Carnival of Blogs on Golden Era of Hindi Film Music – April, 2018

Welcome to April, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our April, 2018 episode with two very different posts on the common subject of Baisaakhi..

Celebrating Baisaakhi Bollywood Style.. Kedar Sharma (probably) used this situation for the first time in 1946 film Duniya Ek Sarai

Doing Something Different This Baisakhi is a tribute to some of the Shikhs who did a god deal of work in cinema, regardless of whether they faced the camera, wrote the song, composed it, sang it, or filmed it.

Gulzar wearing a turban

And, now, we take up the tributes in April, 2018:

BALRAJ SAHNI -A Journey from Shanti Niketan To Bollywood that ended on 13 April, 1973, about a month before his birthday, and immediately after completing the dubbing of his last epochal film, Garm Hawa.

Ace animator and filmmaker Bhimsain dies at 81 – The filmmaker died on 17-4-2018 night in Mumbai. – In 1970, Bhimsain made his first animated film, The Climb, which won the Silver Hugo Award at the Chicago International Film Festival. A series of films followed that embraced a range of styles and concerns, including Na, Ek-Do, Munni, Freedom is a Thin Line, Mehmaan, Kahani Har Zamne Ki and Business is People. The best-known and the best-loved among them is the National Film Award-winning Ek Anek Aur Ekta (1974), meant for children and the children within all of us. After Gharonda (1976), he also directed Dooriyan (1979). Bhimsain also directed live action and animated shows for television in the 1980s and ’90s, such as the children’s comedy Choti Badi Baatein, Vartmaan, and the first Indian computer-generated animation series Lok Gatha (1992).

B R CHOPRA – One Of The Architect of Golden Era Of bollywood. His first ever production was flop, before he went on direct Afsana (1951) and then founded his own banner B R Films in 1955.

Black Sounds Beautiful is a tribute to Benny Goodman, perhaps the greatest jazz clarinetist ever, who was a great inspiration to musicians’ abroad, like our C Ramchandra and his arranger Johnny Gomes, who played the clarinet as well.[A few nuggets as exmaples]… Wo Humse Chup Hain Hum Unse Chup Hain (Sargam, 1950) ǁ Tum Kya Jaano Tumhaari Yaad Mein (Shin Shinaki Bubla Boo, 1952)….The post goes on narrate very interesting aspects of clarinet. So, Is the post a tribute to clarinet? Indeed, that is what the title is all about.

Shakeel Badayuni – The Creator of Immortal Love,Romance and Dejection Songs resisting all temptation to write about social causes.

G S Nepali-The Forgotten Lyricist  whose association with Bollywood spanned around two decades, beginning in 1944 and ended with his death in 1963

People with Books in Hindi Cinema is celebrating World Book Day by presenting 10 scenes in Hindi Films with a character is shown with a book.

April, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Hasrat Jaipuri – Beyond Shanker Jaikishan: 1953 – 1955, in continuation with April, 2017 episode of Hasrat Jaipuri’s songs for ‘other’ music directors for 1950-1953.

We also have more excellent articles on Hasrat Jaipuri :

And, now the posts on other subjects:

Songs that tell a story – The purest form of this genre is when a character simply tells a story to a group of children without any allegorical meaning. But the more common form is when a protagonist uses this device to narrate his (or her) feelings which he/she was hesitant to tell directly.

Ten of my favourite Swimming Pool songs – was a favorite location for Hindi Films, as that provided the maximum possible liberty to show the beauties in as natural conditions as can be decently done. Placing a song along with further  justified the swimming pools.

My Favourites: Bathroom Songs are not the song that a novice singer sings in the privacy of the bathroom so as to avoid the ridicule in public. These are the songs that magnify the ‘bathing (female as well as male beauty’ (within the bounds of what Censor Board of India would permit).

Amitabh Bachchan isn’t the only one who is unhappy about the 60-year cap on copyrightArchana Nathan – Film families and producers too believe that their inheritance should be their right.

Mirror Mirror on the Wall – “Vanity and her junior partner pride are often used interchangeably, and they do mean somewhat the same thing. The post goes on to list articulations of vanity through songs in Hindi cinema. The vain actor is listed, and the lyricist too. Relevant words are mentioned where found necessary.. To cite an example from our films, there is a Lata Mangeshkar song in Samrat Chandragupta (1958), which goes thus: Mujhe dekh chaand sharmaaye, ghata tham jaaye, Main nikloon to kahe haaye—zamaana kahe haaye!” (“The moon blushes when he sees me, the cloud misses a heartbeat, and the world goes wow when I step out”). Do note that this is not praise from others. These are examples of people admiring themselves.”

Barsat Ki Raat Part 2: The Qawwali DuelsMonica Kar, with additional inputs from Peeyush Sharma, revisits the classic musical Barsat Ki Raat 1960, exploring the evergreen memorable songs and scenes of this delightful romantic story. While Part 1 dealt with the romance that began on a rainy night, Part 2 explores the multi-hued nuances of the three stunning qawwalis in the film, easily among the best musical duels the world of Hindi film music has ever seen.

Praised to the Skies is about a very high romantic flattery of uncommon kind, that would make the recipients go red with the blush.

Songs Picturised in a Recording Studio – Such songs actually are meant to underline the circumstances in the movie or the emotions, a character is going through at that point! Or the songs appear as a part of the movie, where the character is a singer. [I, of course, immediately recollect Tum Jo Hamare Meet Na Hote from Aashiq in this category.]

Never on a Sunday is a collection of songs filmed while (usually) the heroin waters Tulsi (Holy Basil) plant….Apart from this, the article needs for reading the use of two altogether different situations that is no..no on a Sunday…!!!!!!

We may never watch it but a new book lets us read the script of Satyajit Ray’s unmade sci-fi film – In 1967, Satyajit Ray wrote the script for ‘Alien’, a film that was to be produced by Columbia Pictures in Hollywood. But the ill-fated movie was never made.

Edited by Sandip Ray, Harper Collins India.

Jaane Kya Dhoondti Rehti Hai: Of a World Where Love Is Incinerated – Among the most introspective nazms in Hindi films, Jaane kya dhoondti rehti hai from Shola Aur Shabnam (1961) rises high above the apparent, inflicting a stinging comment on the rich-poor divide in society. Anand Desai and Antara Nanda Mondal explore the finer nuances of this smoldering song of catharsis, written by Kaifi Azmi, composed by Khayyam and sung by Mohd Rafi.

The ‘Bedardi’ Songs , the songs in sad and happy situations …

The Tragedy Queen and the “Nautch Queen of New Jersey” (thoughts after reading two very informative articles) – which are The Truth Behind Pakeezah Unveiled and Nautch Queen of New Jersey  respectively.

SoY has presented Best songs of 1947: And the winners are? in the series. We will commence our Micro View soon enough.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Main Kho Gaya Yahin Kahin -12 o’clock (1958) / OP Nayyar / Majrooh Sultanpuri

Aji Ham Se Bach Kar Kahan Jaiyega – Aarzoo (1966) – Shankar Jaikishan- Hasrat Jaipuri

Aa Bedardi Balma – Chhora Chhori (1955) – With Lata Mangeshkar – Roshan – Kedar Sharma

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

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Fading Memories…. Unforgettable Songs: April, 2018

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1953 – 1955

Hasrat Jaipuri (15 April, 1922 – 17 September, 1999) kept his literary soul alive by attending the poetry concerts even when he bodily served as a bus conductor in his early Bomaby days.  Similarly he maintained a live contact with Urdu poetry even when the burden of earning his family’s daily bread kept him tied up writing the lyrics for Hindi Films.

With around 350 films and 2000 recorded songs, Hasrat Jaipuri’s last releases were Saazish with Jatin-Lalit and Sher Khan (with Bappi Lahiri) in the penultimate year of his life. At the time of his death he was working on a few small films and a book of shaayari. “I never discriminated between small and big films and composers. I have the biggest list of music directors among any lyricist – from SJ and Sajjad down to Anand-Milind, Nadeem-Shravan and Jatin-Lalit,” says the man who was master of romance even amidst his versatility.

Hasrat Jaipuri is invariably remembered for his songs composed by Shanker-Jaikishan. But the hard core fans of Hasrat Jaipuri do treasure his songs composed by ‘other’ music directors as well. In April, 2017 we had put together some of his less-remembered songs composed by ‘other’ music directors, starting from the beginning of his career in 1949 till the most remarkable two-some songs of Anarkali in 1953.

Presently, we continue with Hasrat Jaipuri’s some more songs composed by ‘other’ music directors in 1953 till 1955.

Aaye The Thodi Der Ko Betaab Kar Gaye – Khoj(1953) – Ashima Banerjee – Music: Nisar Bazmi

The film had Raja Mahendi Ali Khan’s 4 and Anjum Pilibhiti’s 1song against two by Hasrat Jaipuri. His song, in Jagjit Kaur’s voice – Mera Chanda Mein Teri Chandni – does not seem to be available on net.

Nissar Bazmi is remembered for Chanda Ka Dil Toot Gaya Hai (Mohammad Rafi) from this very film. He then migrated to Pakistan, where he created Ranjish Hi Sahi Dil Ko Dukhane Ke Liye Aa, in Mahendi Hasan’s voice, for ‘Mohabbat’ (1968).

Aa Jaane Bahar Aaja – Paapi(1953) – Asha Bhosle – Music: S.Mohinder

The film had Surjeet Singh Sethi, Rajinder Krishna, Butaram Sharma, Sharshar Sailani having 1 song each, whereas Raja Mahendi Ali Khan and Hasrat Jaipuri had 2 each.

Incidentally, the use of Dholak for rhythm of the tune seems to resemble Shanker-Jaikishan’s style.

Aa Jaao Mere Pyare Arma Tujhko Pukare Dil Dhundh Raha Hai Tujhko, Hum Pyar Ke Hai Mare Hum Pyar Ke Hai Mare – Hamlet (1954)- Asha Bhosle – Music: Ramesh Naidu

The song does seem to have a little difficult tune, but the lyrics maintain the simplicity, creating a very soft, expectant atmosphere while awaiting the arrival the beloved.

Jaoon Mein Kahan Data Jo Apanaa Kaam Hai Vah Kiye Jaa Rahi Hun Main, Ab Tere Dar Ki Khaaq Liye Jaa Rahi Hun Main – Pipli Saheb (1954) – Lata Mangeshkar  – Music: Sardul Kwatra

The film has two songs by Shailendra, 1 by Verma Malik and 6 by Hasrat Jaipuri.The present song is a classic pathos song.

Aaye Toh Kaise Aaye, Majbur Kar Diya Hai
Duniya Ne Do Dilo Ko, Phir Dur Kar Diya Hai

Mil Jaye Tumse Aake, Sahara Nahi Koi – Sangam(1954) – Geeta Dutt, Talat Mahmood – Music: Ram Ganguly

I have chosen this duet over its rather more popular one – Raat Hai Armaan Bhari – simply to highlight the prelude couplet, In Geeta Dutt’s mellifluous voice that does remain a distinguishing feature of Hasraj Jaipuri’s songs.

Mara Re Mara Re Aanke Katar Dekha Mera War, Tera Dil Kiya Hai Para Para -Aab-E-Haayat(1955) (Music: Sardar Malik)

The film had 1 song each by Raja Mahendi Ali Khan and Kaif Irani, 2 by Qamar Jalalabadi and 6 by Hasrat Jaipuri

This is a (the then) club genre song that sets the tone of mid-east Arabian culture. These songs always had lyrics that carried a subtle message to the Hero.

Mohabbat Bane Hai Vo Din Suhane, Ghadiyan Milan Ki Dil Ke Tarane – Aaj Ki Baat(1955) – Talat Mahmood –  Music: Snehal Bhatkar

Hasrat Jaipuri has once again collaborated with Raj Baldev Raj and Kaifi Irani (3 songs each).

The song has Talat Mahmood at his soft peak, that seems to have been facilitated by Hasrat Jaipuri’s simple lyrics, which continue to retain the poetic charm, well complemented with soft orchestrarion.

Jhanak Jhanak Paayal Baaje – Jhanak-Jhanak Paayal Baaje(1955)  – Ustad Aamir Khan, chorus – Music: Vasant Desai

It must have been quite a challenge to pen lyrics for a song that appears in the credit titles of the film, and yet  must measure up to status of a classical singer of Ustad Amir Khan Saheb’s class.

Raag Malika – Jhanak-Jhanak Paayal Baaje(1955)  – Manna Dey, Lata Mangeshkar –  Music: Vasant Desai

Jhanak Jahank Payal Baje was a pure art film, in which songs had to support the dances, filmed on highly artistic sets.

I have picked up this song as one more example of Hasrat Jaipuri’s ease to pen lyrics for a song that runs different classical raags.

Hasart Jaipuri had written one song – Raat Aayi Hai Javan (Singers: Mohammad Rafi, Shamshad Begum) under the baton of Bipin Babul for ‘Shahi Mehmaan’ (1955) (Music: Bipin-Babul), which unfortunately does not seem to available on YT. One can find some other songs from this film on YT. If the song would have been on YT, it would have made an ideal end to the present episode.

Since we do end each of our episode with a song by Mohammad Rafi, I would go back to Pipli Saheb (1954) for this song –

Lo Aaye Jhoomti Pilpili Are Chal Dhal Hai Gilgili – with Lata Mangeshkar

Hasrat Jaipuri has very deftly rhymed seemingly nonsensical lyrics (Pilpilli – Gilgilli) and weaved the title of the film in the song, while still making the song retain its natural playfulness.

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.

Fading Memories…. Unforgettable Songs : September, 2017

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory

Septmber happens to be the month of death anniversaries of Jaikishan [Jaikishan Dayabhai Panchal, 4 November 1929 – 12 September 1971] and Hasrat Jaipuri [Iqbal Hussain, April 15, 1922 – September 17, 1999].

Shankar Jaikishan and Shailendra- Hasrat Jaipuri are always spoken in one breath. However, it is said that Jaikishan would normally compose the song that Hasrat Jaipuri would write. There should be n-number of songs of this combination that were loved then, and are loved now too. That has germinated the idea for today’s post – let us bring back, from our Fading Memories, Hasrat Jaipuri’s songs that (Shankar) Jaikishan had composed.. I spanned 14 of SJ-composed films and some HJ-penned 67 songs, in the descending chronological order. Out of these, here are 15 (S)J-HJ songs for which I could not recollect the respective tune when I read the title of the song. Thus there is a personal, yet unintentional, bias in the selection of the songs.

Interestingly, we see a fair predominance of Lata Mangeshkar in this limited collection of 13 songs, covering the period from 1949 to 1953. That, in a way seems to reflect SJ’s marked inclination towards for Lata, among all other female playback singers of that time. It must, however, be recorded here that in comparison to total number of SJ-Lata songs in these 14 films, the numbers that appear is not of significant proportion.

The 14th song is our traditional end-of-the-post-song, a Mohammad Rafi Song. Incidentally, this was the only Rafi song of the 67 that I had ran through before hitting upon a (Shanker)Jaikishan-Hasrat- Rafi song, of course, not considering Main Zindagi Mein Hardam Rota Hi Raha Hun from Barsat.

Here are the songs for the day:

Prem Nagar Mein Basnewalon, Apni Jeet Par Hasnewalon – Barsat 1949 – Lata Mangeshkar

In the standard format of a Hindi song, technically this may not be called a song. However, creative directors like Raj Kapoor very often used the audiovisual effect of a song like recitation to tellingly convey the intent of a situation. Such a demand of the director would pose a great creative challenge to the lyricist and the music director. In this particular instance HJ and Jaikishan have lived up to the challenge. Use of silhouette shots by the cinematographer Jal Mistry adds to the surreal effect.

Khushi To Qaid Mein Hai…Rota Hai Mera Dil Kisko Pukarun Kya Karun – Badal (1951) – Lata Mangeshkar

The song starts on a high-note-prelude-couplet (Sakhi), which was to become one of the signature styles of SJ compositions. The song is filmed on a budding beuty – Madhubala.

Jiyennge Jab Tak Talak Hum Unki Yaad Aayegi…Maine Kya Kiya, Sitam  Ye Maine Kya Kiya – Kali Ghata (1951) – Lata Mangeshkar.

The song follows quite difficult composition, but the result is quite mellifluous.

Tumko Apni Zindagi Ka Aasra Samje The Ham… Dil Bequar Hai Mera Dil Bequarar Hai -Nagina (1951) – CH Atma

SJ have experimented with CH Atma’s voice as playback of Nazir Khan.

O Pyar Bhari In Aankhon Ne.. Aaja Tujhko Yaad Kiya – Parbat (1952) – Lata Mangeshkar, Geeta Roy

SJ have not used Geeta Dutt as much others in the same period. However, this Lata-Geeta duet has picked up nuances of the vocal chords of both singers. Several pieces of orchestration manifest Jaikishan’s virtuosity of using different instruments quite imaginatively.

Ab To Aa Jao Balam..Furkat Ke Maare Ro Diye –Poonam (1952) – Lata Mangeshkar

Each stanza begins on high-scales with interlude orchestration using ensemble of violins. The song is filmed on Kamini Kaushal.

Apne Bimar-e-Gam Ko Dekh Le, Ho Sake To Aa Ke Dekh Le….Aaja Re Ab Mera Dil Pukara – Aah (1953) – Mukesh, Lata Mangeshkar

Here is a song which was quite popular then, and is now. The reason we have included in this post is the tellingly innovative use of the song in the narrative of the film. The original song is the manifestation of the condition of the loving couple who are getting separated by a queer turn of the circumstances – the hero going away on a long-drawn cure of what was considered near fatal TB to a faraway sanatorium.

The second version is set to a situation where the hero wants go back and meet his beloved, as promised, probably before his life comes to an inevitable end. The version begins from the stanza with which the first version had ended. Lata Mangeshkar joins in Alaap that signals the nearing reunion,

The film track has third version too – Janaaza Dekhne Mera Nikal Aaye…..Aaja Re Ab Mera Dil Pukara. Unfortunately we do not have its separate video clip.

Humko Chhedta Hai Dil,… Kaun Jaane Kya Hua, Tumne Baat Baat Meing Kya Jaadu Kar Diya – Aas (1953) – Lata Mangeshkar

Here is a happy mood song wherein rhythm-supporting bass has been used in the subdued manner. Note a short sweet opening prelude.

Aaj Ki Raat Kabhi Khatm  Na Hone Aaye…. Wo Aayenge Khushi Bankar, Baharein Saath Laayenge, Mere Ghar Mein Muhabbat Ke Nazaren Muskarayenge – Aurat (1953) – Lata Mangeshkar

For a change, we have a fast-paced song of a bubbling, happy mood.

Taaron Ko Dil Ki Baat Sunai Tamam Raat…Main Bahron Ki Natkhat Raani, Saari Duniya Mujh Pe Hai Diwani – Boot Polish (1953) – Asha Bhosle

The song has deployed a very rich orchestra for interlude, with sweet pieces of flute thrown in for support. Boot Polish must rank as one of those rare films wherein SJ have not used Lata in any song, solely on the merits of the demands of the film’s narrative! (Absence of Lata in films like Suraj or Mera Naam Joker was on account of very specific differences.)

The song is filmed on Chand Burke.

Hum Unke Paas Aate Hain Wo Ham Se Door Jaate Hain, Tadapkar Dastaan Apni Baharon Ko Sunate Hain – Naya Ghar (1953) – Talat Mahmood

SJ have used Talat Mahmood’s voice so naturally in all the songs where they came together, while retaining their musical style. We have here so sweet gem of Talat Mahmood that my heart pains to put under the omnibus category of Fading Memory songs.

Chamke Bijuriya Garje Megh Mat Ja Re Balam Pardesava – Shikast (1953) – Asha Bhosle, chorus)

SJ have used Asha Bhosle to so sweet effect in this song.

Jaage Mera Dil Soye Zamana – Badshah (1954) – Aparesh Lahiri

It appears to be very fitting to begin the end of this post with a song that is sung by a Bengali singer whose son made a big name in Hindi films in the 90s. The knowledgeable fans of Hindi Film Songs will have correctly guessed name of that 90s Lahiri – Bappi Lahiri.

Aparesh Lahiri and his wife Bansri Lahiri, of course, were famous Bengali singers and musicians in classical music. However, it must be to credit of SJ to have experimented to use Aparesh’s voice here.

Asides:

  1. SJ had used another well-known singer, Hemant Kumar, in the film for Rula Kar Chal Diye and Aa Neel Gagan Tale Pyar Ham Kare, penned by Shailendra and Hasrat Jaipuri respectively. Both songs are immortal.
  2. ‘Badshah’ was adaptation of Victor Hugo’s very famous novel, Hunch Back of Notre Dame, written in French in 1831, on which a Hollywood film of the same name also has been made.

For our traditional end of a post with a Mohammad Rafi song, we have

Soch Na Manwa…Haye Gam Ke Maaro Ka Jamane Mein Koi Na Saath Dega – Pooja 1954

By now a well-established practice of beginning the song with short prelude-couplet comes with an innovative support orchestration of a piano piece – so typical of a Jaikishan touch.

We will continue our search for 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 – April, 2017

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

The first day of April is to make fun. We have picked up  a topical post to commence our present episode:

Some unique good good songs is an excellent presentation of songs that repeat words, so typical spoken style of Hindi language, e.g.

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

Then and now: How a ’40s movie star dealt with a bad marriage and prying eyes  -Kanan Devi broke off her short-lived marriage to Ashok Maitra after he objected to her career, thereby proving herself to be a truly independent spirit. – an excerpt with permission from Kanan Devi The First Superstar of Indian Cinema, Mekhala Sengupta, HarperCollins India.

Shamshad Begum with 3G, i.e. music directors Ghulam Haider, Ghulam Mohammad and Pt. Govind Ram,is a tribute to her on her 98th birth anniversary. The previous articles on Shamshad Begum @ SoY are available @ the tag Shamshad Begum.

The bit about Parveen Babi that you won’t find in the UG Krishnamurti biography – An outtake from the graphic novel by Nicolas C Grey and James Farley imagines the actress’s encounters with the philosopher. – Depicted here are the panels, which were not used in the final publication, the authors imagine the moment when Babi became a Krishnamurti follower – Reproduced with permission from This Dog Barking: The Strange Story of UG Krishnamurti, Nicolas C Grey and James Farley, HarperCollins India.

Yesterday’s Films For Tomorrow – It was but natural that legendary

PK Nair was a collector, a cinephile, a historian, an archivist, an evangelist, a teacher and a student of cinema

archivist and  ‘Celluloid Man’ PK Nair’s last wish was that his personal collection of books, journals and diaries be handed over the Film Heritage Foundation (FHF) to preserve after he passes on. Yesterday’s Films for Tomorrow was released recently in Mumbai to commemorate P K Nair’s 84th birthday.

Antara Nanda Mondal notes that this book is a remembrance of a person who was obsessed with not just the stories that cinema told, but with all its facets — the form, function and the ephemera of the moving image.

Peeyush Sharma pays tribute to K L Saigal with a journey through Saigal’s songs in Main Kya Janoon Kya Jadoo Hai: K L Saigal’s Magical Music .

‘KL Saigal’s Songs Started the Sugam Sangeet Revolution’ – In Conversation with Author Pran Nevile – Pran Nevile is the author of the authoritative book KL Saigal – Immortal Singer and SuperstarK.L. Saigal The Definitive Biography and the richly illustrated Nautch Girls of India: Dancers, Singers, Playmates.

After a successful career in the Indian Foreign Service and the United Nations, Pran Nevile turned to writing specializing in the study of Indian art and culture. His other books include Lahore – A sentimental Journey; The Raj Revisited; Love Stories from the Raj; Rare Glimpses of the Raj; Stories from the Raj – Sahibs, Memsahibs and Others; Beyond the Veil – Indian Women in the Raj and Marvels of Indian Painting: Rise and Demise of Company School.

In a conversation with Sundeep Pahwa in his Gurgaon home, Pran Nevile responds to a series of questions on K L Saigal drawn up by Peeyush Sharma and Sundeep Pahwa.

The April 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Hasrat Jaipuri, recalling his songs for music directors other than Shanker Jaikishan. This post has covered songs from the beginning of his career till 1953.

Here are posts on other subjects as well:

Ten of my favourite ‘not-quite-duet’ songs aretechnically duets’: not songs in which both singers play an equal part in making the song what it is, but in which the ratio is somewhat skewed or in which one singer only hummed, while the other did the singing. E.g. Phir aane lagaa yaad wohi (Yeh Dil Kisko Doon, 1963): Interestingly, Yeh Dil Kisko Doon featured not one, but two, songs that were sung primarily by a man but had a woman pitching in occasionally to add another dimension to the song. In Kitni haseen ho tum, Asha Bhonsle sings half a line here, half a line there while Rafi sings the rest of the song. In Phir aane lagaa yaad wohi, however, the female singer (in this case, Usha Khanna) has even less to sing: all she sings is three words, repeated at intervals through the song: Pyaar ka aalam, while Rafi sings the rest of the song. It works very well in this dreamy dream sequence.

Here is a belated posting: Enchanting Salil Chowdhary  – Listen to 18 songs from Salil Chowdhary by clicking the link below. These songs are from the 1950s to early 70s and many of them feature brisk movements among notes and wonderful arrangements to create an enchanting experience: LINK TO PLAYLIST OF SALIL CHOWDHARY SONGS

Sound of Lollywood: An obscure movie has a hidden gem for qawwali fans – “Mere Paas Aao’ from ‘First Time’ is, by turns, spiritual and romantic and wholly enjoyable.

Sahir Ludhianvi’s ‘Woh Subah Kabhi Toh Aayegi’ finds new meaning in ‘Begum Jaan’ – A song written after 1947 aptly describes the condition of a newly independent India. –  The song Woh Subah Kabhi Toh Aayegi from Phir Subah Hogi (1958) appears in the climax of Begum Jaan, with the lyrics and context made relevant to the plot.

A Look at Some of The New Remixes of Old Bolywood Songs – Sharada  Iyer wades through remixed songs and their corresponding originals in this article.

Picture the song: When Amol Palekar grinned his way to success in ‘Ye Din Kya Aaye’ – The entire world of Basu Chatterjee’s ‘Chhoti Si Baat’ is contained in a six-minute musical interlude.

A pat of butter and a picnic basket of movie memories – This is written for the film section of the Amul India book, which you can get here.

A Ghulamm Mohd. Song – Ye Duniya Hai – Shair 1949 – Lata Mangeshkar, Mukesh

Ghantasala modulates the same phrase in several ways – ‘Emanene’ said in so many ways. As ‘barago’ says, once as question, then with anxiety, soothing and agitation.

Meethe Bol Bole, Bole Paayaliya – A Sparkling Jugalbandi of Music and DanceMeethe bol bole in Kinara is a beautiful sangam of classical excellence brought together by three maestros – the music of RD Burman, the lyrics and direction of Gulzar and the Kathak Nritya choreography of Gopi Krishna. Anand Desai and Antara Nanda Mondal explore the layers of musical delights and dance pieces hidden within this sparkling gem from Kinara, sung by Bhupinder Singh and Lata Mangeshkar.

We have taken the first step in our annual Micro View of Best Songs 1948 @SoY

We end our present episode with Dual Versions of the Same Song by Mohammad Rafi and Lata Mangeshkar – Sharada Iyer has presented 21 such songs with a small note for each song. I have picked up Mohammad Rafi’s version of Agar Bewafaa Tujhko Pehchaan Jaate…from an unheard film, Raat Ke Andere Mein (1969). The song is written and composed by Prem Dhawan

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

Fading Memories…. Unforgettable Songs: April, 2017

Hasrat Jaipuri – Beyond Shanker Jaikishan

Hasrat Jaipuri (April 15, 1922 – September 17, 1999), born as Iqbal Husaain, recorded Jiya Beqaraar Hai as his first solo song for Hindi films for Barsat (1949). His second song (and first duet) was Chhor Gaye Baalam for the same film. Ever since, Hasrat Jaipuri, and for that matter his conjugate lyricist Shailendra, are considered inseparable element of the Shanker Jaikishan songs.

However, It is no secret that Hasrat Jaipuri, and Shailendra too, have written many songs for other music directors as well. Hasrat Jaipuri has penned songs for Sajjad  Hussain to C Ramachandra, to  golden era’s Madan Mohan, S D Burman and to the 90s ear music directors like Nadeem Shravan, Jatin Lalit too.

As our tribute to Hasrat Jaipuri, in the present episode, we will recollect his songs for other music directors. The period under our present consideration is from the beginning of his career till 1953. We will restrict ourselves to one song for each of the (other) music director in this period.

The first film is Wafa (1950). HJ has three songs in the film. Two songs are composed by Vinod and one by Bulo C Rani.

Armaan Bhara Dil Toot Gaya – Wafa (1950) – Mukesh, Lata Mangeshkar – Bulo C Rani

This song strongly establishes that HJ’s sensitivity seen in the lyrics of Barsat songs is not once in a blue mood affair.

In 1951, HJ’s filmography lists Bade Sahab for which Nisar had composed the music. As of now, our highly resourceful net-friends do not seem to have located the songs, so we do not have been to locate link to the digital version of the songs.

There is one more film, the unreleased one in 1951 – Imaan. The film had four songs from HJ – three solos by Asha Bhosle and one duet of Talat Mahmood-Asha Bhosle.

O Julmi Nayana Roye Ja Tu – Imaan – Asha Bhosle – Pt. Motiram

This should go down as the first film where Asha Bhosle has rendered HJ’s song. HJ’s songs in Asha Bhosle’s voice should in itself be an interesting subject to explore !

1951 had one more HJ- Pt. Motiram film – Lachak, which had one song to HJ’s account – A Rafi- Asha duet.

1951 also had HJ collaborating with Sajjad Hussain too.

Khalayaon Mein Tum Ho – Sainyaa (1951) – Lata Mangeshkar, Chorus – Sajjad Hussain

This is almost a signature composition of Sajjad, in which HJ has maintained the mood by deploying not-so-complicated lyrics.

1951 has one more HJ film – Saudagar – for which Hanuman Prasad has composed two duets in G M Durrani- Asha Bhosle’s voice. Unfortunately I could not locate link to digital audio versions of the songs on net.

HJ has written one song for Anandmath (1952), a Filmisyan production of famous novel by Bankim Chandra Chatterjee.

Dil Ka Paimana Ho Ulfat Ka Hath Hai, Julfo Ka Badal Ho Jhumne Ki Raat Hai, Pine Ki Raat Hai – Anand Math (1952) – Rajkumari – Hemant Kumar

The stage is set for the king to entertain himself and his English sahibs.

Annadata (1952) has five songs from HJ’s pen, of which digital versions of G M Durrani- Shamshad duet and a Rafi-Shamshad- Lata- Meena Mangeshkar chorus songs are not yet uploaded on net. Three solos of Lata Mangeshkar are available on YT.

Baharo Ke Dole Me, Aayi Hai Jawani, Aayi Jawani, Aaj Apni Adao Pe Huyi Mai Diwani – Annadata (1952)- Lata Mangeshkar – Mohammad Shafi

Mohammad Shafi was considered to be a highly talented composer, who did not get the due favour from the lady luck of the commercial success. This song amply manifests Mohammad Shafi’s talents.

Badnaam (1952) had three songs to HJ’s account – two Lata solos and one Shankar Dasgupta solo. HJ has written songs for Basant Prakash for Nishan Danka and Saloni too in this year.

Yeh Ishq Nahin Asan – Badnaam (1952) – Shankar Dasgupta – Basant Prakash

Hamari Duniya has three songs of HJ, one solo each of Lata Mangeshkar, Geeta Dutt and Rajkumari. Geeta Dutt song does not seem to be have been posted on YT.

Raat Arman Ki Saji Hai – Hamari Duniya (1952) – Rajkumari – Shyam Babu Pathak

Jab Tak Chamke Chand Sitare, Tum Ho Hamare Saiya Hum Hai Tumhare, Apne Milan Ka Sath Na Chhute, Hatho Me Aake Sajni Hath Na Chhute – Neelam Pari (1952) – Geeta Dutt, G M Durrani – Khursheed Anwar

Neelam Pari had 4 of HJ’s songs.

Shrimatiji had HJ’s one solo.

Taqdir Ne Luta Mujhe Taqdir Ne Luta, Manjil Pe Lake Pyar Ne Begana Kar Diya – Shrimatiji (1952) – Geeta Dutt – Jimmy

Ek Dil Hazar Jhakhm Kaise Jee Sakenge Ham – Aag Ka Dariya (1953) – Talat Mahmood – Vinod

Anarkali was a landmark film, in so far as its songs are concerned.  Basant Prakash did compose one song and then all other songs were composed by C Ramchandra. Hasrat Jaipuri and Shailendra wrote two each and all other songs were written Rajendra Krishna.

Zindagi Bebas Hui Hai Beqasi Ka Sath Hai, Ek Ham Hai Is Qafas Me Ya Khuda Ki Zat Hai

O Asaman Wale Shikawa Hai Zindagi Ka …Sun Dastan Gam Ki Afasana Bebasi Ka

Both the songs are gems. So I would happily break the rule that we had set for ourselves and would most happily include the other song also as the penultimate song for our present episode.

Is Intezaar- e-Shauk Ko Janamo Ki Pyas Hai, Ik Shama Jal Rahi Hai To Wo Bhi Udas Hai

Muhabbat Aisi Dhadakan Hai Jo Samajhai Nahi Jaati

We have few more films in 1953 for which HJ has written lyrics for music directors other than Shanker Jaikishan. But, that is for the future journey.

We will end our present episode with the HJ song composed by R C Boral:

Humne To Dard-E-Dil Ko Tamanna Bana Liya – Dard-e-Dil (1953)

We will continue our search for 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.