Duets(+) of Mukesh: With Male Singers

A tribute to Mukesh on his 99^th Birth Anniversary (b. July 22, 1923 – d.  August 27, 1976)

Films in India, by and large, revolve around different themes of love between a boy and a girl. As such, songs come in very handy as a very strong and direct, easy-to-comprehend, medium to express the different shades of feelings of love. Traditionally, the solo songs occupied the space of prime importance. During vintage era this was more a necessity because the singers were generally actors themselves. Moreover, the recording technology also was in the development stage, which made recording a duet song with two vastly different musical qualities of pitch and timbre of a male and female voice was quite difficult in comparison to the recording of a solo song.

With the playback singers taking over the onus of singing, and advances in the filmmaking and song-recording technologies, the duets started gaining more importance in the film production considerations. Music directors also started taking this genre seriously and started creating duets that stood, almost, at par with solo songs.

Essentially, the duets are categorised as male-female duets, male-male duets, and female-female duets. As can be expected, the bulk of the duets in the films remain male-female duets. Male-male and female-female duets normally remained as duet songs that friends would sing together. However, the traditions of patriotic songs, devotional songs, or dance songs in the greater arena of music also inspired similar male-male and /or female-female songs. The subjects used to vary from manifestation of friendly affection – either positive or negative (jealousy), celebrating the festivities together, sharing of mutual concerns or one teasing/advising/counselling the other. As such, once the choice of subjects and practices of narrating the story evolved over 40s, male-male duets genre also started getting prominence. In the 60s and onwards, with more films being produced with more than one hero, the male-male genre further got more weightage. However, essentially, the core subjects have not changed as materially as that of solos.

In so far as Hindi film songs are concerned, duets of Mukesh constitute roughly 20 % share of his total film songs. Mukesh Geet Kosh also includes duet songs that have some element of chorus in the song, while taking care that these are separately identified. The male-male duets of Mukesh, including those with chorus element, constitute again around 15% of the duets of Mukesh. The male-male duets of Mukesh offer fairly wide-spread range, in terms of subjects of the songs, co-singers, year of the song, and of course, the popularity, to lead me to zero in on this subject for the post to commemorate the 99^th birth anniversary of Mukesh.

Under the broader category of duets, Mukesh Geet Kosh also has separately identified songs that have some actor /actress chipping with Mukesh a line here or there in the song. I have not included such songs here. Mukesh has more than one duet with Mohammad Rafi or Kishore Kumar. I have chosen the one which I like more than other Rafi or Kishore duets. In some cases, I have included a few triads or quartets (with all male or male-female combination), where the context of the narration, or paucity of a right duet, or the need for variety of different subjects or styles or music directors so necessitated. In one particular instance of duet with Talat Mahmood, I have included, rather had to include, an NFS as well.

So here are Duets(+) of Mukesh with Male Singers, generally, in the chronological order of year of the release of the film.

With Shailesh (Mukharjee)

Rab Mere Araj Sun Meri Sharan Ab Teri – Aag (1948) – Lyrics: Saraswati Kumar Dipak – Music: Ram Ganguli

Ram Ganguli has certainly come up with a very different style of composition for a song that is essentially a devotional song.

If we would have strictly followed the chronological sequence of the release of the films, one of the two Mukesh – Mohammad Rafi duets from Chilman (1949) or Thes (1949) would have appeared here. But from the seven Mukesh-Mohammad Rafi duets, the song that liked most happens to be a duet from the film of the year 1958, So that will have to wait for a while.

With G M Durrani

Aise Mein Koi Chham Se Jo Aa Jaye To Kya Ho – Hanste Aansoo (1950) – Lyrics: Shewan Rizvi – Music: Ghulam Mohammad

Here is an exchange of arguments for pros and cons between two friends of locating the bed if a house is built on a given location – one wants to set up his bed at that very doorstep so that when some (a much awaited) beauty comes up suddenly he would not miss it. His friend warns of another extreme possibility of a high-heeled slipper to be awaiting a welcome instead.

Ghulam Mohammad has come up with so lovely enough orchestration for this composition to induce revisits to the song. If we would have seen the film, we may also have come to know what will have happened after the song is over.

I have picked up a triad next because that provides us with a new combination of singers.

With Khan Mastana

KyuN Shikwa Karein KyuN Aah Bharein – Pagle (1950) – with Talat Mahmood – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

The friends have gathered to vent their frustration of non-result bearing efforts of their pursuit to get someone to love them.

Pagle had one more triad, with G M Durrani as the third player –

Ye Aaj Kal Ke Laila Aur Majnu – Pagle (1950) – with G M Durrani – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

Another song of the youthful frustration when all efforts to woo the ‘fair sex’ fail, which leads to this deep sigh, in the form of

Ye aaj kal ke Laila or Majnu
.. … …
ik haath se dil ko thamate haiN
ik hath se tata kahate haiN

It would be interesting note that Mukesh Geet Kosh has clearly identified the singers for these songs, but HFGK mentions Jagirdar, Agha and Sheri as the singers, who in fact are the actors singing the songs on screen.

With S D Batish

Jaao Sidharo Hey Radha Ke Shyam – Aarzoo (1950) – with Shamshad Begum, chorus – Lyrics: Majrooh Sultanpuri / Jan Nissar Akhtar – Music: Anil Biswas

Mukesh and S D Batish do not actually get connected through a triad here. What is treated as triad in the credits on the record N 38386, is in fact a three-piece stage show story wherein the first (penned by Majrooh Sutmapuri) and third part (penned by Jan Nissar Akhtar) are S D Batish-Shamshad Begum duets with chorus and the second part (also penned by Jan Nissar Akhtar) is a Mukesh-Shamshad Begum duet with chorus.

With Kishore Kumar

The Kishore Kumar – Mukesh combination has an interesting aspect too. Except for one triad in 1953, they did not have a proper duet during the pre-Aradhana, what is generally called as, Kishore Kumar 1.0 career phase. Then they had a triad-chorus in Satyakam (1969) the transition year. They had first proper duet in 1971, in what can be considered as Kishore Kumar 2.0. Since then, Kishore Kumar has had one more duet with Mukesh, in 1976. The duo further had one triad each with Sushma Shreshtha (Dharam Karam, 1975) and Dilraj Raj Kaur (Chor Mandali, 1983) as well as a quartet with Mohammad Rafi and Lata Mangeshkar (Amar Akbar Anthony, 1977)

Lo Mil Gayi Degree Pyar Ki – Maalkin (1953) – with Ram Kamlani – Lyrics: Rajendra Krishna – Music: Roshan

This must rank as the only song where Roshan has used Mukesh in a comedy situation.

However, the real irony of the song being treated as a Mukesh triad comes up only when we listen the full song and find that Mukesh just gets two words – first time just ‘KahaaN Bhai?’ after the first line, Din mein sau sau chakkar kate, in the first interlude stanza and then just ‘Kis ki?’ after the first line, Baithe baithe kismet khul gayi’ of the third interlude stanza!

Haal Chaal Thhik Thhaak Hai – Mere Apne (1971) – with chorus – Lyrics: Gulzar – Music: Salil Chowdhury

I have a very sweet connection with this song.

In our BITS Pilani days, we would have one, just-released, film screened every weekend. Mere Apne was one such film. Since the story is about the restlessness of students (particularly because of paucity of jobs even after proper college education), the film had been obviously very well received in the campus. When you pass near any of hostel block, particularly after dinner time, you will invariably get to listen the whistling used in the song. Also, the cleverly split first line had tremendous popularly as an informal greetings exchange among friends – Question: ‘Haal chaal? Answer: ‘Thik Thaak Hai.’ – obviously, in the lyrical mimic of the song!

With Mohammad Rafi

Mukesh and Mohammad Rafi share the maximum number of songs together – 7 duets, 6 duets+chorus, 5 triads – one with Shamshad Begum (Hanste Aansoo, 1950), two with Lata Mangeshkar (Shree 420, 1955 and Ahuti, 1978), two with Suman Kalyanpur (Dil Ne Phir Yaad Kiya, 1966 and Vishwas, 1969), and one with Hemlata (Jaaneman, 1976), and one quartet with Kishore Kumar and Lata Mangeshkar (Amar Akbar Anthony, 1977). More important. perhaps, is that the association spans almost the entire career of both of them, with first duet in 1949 (Chilman and Thes) and the last one in 1978 (Ahuti).

I have selected one duet, which I have always relished to listen to.  Just the memory of the song has helped to me ease out any tension coiled in, any time, in my mind.

Phirate The Jo Bade Hi Sikandar Bane Hue ….. Jo Bor Kare Yaar Ko Us Yaar Se Tauba… Jis Pyar Mein Ye Haal Ho Us Pyaar Se Tauba – Phir Subah Hogi (1958) – Lyrics: Sahir Ludhiyanvi – Music: Khayyam

Mohammad Rafi so lively pulls up his friend’s legs that even the Raj Kapoor’s lady love Mala Sinha cannot hide her smile. Moreover, if you close your eyes, the way Rafi goes with his part you can imagine how Rehman, otherwise an actor who plays serious roles, must be freely acting it out on screen, while lip-synching Mohammad Rafi. Every line Sahir has penned for Rafi’s part is just enough for any friend on the other side to break up the relationship!

With Mahendra Kapoor

For the records, Mukesh and Mahendra Kapoor have three duets, however the third one, from Saathi (1968) – Jo chalaa gayaa use bhul jaa, Naushad has used Mahendra Kapoor  for just a higher-scale line being heard as echo Bhul Jaa… Bhul Jaa, as haunting memory from the past that has to be forgotten.

Of the other two, both composed by N Dutta, one is for Dilli Ka Dada (1962) and the other for Holiday in Bombay (1963). I have selected the latter one.

Ye Hasin Bambai Hamein Jam Gayi …. Holiday Holiday Holiday in Bombay – Holiday in Bombay (1963) – Lyrics: Anjaan – Music: N Dutta.

The reasons I have selected this song will sound quite trivial – one: Mukesh gets to playback for the hero (Shashi Kapoor), two: one gets a virtual tour of Mumbai in the video clip, the third: you get to see a glimpse of now totally forgotten, Lambretta scooter (@4.12) and fourth of course, it has a connection with a 2018 SoY post – Bharat Darshan Songs (2) – Metros.

It would not be out of place to record here that Mukesh and Mahendra Kapoor share a triad with Rajendra Mehta, a famous ghazal singer of 60s/70s.

Mera Rang De Basanti Chola – Shaheed, 1965 – Lyrics and Music:  Prem Dhawan

This would rank as one of the best patriotic songs Hindi films have recorded.

With Manna Dey

The proper duet of Mukesh and Manna Dey, very surprisingly, has come up only in 1976 for the film Das Numbri. Even Mukesh, Mohammad Rafi and Manna Dey triad also came up in only 1973, for Teen Chor. As such, I thought it would be patently safe to fall back upon a quartet and a quintet from the earlier years.

Sathi Re…. Kadam Kadam Se Dil Mila Rahein Hai Ham – Char Dil Char Rahein (1959) – with Mahendra Kapoor, Meena Kapoor, chorus – Lyrics: Sahir Ludhiyanvi – Music: Anil Biswas

The song is an inspirational song, wherein multiple singers join to playback for corresponding actor on the screen. It being an Anil Biswas composition, the composition and orchestration are ideal, so are the lyrics of Sahir. It is not surprising that the overall outcome is a song that you would like listen, again and again, for its sheer melody.

I am not able to resist the temptation of including a quintet chorus song, so well-known to me, and almost of all of us for that matter, that came up in different light when I listened to it from the point of view of the present article.

Hum Bhi Hai Tum Bhi Ho Dono Hai Amane Samane – Jis Desh Mein Ganga Behti Hai (1961) – with Mahendra Kapoor, Lata Mangeshkar, Geeta Dutt and chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

I always admired this song for several stunning features – Shankar Jaikishan and the team for conceiving and executing the rich orchestrion (of particular notice is the violin ensemble piece @ 5.35 -5.52 that so vividly creates the feeling of speed), meticulous details of choreography of Hira Lal, and so creative camera work of Tara Dutt that captures every expression of every actor so lively and the overall direction of Radhu Karamakar – RK’s otherwise default director of photography. Essentially, the song was a chorus song representing dacoits on one side and the reformer (Raju) on the other side.

However, I could now easily see a parallel under-current of a duet too running in the song, beginning with two lines that follow the opening skirmish between Raka and Raju, when Kammo and her friend Bijli charmingly declare Hum bhi haiN (@2.30), to which Raju responds, unwittingly, Dekh lo kya asar kar diya pyar ne. The visuals @0.45 to 0.51, where Kammo longingly eyes Raju, which Raka too does not miss to notice or that fleeting exchange of mutual appreciations @ 1.52 to 2.00 between Kammo and Raju corroborate the implicit germination of soft feelings for each other. The song virtually turns into a duet after the second interlude when Kammo directly intervenes the song with itana sa ye dil tu de de agar sara jag tera ho jaye. (@5.03)

As the songs moves on, the mood of festivity of all so beautifully morphs into acquiescence of love of the two.

We come back to our main track again.

With Talat Mahmood

As we have seen @ #3 here before, Mukesh and Talat Mahmood did get just one triad as early as in 1950. These two may be the only male singers of that period who did not even have one Hindi film duet in their entire career.

Fortunately, three Mukesh – Talat Mahmood NFS duets, composed by Murli Manohar Swaroop, fill up this void. We had had heard one duet, Kisi ko deke dil koi nawa_sanj-e-fughan kyun ho, in the earlier post, Mukesh’s Non-film Hindi Geets and Ghazals.

I have picked up the other one here –

Woh Jo Ruthe To Manana Chahiye …. Zindagi Se Rooth Jaana Chahiye – NFS – lyrics: Jigar Murarabadi + Mirza Ghalib – Music: Murli Manohar Swaroop

To the opening line from Jigar Murarabadi ghazal sung by Mukesh, Talat Mahmood joins by a Mirza Ghalib ghazal line Chahiye achchhoN ko jitana chahiye, ye agar chaahein phir to kya chahiye…  and so forth.

However, we can take consolation that they did have one more song in the Hindi films – an all-male quintet in 1966.

Mujhko Muhabbat Ho Gayi Hai, Bas Muhabbat Ho Gayi Hai …. Anhoni Baat Thi Ho Gayi Hai – Biwi Aur Makaan (1966) – with Joginder, Manna Dey and Hemant Kumar – Lyrics: Gulzar – Music: Hemant Kumar

Normally Mukesh and Talat Mahmood are put at the slow paced, serious film-song-moods spectrum. Another singer, Hemant Kumar also is considered to be the singer of that part of the spectrum. However, Hemant Kumar, the music director, seems to have helped Talat Mahmood switch the role and join him (in the role of the playback singer) in the fast-paced jest-cum-scolding session with that love-infested friend among the ‘five pandav’ friends who have vowed to remain unmarried till everyone gets a job. Talat Mahmood plays back to Keshto Mukhrjee who impersonates a girl along with Biswjeet who lip syncs Hemant Kumar!

I conclude here my part of the choices of Duets(+) of Mukesh with Male singers so as to start pondering over what subject we should take up for the celebration of Mukesh’s 100^th birth anniversary post next year…….

Acknowledgement and disclaimer:

1. Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

Reproduction of the article originally published on Songs of Yore on 22 July 2022

The Micro View of Songs of 1943 – Male Solo Songs [2]

Other than KL Saigal, G M Durrani and Surendra have had high numbers of songs for the year.  If all solo songs Surendra for the films Paigham and Vish Kanya could have been traced on YT , we would have had a separate post for Surendra as well.

However, as things stand now, this post focuses on all available solo songs of G M Durrani for the year 1943.

Pee Kahan .. Gaaye Ja Baanware… – Chhed Chhad – Tanveer – Mustaq Hussain

Ae Hind Ki Sapooto, Jago Hua Sawera – Kaushish – ? – Bashir Dehlvi

HindustanwaloN…… Geeta Ke Barak Ulto – Kaushish – ? – Bashir Dehlvi

Aa Jaa…. Bichhade Hue Sajan Jis Desh Gaya Hai – Nayi Kahani – Wali Sahab – Shyam Sundar

Kya Sukh Paya Nain Mila Ke – Nayi Kahani – Wali Sahab – Shyam Sundar

Hamein Kya Hamein Kya Ab KhijaaN Aaye Na Aaye – Nayi Kahani – Wali Sahab – Shyam Sundar

Mere Dil Mein Sainkado Armaan, Bhala Woh Kya Jaane – Namaste – D N Madhok – Naushad Ali

Dil Ke Pat Khol Ke Dekho Jawani Kya Hai – Namaste – D N Madhok – Naushad Ali

Jadugar Mori Nagariya Mein Aaye – Namaste – D N Madhok – Naushad Ali

Kaun Hai Ye Dilruba, Manko Lubhaye, Sabko Suhave -Prem Sangeet – Bharat Vyas – S K Pal

Yeh Kaun Aaj Rah Rahe Ke Yaad Aa Raha Hai – Salma – Hasrat Lakhanavi – Pt. Govindram

Barato Sudeshi Bano Sudeshi – Vijay Lakshmi – / – Pt. Govindram

P.S.:

I could locate two more songs that would belong to the 1^st part:

Pt. Vishnurao Chonkar – Piya Bin Swan Bhaado NahiN – Shahenshah Akbar – Pt. Indra – Ustad Jhandekhan

Surendra – Jo Dil Mein Aaye Dard Bankar – Paigam – Safdar Aah, Baalam Pardesi, Pandit Indra ? – Gyan Dutt

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.

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

Ghulam 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Micro View of Best Songs of 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.

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…………

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.

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.

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.