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.
Mohantara Talpade was a well-recognised playback voice in mid’40s. It seems 1945 was not a very productive year for her.
Ghat Ghat Ki Tum Janate…Bhool Na Jana Hey Girdhari – Dhanna Bhagat– Khemchand Prakash – Pt. Indra
Main Janam Janam Ki Dukhiyari — Dhanna Bhagat– Khemchand Prakash – Khavar JamaN
Solo Songs of Rajkumari
Rajkumari has a fairly respectable solo songs this year, but more than two thirds of the songs listed in HFGK, I have not been able to fin the digital link.
O Peenwale Pee Le, Pee Le, Peene Ke Din Aaye – Din Raat – Dada Chandekar – Santosh Nadim
Meri Aankho Ke Aansu AankhoN Hi Mein So Jao – Ghar – Alla Rakha – Roopbani
Hamida Bano is also a member of Hindi Film World’s Lahore club, who had to remain contended with an ‘also ran’ tag in her career. One can see many more of the songs to her crdit in HFGK for 1946, but YT links to all these songs have not yet been established.
Man Mora Kagaz Kora Kora, Sandesh Likh Dijo – Dharti – Bulo C Rani – Pt. Indra
Phool Kali KyoN Maari, Sajan Mori Oonchi Atari – Dharti – Bulo C Rani – Pt. Indra
Apni Duniya Mita Ke Kisaki Duniya Basa Chale – Magadhraj – Bulo C Rani – Pt. Indra
Mor Bole Ho Oonche Mewadi Paravat Par Koi Mor Bole – Rajputani – Bulo C Rani – Pt. Indra
YT uploader has credited the song to Zohrabai Ambalewali
Solo Songs of Zeenat Begum
For the year, Zeenat Begum we see her as a sole elad singer in one film, Jhumke along with a major alternative female playback singer in other films. That simply shows her important place in the Hindi film music at that time as well as the versatility of her voice.. The qualitative aspect of her siniging is well reflected in the quantitative aspect as well.
Pardesi Re Pardesi Re Kahe Chhoda Mera Des Sawan Aaya – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar
Dil Dard Ka Mara Bechara, Badanm Bhi Hai Mashhoor Bhi Hai – Jeewan Yatra – Vasant Desai – Diwan Sharar
Aye Raat Siyah Raat Choopi Raat Bata De – Jeewan Yatra – Vasant Desai – Diwan Sharar
Usne Dekha Maine Dekha Ab Duniya Dekhanewali Hai – Jhumke – Amar Nath –
Hamida Bano is also a member of Hindi Film World’s Lahore club, who had to remain contended with an ‘also ran’ tag in her career. One can see many more of the songs to her crdit in HFGK for 1947, but YT links to all these songs have not yet been established.
Champakali Hai Udaas, Bhanwara Na Jaye Paas – Chhin Le Azadi – Hansraj Behl – Pandit Indra
Hamara Master Khuda Kare Beemar Ho Jae – Dekhojee – Sabir Hussain – Wali Sahab
Hum To Barabaad Hue Ab To Koi Abaad Rahe – Kaun Hamara – Bulo C Rani –
Ham Tumhare Tum Hamare Aao Kare Pyar – Lakon Mein Ek – Hans Raj Behl – Pandit Indra
Tu Kahan Chhupa Bhagwan, Tera Milata Nahi Nishan – Lakon Mein Ek – Hans Raj Behl – Pandit Indra
Beenapani Mukherjee
Lakho Ke Bol Sahe, Sanwariya Tere Liye Maine – Leela – C Ramchandra – G S Nepali
HFGK mentiones Sitara as the singer for these solo songs. I have there fore assumed that she is Sitara Devi( in any case different than Sitara(Kanpuri)).
Bhoole Se Dil Tujhe Na Bhulaye To Kya Karoon – Amar Asha – Shanti Kumar – Qabil Amrutsari
Soz –e-Gam Deke Mujhe Usne Ye Irshad Kiya – Shahzadi – S K Pal –
Lata Mangeshkar:
It is not for long that Lata Mageshkar will have more than three times the song then most of the other female singers. In fact, we have found it necessary to run the micro view of Hindi Film Songs right from year 1948 onwards werein it is almost Lata Mangeshkar on side and other playback singers on the other.
Ek Naye Rang Mein – Aap Ki Sewa Mein – Datta Davjekar – Mahipal
Pa Lagu Kar Jori Re – Aap Ki Sewa Mein – Datta Davjekar – Mahipal
Ab Kaun Sunega Mere Man Ki Baat – Aap Ki Sewa Mein – Datta Davjekar – Mahipal
Thus ends our rather protracted micro view of solo songs of the female singers for 1947. However, one will find several solo songs in HFGK that do not appear here. These are the songs that would essentaially belong to quite and unknown singer (as far as I am concerned) and number of songs ) . Moreover the numbers also may either be very insignificant or the YT links of these songs are not available.
In our next episode I plan to sum up My Top Female Solo Songs for 1947.
When I sort-listed female-female duets for 1948 from HFGK, the number worked out to be reasonably large. However, I could not find digital soft version on the net for almost half of them. Therefore, the songs that I could find YT link can be taken as fairly well-known to those who have good knowledge and interest of vintage era songs. From the perspective of my limited knowledge and interest of the songs of that era, I also found listening to these songs quite interesting.
Shamshad Begum + Geeta Roy – Oh Gori Tera Banka Chhaiya Jeet Ke Aaya Jang – Actress – Shyam Sundar – Raja Mahendi Ali Khan
Shamshad Begum + Geeta Roy – Ankhon Ankhon Mein Dil Se Dil Ki Baat Kah Gaye – Actress – Shyam Sundar –
Amirbai Karanataki + Rajkumari – Basant Chhaya Charon Aur, Ho Chhaya Charon Aur – Amar Prem – Datta Thakor – Mohan Mishra, M A
Substantive share of Lata Mangeshkar+ songs in the Female Female duets category for the year 1949 also can be taken as one more indicator of her emergence as THE playback singer. Of course, she does share space with all other major (so-called) competing players in this category, which seems to have weighed in her favor.
So let us listen to the female female duets of singers other than Lata Mangeshkar.
Shamshad Begum +
Aa Javo Phir Meri Bigadi Ko Banane – Dada – with Surinder Kaur – Shaukat Haidari – Majrooh Sultanpuri
Meri Pyari Patang Chali Badal Ke Sang – Dillagi – with Uma Devi – Naushad – Shakeel Badayuni
Chhak Chhak Chali Hamari Rail, Ye Hai Aage Ye Paani Ka Mail – Naach – with Geeta Roy – Husnlal Bhagatram – Mulkraj Bhakri
Pyar Ke Jahan Ki Nirali Sarkar Hai – Patanga – With Lata Mangeshkar – C Ramchandra – Rajendra Krishna
Geeta Roy +
Hasrat Bhari Nazar Ko….O Pardesiya, O Rasiya – Dil Ki Basti – with Zohra Jaan – Ghulam Mohammad – Khumar Barabankvi
Badal Gir Aaye – Karwat – with Asha Bhosle – Hans Raj Behl – V N Madhok
Kheloge Kaun Sa Khel Mere Lal – Tara – with Premlata – Vinod – Aziz Kashmiri
Mithai ki Dukan Dilli Ke Bazar – Tara – with Gandhari – Vinod – Aziz Kashmiri
Johrabai Ambalewali +
Hai Kahani Preet Ki Itwaar Se ItwaarTak – Daulat – with Lalita Deulkar – Hanuman Prasad –Qamar Jalalabadi
Chhoon Chhoon Ghunghariya Baje, Ye Raat Phir Na Aayegi, Jawani Beet Jayegi – Mahal – with Rajkumari – Khemchand Prakash – Nakshab Jarachavi
Suraiya +
Aye Dard-e-Mohabbat Tune Mujhe Badnam Kara Ke Chhoda – Singar – with Surinder Kaur – Khursheed Anwar– D N Madhok
Hamida Banu+
Aavo Sakhi Hum Gaye Tarana– Zevrat – with Shanta Kunwar – Hans Raj Behl – Habeeb Sarhadi
Here are a few songs for which soft links do not seem to be have been set up, as yet.
Aayee Hai, Woh Aayee Hai, Dekha Badariya Kali – Bholi – Shamshad Begum with Meena Kapoor – Pt. Govind Ram – Ishwar Chandra Kapoor
Sun O Jaanewale Rahi… In Mitti Ke Khilone Ka – Maa Ka Pyar – with Meena Kapoor – Pt. Govindram – Ishwar Chandra Kapoor
Yahan Naino Mein Pyar Dil Ko Qarar Kiya Lage Piya – Char Din – Shamshad Begum with Premlata – Shyam Sundar – Shakeel Badayuni
If anyone who has the song(s) may please either post it in the comments or upload the soft copy to me by e-mail.
In the next episode we will take up Male-Male Duets as well as Triads & Triads+ songs.
Mohammad Rafi’s duets seem to manifest a classic oligoploic distribution. The duets with Lata Mangeshkar peaked in numbers, and if the ones with Shamshad Begum were quite respectable, those with Suraiya showed a marked corresponding reduction.
We just can locate only two duets with Geeta Roy and with several others it does not even cross the single number.
In the overall analysis, all of Mohammad Rafi duets do outclass all other male-female duet combination(s) by quite a wide margin. Interestingly, the distance, both in number and in qualitative comparison narrows down drastically when we add ‘popularity’ of the song as an additional filter.
The development of my understanding and liking of the Hindi Film Songs over all these years has been shaped at different stages of availability sources like Radio (only), audio cassettes, EP/LP records, audio / video CDs/ DVDs and then the internet. The songs that I continued to get to listen across each of this medium do remain a fairly large number. But, there is no denying that internet has filled a big void in my known unknowns as well as unknown unknowns in so far as HFM is concerned.
In order to be fair to the songs that I have listened only of late on the internet, I have decided to choose at least one song from the songs that I so listened in the present exercise of The Micro View of the Best Songs of 1949, over and above one from already well-established, known known and liked songs.
With that caveat, here is My Choice of the TOP Solo Songs of the Other Female Singers for 1949:
The choice of the BEST among these will rest on where the wheel of roulette will stop.
For me any one will be a jackpot……
SoY has also released Best songs of 1949: Wrap Up 2. After a very meticulous, balanced and fair analysis, wherein the choice of the best ‘other’ female playback singer was Shamshad Begum, followed by Suraiya.
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.
The world is too small? or Is it? 