Geeta Dutt

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:

Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
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

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.

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

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

We move on to other tributes and memories this month.

Mehfil Mein Meri presents Lata – Non-film songs, for the period 1975 till 1995 in Part III, after having covered 1954 till 1965 in Part 1 and for the years 1966 to 1975 in Part 2.

Shabana Azmi pens note on mother Shaukat Kaifi: ‘You left and everything went wrong’ – Shaukat Azmi has done memorable roles in critically acclaimed films like Salaam Bombay, Bazaar, Umrao Jaan, Heer Raanjha and Haqeeqat.

The Masters: Roshan (14.07.1917-16.11.1967) – Anyone who loves old Hindi film music will find that, inevitably, there will be a ‘Roshan song’ among their favourites

The out of sight genius Hansraj Behl – A tribute to the great Master Hansraj Behl (19 November 1916 – 20 May 1984) on his 105th birth anniversary

Geeta Dutt and ‘haseen sitam’ of her music: Her relationship with Guru Dutt, love of her life and reason for her downfall – Shaikh Ayaz – Would the world of Bollywood playback have been different if she hadn’t died relatively young at 41 in 1972?

Geeta Dutt sings for Chitragupt – a tribute eon Chitragupt’s 104th birth anniversary (16th November) and Geeta Dutt’s 91st birthday (23rd November)

We recall Sounak Gupta lyrically tracing the rise of the skylark from the banks of the Meghna, who continues to enthrall music lovers with her dulcet voice, long after dusk has settled and the river has broken its banks in Eternal Wait: The Story Of The Dark Girl By The Meghna (Geeta Dutt)

Remembering Helen on her 83^rd birthday is a song Meghwa Gagan Beech Jaanke – Harishchandra Taramati (1963) – Lata Mangeshkar – Laxmikant Pyarelal – Pradeepji

Phani Majumdar: A Journey Through Life… – Ratnottama Sengupta pays a glorious tribute to the filmmaker, exploring his life and works and her own personal memories. In the second part of our 2-part Special Tribute to Phani Majumdar, Silhouette presents Ranotama Sengupra’s translation of exclusive excerpts from Eka Naukar Jatri/ Journey of a Lonesome Boat, the autobiography of Nabendu Ghosh where he fondly remembers his Phani Da.

Remembering Faruq Kaiser – In his career spanning over five decades, he wrote around 390 songs for about 115 films. His first movie as a lyricist was Rooplekha (1949) and last movie was Naqab (1989). The latter was released posthumously. He died on 10th November 1987.

Sushmita Sen and Zeenat Aman: Two women, an era apart and always ahead of their time – Known for their grace and poise as well as their talent, Sushmita Sen and Zeenat Aman celebrate their birthdays today. Sushmita turns 46, while Zeenat Aman turns 70.

Remembering the lovable child artiste- Baby Naaz – Born as Salma Baig on the 20^th of August, 1944, in Mumbai, she was given the screen name Naaz and as Baby Naaz she went on to become one of the most loved child artistes of the Golden era of our Hindi cinema…Tragically, at the young age of 51, on October 19^th, 1995, she succumbed to liver cancer.

Amol Palekar: The relatable boy-next-door who was the antithesis of angry young man – Sampada Sharma – On Amol Palekar’s 77th birthday, here’s revisiting his relatable boy-next-door era in Hindi movies in films like Gol Maal, Chitchor and Chhoti Si Baat, among many others — which portrayed Amol Palekar as the antithesis of big, blustery Bollywood.

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

In the series of articles on Sahir’s Songs of Romance, commemorating Sahir Ludhianvi’s birth centenary, we now take up Sahir Ludhianvi’s Five Film Association with O P Nayyar.

November 2021 episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1958 to 1960. Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

Here is a vintage photograph, remembering Satyen Kappu on his 14th death anniversary (27/10) as Ramlal in the movie Sholay (1975), posted on BollywooDirect:

We now move on to posts on other subjects –

What was behind the slow decline of Indian art cinema? – Rochona Majumdar – The first blow to art cinema came with the restructuring of the National Film Development Corporation (NFDC) at the end of the decade of ‘80s. One unlikely factor: Richard Attenborough’s ‘Gandhi’, argues a new study. Gandhi dovetailed with other changes that were contributing to art cinema’s continuing marginalization through the 1980s. One of these was the boom of India’s televisual and video sectors and the “migration of socially relevant content to television.” It was the arrival of globalization from 1991 onward that completely transformed India’s media ecology.

Songs of women for the women by the women – Our culture has sanskars and rituals from birth till the end of life, all accompanied by women’s songs.

What was the secret of the impeccable tuning between composers Laxmikant and Pyarelal? – Rajiv Vijayakar – A new biography of the Hindi film music hit-makers includes an edited account by long-time collaborator Amar Haldipur.

Songs with Laughter, where the playback singer laughs and sings. Thus, the laughter is not in the background. Sometimes the laughter is in the mukhda or antara. In some others, it is in the interlude. In a few songs there is just a trace of laughter and in others there is whole hearted laughter.

An Actor’s Actor: Book Excerpt – Here is an edited excerpt from the book, An Actor’s Actor: The Authorized Biography Of Sanjeev Kumar (Authors: Hanif Zaeri and Sumant Batra),looking at the making and release of one of Kumar’s finest films, Aandhi (1975).

Around India’s Towns in Ten Songs, songs that are filmed in places far and wide, songs that go beyond the usual tourist attractions. Songs which make you feel you were, for those brief few minutes, in another town.

The Mela Songs, some of which are shot in a mela setting and others which refer to the mela, either literally or symbolically. Songs shot in a mela setting are largely dance numbers – some of them are rather loud, which is what they would be in a rustic setting.

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

Woh Kaun Thi: When a haunting sound sets up a horror mystery – Starring Manoj Kumar and Sadhana, Raj Khosla’s Woh Kaun Thi? is a mystery that keeps you on the edge of your seat for the most part.
Haqeeqat: ‘Ab Tumhare Hawale Watan Saathiyo’ – Starring Dharmendra, Balraj Sahni, Sanjay Khan, Vijay Anand and Priya Rajvansh, Chetan Anand’s Haqeeqat explores the horrors of the 1962 Sino-India war.
Aar Paar: Guru Dutt blends comedy with noir – Starring Guru Dutt, Shyama and Shakila, Dutt’s Aar Paar is a simplistic romantic comedy with a hint of suspense thrown in.
Mr. & Mrs. 55 – When Guru Dutt made a film that labeled feminists as vamps – Starring Guru Dutt, Madhubala, Lalita Pawar, Dutt’s Mr and Mrs 55 is a problematic film that believes that women should stick to their household chores for society to run smoothly.

Micro View of Best Songs of 1944 @SoY concluded the micro-view of the song sof 1944 with My Top Duets and My top music directors

SoY has also presented an exhaustive analysis to arrive at ‘fairtest outome’ for adjudging the Best Music Director spot for the year 1944 in its Best songs of 1944: Final Wrap Up 4, jointly, in favour of Naushad, Khemchand Prakash and Pankaj Mullik.

All the episodes of Micro View of Best Songs for 1944 @SoY can be read / downloaded from one file, by clicking on the hyper link.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, which connect with the posts in the present episode, we take up a few less heard songs composed by Roshan:

Kahin Se Unchi Kahin Se Neechi Sadak Zamane Ki – Malkin (1953) – with Kishore Kumar – Rajinder Krishna

Aa Bedardi Balama Preet Ka Karein Hisaab – Chhora Chhori (1955) – with Lata Mangeshkar – Kidar Sharma

Bade Khoobsurat Bade Woh Haseen Hai Magar Kya KarooN Ke Woh Mere NahiN Hai – Jashan (1955) – with Asha Bhosle – Rajinder Krishna

GunahoN Ka Chirag Kabhi Na Jal Sakega – Agra Road (1957) with Geeta Dutt, Shamshad Begum – Bharat Vyas

Kadki Tera Nam Hi Clerki – Aji Bas Sukriya (1958) – with Asha Bhosle, Ghulam Mohammad – Farooq Kaiser

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

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

Fading Memories…. Unforgettable Songs: 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.

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.

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.

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

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.

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 legacy – Damini 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.

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 30^th 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 song – Rudradeep 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 93^rd 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 Mahajan – Rudradeep 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 Cleopatra – Archana 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:

Sautan Ke Ghar Na Jaiyo.. – Sitara Devi – Aabroo (1943)
Aye Bandi Tum Begum Bani – Gopi Kishan and Roshan Kumari – Parineeta (1953)
Roshan Kumari in Satyajit Ray’s Jalsaghar

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….

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 1^st 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 Generations – What 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.