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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.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: February 2021

Talat Mahmood: Duets with Geeta Dutt:

A Rare Blend of Velvety Voice with Mellifluous Tone

Talat Mahmood (B: 24 February 1924 | D: 8 May 1998), known for his velvety voice was more comfortable in lower scales. His voice required most of the music directors to adapt their styles to his singing. Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; B: 23 November 1930 | D: 20 July 1972) was a gifted singer who could enliven any song with her mellifluous voice. The contrasting styles of the two contemporaries should have resulted in a larger number of duets. However, the destiny seemed to have scripted a different script for the duets of these two singers.

Statistically, the number of Talat Mahmood – Geeta Dutt duets trail those of Talat Mahmood-and Lata Mangeshkar as well as Talat Mahmood and Asha Bhosle. However, as in the case of both artists’ other songs, the numbers alone do not make the full picture. How the velvety voice of Talat Mahmood so magically blended with the mellifluous tone of Geeta Dutt can be experienced only by listening their duets.

To commemorate the memory of Talat Mahmood in the month of his birth, we have taken up the theme of his rare duets. Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri, and

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952.

Presently, we carry forward our journey into the memory lanes of Talat Mahmood- Geeta Dutt duets.

Kah Rahi Hain Dhadakane Pukar Kar, Chupake Chupake Dhire Dhire Pyar Kar – Laal Pari (1954) – Hansraj Behl – Asad Bhopali

To a good many of Geeta Dutt or Talat Mahmood fans, the song will ring special bells of memory. Geeta Dutt slides over changing scales across the song.

Muhabbat Ki Duniya Mein Barbad Rahena Magar Kuchh Na Kahena – Lakeeren – Hafeez Khan – Shewan Rizvi

Songs runs in a lower scale in consonance with the mood of poignancy.

Wah Re Wah Bhagwan…Hazar Haathwale Mandir Ke Dwar Khule Aur Tere Moonh Pe Taale – Maha Pooja (1954) – Avinash Vyas – Ramesh Gupta

Talat Mahmood opens on a high scale as he renders ‘sakhi’. The song then essentially plays in lower scale.

Avinash Vyas has used Geeta Dutt so effectively for Gujarati films. Here Geeta Dutt comes up very sharp variant of her tone, probably in line with a tone of complaint of the song..

Aaye To Kaise Aaye, Majbur Kar Diya Hai…Mil Jaye Koi Tumse Aake Sahar Nahi Koi – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

Geeta Dutt opens ‘sakhi’ on a higher scale which is supported by a crescendo of violins ensemble. Geeta Dutt continues in higher scale supported by Talat Mahmood in lower scale, thereby creating depth of mood of exasperation.

Raat Hai Aramaan Bhari….Aur Kya Suhani Raat Hai, Aaj Bichhade Dil Mile Hai, Tera Mera Saath Hai – Sangam (1954) – Ram Ganguli – Hasrat Jaipuri

The song opens with high scale singing by the chorus, probably the crew of the boat singing the tune in rhythm with pedaling the boat. But this itself is sufficient to set the mood of the song – a serene trip on calmly flowing river, in open moonlight and the two beloved ones together after a long time…

This was one of the hugely liked song then, which remains well remembered even today.

Dekho Dekho Ji Balam Deke Birha Ka Gam Mera Naha Sa Jiya Tadapana Na – Bahu (1955) – Hemant Kumar – S H Bihari

We have a very playful song which Geeta Dutt seems to be equally enjoying as she keeps climbing up and down the scales. We get to hear here a fast paced song that is so sweet all the way through vocal s and orchestration.

Thandi Thandi HawaoN Mein, TaroN Ki ChaaoN Mein, Aaj Balam Dole Mora Jiya – Bahu (1955) – Hemant Kumar – S H Bihari

The song is set to an easy flow pace, in consonance with the mood and the possible situation – the couple riding on some vehicle- mostly a horse cart, or even cycles as was very popular style in those years – in the open moon night.

Kya Paya Duniya Ne…Do Pyar Bhare Dil Tod Kyun Kya Paya Duniya Ne – Darbar (1956)  – Hansrah Behl – Asad Bhaopali / Prem Dhawan

We have a poignant song wherein the couple questions the way the world treats the innocent love of the couple. Geeta Dutt switches over to a lower scale in a melancholy tone with a questioning tone in a higher scale.

Dono Jahan Ke Maalik, Tera Hi Aasara Hai, … Raazi Hai Hum Usi Mein Jis Mein Teri Razaa Hai – Khul Ja Sim Sim (1956) – Hansraj Behl – Asad Bhopali

Incidentally, we have a totally inverse song from the same team – seeking a reprieve from the troubles of this world in the form of  a prayer in the resigned tone this time. It is Talat who scales higher scale at the beginning of each stanza.

O Arabpati Ki Chhori..Gori Gori…Dili Door Nahin  – Makhichoos (1956) – Vinod – Pt. Indra

This a song of Chhed Chaad genre, very popularly used in Hindi films, this time both the parties enjoying the mutual teasing- a way of expressing the enjoyment of stealing a few moments of togetherness. It is not only rare for Talat Mahmood to playback so light song, it is equally rare for Mahipal to sing such a song on the screen, that is in fully modern suit-tie formal attire.

Saare Jag Se Nain Chura Ke Ho Gayi Main Teri – Naag Padmini (1957) – Sanmukh Babu Upadhyay – Prem Dhwan

A lovely playful romantic song, wherein if Geeta Dutt is in her elements, Talat Mahmood comfortably matches the mood.

Dil Ko Laga Ke Bhul Se Dil Ka NishaaN Mita Diye – Doctor Z – Manohar – Akhtar Romani

Here is a song that is from an unknown film, by a hardly heard named music director that showcases strong vocals of Geeta Dutt as she effortlessly. Renders alaap to support and synthesize Talat Mahood to a improvised waltz tune. The composition is quite complex to sing, but the magic blending of the two voices makes it a gem that would like to listen again and again.

Tum Sa Meet Mila Dil Ka Phool Khila, Chalta Rahe YuN Hi Sanam, KhushiyoN Ka Kaafila – Midnight (91972) – Subir Sen – ?

A low-scale vocals high scale orchestration composition, that can be considered as the last duet of Talat Mahmood and Geeta Dutt. The film was never released. So it is really very lucky to get the song on the YT.

There is a reference to a duet – Tumhari Mohabbat Ka Badla – by Daan Singh (film – Bahadur Shah Zafar), but the song does not seem to be traceable. So is a NFS duet Chanda Hanse Hans Rahi Chandani (Music: Jimmy) not traceable on YT.

A look back at Talat Mahmood – Geeta Dutt duets reveals a pattern wherein we do not find songs by the then mainstream music directors. This can be possibly because when either singer was picked up as lead singer for major banner, the other singer would be someone like Lata Mangeshkar, or even Asha Bhosle, as female playback or Mohammad Rafi as male playback. A such what we lose in terms of numbers is well compensated by a very wide range of highly talented music directors and Talat – Geeta duets of all hues and shades, leaving us with a feeling of being fully satisfied with a high-quality fare to enjoy forever.

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.

P.S.:  Talat Mahmood: Duets with Geeta Dutt and its Gujarati version તલત મહેમૂદનાં યુગલ ગીતો – ગીતા (રોય) દત્ત સાથે can be read / downloaded by clicking on તલત મહેમૂદનાં ગીતા (રોય) દત્ત સાથે યુગલ ગીતો । Talat Mahmood: Duets with Geeta Dutt.

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I Liked Music from films

Hemant Kumar’s Hindi Song Compositions – Songs of Lata Mangeshkar, Geeta Dutt and Asha Bhosle

Hemant Kumar (16-6-1920 | 26 September 1989) had already shown flare for music composition from his early childhood. Even though his formal career did commence as a singer, his talents as a composer also did not have to wait longer to get formal recognition. Of course, in so far as Hindi Films is concerned, the first ever film for which he got to compose the music was good eight years after he sang his first film song. He then went on to compose music for 50+ films for next 27 years.

Hemant Kumar’s start as music director in Anadmath (1952) was on a reasonably high note. It soon reached peak with Nagin (1954) and Shart (1954). Both these films had excellent run on box office mainly on the backing of the songs of the film. Hemant Kumar then continued to score at least one musical hit for every two or their films for which scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office has had longer recall value in the minds of the listeners. These are the songs that have normally cemented the image of Hemant Kumar as the composer in our minds.

The full spectrum of Hemant Kumar’s range as a composer has four distinct shades of grey – his solo songs in his own voice, his songs in the voice of female singers, his solo songs in the voice of other male singers, his own duets and his duets in the voice of other singers.

Presently, we will take up the segment of Hemant Kumar’s female songs to explore breadth and depth of Hemant Kumar’s compositions

In terms of the singers, the solo songs of Lata Mangeshkar, Asha Bhosle and Geeta Dutt, in that order, occupy more that 80 % of the female-singers-spectrum of Hemant Kumar’s compositions. Hemant Kumar mostly used Lata Mangeshkar as his lead singer when he did not use Geeta Dutt. Quantitatively and qualitatively, he had still had enough room for using Asha Bhosle’s talent fully. One major impact of this heavy skew in the distribution of the female solo songs was to lead me to explore Hemant Kumar’s musically relatively less successful films to dig out songs of the other female singers. In the process, I had excellent opportunity to listen to many forgotten Lata/Geeta or Asha songs from these films as well.

These deep-sea explorations have resulted into a several large catches of songs of these three singers. I, therefore, have luxury to choose from the less heard songs of the less remembered films to present a different perspective of the rich legacy of repertoire of Hemant Kumar’s female song compositions.

Lata Mangeshkar

Like his other contemporary Bengali music directors, S D Burman or Salil Chowdhury, in the Hindi Film world of that period Lata Mangeshkar was the clear first choice of Hemant Kumar. The natural melody of the Lata Mangeshkar’s voice was a logical and obvious choice for the soft Bengali tone of these music directors.

Hemant Kumar’s compositions in Lata Mangeshkar’s voice, normally, keep being published at regular frequency on several social media. So, I have picked up only one song from an early film and other one from his few of the last films, to present as encompassing as possible range of Hemant Kumar’s female songs

Kahan Se Le Ke Aayi Hai Kaha Majburiya Meri….. Meri Taqdir Ke Mailk Mera Kuchh Faisala Kar De – Shart (1954) – Lyrics: S H Bihari

The song opens with a couplet that epitomises the helplessness of the protagonist. Hemant Kumar deploys short pieces of violin ensemble that accentuates the pathos mood of the song.

Mitwa Re Bhul Gaye The Rahein Mitwa – Rahgir (1969) – Lyrics: Gulzar

This song also renders the mood of pathos – caused by the separation of the lovers. Hemant Kumar has used high scales of Shehnai in the interlude, to immediately follow the line wherein chorus also joins the song. The song is classic Gulzar poetry which is always a challenge for the music director. However, Hemant Kumar’s natural bent for melody returns with a complex, and yet a melodious composition.

Geeta Dutt

Hemant Kumar did use Geeta Dutt as lead female voice in his maiden film Anandmath (1952) – 5 songs. He then used her voice as lead singer in only Laalten (1956) – 6 songs; Police (1958) – 6 songs and of course, Sahib Bibi Aur Ghulam (1960) – 3 songs. He did keep using her off and on, in solos or duets,  in films like Ferry (1954)- 2 songs;  Samrat (1954) – Songs; Shart (1954) – 2 songs; Bahu (1955) – 3 songs; Bhagwat Mahim (1955) – 1 song; Arab Ka Suadagar (1956) – 2 songs; Bandi (1957) – 3 songs; Ek Jalak (1957) 3 songs; Fashion (1957) – 2 songs; Hill Station (1957) – 3 songs; Kitana Badal Gaya Insaan – 3 songs; Miss Mary (1957) – 1 song; Yahudi Ki Ladki – 5 songs; Hum Bhi Insaan Hai (1959) – 2 songs and Duniya Jhukti Hai (1960) – 1 song. If some of the songs are remembered even today, some were lost quickly.

Aa Re Bhanvare Aa, Maheki Meri Man Ki Bagiya – Anand Math (1952) – Lyrics: Shailendra

Since Geeta Bali seems to be on an espionage or a luring mission into the British camps, she resorts to amorous gestures, matching her singing to her physical movements. Geeta Dutt supports such gyrations with matching variations of her singing. Hemant Kumar has so vividly woven an earthy folk-based composition with the situation.

Rangili Rangili Chhabili Rani Nindiya, Aa Mere Raja Ki Ankhiyo Mein Aa – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar sets the lullaby to a soothing, soft orchestration.

Agar Pyar Mein Muskuraaye Na Hote – Laalten (1956) – Lyrics: Kaif Irfani

Hemant Kumar has set Geeta Dutt’s voice to a tone that exudes pathos, and then goes on to support that with short pieces of orchestrations.

Aaja Zara Mere Dil Ke Sahare – Ek Jhalak (1957) – Lyrics: S H Bihari

I always had an impression that this song is only a duet of Hemant Kumar and Geeta Dutt. This solo twin version is a find of the work for this episode.

Aside: The song is considered to have been inspired from Cherry Pink and Apple Blossom White (1955) song.

Koi Door Se Awaaz De, Chale Aao, Chale Aao – Sahib Bibi Aur Ghulam (1962) – Lyrics: Shakeel Badayuni

After the success of Bees Saal Baad (1960), Hemant Kumar and Shakeel Badayuni again team up here. The deep-from-the-memory, haunting, softly echoing, sound of the song in the voice of Chhoti Bahu draws Guru Dutt to the place where he finds the bangles of the Chhoti Bahu. The film goes into the flash back. (@.4.14 to 5.38 of the film soundtrack). The short, soft, sounds of violin in the background in the following frames speak volumes for Hemant Kumar’s creativity as a composer.

Incidentally, it is in this opening that the Hindi version dramatically differs from the Bengali version of the film.

The present song returns at the end of the film to encapsulates the haunting melancholy of the loneliness of Chhoti Bahu

Asha Bhosle

Asha Bhosle, technically for the most part, did not enjoy the status of a lead singer in Hemant Kumar’s scheme of things. But Hemant Kumar has always done full justice to the range of her voice, in terms of number of songs that he gave to Asha Bhosle, as well in terms of variety of the music content. As a result many of Hemant Kumar -Asha Bhosle songs, like De Di Hame Azadi Bina Khadag Bina Dhal (Jagriti, 1954), Yaad Rakhana Pyar Ki Nishani Yaad Rakhana (Nagin, 1954), Sakhi Ri Sun Bole Papiha Us  Paar (Miss Mary, 1957)  or Bhnwara Bada Nanadan and Saaqiya Aaj Mohe Nend Na Ayegi (Sahib Bibi Aur Ghulam (1962) are respectfully placed in Asha Bhosle’s most respected songs ever.

I have selected a few representative songs here, as a sample of the wide range of Hemant Kumar’s Asha Bhosle songs.

Chalo Chale Maa, Sapno Ke Gaon Mein – Jagriti (1954) – Lyrics: Pradeepji

The song is a twin version song. The first version has strong undercurrent of hope of good tidings to come. Hemant Kumar has epitomised the high hopes by setting the opening scale of each stanza on a high note. The second version has pensive pathos mood. Hemant Kumar reframes the initial high notes of the stanza by extending them over the whole line.

Bade Bhaiya Laye Hai London Se Chhori, Dila Do Hamein Bhi Dulhan Gori Gori – Ek Hi Rasta (1956) – Lyrics: Majrooh Sultanpuri

Hemant Kumar conjures a beauty in the form of a children song. He seems to have taken all care to use only those instruments that are mostly seen being used on the screen in the song.

Hemant Kumar’s ingenuity as a composer is evidenced in the second stanza, wherein the song switches over to qawwali style singing because the lyrics talk about the Baarat (bride’s marriage procession).

The transition from qawwali back to the original marching rhythm is also very deftly managed @ 3.39

An interesting Trivia : @1.00 to 1.5 we get to listen a piece on harmonica which is the theme of another great Hemant – Lata duet from the film – Sanwale Salone Aaye Din Bahar Ke

We fast-forward to the later part of the Hemant Kumar’s musical filmography.

Bin Badal Barsat Na Hogi – Bin Badal Barsat (1963) – Lyrics: Shakeel Badayuni

Hemant Kumar has chosen to base the  composition of this dance song on a folk tune, but the interlude orchestration has all the elements of a mystery-film song, since there seems to be some hidden story that connects the protagonist (Nishi) on the dance floor with the key spectator– Biswajeet. Asha Bhosle’s delivery of the song is also so composed that the elements of mystery and underlying melancholy of the main protagonist’s feelings remain evident.

Kyun Mujhe Itni Kushi De Di, Ki Ghabarata Hai Dil – Anupama (1966) – Lyrics: Kaifi Azmi

Here is a dance song staged on the screen as a party song. Hemant Kumar has again successfully used Asha Bhosle’s voice to blend the two moods, one obvious mood of joy,  befitting what can be seen on the floor and the other a hidden underlying mood of the protagonist (Shashikala) in sync with lyrics of the song

Note: Originally published on SoY as Hemant Kumar’s Female Playback Singers . This part is the edited and improved-on-the-inputs-of-discussions thereupon version.

We will take up Hemant Kumar’s Hindi Song Compositions in Other Female Voices in the Second Part

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Fading Memories….Unforgettable Songs

Fading Memories….Unforgettable Songs: February 2020

Talat Mahmood duets with Geeta Dutt [1]

Talat Mahmood (Born: 24 February 1924, Lucknow) was as handsome as his voice was soft spoken. Before physically shifting to (the then ) Bombay in 1949, he had already made his presence felt in Calcutta During his Calcutta career, Talat Mahmood gave playbacks and played minor roles in Hindi and Bengali films. His first disc was cut by HMV in 1941, the song was Sab Din Ek Saman Nahin Tha, Ban Jaoonga Kya  Se Kya Main, Iska To Kuchh Dhyan Nahin Tha

To commemorate the birthday of Talat Mahmood we have commenced a series of annual articles on this plat form, wherein we bring up Talat Mahmood’s Rare Duets. We have covered –

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

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

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

Presently, we will take up Talat Mahmood’s Duets with Geeta Dutt.

Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; 23 November 1930. Faridpur) was an accomplished singer who has left her deep imprint over film and non-films songs over several Indian languages, with her mellifluous, vivacious voice. She got her first break in Bhakta Prahlad (1946), when Pt. Hanuman Prasad gave her two lines to sing in two songs – Ab Jaani Re Pahchani Re and Suno Suno Binati Hamri Prabhu Ji Bhool Hui Mujhse Bhaari. However, the very next year she shot to big league with Mera Sundar Sapna Beet Gaya (Do Bhai, Music: S  D Burman; Lyrics: Raja Mehandi Ali Khan).

Talat Mahmood had his first big box office success in Ae Dil Mujhe Aisi Jagah Le Chal (Arzoo, 1950, Music: Anil Biswas; Lyrics: Majrooh Sultanpuri). In between his busy film and radio schedules, Talat Mahmood also used to travel over India for his singing concerts. Geeta Dutt would also accompany him in many such concerts. Both had excellent professional rapport.

However, the number of their duets are, relatively, few in numbers.  With a silken voice quality of Talat Mahmood and Geeta Dutt’s wide range in low as well as high scales, it is no surprise that their duets left listeners with an ethereal trance. However, the inherent difference I their individual singing styles resulted in, relatively, fewer number of their duets.

Armaan Bhare Dil Ki Lagan Ter Liye Hai – Jaan Pahechan (1950) – Khemchand Prakash – Shakeel Badayuni

There could not have been a better opening to the Talat Mahmood’s duets with Geeta Dutt. The song, very rightly, sets up, and deservedly so, very high expectations for the duets of this pair.

Ham Hai Tere Diwane…Kisse Hai Ye Purane, Agar Tu Bura Na Mane – Shabistabn (1951) – with Chitalkar – C Ramchandra – Qamar Jalalabadi

The second pearl from our jackpot is also such a sweet, known, duet. Only when you closely look at the vide, you get the feeling that song indeed is a teasing song, but the actors , and so too Talat, would be too chivalrous, to cross the gentleman-border-line, even in such romantic situations.

Hai Ye Mausam-e-bahar, Sun Jawani Ki Pukar – Shabistan (1951) – Madan Mohan – Qamar Jalalabadi

The films had two music directors recording four songs each.

Relatively, this would be ranked as less known one duets. The song is classic example of higher pitched Geeta Dutt vocal matching the lower scales of Talat in a perfect harmony.

Chitalkar sings the first line for some distant singer, which prompts Shyam to take up the main song in Talat Mahmood’s voice.

Kaho Ek Bar Mujhe Tumse Pyar.. Mujhe Tumse Pyar – Shabistabn (1951) –C Ramchandra – Qamar Jalalabadi

C Ramchandra sets the different scale ranges of the two singers to a romantic mood.

The song seems to have one more video link. I am not sure whether it is the second version in the film.

Kaise Rokoge Aise Toofan Ko – Anand Math (1951) – Hemant Kumar – Shailendra

Geeta Bali seems to be in two moods – one to keep the English officer on a wild hunt, and the other not only to inform her fugitive freedom fighter informed about the chase but to also tease the shy love of the impending implosion of their feelings when they will meet.

Ye Pyar Ki Raatein Ye Aaj Ki Baatein – Baghdad (1952) – with G M Durrani – Bulo C Rani – Raja Mehandi Ali Khan

Talat and Geta Dutt rhyme in perfect foil in this romantic song. G M Durrani joins Geeta Dutt in the second and fourth stanza. Why the song will have been so composed?

Chori Chori Dil Mein Samaya – Kaafila (1952) – Husnlal Bhagatram – Moti B A

Geeta Dutt’s soft vocals dominate in the duet with Talat singing just a word or two in the mukhda…and also it can be seen clearly that the last antara of Talat is clearly done in a lower note, so as to fit in his range. Use of piano in the orchestration adds to the melody of the song.

Sham Suhani Nadi Ke Kinare – Nishan Danka (1952) – Basant Prakash – S H Bihari

The song is set to leisurely waltz tune. succeeding so well the mood of the song  that would come up in the minds of the two love birds strolling on a serene river front, the fading light of the setting sun. The serenity mood seems to interspersed with some quick teasing too.

Kahin Preet Se Bhara Koi Geet Ga Raha – Paatal Bhairavi (1952) – Ghantshala – Pt. Indra

Ghantsala (Venkateshwara Rao) is a legend composer and singer of Telegu cinema. Here he has so deftly blended Talat and Geeta Dutt’s voices into a sweet melody.
The original Telugu version of the film was the then roaring hit.

Aaj Ki Raat Bhag More Jaage, Dekhun Piya Mukha Chanda – Ratan Deep (1952) – Robin Banerjee – Vidyapati

This relatively very obscure song epitomizes contrasting vocal styles of Talat Mahmood and Geeta Deep. Talat opens mukhada in lower scale., then joins Geeta Dutt on higher scale in the stanzas.

The song is really very pleasant experience listen to.

Sun Lo Ek Kahani Sun Lo – Ratan Deep (1952) – Robin Banerjee – Mahendra Pran, Mathur

Robin Banerjee once again deftly uses the contrasting vocal styles of Talat Mahmood and Geeta Dutt.

Here is the Bengali version of the song, in Hemant (Kumar) Mukherjee and Supreeti Ghosh’s voices.

Both version show how music director has made subtle changes in the compositions to leverage the inherent vocal qualities of the singers.

Asides Trivia:

Ratnadeep is remake of original 1951 Bengali original version. The film had a Tamil version as well.

Abhi Bhattacharya debuted in Hindi cinema with this film.

We will continue with Talat Mahmood’s duets with Geeta Dutt in our next episode net year.

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – December 2019

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

First, the major events in December 2019:

Shriram Lagoo (1927-2019): Acting legend and rationalist leaves behind a rich and complex legacyDamini Kulkarni – The legend of the stage and the screen died in Pune at the age of 92 on 17-12-2019

We also take an opportunity to revisit – The Legend of Dr Shriram Lagoo | Tabassum Talkies

A boy called Yusuf – What would Dilip Kumar, who turned 97 on 11-12-2019, say on the identity debate today?

Ten of my favourite Naushad Songs is a tribute to the memory of Naushad who was born on 25 December 1919.

Dharmendra and Sharmila Tagore: Exploring the silver screen journey of two beautiful stars – The two share their birthdays besides having shared a wonderful on-screen chemistry.

Happy Birthday Dharmendra and Sharmila Tagore! – Here are films featuring the pair – Subhash K Jha recounts, Anupama (1966), Devar (1966), Satyakam (1969), Yakeen (1969), Mere Hamdam Mere Dost (1968), Chupke Chupke (1975), Ek Mahal Ho Sapno Ka (1975), Sunny (1984)  as the 8 films the duo have done together.

Also read:

We pick up other tributes and memories:

Shailendra — the Leftist poet and Dalit genius whose lyrics define beauty of simplicity – 14 December marks the 53rd death anniversary of the artist who died at the young age of 43. Regardless of his fame, Shailendra fundamentally remained a “people’s poet” .

From Hindi film music to raga-based symphonies, the remarkable journey of Anthony GonsalvesNaresh Fernandes – The renowned musician, whose fifth death anniversary is on January 18, merged the Western classical music of his Goan heritage with Hindustani melodies. (Reposting of an Jan 18, 2017 article)

Geeta Dutt – The Artist and Her Art – Geeta Dutt identified artistic “inspiration as the cause of divine fires in the creator, fires which result in his frenzied seeking after artistic perfection”. Sounak Gupta pays tribute to the artist and her art that went way beyond the limits of technique.

The Legends: Geeta Dutt presents a bare handful of songs that showcase Geeta Roy/Dutt’s immense talent,, with as many of the music directors she worked with as possible. A small representative sample form the list –

I have added Kareeb Aao Na Tadapao – Love Marriage (1959) – Shankar Jaikishan – Shailendra to the list.

The Legends: Geeta Dutt – Part 2 lists Geeta Dutt’s duets with as many singers as can be possible. Let us recall a few rarely heard duets form this list:

Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1  – His music spelt class and showcased quality. His deep, resonant, sonorous and haunting voice cast a spell on his listeners. Vasanti Limaye pays a tribute to Hemant Kumar, singer and composer. In Part II, the author explores some of his compositions of merit and his opus as a music director in Hindi films.

Hemant Kumar and Geeta Dutt rehearse with Rahul Dev Burman, then the youngest music director in 1961 (Pic: SMM Ausaja)[1]
Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In our series Manna Dey and his contemporary lead actors, the December 2019 episode remembers his songs with Sanjeev Kumar and Rajesh Khanna. We have covered Manna Dey’s songs with main stream lead actors Dilip Kumar, Dev Anand, Raj Kapoor, Ashok Kumar, Balraj Sahni, David Abraham, Bharat Bhushan and Kishore Kumar, Shammi Kapoor and Guru Dutt, Raaj Kumar and Rajendra Kumar, Prem Nath, Pradeep Kumar and Sunil Dutt; with Dharmendra, Shashi Kapoor, Manoj Kumar, Pran and Joy Mukherjee till now.

[N.B. – All seven episodes of the series ‘Manna Dey and His Contemporary Lead Actors’ can be viewed / downloaded as one file by clicking on the hyperlink.]

In a series on Ravi, SoY has two more articles: Ravi’s ‘other’ female playback singer: Lata Mangeshkar and Ravi’s many-splendoured genius with the ‘other’ singers

Bollywood stars who died penniless – The list includes such stars as Chandra Mohan, Mater Bhagwan, Bharat Bhushan, A K Hangal, Sulochana (Ruby Myers), Cukoo (Moray), Achala Sachdev, Vimi, Nalini Jaywant, Meena Kumari, Parveen Babi. Of course, the list can run into several pages

“Yeh Chaman Hamara Apna Hai” – Sulochna Latkar who recently turned 90 in July stays away from the limelight in the Prabhadevi area which is near Mumbai’s famous Siddhi Vinayak Temple. Film ‘Ab Dilli Door Nahin’s famous song ‘Ye Chaman Hamara Apna Hai …’ was picturised on Sulochna and Master Romi.

December, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1961

This was followed up by the third part of the years 1962 & 1963 of the 4th Five Year Period of Mohammad Rafi’s maiden solo song with a music director

[N.B. – All three episodes of the 4th Five Year Period of Mohammad Rafi’s First solo with a Music director : 1959 – 1963 can be downloaded as one file by clicking on the link.

We will now take up the articles on other subjects:

Shades of The Moon in the songs wherein direct help from the moon is sought for different tasks, e.g. Chandrama Ja Unse Keh De – Bharat Milap (1965) – Lata Mangeshkar & Mahendra Kapoor / Vasant Desai – Bharat Vyas  | Chanda Ja Chanda Ja Re Ja – Man Mauji (1964) Lata Mangeshkar / Madan Mohan – Rajendra Krishan

Short review – F-Rated: Being a Woman Filmmaker in India is a wide-ranging publication, by   Nandita Dutta, that tells individual stories while also probing cinematic tropes, trends and viewer demographics. The book comprises of interviews with and profiles of important Indian filmmakers, from veterans Aparna Sen and Mira Nair to Alankrita Srivastava and Nandita Das. In the process, the book presents the preferred themes and working styles of these artists, about the challenges they face as they balance profession with home life or the demands of parenthood – or cope with extra scrutiny, condescension and even sexual harassment.

Ten of my favourite ‘recording studio’ songs on radio, for albums, and so on, in which the ‘singer’ (the actor or actress lip-syncing to the song) is shown singing in a recording studio. Here are a few of the less heard songs from this list –

In the third concluding article, Best songs of 1946: Wrap Up 3, of the on-going series of Best songs of 1946: And the winners are?, Aawaz de kahan hai – Surendra and Noorjehan (Anmol Ghadi, Naushad), and Ek yaad kisi ki yaad rahi – GM Durrani and Shamshad Begum (Shama, Ghulam Haider) have been adjudged joint winners in the duets category.

[N.B. : All the episodes of The Micro View of Best Songs of 1946: Duets can be read / downloaded from one file, by clicking on the hyper link.]

In the final wrap-up article, Best songs of 1946: Final Wrap Up 4, the SoY Award for the Best Music Director of 1946 goes to Naushad.  And, special mention is made of Ghulam Haider and Hansraj Bahal for their outstanding music in the year.

[N.B. – All the episodes of The Micro View of Best Songs of 1946 can be read / downloaded from one file, by clicking on the hyper link.

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

Lagi Hai Aag Dil Mein – Hulchul (1951) – with Lata Mangeshkar – Mohammad Safi – Khumar Barabanqvi

Main Bhi Jawan Hu Tu Bhi Jawan – Do Dulhe (1955) – with Geeta Dutt – B S Kalla  – Pt. Indra

Zara Si Baat Pyar Ki Zubaan Se Nikal Gayi – Salaam Memsaab (1961) – with Suman Kalyanpur  – Ravi – Asad Bhopali

Sudh Bisar Gayee Aaj – Sangeet Samrat Tansen (1962) – with Manna Dey – S N Tripathi – Shailendra

Ghar Tum Bhula Na Doge, Sapne Yeh Sach Hoge – Yakeen (1969) – Shankar Jaikishan – Hasrat Jaipuri [and its Lata Mangeshkar twin version]

Till we met again in 2020, here is wishing all a great, eventful and fruitful 2020.

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

[1] Additional reference: Geeta Dutt with newer generation of composers @ end of the article

P.S. – All episodes of Carnival of Blogs on Golden Era of Hindi Film Music  for 2019 can be viewed / downloaded as a single file by clicking on the hyper link.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – July, 2017

Welcome to July, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will first take up the posts on the anniversaries or eulogies:

One hundred years of Sarat Chandra’s ‘Devdas’ being published as a book (on 30th June 1917).

More on Sarat and Devdas : In The mortals of Devdas by J.N.Sinha: Its admirers have tracked many a character in Saratchandra Chattopadhyay’s life and his novels….On a closer look, Devdas is none other than the author himself, and Paro a young vivacious girl of the same town.”

Roshan at 100: The ultimate playlist, plus the story of the three lives of a single songRudradeep Bhattacharjee – The legendary music composer had a golden run during the 1960s, but the foundation was set in the previous decade. – One of Roshan’s most memorable songs from the 1960s is Rahein Na Rahein Hum (Mamta, 1966). It was a reworking of another Lata Mangeshkar song Thandi Hawayein, composed by SD Burman for the film Naujawan (1951). This is fascinating because of various reasons: one, RD Burman himself reworked the tune for one of his famous songs (Sagar Kinare); two, SD Burman himself is said to have been inspired by a tune he had heard being played on the piano in a Juhu hotel; three, Roshan used the tune way back in 1954 in a little-known film called Chandni Chowk in Tera Dil Kahaan Hai.

OP Nayyar-Geeta Dutt: A peerless combination – Ravindra Kelkar pays tribute to Geeta Dutt on her 45th death anniversary (23 November 1930 – 20 July 1972)

On this occasion, we will also take a retrospective look at articles on Geet Dutt @ Silhouette Magazine :

The Masters: Madan Mohan commemorates what would have been 93rd birthday of the music director….He once said that “…the foremost requirement of a song is only one thing;  it should be capable of capturing the interest of the listeners in a short period and sustaining it in the years to follow.” He needn’t have worried; his legacy endures, as timeless as his soul-stirring compositions.

The foregoing post has studiedly avoided Lata – MM songs because the author had already done an exclusive post: An Afternoon Tryst with Madan Mohan and Lata Mangeshkar

The music man and his treasure bag: songs in Aashirwad – a song-sequence series post that remembers Sumita Sanyal on her passing away. [Here’s an earlier piece about the Aashirwad song “Saaf Karo Insaaf Karo”]

Jalaa do yeh duniya: poets and merchants in Pyaasa and Navrang – “when I think of the Pyaasa scene, I also think of a very different sort of scene from a film made two years later – another song that touches on the dilemmas facing a pure artist in a material world, but does it with splendid lightness of touch. That Song is “Kavi Raja”, sung by the film’s lyricist Bharat Vyas, begins with a group of friends – poets as well as poet manqués – coming together for an impromptu little sammelan.

[Earlier Mint Lounge columns on songs-sequence articles here]

Even in the darkness, he dreamed of lights: A tribute to renowned cinematographer KK MahajanRudradeep Bhattacharjee – On the death anniversary of Kewal Krishan Mahajan, or KK as his friends called him, a look back at his unmatched legacy.

The July 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1949

Here are posts on other subjects as well:

The first duo Husnlal-Bhagatram (1): Their songs for Suraiya, Lata Mangeshkar and Rafi – Having done series on Anil Biswas, Naushad, C Ramchandra, SD Burman and Shankar-Jaikishan, SoY now has taken up the lesser, but no less talented star-duo of Husnlal Bhagatram.

Gaddeswarup’s blog expands the on Husnlal Bhagatram by recalling Satish Chopra’s article ‘The diamond cutters!’, and that famous song Chup Chup Khade Ho from Badi Bahen. Here is the Tamil version of the song Enni Enni Parkka Manam, that was filmed on debutant Vyjayantimala in the film ‘Vaazhkai’ (1949). The film was re-made in Hindi as Bahaar, for which S D Burman had composed the music.

In ‘Ninaithen Vandaai’, MGR and Jayalalithaa are Antony and CleopatraArchana Nathan – In ‘Kavalkaaran’, Jayalalithaa’s character revisits the stories of star-crossed lovers and decides her own love story deserves a happy ending.

Is ‘Aapki Yaad Aati Rahi’ from ‘Gaman’ the ultimate separation song?Nandini Ramnath – In Muzaffar Ali’s debut film, Farooque Shaikh drives a taxi in Mumbai while Smita Patil waits interminably for him. The song is a version of Makhdoom Mohiuddin’s ghazal Aapki Yaad Aati Rahi. Chhaya Ganguli’s masterful rendition of a song that speaks of the pain of a prolonged separation wafts over some of the quietest visuals in the movie. In Gaman, Jaidev’s brilliant soundtrack has one of the greatest laments about life in Mumbai. Seene Me Jalan is the mournful flipside of Ae Dil Hai Mushkil from CID (1956).

Mehfil Mein Meri is a new addition to our blogroll. The blog opens its books with Voice of Dev Anand which has listed some of the songs of Dev Anand by various playback singers

Ten songs picturized in famous gardens, with a rider that song from the same garden would not be included in this post.

Favorite Scenes Showing Kathak Footwork (danced by Gopi Krishna, Sitara Devi, and Roshan Kumari) – I have picked up two songs that are not heard often and one from A Satyajit Ray film:

K.N. Singh – My Memorable Roles (1963) –“Every actor knows that doing a long stretch of walking in front of the cameras is the worst possible ordeal for a newcomer. The camera is a harsh, relentless observer—a one-eyed monster all eyes for the smallest gaucherie. And why only an actor? Off-camera, how many men can walk manfully, unself-consciously, in the full gaze of a roomful of watchful people?”

Baghban” directed by A.R. Kardar, is the film Singh rates highest. He played a villain in it “but the violence was not physical but subtly mental.” To this role and film, Singh ascribes his “continuance” in films.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we have added the detailed posts on Male Solo songs with those of G M Durrani, Surendra and Other Male Singers.

To end the today’s post with an article on Mohammed Rafi, I have picked up a two Madan Mohan’s (relatively) unheard songs and a video clip of a public performance.

Tribute to Rafi Saheb and Madan Mohan – Singer Khalid Baig

Oonche Oonche Melahonwale – Jagir (1959) – Lyrics: Raja Mehdi Ali Khan

Har Sapna Ek Din Toote Is Duniya Mein – an unreleased song

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – November 2016

Welcome to November, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1st October (1906) –

Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music

The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa) – The iconic Jaane kya tune kahi in Guru Dutt’s Pyaasa (1957) is a masterpiece in the world of music and cinematic technique. Anand Desai and Antara Nanda Mondal dig into the finer nuances of this classic song, unspooling its various artistic and creative layers – composition, rendition, camera work, performances, orchestration and more. Here is its Bengali version – Mono Dilo Na Bandhu

The Incomparable Music Of S D Burman Transcends GenerationsWhat makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his?  Antara Nanda Mondal  seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.

Aankh Jhukakar Baithnewaale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle)

10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.

More to read on Geeta Dutt

mala-sinha-810x574We have an excellent career-sketch of Mala Sinha, profiled by Karan Bali  in this episode.  Well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes – Premendra (Holi Aayee Re (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971).

Baat Niklegi Toh Phir: The Unforgettable Voice and His Musical Journey – In remembrance of Jagjit Singh, Antara Nanda Mondal  for Learning and Creativity-Silhouette Magazine presents a review of journalist-editor-biographer Sathya Saran’s eloquent and engrossing chronicle Baat Niklegi Toh Phir The Life and Music of Jagjit Singh, peppered with anecdotes, instances, stories and nuggets of information, traces the life, works and music of India’s most popular ghazal singer.

Helen of the dance floor, in 10 songs – Born on November 21, 1938, and dazzling viewers all the way to eternity, Cha Cha Cha (1964) offered Helen a rare chance to be a heroine, while offering maximum exposure to her dancing prowess:

The instrumental title track from Cha Cha Cha

Cha Cha Cha*Cha Cha Cha(1964) Dance Competition

15 films about children to mark Chacha Nehru’s birthday : Children’s Day is the perfect excuse to visit the most enduring cinematic explorations of the world of the little ones.

SP Balasubrahmanyam’s staggering achievement: 40,000 tracks, 50 years later, numerous languages : With his unparalleled talent to emote, SP Balasubrahmanyam has lifted compositions to sublime levels.

The November, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Surinder Kaur.

Here are posts on other subjects as well:

When Lata & Noor Jehan Sang The Same TuneKaran Bali in his study of Lata – Noorjehan parallels landed upon Nayanawa Chalaye Ban, in Norrjehan’s voice for Anjuman a 1970 Pakistani film. The very same tune had been used in a Hindi film called Kar Bhala (1956), recorded in Lata Mangeshkar’s voice by Nisar Bazmi as Balamji Bade Nadan.

Some great songs of Lata Mangeshkar by Shankar-Jaikishan goes onto chart one more color of SoY’s Lata Mangeshkar spectrum, supplementing her association with other music directors Chitragupta, C Ramchandra, Roshan, SD Burman, Anil Biswas and Naushad. Previously, Lata Mangeshkar’s dance songs by SJ and S-J’s female dance duets have already added different shades to the Shanker – Jaikishan:-Lata Mangeshkar color on SoY.

My Favourites: Nigahein Songs is in line with different categories of Naina and glance, gaze – Nazar – songs that in Hind films invariably leads to romance song. All these come from Aankhen.

A Few Words About the NYPL Library for the Performing Arts and Reviews of A Few Books That I Got There even in those rushed visits.

The debt that Indian cinema owes to Wilkie Collins and his ‘The Woman in White’Karan Bali According to Nasreen Munni Kabir’s seminal book Guru Dutt: A Life In Cinema, Raaz was based on The Woman in White… Although Guru Dutt had abandoned Raaz, the movie was destined to be made. His former assistant Raj Khosla, got permission to use the unfinished film’s story. Khosla reworked Raaz with writer Dhruva Chatterjee as the well-crafted suspense drama Woh Kaun Thi? (1964)… Woh Kaun Thi is the first in a trilogy of mystery films that Sadhana did with Khosla, the others being Mera Saaya (1966) and Anita (1967)… The success of Woh Kaun Thi? inspired remakes, Yaar Nee? (1966), in Tamil and Aame Evaru? (1966) in Telugu, both starring the up and coming J Jayalalithaa. The Woman in White also travelled across the border. Acclaimed music director Khwaja Khurshid Anwar’s Humraz (1967) stars Pakistani star Shamim Ara in the double role of the sisters.

‘Gulzar in Conversation with Tagore’ is a love letter from one poet to anotherManish Gaekwad :  Composer Shantanu Moitra tunes Gulzar’s lyrics to Rabindra Sangeet in a stunning non-film album Gulzar in Conversation with Tagore featuring seven songs based on Hindi translations of poems by Tagore.

Gulzar’s ‘Lekin’ is a mystery in an enigma wrapped in raag MaandRineeta Naik:  The combination of Gulzar’s lyrics and Hridaynath Mangeshkar’s music is adequately ghostly.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar, the series went to  take a look at Male-Male Duets and Triads & Triads+ as the last leg of the journey. The journey has ended with My Top Duets and My Top Music Directors as my concluding pieces. SoY’s  Best songs of 1949: Wrap Up 4  of dueta fondly notes that male-female as well female-female duets of singers other than Lata Mangeshakr create a kaleidoscope of colors.

We end today’s episode with a couple post / songs on Mohammad Rafi’:

When Big B lost out to Sanjay Khan  in ‘Duniya Ka Mela’ – Here is the original song from the film pictured on Bachchan and Rekha….Asha Bhosle accompanies Mohammad Rafi in this duet.

Very Rare Songs Clips (1 & 2) by Great Mohammad Rafi Sahab

I look forward to receive your inputs for further enriching the contents of the posts…..

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I Liked Music from films

The Micro View of the Best Songs of 1949 @ SoY – (Male-Female) Duets – Duets of Mukesh

Mukesh has had quite well-known duets with almost every other female playback singer for the year 1949.

Films like Dada or Shabnam or Sunhere Din or Thes had more than two duets. I have accommodated one duet here and one more in my Top Choice songs, but still had to leave out the third one. Fortunately these ones are easily accessible on YT.

+ Lata Mangeshkar

Tirchhi Nazar Hai, Patli Qamar Hai – Barsaat – Shanker Jaikishan – Shailendra

Yeh Duniya Hai…. Yahan Dil Ka Lagana Kisko Aata Hai – Shair – Ghulam Mohammad – Shakeel Badayuni

+ Shamshad Begum

O Badi Julmi Tamanna Hai Dil Mein, Ho Aaj Mere Dil Mein – Dada – Shaukat Dehlvi – Majrooh Sultanpuri

Pyar Mein Tumne Dhokha Shikha, Ye To Batao Kaise – Shabnam – S D Burman – Qamar Jalalabadi

Maine Dekhi Jag Ki Reet, Sab Jhuthe Ho Gaye – Sunehare Din – Gyan Dutt – D N Madhok

+Surinder Kaur

Sari Duniya, Four-twenty…. Sari Duniya… – Dada – Shaukat Dehlvi– Shevan Rizvi

Dil Do Naino Mein Kho Gaya, Bura Hua Ya Bhala – Sunehare Din – Gyan Dutt – D N Madhok

+ Rajkumari

Bolo Bolo Sajan Bolo – Thes – Snehal (V G Bhatkar) – Kidar Sharma

+ Suraiya

Badra Ki Chhaon Tale Nanhi Nanhi BundiyaLekh Krishna Dayal – Raghupat Roy

+ Geeta Roy

Kismat Mein Bichchadana Tha, Hui Kyon Unse Mulaqaat Re – Shabnam – S D Burman – Qamar Jalaabadi

+ Asha Bhosale

Ye Qafila Hai Pyar Ka Chalta Hi Jaayega – Lekh – Krishna Dayal –Qamar Jalalabadi

We will take up some more Male Female Duets for 1949 in the next episode.

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I Liked Music from films

The Micro View of the Best Songs of 1949 @ SoY – (Male Female) Duets – Mohammad Rafi with Geeta Roy and other female playback singers

Mohammad Rafi’s duets seem to manifest a classic oligoploic distribution. The duets with Lata Mangeshkar peaked in numbers, and if the ones with Shamshad Begum were quite respectable, those with Suraiya showed a marked corresponding reduction.

We just can locate only two duets with Geeta Roy and with several others it does not even cross the single number.

In the overall analysis, all of Mohammad Rafi duets do outclass all other male-female duet combination(s) by quite a wide margin. Interestingly, the distance, both in number and in qualitative comparison narrows down drastically when we add ‘popularity’ of the song as an additional filter.

+Geeta Roy

Kante Banegi Kaliyan – Hamari Manzil – Husnlal Bhagatram – Rajendra Krishna

Gaya Andhera, Hua Saveram Jaag Utha Insaan – Karwat – Hans Raj Behl – Saraswati Kumar ‘Deepak’

+ Shyama, Chorus

Fariyaad Na Karana, Kahin Fariyaad Na Karana – Gharana – Muhammad Shafi – ?

+Ameerbai Karnataki

Main Kaise Kah Doon – Jeevan Saathi – S Mohinder – ?

+ Johrabai Ambalewali

Na Kah Sake, Na Tadap Sake – The Last Message  – Abid Hussain  – Shareen Bhopali

(video link could not be located)

+ Binapani Mukherjee

O Lachchhi, O Lachchhi, Tu Man ko Lage Achcchhi – Roomal – Hans Raj Behl – mulkraj Bhakri

+ Asha Bhosle, Chorus

Lo Dum Dabakar Bhage, Ham Sab Ke Sab Hoshiyaar– Roomal – Hans Raj Behl – Naazim Panipati

+ Hamida Banu

Mehamaan Ban Ke Aaye The – Shoharat – Aziz (Hindvi)  -?

The song has one version as Mohammad Rafi solo. Her we have both versions.

+ Mohantara

Sandesh Mera Pa Ke, Mujhe Daras Dikhana – Veer Ghatotkach – S N Tripathi – Anjum Rehmani

We will take up Duets of Mukesh with other female playback singers in our next episode(s).

Categories
I Liked Music from films

Summing Up: MY Top Female Solo Songs – Other Singers

We have listened to solo songs of Suraiya, Geeta Roy, Shamshad Begum, Raajkumari, Asha Bhosle and Surinder Kaur, Uma Devi & Meena Kapoor and Lalita Deulkar, Ameerbai Karnataki, Hameeda Bano, Zeenat Begum, Pushpa Hans in our Micro Analysis. In the ultimate analysis, the range of songs from even this universe of solo songs of female singers other than Lata Mangeshkar is quite diverse and substantive.

The development of my understanding and liking of the Hindi Film Songs over all  these years has been shaped at different stages of availability sources like Radio (only), audio cassettes, EP/LP records, audio / video CDs/ DVDs and then the internet. The songs that I continued to get to listen across each of this medium do remain a fairly large number. But, there is no denying that internet has filled a big void in my known unknowns as well as unknown unknowns in so far as HFM is concerned.

In order to be fair to the songs that I have listened only of late on the internet, I have decided to choose at least one song from the songs that I so listened in the present exercise of  The Micro View of the Best Songs of 1949, over and above one from already well-established, known known and liked songs.

With that caveat, here is My Choice of the TOP Solo Songs of the Other Female Singers for 1949:

I have three singers – three songs for the final bet on the BEST Other Singer – Song category:

The choice of the BEST among these will rest on where the wheel of roulette will stop.

For me any one will be a jackpot……

SoY has also released Best songs of 1949: Wrap Up 2. After a very meticulous, balanced and fair analysis, wherein the choice of the best ‘other’ female playback singer was Shamshad Begum, followed by Suraiya.