his father, Nabi Baksh, a tabla player and a stage artist. The career of Ghulam Mohammed is littered with ironies of fate that did give him his credit for his creation, but a little too late and far too less.

Every single piece of article written on Ghulam Mohammed would invariably focus on at least one defining characteristic. And yet, the fact that Ghulam Mohammed got to compose music for just 37 films in a career spanning almost four decades does neither tells the full story of his caliber nor it does justice to his talent. As such, in the month of his death anniversary, we commence an annual series that relives his known and less known songs.

We will begin with an overview of Ghulam Mohammed’s career in the form of songs he has composed for different singers. The choice of singers does seem to be a function of the period in which the music for the film is composed. Every song that Ghulam Mohammed created songs with each of this singer had the perfect mix of the singer and of the music director. We have adopted a conscious choice of selecting the songs that can easily be classified as the ones receding from the memory.

Hamida Bano – Ud Ja Re Ud Ja Panchhi Pee Pee Mat Bol – Mera Khwab (1943) – Lyrics: M E Ashq

Ghulam Mohammad got his first break as an independent music director in 1942 for a stunt film, Mera Khwab, released in 1943. However, some sources indicate Banke Sipaahi (1937) as Ghulam Mohammad’s debut film. There does not seem to be unanimity among film historians on this count. This was the period when he was known to be working as an instrumentalist for music directors like Rafiq Ghazanvi, Irshad Ali, Anil Biswas etc. It is further recorded that his first major break that elevated him to the status of assistant was in Sharda (1942; Music: Naushad). Their this relationship lasted till Aan (1953) even after Ghulam Mohammad had charted his own independent course in the meantime. Naushad also paid his tribute to their relationship by completing the unfinished tasks of Ghulam Mohammad swan song film ‘Pakeeza’

Zohrabai Amablewali – Tere Bina O Balam Kaise Kategi Mori Raina Bata Jaa – Mera Geet (1946) – Lyrics: Ramesh Gupta

The film had four music directors – Bal Mukund, Geeta Varma, Shankar Rao Vyas, Ghulam Miyan, Reejram – to compose as many as 16 songs. HFGK has been able to identify only a few songs for their respective composers. Even as we get to read the name is Ghulam MIyan, Cinemaazi confirms that this song is indeed composed by Ghulam Mohammed.

The song has very prominent and distinct use of dholak as rhythm instrument.

G M Durrani – Khel Nahi…Khel Nahi Gir Gir Ke Sambhalana – Doli (1947) – Lyrics: Majrooh Sultanpuri

The song is set to what is popularly known as Ghoda songs 9 singer rides a horse or a horse driven cart on the screen). The song is set to a fast pace, but runs on a very low octave, indicating that protagonist is deep thoughts as he sings the song during the ride.

Mukesh, Shamshad Begum – Tere  Naaz Uthane Ko Jee Chahta Hai – Grihasthi (1948) – Lyrics: Shakeel Badayuni

The song uses a duff (sometimes spelt as ‘daf’, too), another rhythm instrument that Ghulam Mohammed is credited with popularizing in Hindi film songs.

Knowledgeable bloggers inform us that this song was filmed on Pran and Sharda who was the sister of actor of ‘70s-‘80s Vinod Mehra

Mohammad Rafi – Nigahein Milane Ko Jee Chahata Hai – Parai Aag (1948) – Lyrics: Tanveer Naqvi

Composed to a softer, but relatively a fast, ‘qawwali’ style, and set to a soft Mohammad Rafi rendition, this easily the forgotten preceding song with the initial lyrics – Nigahein Milane Ko Jee Chata Hai. Yes, the one with better recall value is one which was used in Asha Bhosle qawwali song by Roshan (Dil Hi To Hai, 1963 – Lyrics: Sahir Ludhyanavi)

Suraiya – Mohe Mera Bachpana La De … Jawani Bhaye Na – Kaajal (1948) – Lyrics: D N Madhok

The orchestration has strong resemblance to what is used in Naushad’s songs. However, this playful song is well-remembered by Suraiya fans.

Sitara Kanpuri – Dil Ki Lagi Zubaan Par Aaye To Kya Karun – Pugree (1948) – Lyrics:  Shakeel Badayuni

‘Pugree’ is the second film that Ghulam Mohammed composed music for the production house All India Pictures, after Doli (1947). All India Pictures perhaps is the only banner that Ghulam Mohammed had under his belt as an independent music director. Other films that followed were: Paras (1949), Pardes (1950), Nazneen (1951), Guahar (9153), Rail Ka Dibba (1953), Laila Majnu (1953), Hoor-e-Arab (1955) and Sitara (1955).

Songs of ‘Pugree’ were resounding success in those days.

Shamshad Begum – Masti Bhari Bahar Ne Masatana Kar Diya – Pugree (1948) – Lyrics: Shakeel Badayuni

So ever young Shashikala lip-syncs Shamshad Begum on the screen.

Geeta Dutt – Na Tum Mere Na Dil Mera, Azab Hai Bebasi Meri – Dil Ki Basti (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed had two other solos, two male-female duets and one female-female duets in the film. However, Ghulam Mohammed has also used Lata Mangeshkar for two solos as well.

Lata Mangeshkar, G M Durrani – Do Bichhade Hue Dil Lo Aapas Mein Gaye Mil – Shair (1949) – Lyrics:  Shakeel Badayuni

‘Shair’ was also quite popular album, in the year wherein blockbusters like Andaz or Barsaat or Mahal would have occupied the memory space of the listeners.

It should be interesting to note that G M Durrani is preferred as a playback voice to the male lead, Dev Anand.

Even as I had planned to take up film-wise song later in this series, it would be opportune to listen to two other duets from Shair, for the use of different percussion instruments.

Mukesh, Lata Mangeshkar – Ye Duniya Hai Yahan Dil Ka Lagana Kisko Aata Hai – Shair (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used ‘matka’ (an earthen clay pot) in this song. Matka was another percussion instrument that is credited to Ghulam Mohammed for being popularly used in Hindi film song.

Playback voice now shifts to Mukesh, possibly because the of the pathos mood of the song

This duet was also a chart buster of those days.

Mohammad Rafi, Shamshad Begum – O More Balma…Kahe Maari Kataar…. Haye… Daiya…. Daiya – Shair (1949) – Lyrics: Shakeel Badayuni

Since my knowledge of music, and as a natural corollary, that of music instruments, is abysmally limited, I could only recognize a different instrument is used here, possibly a mix of dholak and matka, but do not which one it is!

A few strains of orchestration in the prelude seem to have faint the precursors of orchestration that we got to listen in the music of Pakeeza.

One interesting, and equally very rare as well, trivia to be observed is that Cuckoo is in the spectator’s gallery and enjoying the dance on the stage.

I plan to take up a few more singers in the next episode, before switching over to the usual format of remembering the songs from different films in chronological order.

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.

Categories
I Liked Music from films

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories
I Liked Music from films

The Micro View of Best Songs of 1945 @ SoY :: Male Solo Songs – Vintage Era Singers [1]

We have grouped here male singers who can be considered to have had noteworthy presence in the vintage era period. I have been able to locate 20 songs on YT (G M Durrani -4; K C Dey and Khan Mastana – 3 each; and Umakant, Ashok Kumar, S D Batish, Charlie, Amar, Jagmohan, Surendra, Bulo C Rani, Asit Baran and Sundar 1 each. There a few more songs identified with names of male singers in HFGK, but for the the time being these are not yet posted on YT, nor do I have any access to their digital versions, if they are available with some one.

Yeh Chand Hamein Hans Kar Kuchch Yaad Dilta Hai – Aadhar – Umakant – S N Tripathi M A Razi

Aankhein To Hui Band, Magar Dard Jaga Re – Begum – Ashok Kumar -H P Das – G S Nepali

Aa Hosh Mein Deewane – Bahijan – S D Batish – Shyam Sundar – Padtau Lakhanavi

Zindagi Fareb Hai Fareb Se Nibhaye Ja – Chand Tara – Charlie – Gyan Dutt – Swami Ramanand

Mera Chana Masaledar, Kahata Hum Sabse Lalkar – Chhamia – G M Durrani and Chorus -Gyan Dutt

Hare Murare Madhukait Mere – Devdasi – K C Dey – Krishna Chandra Dey – Pt. Narottam Vyas

Hari Ke Nam Bina Re, Radha Naam Bina Re – Devdasi – K C Dey, Chorus – Krishna Chandra Dey – Pt. Narottam Vyas

Roye Ham Charano Pe Bhagwan – Devdasi – K C Dey – Krishna Chandra Dey – Pt. Narottam Vyas

Bansi Wale Shyam Pyare Krishna – Dhanna Bhagat – Khan Mastana – Khemchand Prakash – Pt. Indra

Panchhi Pinjara Hua Purana – Dhanna Bhagat – Khan Mastana – Khemchand Prakash – Khavar JamaN

For the purpose maintaining reasonable size of a post, we will take up next 10 songs next week.

Categories
I Liked Music from films

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [1]

We now take up the third leg – The Duets – of ‘Best songs of 1946: And the winners are?’. As per our Micro View Practice, we will cover this leg of the Micro View journey in three stages – Male-Female Duets, Male- Male Duets and Female-Female Duets.

As per our accepted practice, we have listed male-female duets by focusing on male singer. Also, the such male singer -wise male-female duets are listed in the descending order of number of songs that we could unequivocally locate from HFGK   We have recorded duet songs for those male singers with whom we are normally conversant. Other male singers have been placed under ‘other male-female duets.

The Male Female Duets

The male female duets have been accorded almost equal respect as that accorded to male or female solo songs. Many of the male female duets have been accepted as the benchmark milestones as are some male or female solo songs have been accepted as the benchmark milestones in the Hindi Film Music.

For the sake of maintaining consistency of presentation w.r.t. the Micro View of Best Songs for XXXX @ SoY serieses in the past, I have grouped the male-female duets w.r.t. the male singer in focus. My back of the envelope notes quickly separated duets of what can be termed as more known male singers could easily be separated out from the whole population of male-female duets. However, it is the ‘other male-female duets’ that weigh quanitatively higher in numbers. In so far as previous familiairity is concerned, the number os such songs for me personally is a very small fraction of all the songs listed herein.

I have arranged the male singer-wise male-female songs in the descending order of number of songs for the number of male-female duets for the particular male singer.

Duets of Mohammad Rafi

Even as Mohammad Rafi does not have, quantitatively, so large number of duets for 1946, it should not be surprising that we have opportunity to listen to these songs for the first time because of our now established practice of Micro view listening to the songs of the vintage era years.

Gae Ja .. Bhul Ja Apne Geet Purane – Ghunghat – With Nirmala Devi -Shankar Rao Vyas – Ramesh Gupta

HFGK does not mention names of the singers.

Rukhi Sukhi Main Kha Luhgi Paas Bula Lo Mere Raja – Insaaf – with Hamida Bano – H P Das – D N Madhok

Khud Samaz Lo Ke Iltaza Kya Hai – Rangbhoomi – with Shamshad Begum – Premnath – Arzoo Lakhanavi

Ye Nayan KyuN Sharma Rahe Hai – Rasili – With Shamshad Begum – Hanuman Prasad – Gafil Haranyanvi

Watan Ki Amanat Meri Zindagi Hai – Rupa  – with Shamshad Begum – Govind Ram –

Baithe Hai Tere Dar Par Kuchh Kar Ke Uthenge – Sona Chandi – With Shamshad Begum – Tufail Faruqui – Wali Sahab

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – With Amirbai Karnataki – Tufail Faruqui – Khawar JamaN

Duets of G M Durrani

Mohammad Rafi considered G M Durrani as his role model in his early career. Here, G M Durrani’s duet songs indicate why so.

Jobana Sharmae Mohe Jobana Sharmae – Kuldeep – with Mohantara Talpade – Sushant Banerjee – Nawa Naqvi

Dekho Ji Kya Sama Hai, Chaman Pe Fiza Hai – Sassi Punnu – with Shamshad Begum – Pt. Govind Ram – Ishwar Chandra Kapoor

Ik Yaad Kisi Ki Aa Rahi – Shama – with Shamshad Begum – Ghulam Haider – Ehsan Rizvi

Chinab Ke Bahate Hue Paani, Mere Dilbar Se Kah De Tu Meri Kahani – Sohni Mahiwal – with Zohrabai Ambalewali – Lal Mohammad – Swami Ramanand

O Tujh Pe Salam Aye Mare Nakam-e-Mohabbat – – Sohni Mahiwal – with Zohrabai Ambalewali – Lala Mohammad – Swami Ramanand

In the next episode we will take Micro View of Male-Female Duets for 1946 for Mukesh,  Chitalkar, Ashok Kumar and Surendra…………

Categories
I Liked Music from films

The Micro View of Best Songs of 1946 @ SoY – Male Solo Songs – Solo Songs of Vintage Era Male Singers (1)

We have grouped here male singers who can be considered to have, for all practical purposes, faded out in the ‘50s, but had fairly noteworthy presence in the ‘40s.

Solo Songs of G M Durrani

The status of G M Durrani can be judged from the fact that Mohammad Rafi considered him as his ideal in the early days.

Kahan Hamare Shyam Chale, Hamein Rota Chhod Gokul Mein – Gokul – Sudheer Phadke – Qamar Jalalabadi

Wafayein Meri Ajamaoge Kab Tak – Hamjoli – Hafeez Khan – ?

Ae Chand Taaron, Raaton Ke Saharo – Kuldeep = Sushant Banerjee – Nawa Naqvi

Yeh To Bata Mere Khuda, Loot Gaya Mera Pyar Kyon –  Nargis – Husnlal Bhagatram – Qamar Jalalabadi

Woh Nazaron Mein Samaye Jaa rahe Hai – Saathi – Gulshan Sufi – Wali Sahab

Armaan Bhi To Na Is Dil=e-Nakaam-Se Nikle – Sassi Punnu – Pt Govind Ram Ishwar Chandra Kapoor

Zabt Kar Bahar=e-Khuda Shiqvae Bedaad Na Kar – – Sassi Punnu – Pt Govind Ram Ishwar Chandra Kapoor

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

Kis Musibat Se Basar Ham Shab-e-Gam Karate Hai – Sassi Punnu – Pt Govind Ram Ishwar Chandra Kapoor

Solo Songs of Ashok Kumar

1946 can be considered as the transition year when Ashok Kumar was consciusly making way for the genuine playback singers to sing his own-screen songs.

Jagamag Hai Aasmaan… Dol Rahi Hai Naiya – Shikari – S D Burman-

Laj Bhare In Nainan Mein Sakhi – Uttara Abhimanyu – S N Tripathi

We will continue with Solo Songs of Vintage Era Male Singers for 1946 and take up solo songs of Surendra, and of the ‘other’ singers of the vintage era.

Categories
I Liked Music from films

The Micro View of Best Songs of 1947 : The Male Female Duets : Duets of Mohammad Rafi and G M Durrani

Duets of Mohammad Rafi

In terms of numbers, duets of Mohammad Rafi would not stand much chance with those of Mukesh in this year. However, it so happens that, there are more songs that are familiar to me, at least, in this case of Mohammad Rafi’s duets as compared to those of Mukesh in this year.

Over and above this, Mohammad Rafi and Lata Mangeshkar have recorded their first ever duet in this year of Lata Mangeshkar’s debut as playback singerin Hindi Films.That is the only one duet she has this year.

Mohammad Rafi, Mohantara – Main Teri Tu Mera Dono Ka Sang Sang Ho Basera – Aapki Sewa Mein – Dattaa Davjekar – Mahipal

Mohammad Rafi, Khursheed – Sawan Ki Ghatao Dheere Dheere Aana – Aage Badho – Sudhir Phadake – Amar Varma

N.B.  HFGK records this song to the credit of Manna Dey and Khursheed.

Mohammad Rafi, Noor Jehan – Yahan Badla Wafa Ka Bewafai Ke Siwa Kya Hai – Jugnu – Phiroz Nizami B A –

Mohammad Rafi, Lalita Deulkar- Kisko Sunaun Hal-e-Dil…. Hamko Tumhara Hi Aasra, Tum Hamare Ho Na Ho – Saajan – C Ramchandra – Moti B A

This is twin version of Rafi solo Hamko Tumhara Hi Aasra, Tum Hamare Ho Na Ho, but the composition of the duet is so different..

Mohammad Rafi, Lalita Deulkar- –Main Hoon Jaipur Ki Banjaran, Chanchal Mera Naam – Saajan – C Ramchandra – Qamar Jalalabadi

Mohammad Rafi, Lata Mangeshkar – Lo Ho Gayi Taiyyar Zara Thaharo Ji – Shadi Se Pehle – Paigankar, Karnad – Pt. Sukhram Sharma

Mohammad Rafi, Razia Begum – Balam Harzai, Jao Ji Main Preet Kiye Pachhatai – Shikarpuri – Muhammad Safi – A Shah ‘Aziz’

Duets of G M Durrani

G M Durrani was considered to a very close competitor who Mohammad Rafi had to content with during Rafi’s initial years. Of couse that is not the reason for juxtaposing G M Durrani’s duest in this post.

G M Durrani, Amirbai Karnataki – Wafaein Hamari Na Tum Azamana – Diwani – Gyan Dutt – ?

G M Durrani, Geeta Roy – Aji Prem Ka Nata Toot Gaya Mera Preetam Mujh Se Choota – Do Bhai – S D Burman – Raja Mehandi  Ali Khan

G M Durrani, Paro Devi –Do Nazron Ka Mil Jana, Ban Gaya Ek Afsana – Heera – Husnlal Bhagatram – Qamar Jalalbadi

G M Durrani – Noor Jehan – Haath Seene Pe Rakh Do To Qarar Aye – Mirza Sahiban – Pt. Amarnath / Husnlal Bhagatram – Aziz Kashmiri

G M Durrani – Noor Jehan – Tum Aankho Se Door Ho Hui Neend Aankh Se Door – Mirza Sahiban – Pt. Amarnath / Husnlal Bhagatram – Aziz Kashmiri

We will take up Micro View of Male-Female Duets of other Male Singers for the year 1947 in our next episode.

Categories
I Liked Music from films

The Micro View of Best Songs of 1947 : Male Solo Songs – G M Durrani / Surendra / K L Saigal

Solo Songs of G M Durrani

G M Durrani would go down in the history of Hindi Film Music history as a singer who would have done well in the post-vintage era years, but for the sudden rise of the singers like Mohammad Rafi (in particular), Mukesh, Talat Mahmood and Manna Dey.

When we make this statement today, the statement stands out the test of period. But that is because we have advantage of the hindsight. Let us see how G M Durrani’s solo songs compare with the solo songs of  the male singers of the Golden Era – Mohammad Rafi, Mukesh and Manna Dey –  in the current year of Micro-Review.

Ab Kaun Hai Is Tute Hue Dil Ka Sahara– But Tarash – Ghulam Haider –

Tu Himmat Na Har Musafir – But Taraash – Ghulam Haider

Khel Nahi Gir Gir Ke Sambhalana, Rahi Dekh Sambhal Kar Chalna – Doli- Ghulam Mohammad – Majrooh Sultanpuri

Toota Hua Dil Le Ke Chale Apne Watan Se – Ek Roz – Shyam Sundar – Sarshar Salani

Ek Bewafa Ne Shish-e-Dil Chur Chur Kar Diya – Ek Roz – Shyam Sundar – Sarshar Salani

Hue Hai Qaid Muhabbat Ki Hukamrani Se – Heera – Husnlal Bhagatram – Shams Lakahanavi

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

O Jaanewale Aane Ka Ikarar Kiye Jaa – Mitti – Lal Muhammad + Paignekar

Solo Songs of Surendra

Surendra did continue into the Golden years, but he is considered a vintage era actor-singer.

Ek Baar Phir Se Aaja, Dil Mein Mere Samaa Jaa – Elan – Naushad Ali – Jiya Sarhadi

Tera Jahaan Abaad Hai, Mera Jahan Barbaad Hai – Elan – Naushad Ali – Jiya Sarahadi

Kya Hai Naari Ki Shaan .. Duniya Ko Batlaunga Main – Manjhdhaar – Gyan Dutt – Shams Lakhanavi

Kyon Tu Mujh Se Rooth Gayi Aathon Pahar Dil Yahi Pukare – Manjhdhar – Gyna Dutt 0 Shams Lakhanavi

Solo Songs of K L Saigal

1947 has only one K L Saigal film – Parawana – which has 4 of his solo songs. However, the presence of only one K L Saigal film – and that to  his last one-  in the year, makes the year stand out as a vintage era year, as K L Saigal is one single icon that can be identified with the vintage era.

Jine Kaa Dhang Shikhaye Jaa, Kante Ke Nok Par Khada Muskaye Jaa – Parwana – Khursheed Anwar – D N Madhok

Tut Gaye Sab Sapne Mere.. Ye Do Naina Sawan Bhado Barse Sanj Savaere – Parwana – Khursheed Anwar – D N Madhok

Us Mast Nazar Pe Padi Jo Nazar, Kajre Ne Kaha Mat Dekho Idhar, Dekho Ji Kabhi Ulajh Na Jaana – Parwana – Khursheed Anwar – D N Madhok

Muhabbat Mein Kabhi Aisi Bhi Haalat Ho Jaati Hai….Tabiyat Aut Gabrati Hai Jab Pahlayi Jaati Hai  – Parwana – Khursheed Anwar – D N Madhok

We will take up Micro-view of solo songs of Other Male Playback singers for the year 1947, in our next episode.

Categories
In my view Music from films

S D Burman and “Other” Male Playback Singers :: 1

SD Burman’s compositions with (the so-called ‘mainstream’) male playback singers like Kishore Kumar, Mohammad Rafi, Mukesh, Talat Mahmood, Hemant Kumar or Manna Dey or songs in his own voice seem to have been discussed well on different blogs . The discussions have been observed to spread over different contexts like songs composed for heros – for Dev Anand as well as for ‘other’ heroes, composed on comedians like Jhonny Walker or Mehmood, Kishore Kumar or Mohammad Rafi’s duets with either Geeta Dutt or Asha Bhosle or Lata Mangeshkar and many other variants and sub-variants .

The statistics also reflect a similar picture.  The songs that S D Burman has composed for Kishore Kumar (115 songs) and those for Mohammad Rafi (90 songs) constitute around 60% of the total around 342 male (solos, duets etc.) songs. If we add S D Burman’s songs for other mainstream singers like, Mukesh, Talat Mehmood, Hemant Kumar and Manna Dey, we would cover around 83 % of SD Burman’s male songs  His songs in his own voice would add further add up to 4%.

This 87% songs account for (2+4+1) 7 singers.  If we call this a classic 80+% ‘Head’ of a rank-frequency power law curve, the 34 songs spanning 18 ‘other’ male singers, a good  13 % of S D Burman’s male songs,  would make a perfect ‘Long Tail’ that does not seem to have been discussed as much.

For the purpose of our discussion of S D Burman’s songs for ‘other’ male singers, we will slice SDB’ career in three period slots such that  each one has had a very definitive set of external factors that seem to reflect his selection of ‘other’ male singers.

As we will see in a short while, each of these three phases has its own distinct pattern in so far as SBD’s use of ‘other’ male singers. It would also be not out of order to note that, barring a few cases, most of these singers have appeared only in song(s) for only one S D Burman-composed film.

 [1]

1946-1949

For our present post, we have taken S D Burman’s songs of ‘Other’ Male singers for the first phase of his career. That phase commences from the beginning of SBD’s Hindi Film career in 1946 and would end in1949, leaving out ‘Mashal’ for the next phase.

S D Burman had composed music for 8 films in this period. We have covered 5 films in our post. The 3 films we have not covered are:

  • Chittorvijay (1947) songs do not seem to have a trace of the digital version on net. The film had had Raj Kapoor, Madhubala, Surendra etc. in the lead. The lyrics of the first line of the songs would lead us to believe that the songs were in female voices. But the trail goes cold beyond that.
  • Vidya (1948) had Dev Anand and Suraiya in the lead. The male songs, filmed on Dev Anand, have been rendered by Mukesh.
  • Shabnam (1949) had Dilip Kumar and Kamini Kaushal in the lead. Here too, the male songs are rendered by Mukesh.

This period has one more Raj Kapoor film for which S D Burman has composed the music. Raj Kapoor sings his own songs for that film. 1n 1950, SDB-RK had one more film – Pyas. The male songs, filmed on Raj Kapoor for that film, have gone on to Kishore Kumar.

With these major indicators, the scenario for S D Burman’s career’s first phase can best be summarised as:

This period of 1946-1949 is the period when The Trio of Hindi Films – Dilip Kumar, Dev Anand and Raj Kapoor – were still the budding, struggling, young actors. Their star-image blazing films were to appear only in 1949 or thereafter. Since they were not stars themselves, they seem to have gone on with any playback singer who was the then flavour of the day. S D Burman himself was still not on the firm footing. That was to happen in Mashaal (1949), His branding association with Navketan was to happen in 1950 with Navketan’s maiden venture Afsar. Moreover, Male playback singing  is yet to become the oligopolic turf of ’50-60’s singers Mukesh, Talat, Rafi or Manna Dey. The actors on the screen were still expected to playback their own songs.

We open the curtains for the day with this rather long prelude –

S D Burman – S L Puri

S L Puri seems to have played minor to major roles in several films between 1934 and 1957. Not very definitive documentation on him seems to be available on net.

Babu Re Babu Re Dil Ko Bachana – 8 Days (1946) – with S D Burman – Lyrics: Qamar Jalalabadi / G S Nepali (?)

What we have is an audio clip, so we assume that S L Puri would have sung for himself, However for who did  S D Burman played back is not known.  These details apart, S D Burman singing a very light song is novel, and a pleasurable, experience!

S D Burman – Chitalkar

How would SDB and CR have teamed as music director-singer combination remains a matter of conjecture – may be C Ramchandra was still not established as music director in his own rights, so he would have been accepting the stand-alone singing assignments or was his availability on Filmistan rolls the catalyst for this combination ? We know not.

Ik Nayi Kali Dubli Si Dulhan Ban Ke.. – 8 Days (1946) – with Meena Kapoor – Lyrics:  G S Nepali

The song appears to be a wedding-occasion song, but cast in a lighter tone.

S D Burman – Chitalkar music director-singer duo has one more song on the records. The song is from a film which dates a good six years after their maiden combined venture. However, we have included that song here to bring all the songs of SDB-CR combination on the same page.

Teriya Teriya Teri Yaad Sataye Teri Yaad – Chalis Baba Ek Chor (1954)- with Lata Mangeshkar – Lyrics: P L Santoshi

The way Teri Yaad has been played up as Teriya Teriya, the mood, and the composition of the song would lead to believe that song would have been composed by C Ramchandra !.  Moreso, when film belongs to the phase of S D Burman’s career where he, and for that matter most of the then other established music directors,  had well settled with using only the main stream male singers for his songs.

Is that P L Santoshi’s influence, since he was the director of the film as well?

S D Burman – Ashok Kumar

This is the first year of S D Burman in Hindi Film Industry. Ashok Kumar is already the default lead actor for Filmistan banner at that time. Ashok Kumar also used to sing his own songs in that period. So, the combination would not cause many surprises.

Their next association was in Mashaal (1950), by which time Ashok Kumar probably had decided to focus more on his acting. So it is also not surprising that S D Burman has used different singers for Ashok Kumar after this one film.

In the subsequent instance of such a situation, in Meri Surat Teri Aankhen (1963), S D Burman has even used two different singers – Manna Dey and Mohammad Rafi – as he used to do for Dev Anand too, by that time.

Dol Rahi Hai Naiya – Shikari (1946) – with Chorus – Lyrics : G S Nepali

 Dol Rahi Hai Naiya – Shikari (1946) – with Paro Devi – Lyrics : G S Nepali

This is the twin of the foregoing song.

Har Din Hai Naya – Shikari (1946) – with Amirbai Karnataki  – Lyrics : G S Nepali

S D Burman – Shyam Sundar

That this Shyam Sundar is not the then famous actor Shyam is not difficult to know.  It seems there was another Shyam Sundar who as primarily a music director.  Making any statement beyond that is simply outside the domain of my limited knowledge of the pre-1950 Hindi Film Music world.

Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: Y N Joshi

Hero’s sidekick friend has landed upon photograph of the beau who has stolen way his heart. So who would miss the occasion of the pulling the leg and get away with?

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

HFGK is silent about the singer or the lyricist. When we llot the video and listen to the song, it is not difficult to surmise that singer is none other but Shyam Sundar.

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

It seems that now the well-wisher friend of the hero has taken up on himself to get the hero’s lady love to nod in favour of his friend.

S D Burman- Raj Kapoor

Dil Ki Rani (1947) is the second instance when S D Burman and Raj Kapoor have teamed up. In those years, that cannot be the news. The news is Raj Kapoor singing for his own song – whether on his own volition or on the direction of the music director S D Burman, is obviously not known. The fact remains that this is only one such incidence of the kind.

O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – Lyrics: Y N Joshi

Hero is an upcoming singer. Here he is recording his song for radio.

O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – With Geeta Roy – Lyrics: Y N Joshi

The song has become so famous that people from all walks of lives keep singing the song. Technically, this can be termed as Raj Kapoor’s playback song for other actor(s).

S D Burman – G M Durrani

The film is Do Bhai (1947). By now, S D Burman seems to have settled with choosing Geeta Roy for female playbacks.  Incidentally, Mera Sundar Sapna Bit Gaya is the first major evergreen, all-time hit song under S D Burman’s baton.

Aji Preet Ka Nata Toot Gaya – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan

G M Durrani was a well-established singer then.

S D Burman – K S Ragi

KS Ragi is one more unknown name to me.  So I search for more information on him on some more versed blogs on the film songs. I do not have to search a great deal, since I land upon a post guest written by Shri Arunkumar Desmukh, wherein he has provided this basic information about K S Ragi:

“Kewal Singh Ragi was born and brought up in Hanamkonda, Warangal in erstwhile Andhra Pradesh (now it comes in Telangana).. When he was in his teens, he ran away to Bombay.. and as luck would have it, managed to get entry into All India Radio and started singing there. He was in Bombay for 12 years. He not only got a chance to sing in films,but he composed music too as well as acted in some films,like Daag-52 and Patita-53 etc….He sang in films from 1940 to 1952 and sang songs with Geeta Roy, Shamshad Begum, Uma Devi, Kishori (supposedly, his own sister), Zebunnisa, Khursheed, Roshan ara Begum, Razia Begum etc.…. Some of the films he sang in were, Do Bhai-47, Namumkin-46, Hamari qismet-49, Siskiyan-58, Bulbul-51, Humraz-40, Azamaish-52 etc. He gave music to Bulbul-51 and Siskiyan-58 (unreleased).”

Yaad Rakhana Mujhe Yaad Rakhana, Preet Ki Duniya Meri Abaad Rakhana – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan

A close look at the video clip shows that the present song as well as the previous song has been sung by the same actor – Ulhas – on the screen, but S D Burman has chosen to use different playback singers.  This practice of choosing different singers for the same actor in one film – most particularly in the case of Dev Anand – based on the demands of his tune was to become a major differentiator, in the years to come, that separated S D Burman form his peers .

S D Burman – Surendra

The film is Kamal (1949). Surendra was already an established actor-singer by this time. However, S D Burman has very deftly handled the actor as a singer.

Main To Hun Udaas, Woh Bhi Hai Saukh Jafar Gham, Unke Bhi Dil Mein Dard Hai, Ae Dil-e-Udaas Kyun – Kamal (1949) – Lyrics: Prem Dhawan

Is the use of Ae dil-e-Udaas Kyun, which were closely rhymes similar to K L Saigal’s Ae Dil-e-Bequarar Kyun do we see a subtle attempt to encash Surendra’s fame as ‘Bombay K L Saigal’!

Ab Raat Gayi Beet Re – Kamal (1949) – Lyrics: G S Nepali

Here is the song that presents both Surendra and S D Burman the way we have always known.

Jhoom Jhoom Ke Naache Manwa Gaye Ja Gaye Ja – Kamal (1949) – Lyrics: Prem Dhawan

To me, it appears tune is more akin to S D Burman’s style of singing!

Kahane Ko Hai Taiyar Magar Kaise Kahe Hum – Kamal (1949) – with Geeta Roy – Lyrics: G S Nepali

Surendra joins in only the last stanza.

S D Burman – Motilal

S D Burman once again explores the vocal chords of someone who is known as an actor …

Pyara Pyar Hai Sama My Dear Come to Me – Kamal (1949) – with Meena Kapoor – Lyrics: Raja Mahendi Ali Khan

Most of us would not be able associate either Motilal or Raja Mahendi Ali Khan in such a light mood!

Thus ends the period when it is said that S D Burman was highly dissatisfied with the fruits of his labor at Bombay and was very actively considering going back to Calcutta.

At this point his career is delicately poised at To Be or Not To Be.

We also take a pause at this point and will resume S D Burman’s career journey through the vehicle of his songs for ‘Other’ Male Singers in the next part of this post.

Categories
I Liked Music from films

The Micro View of the Songs of 1948 @ SoY – The Duets – Male Female Duets – Other Male Playback Singers [2]

In continuing our journey of Micro View of Male Female Duets of Other than Mukesh and Mohammad Rafi, we will take up second set of the duet songs today.

Popular Duet Song

Kishore Kumar + Lata MangeshkarYe Kaun Aaya Re Hai Kar Ke Solah Sigar – Ziddi –  Khemchand Prakash – Prem Dhawan

The song has got fame as the first duet of Kishore Kumar and Latamangeshkar.

Other Duet Songs

G M Durrani + Lata MangeshkarKhamosh Fasana HaimDuniya Se Chhupake Chhupake – Heer Ranjha – Aziz Khan – Vali Sahab

G M Durrani, Rajkumari, Johrabai AmbalewaliEk Dil Tera Ek Dil Mera – Pt. Hanuman Prasad

HFGK records this as two songs, one a duet by G M Durrani and Rajkumari and the other a parody song by Johrabai, G M Durrani and Chorus.

Shankar Dasgupta + Miss ParvezAy Dil Abhi Tu Sabar Kar Teri Bhi Baari Aayegi – Ham Bhi Insaan Hai – H P Das, Manna Dey – G S Nepali

Allaudin  + Shamshad BegumSawan Ke Din Aaye Balama Sawan Ke Din Aaye Hai – Kaajal – Ghulam Mohammad, D  N Madhok /  Shakeel Badayuni (?)

Ram Kamlani + Joharabai Mere Dil Ka Phate Nahi Kahi Atom Bomb – Lal Dupatta – Gyan Dutt – D N Madhok

Karan Diwan + Shamshad BegumMujhe Jaane Tum Se Pyar Kyon Hai – Mitti Ke Khilone – Bulo C Rani / Hans Raj Behl (?) – B R Sharama

Ram Kamlani + Surinder KaurChori Chori Mori Atariya Aa Ja Re – Nao – Gyan Dutt – D N Madhok

Krishna Goyal + Meena KapoorBalam Mohe Man Se Na Apne Bhoolana – Raees – Manohar Arora _ Kaisar Sabai

Suresh+ SuraiyaRootho Na Tum Bahar Mein, Mausam-e-Khushgawar Mein – Rang Mahal – K Datta+ V Balsara (?) – ShivKumar

Ram Kamlani + Shamshad BegumHamari Baat Ka Kyon Tum Ko Aitbar Nahi – Rangeen Zaman – Pt. Govind Ram – Pt. Fani

We will take up micro view of Female Female Duets of 1948 in our next episode.