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Fading Memories….Unforgettable Songs Remembering Mohammad Rafi

Fading Memories…. Unforgettable Songs: December 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948

1947-1948

The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.

The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.

As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.

1947

Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.

In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.

Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.

Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal

The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting  ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..

There is a male-female duet son too.

Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal

Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Aside Trivia:

Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.

Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar

Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.

C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.

Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A

The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..

The film has one more duet Main HuN Jaipur Ki Banajaran, Chanchal Mera Naam, with Lalita Deulkar (Lyrics: Qamar Jalalabadi) and two triads, Hum Banjare Sang Hamare Dhoom Macha Le Duniya (Lyrics: Moti B A) and Sambhal Sambhal Ke Jaiyo Banjare, Dilli Door Hai (Lyrics: Ram Murti Chaturvedi) with Lalita Deulkar and Geeta Dutt (Roy).

Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein …….  Marne Ki Duaein KyoN Maangein  . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).

Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?

We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.

Part 1:

Part 2

Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.

Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma

This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.

K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films

Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi

HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.

Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi

HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale  in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.

1948

In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)

1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.

Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,

Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.

The visuals of the song can be seen with a typical Raj Kapoor touch.

Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.

Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari

The song seems to be some type of beggar or a fakir song.

Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra

This is a thoroughly enjoyable fun song.

The film had two more duets of Mohammad Rafi and Beenpani Mukherjee – Kya Yaad Hai Tumko Wo Din Ji (Lyrics: Sewak) and Mera Dil Ghayal Karke Bairi Jag Se Dar Ke (Lyrics: Surjeet Sethi).

Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.

TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok

On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.

Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar  … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.

Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna

This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone

Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.

Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan

The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.

Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.

Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’,  wherein Mohammad Rafi had two solos and three duets in the film.

Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori

Mohammad Rafi very deftly handles a medium spaced composition.

Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti

In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale singing.in this very small clip that is available.

Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti

Mohammad Rafi gets to sing a qawwali composition early in his career.

Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.

Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’

Mohammad Rafi is a minor partner in this MM triad.

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song.  Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan

Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.

Our journey of Mohammad Rafi’s first duet with a music director continues……


Both episodes of the 1st Five-Year Period of Mohammad Rafi’s First Duet with a Music director – 1944-1948 can be downloaded as one file by clicking on the link.


All 12 episodes from January to December 2021 of the series Fading Memories, Unfading Songs-2021 can be read /downloaded by clicking on the hyperlink.


 

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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I Liked Music from films

“The Micro View of the Songs of 1948 @ SoY – MY Top Music Director(s)

Having gone through the exercise of micro-reviewing the songs  for the six years – in this case from 1955 backwards to the present 1948 – I have observed that the task of choosing MY TOP of Music director every year has become more tough as year goes down. That is mainly because older I go into the timeline, less I was found conversant with either the film itself or the context in which the song was played (situational context vs.song composition relevance) or even the popularity /approval of the film’s song as a whole from listeners  / critics respectively.

So, I kept on devising some or other tests to come up with rational judgement to moderate my inherent biases.

The first of such test is the logo picture posted by SoY at the very opening of the overview post, which invariably places six films in the frame. For the present case, ‘Best songs of 1948: And the winners are?’, Naushad has two films – Mela and Anokhi Ada whereas Anil Biswas (Anokha Pyar), C Ramchandra (Nadiya Ke Paar), Ram Ganguli (Aag) and Ghulam Hiader (Shaheed) have one film each.

I then run through posts relating to Male Solos, Female Solos and Duets to make amental note of music directors whose songs continues to strike chord even now. I observe that Naushad’s songs in Anokhi Ada and Mela or Anil Biswas’s songs in Anokha Pyar, Gajre and Veena, those of C Ramchandra in Nadiya Ke Paar and Khidk’ or those of Husnlal-Bhagatram in Pyar Ki Jeet or certainly Ghulam Haider in Shaheed, to a great extent Ram Ganguly in Aag or Khemchand Prakash in Ziddi standout for the everlasting songs. For the year, Ghulam Mohammad in Grihasthi and Pugree, or Shyam Sundar in Actress have also pitched in well.

Then I have out the songs that appeared in the respective category of MY Top listings. The number of songs composed by differenet music directors appears as given herebelow:

Music Director Male Solos Female solos Duets Total SoY

Total

Hansraj Behl 1 1
Husnlal Bhagatram 1 2 3 3
Naushad 1 1 2 4 10
Ram Ganguly 1 1 1 3 2
Anil Biswas 1 3 1 5 1
S D Burman 1 1 1 3 1
Khemchand Prakash 1 1 1 3 2
Ghulam Haider 1 1 2 3
Avinash Vyas 1 1
C Ramchandra 1 1 2 3
Snehal Bhatkar 1 1 1

If we place the results of the Total in the descending order, then Anil Biswas comes at the top, followed by Naushad and then Husnlal Bhagatram, S D Burman, Khemchand Prakasha and Ram Ganguly share the next spot, followed by Ghulam Haider and C Ramchandra.

Apart from the simple quantitative perspective, one of the most noteworthy feature of Ghulam Haider’s songs in Shaheed and those of C Ramchandra in Nadiya Ke Paar is that they have used relatively not very popular singers like Surinder Kaur or Lalita Deulkar for a very popular heroin Kamini Kaushal. And yet the songs did attain very high acceptance- both the by the critics as well as by the listing public in general.

SoY, @ Best songs of 1948: Final Wrap Up 4, also adopted a smilar matric for quantifying the process of evaluating the share of different music directors in the Top lsting of songs under different categories. The last column in the foregoing table reflects the Total score. Based on this evaluation The Songs of Yore Award for the Best Music Director of 1948 has been conferred on Naushad.

How would have you analyzed the Songs of 1948?

I am sure you will certainly join me to take up a similar detailed Micro View when SoY takes up 1947 next in this Best songs of year series.

P.S.

All the posts that have appeared on this subject can now be accessed form one file @ The Songs of 1948 @SoY

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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, 2017

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

November, 2017 – month of a century+10 birth day of Prthviraj Kapoor and passing away of a noted thumri and khayal exponent Girija Devi.

Remembering Prithviraj Kapoor on His Birthday – the Dubsmash Way – Prithviraj Kapoor was honored with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971.

Clockwise: From Top Right: Aawara (1951), Mughal-e-Azam (1960), Sikandar (1941)

No Singer Like Girija Devi Will Ever Be Born: Pandit Jasraj 

The Depth of Girija Devi’s Fluid Notes Will Continue to Anchor the Memory of Banaras by Navina Jafa – The energy that buoyed Girija Devi’s creativity as well as her magical execution of thumri and khayal emerged out of the mehfils.

Credit: Still from the documentary Girija Devi: A Lifetime in Music by Madhu Chandra, Debapriya Adhikary and Samanwaya Sarkar

We remember here her most famous rendering: Ras Ke Bhare Tore Nain: Raag Bhairavi

We will now take up tribute posts:

Shyama, the Impish Girl in the Dungarees, Is No MoreKaran Bali

There was magic whenever Geeta Dutt lent her voice for Shyama. This vibrant singer and exuberant actress complemented each other perfectly through several films like Shrimatiji.

5 Roles That Could’ve Changed Sanjeev Kumar’s Destiny as an Actor are those of Mirza Ghalib (in Mirza Ghalib, 1988); B V Pradhan in Saaransh (1984); Jailer Raghuvir Sinh in Kaalia (1981); Gabbar / Veeru in Shlay (1973) and Rana Bhojraj in Meera (1979).

‘Who’s Chitragupta?’ Only the Hindi film music composer of numerous forgotten gemsRudradeep Bhattacharjee – A reassessment of the composer, whose birth centenary falls on November 16, is long overdue.

[N.B.: I have picked up a two random, less heard, Mohammad Rafi songs, at the end of our present episode.]

Chitragupt- A Tribute also has picked a few rare songs:

Suna Hai Jab Se Mousam- Ramudada (1961) Kamal Barot / Lyrics- Prem Dhawan

Gori Tori Banki Chitwan Mein – Aadhi Raat Ke Baad (1965) Manna Dey / Lyrics- Prem Dhawan

The Uncommon Roshan – What sets legendary composer Roshan apart from his peers? What – if any – is the hallmark of his compositions? What makes him so different and so intriguing? Monica Kar takes a look.

A 16th November, 2015 article of Peeyush SharmaThe Magic of the Melodies of Roshan and Chitragupt – does not merely connect up Roshan and Chitrgupt through 16th November, respectively death anniversary and birth date….

Actor, producer, novelist and raconteur: Archival documentary reveals Prem Nath’s many roles : ‘Amar Prem Nath- Last of the Titans’ has been directed by his son, Monty Nath, and is being screened on Zee Classic…… Kalicharan (1976) contains a meta-moment: as the characters played by Prem Nath and Ajit play a game of chess, a police officer’s portrait hangs in the background. The figure in the painting is Prem Nath’s father.

Remembering Ghulam Haider on his Death anniversary is all-round memoir of Ghulam Mohammad’s major songs.

Remembering AMJAD KHAN on his 77th Birth Anniversary through his iconic dialogues.

Lata Sings For RD has a few less remembered songs: like, Din jaa rahe hain raaton ke saaye :Doosri Sita (1974) – Lyrics: Gulzar

The November 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Salil Chowdhury’s Hindi Film Songs in Other Languages.

Here are posts on other subjects as well:

Percussion Discoveries: Kathak Bols Can Be Great Just for Listening, and I Have Finally Found a Queen of the Dholak! – The path of discovery takes us from LP recording of SItara Devi to 1951 film Dholak’s song Mausam Aya Hai Rangeen, in which dholak is being played all female cast (on the screen). The hunt for a real female dholak player does not find any result from India or Pakistan or the UK or the U.S.A. It lands up at some place closer to the countries in the Western hemisphere that obviously influenced the Latin-flavored jazz within that song from the film Dholak. Her name is Chantal (referred to at different times, I see, as Chantal Mangal or Chantal Khaderoe), and she is from the Caribbean – specifically, Suriname. She is seen performing @ Sarnami khana pakana and a live Baithak Gana. YT search leads to a couple of more performances – here and here.

Bol Ri Kathputli: Personifying the Puppet Perfectly – Among the memorable dances picturised in Hindi films, Bol Ri Kathputli from Kathputli (1957) is an innovation in terms of choreography and music. Anand Desai and Antara Nanda Mondal explore the finer nuances of this exuberant story of the puppet personified by Vyjayanthimala, written by Shailendra, composed by Shankar Jaikishan and sung by Lata Mangeshkar.

Folk Dances in Bollywood’ presents some popular folk dances of Bollywood.

Merchant Ivory classic ‘Shakespeare Wallah’ restored, to have limited re-release along with 29 other Merchant-Ivory productions.

And They Made Classics – Director-Writer Duo of Bimal Roy and Nabendu GhoshAntara Nanda Mondal – Directed by Ratnottama Sengupta, And They Made Classics goes behind-the-scenes through an interview with Nabendu Ghosh that was taken in 2005 where he talks about his association with Bimal Roy. The film explores behind the scenes stories about the casting, the arguments, the reactions, the way they worked, along with clips, stills, documents.

[N.B.: Antara Nanda Mondal had published Nabendu Ghosh: The Master of Screen Writing on 26th March, 2016 to commemorate the birth centenary of Nabendu Ghosh.]

The Story of Babul mora naihar chhooto hi jaye-The Queen of Thomris is historical narrative of The Famous thoomari, with video clips of different versions.

RD Burman and His LyricistsPeeyush Sharma and Antara Nanda Mondal take us through a journey of discovering and enjoying gold nuggets of RD Burman’s music created with some of the most prolific lyricists he worked with.

‘Aaj Phir Jeene Ki Tamanna Hai’ from ‘Guide’ is an ode to life – In Vijay Anand’s 1965 film, Waheeda Rehman finally let rips after a lifetime of sorrow and neglect.

S D Burman’s Love and Hate for Lata traces some of S D Burman’s great Lata Songs

Madhubala, As Anarkali, Unveiled In Madame Tussauds Delhi

My Favourite ‘EYE’ Songs lists songs that describe a certain quality of the eyes, it can be romantic, naughty, sad, quiet, magical, frightened or just beautiful!

Incomplete Films: Ek Tha Raja Ek Thi Rani

Ek Tha Raja Ek Thi Rani saw Nargis paired opposite Kishore Kumar for the first time, a most unusual pairing. The film, written by Inder Raj Anand, had them both in double roles, in a tale of mistaken identities

Controversy in Bollywood Films  discusses some of those Bollywood films which made controversy at the time of their release.

Is that really a lesbian moment in ‘Khwab Bankar Koi Aayega’ from ‘Razia Sultan’? – Kamal Amrohi’s historical is chiefly remembered for its soundtrack, which includes a daring clinch between Hema Malini and Parveen Babi

There is Always a Story Behind a Great Song bring forward some of these interested inside stories to the readers.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs. Having heard Suraiya, Geeta Dutt, Shamshad Begum and Raajkumari, we explored solos songs of Surnder Kaur, Other Female Singers and the 1st of 3 parts of Lata Mangeshkar solos.

We will begin the end of the present post with a post on The 11 Emotions of Mohammad Rafi which has presented Mohammad Rafi’s ‘ability to express the emotions which make up different slices of life across 11 different Ras (emotions).

We will also listen to two of the great but receded-from-the-memory-songs of Chitragupt:

Dharati Aaazad Hai Aaasmaan Aazad Hai – Sindbad The Sailor (1952)

Itni Badi Duniya Jahan Itna Bada MelaToofan Mein Pyar Kahaan (1963) – Prem Dhawan

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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In my view Music from films

The Micro View of the Songs of 1948 @ SoY : Setting The Stage

Wait for the curtains to go up for a review of songs for the particular year @ Songs of Yore is more than an eager wait. It is preganat with more unknown songs now.  Having covered songs of 1955, 1953, 1951, 1950 and 1949 in the previous years, SoY has now crossed the threshold well into the Vintage Era as it now ventures into ‘Best songs of 1948: And the winners are?

As noted in the overview turnkey article, we now enter the period which has two quite distinct characteristics:

One, Lata Mangeshkar did sing over 40 songs of which you can count about ten memorable and a couple of all-time great songs, yet she was not the sole pole star, as she became from 1949 onwards. Therefore, dividing the female playback singers as Lata Mangehkar and ‘others’ as (has been) done for 1949, 1950 and 1951 would not be a true reflection of reality.

Secondly, the Vintage Era also means entering a period of more unknown than known, therefore, the year-wise review would now be more a discovery trip.

The post under consideration – Best songs of 1948: And the winners are?  – has presented quite an  encompassing overview in an established template: –

Musical landmarks: Like a golden Jubilee (Mela) and a silver Jubileen (Anokhi Ada) under the belt Naushad hasestablished his morchical position. His nearest rival C ramchandra has Nadiya Ke Paar and Kidkiin the year under review. Ghulam Hiader has presened his swan song on now the Indian soil – Shaheed. Raj Kapoor directs his maiden film Aag with Ram Ganguly as music director. Lata Mangeshkar has hardly any presence in these films.

Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –

Anil Biswas:

Gajre

Door papia bola – Suraiya
Baras baras badly bhi bikhar gayi – Lata Mangeshkar

Veena

Wo teekhi nazron se mere dil par – Mukes

Husnlal Bhagatram

Tere Naino Ne Chori Kiya – Suraiya

O Door Jaanewale – Suraiya

Khemchand Prakash

Marne Ki Duaen Kyon ManguN– Kisore Kumar’s maiden solo song – Ziddi

Chanda Re..Ja Re Ja Re – Lata Mangeshkar – Ziddi

Ghulam Haider

Grihasthi

Tere naaz uthane ko ji chahta hai – Mukesh & Shamshad Begum

Pugree

Ek teer chalanewale ne dil loot liya – Mukesh & Sitara (Kanpuri)

S D Burman

Vidya

Laayi khushi ki duniya – Mukesh & Suraiya

Bahe na kabhi nain se neer – Mukesh

Debut

Asha Bhosle – Only a line Bahana Khush Ho Ke Sangam Manaye – in a chorus in the song Sawaan Aya Re – Chunariya

Kishore Kumar’s first duet with Lata Mangeshkar Ye Kaun Aya Re – Ziddi

Prem Dhawan Chanda Re..Ja Re Ja Re – Ziddi

RK Films Aag

Geeta Dutt – Lata Mangeshkar’s maiden duet Har Shai Pe Jawani Hai – Majboor

Mukesh – Lata Mangeshkar duet Ab Darne Ki Koi Baat Nahin – Majboor

Ab Yaad Na Kar – Ankoha Pyar

Khayyam (as Sharmaji & (Rehman) Vermaji with Aziz Khan) Dil Dil Yun YuN Karata Hai – Geeta Dutt, Aziz Hindi – Heer Ranja

Lata Mangeshkar first song with Shamshad Begum and Mohantara Khushiyan Manayen Na Kyun Ham.. Kismat Hamare Saath Hai.. Jalanewale Jala Karen – Khidki

Surinder Kaur Itne Door Hain Huzoor Kaise – Pyar Ki Jeet

Padmini as dancer-actor in Uday Shankar’s Kalpana

S Mohinder – as music director in film Sehra and as a singer Ae dil Uda Ke – Sehra

Jaan Nissar Akhtar – as lyricist in Shikayat

Sahir Ludyanavi – as a lyricist for Badal Rahi Hai Zindagi – Azadi Ki Rah Par

Snehal Bhatkar – as a music director in Suhaag Raat

Bharat Bhushna and Geeta Bali – as actors in Suhag Raat

Fact file and Trivia notes that five songs of Meena Kapoor for Anokha Pyar were recorded on Lata Mangeshkar; Leela Chitnis played mother for first time in Shaheed; Mohammad Rafi holds a falg pole in Watan Ki Rah Mein Watan Naujawan Shaheed Ho; Ameerbai Karnataki composed music for Shahnaz, once only in her career; Vidya Nath Seth sang firve songs for Rooplelka of which he composed one song too.

List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the title Memorable Songs of 1948, by adding the relevant link to YT file.

For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have thir own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1948.

The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as

Best male playback singer
Best ‘other’ female playback singer
Best songs of Lata Mangeshkar
Best duets
Best music director

are concerned for the year 1948.

All the posts that will appear on this subject here have been tagged as Songs of 1948 @ SoY.