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I Liked Music from films

Fading Memories…. Unforgettable Songs: April 2020

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too. The critics may not put Hsrat Jaipuri in the same bracket as Sahir Ludhyanavi or Kaifi Azmi, many of Shailndra fans may disparage Hasrat Jaipuri’s lyrics, but the fact remains that his lyrics had very authentic simplicity that would win the hearts of Hindi Film songs fans of all hues.

Hasrat Jaipuri, and for that matter, Shailendra too, has partnered quite effectively with a wide range of music directors beyond Shankar Jaikishan. The underlying reasons might be economic – creating much needed extra stream of remunerative work- or creative – working with diverse range would keep their creative energies charged and wider-based-, we have no authentic versions. But these wider associations for both have yielded us a rich treasure of songs to listen to.

We have commenced the annual series of Hasrat Jaipuri’s songs under Other Than SJ  music directors in 2017. Till now, we have covered

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

Presently, we have covered Hasrat Jaipuri’s songs by Other Music Directors for year 1958.

Since we have been moving on in the chronological order of years, we will see some music directors getting repeated in some episodes. In any given episode, wherever we find more than one film with a music director, we have grouped the films under that music director.

Music Director: Vasant Desai

We have seen in our earlier episodes that Vasant Desai and Hasrat Jaipuri have earlier collaborated in V Shantaram’s Jhanak Jhanak Payal Baje (1955). Presently, too, Hasrat Jaipuri is the sole lyricist for Do Phool (1958) with Vasant Desai.

Do Phool (1958)

Do Phool is the Hindi adaption of famous children novel Heidi (Authoress:  Johanna Spyri). It was produced by famous director A R Kardar.  Of the total 9 songs, Asha Bhosle and Lata Mangeshkar each have two solos and one chorus song, Asha & Lata have two duets and Aarti Mukherjee has one solo.  We have picked up two Asha – Lata duets and Aarti Mukherji.

Bachpan Ka Tora Mora Pyaar – Lata Mangeshkar, Asha Bhosle

This song is about two childhood friends, reaffirming their bond of friendship, and making promises never to forget each other. The on-screen picturization is on Baby Naaz and Master Romi.

Roothi Jaaye Re Guzariya – Lata Mageshkar, Asha Bhosle

Sulking – Appeasing virus have been bugging mankind right from childhood friendship days. Once it caught by the adults, it has given a full-fledged, rich, genre of Hindi films songs. Here the children friends have been afflicted by this virus and seem to manifest text-book symptoms in the present song, including the (child) heroine relenting by the end of the song. And the couple goes on live merrily thereafter.

Matak-Matak Naachu Re – Aarti Mukherjee

The song replicates the street play situation of the film. Aarti Mukherjee comes up with very childlike rendering of the song.

Music Director: Dattaram

In his second film as an independent director, Dattaram gets opportunity to work on a social drama. Unlike the earlier case, Ab Dilli Dootr Nahi (9157), which was an RK Production, Parvarish (1958) has Raj Kapoor in the main male lead only.

Parvarish (1958)

Hasrat Jaipuri has the sole charge of lyricisit here. One romantic duet – Masti Bhara Hai Sama and another a peppy dance number, Beliya… Bheegi Si Baharon Mein (both by Manna Dey, Lata Mangeshkar), one comedy male-male duet Maama-O-Maama (Mohammad Rafi, Manna Dey)  and a poignant Aansoo Bhari Hai Yeh Jeevan Ki Raahein (Mukesh) offered Dattaram – Hasrat Jaipuri as wide a latitude as a music director- lyricist team would ever ask for. And they, too, have come up trumps. These songs are remembered even today.

We have picked up relatively lesser known three heard, songs from the film.

Jhoome Re Jhoome Re – Asha Bhosle

In one of the rare roles, the famous, wily (on-screen) mother-in- law, Lalita Pawar plays a very caring mother for the two kids. She is so hard-wired in this vamp roles, that we need to scratch deep into our memories to recall her very sensitive portrayals in films like Anari or Anand. A lorie being filmed on her is another rare happening in type-cast mold-oriented Hindi film working.

Luti Zindagi Aur Gam Muskuraye – Lata Mageshkar

Here we have a formula share of female poignant song.

Jaane Kaisa Jaadu Kiya Re – Asha Bhosle, Sudha Malhotra

A mujra song adds to the variety to the two very different genre songs we heard earlier and to the songs in the film, in general. For the observer friends, who like identifying the screen performers, the knowledgeable bloggers have identified Meena Fernandez (in Asha Bhosle’s voice) and Sheila Vaz (that of Sudha Malhotra) as on-screen performers.

Music Director: Kalyanji Veerji Shah

Kalyanji Shah has not yet teamed up with Anandji, his brother and a long-time career companion in the successful film music career.

Samrat Chandragupta (1958)

Bharat Vyas has five and Indeevar has one song to their share in this film. Hasrat Jaipuri has penned two of the total eight songs in this film, of which Yeh Sama Hai Mera Dil Javaan (Manna Dey, Lata) is well-known. So we have picked up the relatively less heard Lata Mangeshkar solo. Again for the sake records, there also was a same-named film in 1945, for which music was composed by C Ramchandra

Ae Dilbar Aaja Aaja, Haath Se Mere Lele Jam – Lata Mangeshkar, chorus

Since the version we have an audio version, and I have not seen the film, I would not be in position to correctly place the appropriateness of use of a mid-east influenced tune and words like ‘jam’ in the song that would a court dance in the period of Samrat Chandragupta.

Music Director: P Ramesh Naidu

P. Ramesh Naidu seems to be a very obscure name as far as Hindi films are concerned.  But he is not that unknown to us, since we have covered an earlier of his film, Hamlet (1954) , in the earlier episodes of this series. He has directed music for films in ten languages (in comparison with nine by Salil Chowdhury).  He has been awarded national award for his music in Megh Sandesham. It appears that he would get an automatic membership to the one/two film music director club’.  However, it must be appreciated that established lyricists like Hasrat Jaipuri are seen to collaborate with such music directors and give their as good as with any established music director quality of lyrics.

Piya Milan (1958)

Film “Piya Milan” was originally a Tamil film MARMAVEERA-56  The film had nine songs, of which 3 songs have been written  by Harsh and the rest six by Hasrat Jaipuri. Most of the songs remain unknown ones. So, we have picked up songs that have Usha Mangeshkar as a singer to add variety to the songs in this present episode.

In the present case, too there was a similar-named film in 1945, for which Feroz Nizami had composed the music.

Ho Ji Tum Pyar Hamein – Usha Mangeshkar

Prima faci,e this is a dance performance that basically is meant for the entertainment of a rich client

Tilla Langdi Koyale  – OM Verma, Usha Mangeshkar

A street dance act played inside the drawing room for the entertainment of the rich family, so it seems from the stand alone view of the video.

O Saathi Re Tu Aa Bhi Ja  – Lata Mangeshkar, Usha Mangeshkar, Jagmohan Bakshi, chorus)

We only have an audio version. Having heard Jagmohan Baxi so effectively in Dekho Mane Nahi Roothi Hasina (Taxi Driver, 1954- with Asha Bhosle – Music: S D Burman- Lyrics – Sahir), one would expect to have to get a closer look at Jagmohan Baxi’s voice, because he is not regular singer. But here his use does not give us that strong opportunity.

Music Director: OP Nayyar

OP Nayyar has also appeared earlier on this series for the film Johnny Walker(1957). Presently too OPN and Hasrat Jaipuri have been teamed for Mr. Qartoon MA. OPN and Hasrat Jaipuri teaming up for two songs in Howrah Bridge too this year, Whether it is a coincidence or choice (governed by the success of Johnny Walker, the film  songs), we have not verifiable source to know. Nor does it matter, we have good songs to listen to and enjoy.,

Howrah Bridge (1958)

The film has eight songs of which six have been penned by Qamar Jalalabadi.  We have covered Main Jaan Gayi Tujhe Saiyaan (Mohammad Rafi, Shamshad Begum) earlier, in other context,in our other posts on this blog, so, I have selected  an Asha Bhosle solo.

Yeh Kya Kar Dala Tune – Asha Bhosle

The song is all the way an O P Nayyar song, A hoofing – tonga- rhythm, switching over to Dhalak as base instrument for a while in Antara, clever use of whistling,  sweet use of violin, sarangi – are all the signature stamps of OPN.

Kabhi Andhera Kabhi Ujala (1958)

The film had Kishore Kumar and Nutan as the lead actors.

Ajab Hamari Hai Zindagani  – Asha Bhosle

This is song that has title of the film in the mukda.

Zara Sone De Balam – Asha Bhosle

The song is composed to a signature dholak rhythm of O P Nayyar. We find a major variation in terms of huge violin ensemble at the beginning of the interlude orchestration piece.

MR Qartoon MA (1958)

This is cent per cent Hasrat Jaipuri – OPN film, with Johnny Walker as the main lead. The film had three Asha Bhosle solo and one Geeta Dutt- Asha Bhosle duet., but we have deliberately chose the songs that have presence of Mohamad Rafi, in line with our tradition to end our episodes with Mohammad Rafi songs.

Mai Mai Mai Qartoon  – Mohammad Rafi, Asha Bhosle, Shamshad Begum

This is also a song wherein mukhda lyrics have weaved in film title. O P Nayyar switches between western and Indian style bass rhythms in the interlude stanzas. The song appears to be filmed as a fantasy stage show.

Mera Dil Ghabraye Meri Aankh Sharmaye – Mohammad Rafi, Asha Bhosle

The duet is set to a picnic spot situation. Johnny Walker has put on a deceptive disguise of painting-brush-like thick moustache, but his style of singing remains his by known well-known theatrics.

Tune Maar Ke Pyar Ki Bomb Mere Dil Ko Kar Diya Mom – Mohammad Rafi, chorus

Hasrat Jaipuri has used his own signature style of beginning a song with a couplet (‘sakhi), and then has gone onto build a simple end-rhyming lyric that match the situation of the song. Johnny Walker and his gang have masqueraded as signing ascetics and seem to be on a heart-winning mission.. We can see Mehmood too as his junior, principal, aid.

Music Director : B(aldev) N(ath) Bali

B N Bali is one of those music directors who got confine to B and C grade films. He is credited with composing music for 24 films

Pehla Pehla Pyar (1958)

The film had 3 songs written by Madan Mohan (I trust this not Madan Mohan the music director), one by Anand Bakshi and four by Hasrat Jaipuri. The digital link of the three Hasrat Jaipuri songs are still not available on net.

Roke Se QayamatRruk Jaye Par Rokna Dil Ka Mushqil Hai
Kuchh Bhi Na Sujhai Deta Hai Jis Waqt Mohabbat Hoti Hai

Jab Unka Khayal Aa Jata Hai – Mohammad Rafi

Here too the song begins with a classic Hasrat Jaipuri style couplet.

The composition is considered to have a too close resemblance with a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.

As we end the present episode, it would be interesting to note that Hasrat Jaipuri seems to take up assignments with other music directors when he seems to have less-to-nothing share of songs with Shnkar Jaikishan. 1958 had only tow SJ films – Yahudi and Baghi Sipahi, in which Hasrat Jaipuri has only one and three songs respectively.

Either way we have nothing to lose….. and await eagerly for the next stop of our journey…..

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2019

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

अमिताभ बच्चनः ‘एंग्री यंग मैन’ से दादा साहेब फ़ाल्के पुरस्कार तक – Mihir Pandya recounts how Amitabh countered negative factors around him to create and created a dominant space for himself that has brought his career to this miles stone.

Why actor-producer Devika Rani was truly the First Lady of Indian cinemaAlaka Sahani – Actor, star, producer, studio boss. Devika Rani walked a path that few women in Indian cinema have managed to. As a new play on the pioneer gets ready to tour, a look back at her journey.

Devika Rani with Najam-ul-Hussain in Jawani Ki Hawa. (Photo: Wirsching Foundation)

We pick up other tributes and memories:

Asha Bhosle and the Five Elements that balance her struggles, and later her career: Earth (Ab Ke Baras Bhej Bhaiya Ko Paarti), Fire (Ye Kya Kar Dala Tune Dil Tera Ho Gaya), Water (Do Boonden Swan Ki, Ek Sagar Ki Chhip Mein Tapake ..), Air (Aage Bhi Jaane Na Tu..), Ether (Khaali Haath Shaam Aayi Thi ..)

Hans Jhakhar takes up two vital facets of the Ravi saga on SoY with Ravi and Asha Bhosle: A class combination and Shakeel Badayuni: Revitalising bond with Ravi

Khayyam and Asha Bhosle is the selection of Asha Bhosle’s songs composed by Khayyam. We have taken one song here to get the feel of the songs presented in the post:

Taaron Se Ankhiyaan Milaoon Main – Dhobi Doctor (1954) – Lyrics – Majrooh Sultanpuri

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di JudaaiTeesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Mukesh: A Different Romance in the Voice – Celebrating the uniqueness that was Mukesh – In this article, Monika Kar does not even attempt to list all of Mukesh’s songs that have made an impression, for there are way too many; it simply celebrates this singer for being who he was with sheer sincerity and goodness resonating in his voice.

वर्ल्ड गिटार डेः गिटार पर सुपरहिट धुन छेड़ने वाले वो सितारे जो गुमनामी में खो जाते हैं – Vandana profiles the unsung masters who played guitars in the Hindi film song and helped create some of the most popular songs.

The legendary actor Balraj Sahni as remembered by his sonAlaka Sahani – In a new biography of actor Balraj Sahni, son Parikshat recounts memories of his father’s off-screen life and the troubled yet loving relationship they shared.

The Maestros Called Laxmikant Pyarelal – The first song for which LP played together in the orchestra was a Marathi song – Tinhi sanja sakhya milaalya!! It was after that they became assistants to legendary composers like S D Burman and Kalyan ji Anand ji.

No, I Did Not Forget Noor Jehan’s Birthday! – For those who do not know about the series on this blog – or those who know but would like to look at it again – may please go to last year’s post, which includes links that will take you to prior Noor Jehan posts (including the post from 2015 that includes links to all the others going back to 2009).

Legendary Hindi film composer Usha Khanna shares her life’s journey through music at an event held on 21-9-2019 at Chowdiah Memorial Hall, Bengaluru, reports Shilpa Sebastian R

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

The Silent Tributes which became benchmarks in the Hindi film music and no they are not merely copied or inspired, they are tributes in the real sense. E.g.  Bimal Roy filmed a boy sitting on a buffalo while Sadhana sings O Sajana Barakha Bahar Aaye. Gulzar pays tribute Bimal Roy by depicting boy playing flute sitting on the buffalo while the sisters in Namkeen sing – Aaki chali baaki chali

September, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

A Paen on Piano, like Aap Ki Haseeb Rukh Pe Aaj Naya Noor Hain or Dheere Dheere Machal Aye Dil-e-Bequrar and so on.

Music composer Vanraj Bhatia claims to be penniless, struggles amid hearing and memory loss

Only 29 of 1,338 Indian silent films have survived. One man is doggedly telling the story of the era – Who knows what’s out there, says Virchand Dharamsey, the writer of the authoritative filmography of the Indian silent film period between 1895 and the 1930s.

Khaike Paan Banaras – Don – The Banaras Paan Effect –  Archana Chauhan notes that Tamil remake of ‘Don’, Billa (1980) has Rajnikant taking up the dance steps and the dress to match with that of Amitabh

‘Tawaifs’ of Awadh: The first women of Hindi cinemaShivani Bhasin  – These highly skilled courtesans sang, danced, wrote poetry, and were the purveyors of all that was considered good taste and high fashion.

Other cinemas, other cineastes: on Namrata Joshi’s Reel India is a very wide-ranging book, chronicling of magnificent obsessions – he obsessions of people who live outside the cinematic mainstream, but engage with films in myriad ways, not seeking monetary benefit but doing things because they are compelled to; because cinema is so central to who they are.

Window Romancing With Dev Anand – Amongst all his ways to win his lady love or sing a song, his most favourite style must have been window romancing. So many of his songs are around the doors, windows or balconies crooning soft lyrics in your ears. The takes a glimpse of few such songs and window romance with Dev Anand, e.g. Aise To Na Dekho Ke Hamse Nasha Ho Jaaye – Teen Deviyan (1965) – S D Burman – Majrooh Sultanpuri

The Romantic Rain Songs lists the rain songs of 1990s.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946  and have covered Suraiya , Shamshad Begum, Part 1 and  Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari, Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi, and other female singers, viz. Dilshad Begum, Kalyani Das,  Meena Kapoor, Neena ( Sitara Kanpuri), Beenapani Mukherjee, Susheela Rani, Jayshree,  Parul Ghosh, Shanta Apte, Saraswati Rane, Lalita Deulkar,  Anima Dasgupta, Shobha, Jyoti, Radharani, Iqbal Bano (Begum?), Snehprabha Pradhan, Baby Anu, Baby Mumtaz, Geeta Roy and Lata Mangeshkar. We have then concluded the Micro View of Female Solo Songs for 1946.

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

Ye Jhulfein Jadoo Sa Kar Rahi Hai, Tauba Tauba – Unreleased song – with Lata Mangeshkar

Abhi Kamseen Ho Nadaan Ho Jaane Jaana – Aaya Toofan (1964) – Laxmikant Pyarelal – Asad Bhopali

Shola Ulfat Ka Bhadaka De Mere Dil Mein Aag Laga De – Aurat (1967) – with Asha Bhosle – Ravi- Shakeel Badayuni

Jaane Kahan Gaye Tum.. Bechain Hai Nazare  – Aaja Sanam (1975) – Usha Khanna – M K Javed

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the 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.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September, 2019

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1958 – 1959

September is the month of death anniversaries of Jaikishan (Dahyabhai Panchal) [4 November, 1929 – 12 September 1971) and Hasrat Jaipuri, a.k.a. Iqbal Hussian, [15 April, 1922 – 17 September, 1999].   Hasrat Jaipuri- Shailendra and Shankar-Jaikishan formed a seamless, one the most enduring, creative and profusely productive teams in the history of Hindi Film industry. Usually, the whole team would be associated with story of the film and would choose the who would compose situation for the given situation on the basis of who felt more comfortable with situation of the song.

However, there was a school of the then critics / journalists / writers who strongly accepted a thumb rule to identify the composer of a Shankar–Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions.

We have based our annual series of articles that bring the songs written by Hasrat Jaipuri and, in all possibilities, composed by (Shankar) Jaikishan. Like most of the SJ-composed songs, till, the passing away of Shailendra, most of the songs Hasrat Jaipuri wrote for (Shankar) Jaikishan were well-known then, but some may be receding from our memories as well. Till now we have covered such of (S)J-HJ songs from 1949 to 1954 and 1955 to 1957. Presently, we will take up songs from the films released in 1958 and 1959.

1958

1958 has only two films wherein Shankar Jaikishan have composed the music. Here too, Hasrat Jaipuri’s share is even markedly smaller. And, it also so happens that these songs have been (only) Lata Mangeshkar. As such, within the scope of our article, we have picked up two of the total three songs from Baaghi Sipahi and, the only, one available from Yahudi.

Sharab-e-Ishq Ke Aage Maja Kya Kadwe Paani Ka….Muskurati Zindagi Ko Chhhod Ke Na Ja – Baaghi Sipahi (1958) – Lata Mangeshkar

Hasrat Jaipuri pens the song with his, by now known as unique style, of presenting a couplet in the prelude, to which Jaikishan supports with a very innovative orchestration piece. The song is set to quite a difficult tune, with varying rhythm.

Dil Laganewale Mat Sun Meri Kahani  Baaghi Sipahi (1958) – Lata Mangeshkar

On the screen, the song is shown being rendered by a professional courtesan singer, but the emotions of the song seem to reflect the state of the Madhubala’s heart. Lata Mangeshkar very soulfully renders the pathos of the song.

Aansoo Ki Aad Leke Teri Yaad Aayi – Yahudi (1958) – Lata Mangeshkar

This is the only song that Hasrat Jaipuri has penned in this film. It can also be said to be one of the least remembered song of the film. The song plays on a dholak-based rhythm and has a very mid-east-oriented interlude orchestration. Again, not a very easy-to-sing song.

1959

1959 has Shankar-Jaikishan’s the then normal average number of films – seven – in the year, and each one had almost all songs that are well remembered even today. The proportion of Hasrat Jaipuri’s songs is again a very balance one and we have a fairly wider base of choice of songs that have been rendered by singers other than other than Lata Mangeshkar. Our catch is so wide and big that we had to drop quite a few songs that were, and are, more remembered.

Ban Ke Panchhi Gaaye Pyar Ka Tarana… Mil Jaaye Agar Aaj Koi Saathi Mastana – Anadi (1959)  –  Lata Mangeshkar and  chorus

Here we have very light and playful song, with matching vivacious tune, interlude orchestration,  lyrics and Lata Mangeshkar’s lilting rendering to Nutan’s very near-to-perfection lip-synching on the screen.

Hasrat Jaipuri has also written a very romantic Mukesh – Lata Mangeshkar duet – Wo Chand Kila Wo Taare Hanse – in the film.

Jaoon Kahan Bata Aye Dil Duniya Badi Hai Sangdil – Chhoti Bahen(1959) – Mukesh

If one looks at the song from the perspective of singer-songwriter and music director (Respectively Mukesh, Hasrat Jaipuri and Shankar Jaikishan), then song fits into the very well-known, sweet, pattern of a pathos song. The unusual part is that Raheman sings the song, somewhat, in penance for his grey-shade character in the film.

O Kali Anaar Ki Na Itna Satao– Chhoti Bahen (1959) – Manna Dey, Asha Bhosle

Here we have a non-normal combination of Manna Dey and Asha Bhosle singing a duet for Shankar Jaikishan, made rarer by it being filmed on Raheman and Shyama on the screen, whose characters were to turn grayish later in the film.

Mein Rangeela Pyaar Ka Rahi Door Meri Manzil – Chhoti Bahen (1959)  – Subir Sen, Lata Mangeshkar

Shankar Jaikishan boldly experiments using Subir Sen’s voice for a playfully romantic song, that too for Mahemood on the screen.

Kahan Hai Kahan Hai Kanhaiya – Kanhaiya (1959) – Lata Mangeshkar

Here too Hasrat Jaipuri gets two songs to write, both being played back by Lata Mangeshkar. The present song is a classic-Hindi-Film-pathos song whereas the other one – O Kanhaiya O Kanhaiya – is a very romantic dream-sequence song, with a Shankar Jaikishan’s signature extended prelude. Both the songs have used ensemble of flutes very creatively in the main orchestration as well as in the counter-melody orchestration.

Dekh Aasmaan Mein Chand Muskaye – Shararat (1959) -(Kishore, Geeta Dutt

The song has a rare Shankar Jaikishan- Geeta Dutt combination. Shankar Jaikishan has used their very fond waltz tune, as well as has creatively inserted innovation in the song composition – this time that of switching over to dholak rhythm in the beginning of the stanza before ending the with the original western rhythm instruments.

Tune Mera Dil Liya, Teri BaatoN Ne Jadu Kiya, Haye Na Jane Kya Kar Diya, Ye Tere Pyar Ki Jeet Hai – Shararat (1959) – Kishore Kumar, Geeta Dutt

Shankar Jaikishan has brought up the memory of vintage Geeta Dutt in this song.

Dekha Babu Chhed Ka Maza Mitha Mitha Dard De Gaya – Shararat (1959) – Lata Mangeshkar

The song is a the then popular genre – a street song wherein the performer echoes the feelings of the silent protagonist.

Tera Jalva Jisne Dekha Woh Tera Ho Gaya – Ujala (1959) – Lata Mangeshkar

We have to toss for the choice of selecting the songs – the present one or Ho Mora Nadaan Balma – for a detailed video view today. Both are a very romantic mischief-oriented dholak-rhythm based signature (Shankar)Jaikishan dance songs. Well, the coin has ruled in favor of the present song.

We now have natural choices for Mohammad Rafi songs, which also seamlessly syncs with our tradition of ending each episode with relevant Rafi song(s).

She Ne Khela He Se Aaj Cricket Match, Ek Nazar Mein Dil Bechara Ho Gaya LBW – Love Marriage (1959) –  Mohammad Rafi, chorus

Here we have a song which is played on a cricket ground, uses a cricketing dress code for (only) Dev Anand and  some well-known cricket terms – to in fact play the then popular genre of pre-courtship eve-teasing.

Lo KhuN Se KhuN Juda Hua – Main Nashe Mein Hoon (1959) – Mohammad Rafi

Hasrat Jaipuri – (Shankar)Jaikishan have several excellent Mohammad Rafi scores in their account. The present song – being a background song – adds to the wide range of such songs.

Our journey of Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan continues…..

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

2019 marks the birth centenary of some of classic Hindi cinema’s greatest in the field of music. Music director Naushad was born a hundred years ago; lyricists Kaifi Azmi and Rajendra Krishan were born a hundred years ago; and two of Hindi cinema’s most popular playback singers—Manna Dey and Shamshad Begum—were also born in 1919, less than a month apart.

The unforgettable voice of Shamshad Begum: Birth centenary special – 14 April 2019 marks the birth centenary of one of India’s most durable and outstanding singing voices — Shamshad Begum.

Ten of my favourite Shamshad Begum solos is tribute to her to commemorate her birth centenary, of which I have picked three of the post-1950 songs-

K L Saigal – The Modern Tansen – Saigal was so perfect in his singing that musicians, composers and singers around him called him Shiva’s Bhrm Naad. During a recording or a song recital it is usually the musicians who set their instruments first to give the scale and the singer would match that scale. But in case of Saigal, it was the other way round. Tanpura and other instruments were set after Saigal sang a scale.

Director Ravindra Dave, who was ‘Ravinbhai’ in Hindi films and ‘Bapa’ for Gujarati cinema – A tribute to the multi-faceted filmmaker on his birth centenary –  Hiren B Dave – Ravindra Dave’s Hindi films between the early 1950s and the late ’60s include Nagina (1951), Agra Road (1957), Post Box 999 (1958), Satta Bazaar (1959), Dulha Dulhan (1964) and Raaz (1967). His films had numerous hits songs and were largely popular with audiences. His contributions extend to Gujarati cinema, which he revived with the blockbuster Jesal Toral in 1971. Dave also had an interest in carpentry – he would make chairs for domestic use – and was an amateur painter and sculptor too.

Nagina (1951), directed by Ravindra Dave. | Courtesy Subhash Chheda

‘Like Holi with the blood of Hindus and Muslims’Sumangala Damodaran – This song – Din Khoon Ke Hamare – about Jallianwala Bagh still resonates

Also read:

Some Nice Film and Dance References to the last Nawab of Awadh, Wajid Ali Shah (plus some other things) – Raj Kapoor has personified Nawab of Awadh for the song  Kate Na Kate Raina for Mera Naam Joker

Jeetendra – The Jack Of All Trades – From becoming Sandhya’s body double in Navrang (1959) at the age of 17 to doing a lead role in Mother (1999) at the age of 57, Jeetendra has come a long way. In between he travelled a distance of almost 200 films.

Jeetendra as Sandhya’s double in Are Jaare Natkhat – Navrang

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

Flashback series for the current moth informs why these films need to be watched again. We shall record these reasons in brief here:

The legend of Baiju Bawra: Was there ever a musician who could melt marble with his singular voice?Malini Nair – There’s more to the mystery than what was immortalised on screen – the early history of Hindustani music, largely an oral tradition, is a mishmash of legends, anecdotes and miracles.

April, 2019 episode of Fading Memories, Unforgettable Songs takes up. Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957. This in continuation to the previous articles in 2017 and 2018 respectively wherein we had covered Hasrat Jaipuri’s songs for music directors beyond Shanker Jaikishan for 1950 to 1953 and from 1953 to 1955 respectively.

And, now commence the posts on other subjects with a SoY celebration of The Unified Theory of Fools on 1st April.

Stage Performances at College or School Festivals – The songs are either of chhed chhad type or rarely announce the love, the performer has, for his or her love interest. In all, majority of such songs are of celebration, songs with happy mood, etc. Rarely we do come across a melancholic song Here is one illustrative song_

B A, M A, Ph D – Adhikar (1954) – Asha Bhosle & Chorus  – Avinash Vyas – Prem Dhawan

Before size matters- When Hindi film songs were extra-long and all the better for itDevarsi Ghosh – The one with a lengthy prelude and numerous antaras that exercised the imagination of music composers, lyricists and filmmakers? … That time when Bollywood tunes stretched on for seven minutes and more, and no one complained… the eight-and-a-half minute Tum Jo Mil Gaye Ho from Chetan Anand’s Hanste Zakhm (1973) incorporates the sounds of rain, thunder and waves. Similarly, in Piya ToSe Naina Laage Re (Guide, 1965) Rosie (Waheeda Rehman) also signals her changing equation with the world. After four antaras and multiple costume changes, Rosie is a star hounded by fans.

व्याकरण, उच्चारण और उत्पीड़न (Grammar, Pronunciation and Persecution) – is an excellent treatise on the subject of deliberate or natural abuse of either grammar or pronunciation in the Hindi film songs. The songs presented in the post range from subtle to hitting-on-the face impact of such errors. Here is one illustration to enhance the point under discussion – Suno bairi balam sach bol re ‘ib’ kya hoga by Rajkumari from Bawre Nain (1950), lyrics Kedar Sharma, music Roshan – We don’t know whether Kedar Sharma meant to use ‘ib’ for ‘ab’ consciously, but it does enhance Geeta Bali’s impishness. HFGK writes it as ‘अब’ kya hoga. ‘Ib’ might have gone unnoticed.

In the Song Sketch series we have :

Ghar Aaja Ghir Aaye – Chhote Nawab – Clouded Craving – Lata Mangeshkar –Shailednra – R D Burman

Hothon Pe Beeti Baat Aayi Hai – Angoor – Moonlit Fib – Asha Bhosle – Gulzar – R D Burman

Ye Dil Deewana Hai Dil Toh Deewana Hai – Ishq Par Zor Nahi – Doting Ditty – Lata Mangeshkar, Mohammad Rafi – Anand Baxi – S D Burman

Hothon Se Chhoo Lo Tum – Prem Geet – Psalm Of Love –  Jagjit Singh – Indeevar – Jagjit Singh

Lasting Music Pieces in Films – Some of the finest music in films becomes emblazoned in the audience’s mind as any of the images. HQ Chowdhury, author of the recently republished Incomparable Sachin Dev Burman looks at a few of these lasting music pieces in cinema in the western world that have stood the test of time and are now part of film folklore. E.g.

Theme music is that of Dr. No.

the Lawrence Music – Theme music of Lawrence of Arabia

SoY has set the ball rolling for continuing the annual series of Best songs of year with an over view post Best songs of 1946: And the winners are?.

[I plan to commence our corresponding The Micro View of Best Songs this blog from the next month.]

Before we formally take up the end of the episode, we have a two-part post Mohd. Rafi & Manna Dey Songs- Part 1 and Part 2 dealing in details with the songs that Mohammad Rafi and Manna Dey have rendered together. I have picked two illustrative songs:

Dildaar Milenge Kahin Na Kahin Vatan Se Door (1968);  – Lala Sattar –  Farooq Qaiser .

Mehfil Mein Shama Chamki – Gunahon Ka Devta (1967) – Shankar Jaikishan – Hasrat Jaipuri.

Now we post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Mere Sapno Ki Raani.. Tu Hi Tu Hi Mere Sapno Ki Raani – Shajehan (1946) – K L Saigal is the lead singer and Rafi joins in a chorus – Naushad – Majrooh Sultanpuri

Duniya Ki Nazar Hai Buri Zulfein Na Sawara Karo – Agre Road (1957) – With Geeta Dutt – Roshnan – Prem Dhawan

Main Jaan Gayi Tujhe Saiyan – With Shamshad Begum – Howrah Bridge (1958) – O P Nayyar – Hasrat Jaipuri

Jhin Chak Jhin Chak | Mohammed Rafi, Shamshad Begum – Lal Quilla (1961) – S N Tripathi – Bharat Vyas

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the 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.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too.

Just as Hasrat Jaipuri invested his earnings in real estate or rental property, on his wife’s advice and create another independent stream of income, he also prolifically wrote lyrics for music directors other than Shankar Jaikishan. We have been trying to get some of his less heard songs with other music directors on one page in this forum. We commenced the series in 2017 wherein we had covered his songs with other music directors from 1950 to 1953, and then in 2018 the songs from 1953 to 1955. In this episode, we will cover Hasrat Jaipuri’s songs with other music directors for 1956 and 1957. In order to keep our catch-pool wider enough, we have repeated some of the HJ – music director relationship that may have been covered in the earlier episodes as well.

1956

HJ had 19 songs – Basant Bahar (1), Chori Chori (5), Halaku (3), New Delhi (2), Patrani (2), Kismat Ka Khel (2), Rajhath (4) – with Shanker Jaikishan and  11 songs with 6 music directors – Dilli Darabar (S N Tripathi, 4), Insaaf (Chitragupta, 2), Naquabposh (Ramlal, 2), Shailaab (Mukul Roy, 2) and Toofan Aur Diya (Vasant Desai, 1) – in 1956.With Vasant desai this is his second consecutive V. Shantaram film, after Janak Janak Payal Baje in 1955.

Music Director: S N Tripathi

Dilli Darbar – The film has Hasrat Jaipuri’s professional alter ego, Shailendra, as his partner lyricist in this film. It seems that none of three songs of Hasrat Jaipuri are available on YT.

Music Director: Mukul Roy

Film: Sailaab

Sailaab was produced by Mukul Roy, in virtual partnership with Geeta Dutt, her sister, and was directed by Guru Dutt.

Haye Re Haye Re……Baje Dil Ke Taar Kare Pukaar – Lakhsmi Shankar

We have no basis to find out why was the song awarded to Lakshmi Shankar. None the less, the song is very pleasant to listen to.

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

The song a is a typical solo a young girl in love that is not spelt out in public, would sing to vent her feelings.

Music Director: Chitragupta

Insaaf is another film for which the song written by Hasrat Jaipuri does seem to have been uploaded on YT.

Music Director: Ramlal

Naqabposh also has the similar fate in so far as Hasrat Jaipuri’s songs are concerned.

Music Director: Vasant Desai

Fim: Toofan Aur Diya

All other songs for this film has been written by Bharat Vyas.

Neegahe Neechi Kiye Haaye … Sar Jhukaye Baithe Ho….Tum Hi Ho Jo Dil Mera Chrauye Baithe Ho…..Dil Tumne Liya Hai Mera Jaan  – Shamshad Begum

The song is essentially a mujhra dance, but the song is based on garaba folk tune. However, use of harmonium pieces helps the song to retain its mujhra dance character. Use a prelude couplet in the song is the tell-tale indication of it being a Hasrat Jaipuri song.

1957

HJ’s score was 5 songs with Shanker Jaikishan – Begunah (3), Kahputili (2) – against which he had written 25 songs for Dattaram (Ab Dilli Door Nahi, 4);  Roshan (Coffee House, 1); O P Nayyar (Johnny Walker, 6); Basant Prakash (Maharani, 3) and (Neelofar, 3) ; N Dutta (Mohini, 2) and (Mr. X, 3); Vinod (Mumtaz Mahal, 3).

Music Director: Dattaram

Film: Ab Dilli Door Nahi

As is well-known, Ab Dilli Door Nahi was the maiden film of Dattaram as independent music director. Hasrat Jaipuri’s Choon Choon Karati Aayi Chidiya (Mohammad Rafi) remains hugely popular even today. Jiyo Laal Mere Tum Lakho Baras (Lata Mangeshkar, chorus) was well-acclaimed among the critics.

Lo Har Cheez Le Lo Zamane Ke Logo, Baharon KI Ham To Ada Bechate Hai – Asha Bhosle, Geeta Dutt, Sidha Malhotra and chorus

The song opens with a HJ-signature prelude couplet Idahr Bhi Ek Nazar Jaanewalo….and then runs into a high-pitched street sale of toys by the young children. Lyrics befit the simplicity of the adolescence of the protagonists and yet have very deep meaning.

Aside:

The child actor who opens the main lines of the song is Amjad Khan.

Bhej Chhanna Chhan Khoob Rupaiyya, Ham Tere Kehlate Hai – Mohammad Rafi, S Balbir

The prelude couplet sets the tone of the song when the protagonist yearns the a fourth of a crore as side-kick gift from the almighty. The song goes on to spell out the details of the application, seriously by presenting in a lighter tone.

Music Director: Roshan

Film: Coffee House

Prem Dhawan was the principal lyricist for the film, however Shailendra and Hasrat jaipuri have got one song each to write in the film.

Tod Diya Dil Tune Sanwariya – Asha Bhosle

The prelude couplet marks the Hasrat Jaipuri’s signature style. The song is drenched in pathos mood, even if set to a quicker rhythm.

Music Director: Basant Prakash

Film, Maharani is one more film for which we do not find Hasrat Jaipuri’s songs on YT, even as all songs, except one, were written by Hasrat Jaipuri.)

Film: Neelofar

The film has two pairs of music directors and lyricists. Basant Prakash has teamed up with Hasrat Jaipuri for three songs and Avinash Vyas has teamed up with Pandit Mathur for two songs.

Nazuk Bahar Hoon, Dil Ka Qarar Hoon Duniya Hai Mujh Pe Nichhar, Laayi Hoon Main Ankhon Mein Pyar – Asha Bhosle

The song is simple dance song, both in terms of simplicity of the lyrics as well as that of the composition.

Naache Dil Mera Chhamma Chhamm…. Meri Aankhon Mein Sanam Hai, Meri Saanson Mein Sanam – Sudha Malhotra

A lilting dance song is set to so-called Arab tune.

Music Director : Vinod

Film: Mumtaz Mahal

Out of the seven songs, one each is written by Pandit Priyadarshi and Kaifi Azmi and the rest five are written by Hasarat Jaipuri. We have picked up only one song here.

Main Dil Ka Saaj Bajata Hoon Chaahat Ke Nagme Gaata Hun – Talat Mahmood –

The song fits the possible feelings that music director, Vinod, may have about the way his own music was treated by the commercial world of Hindi films.

Music Director: N Dutta

Film: Mohini

The film has two HJ songs, of which the video clip of Raat Yeh Bahar Ki Tere Pyaar Ki (Asha, chorus), seems that the video of this song seems to  have been removed on YT and does not seem to have been restored.

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

The HJ-signature prelude couplet has been very cleverly used as an opening gambit to draw the initial attention of the king. The song then goes on as dance recital wherein the lady engages the attention to put forth her love.

Film: Mr. X

Mr. X had Ashok Kumar in the lead role, but the film was a thriller in which the hero becomes invisible. The film had as many as four lyricists – Majrooh Sultanpuri, Tanvir Naqvi, Bharat Vyas all had one song each whereas Hasrat Jaipuri had three songs. We have picked up two representative songs here…

Mein Pyar Ki Laila Hoon , Paogi Na Tum Aisi, Ye Chand Bhi Deewana, Surat Hai Meri Aisi  – Manna Dey, Sudha Malhotra

In this duet, it is the lady-love who praises her own beauty for which even Moon is jealous. The poor love musters up courage to reply in the second stanza only. He goes on add to her praise and in the process is ready to throw away all the trivia of the worldly pleasures.

Sadke Tere Chaal Ke’ Kajara Vajra Dal Ke, Jaanewali Aana Kabhi Yaar Ki Gali – Mohammad Rafi, Geeta Dutt

A very playful duet wherein the lady love is lavished with all top-of-the-head -sounding praises by her beauty-and-style infested lover. The lady love also takes the praise in her stride with a chin-up demur.

Music Director: O P Nayyar

Film: Johnny Walker

This is a full-scale film in so far as role of Hasrat Jaipuri as lyricist is concerned. O P Nayyar is also in his usual full flow.

Thandi Thandi Hawa Pooche Unka Pata – Geeta Dutt, Asha Bhosle.

The present song is filmed on Shyama and Sheila Vaaz. This is one of the two duets by Asha Bhosle and Geeta Dutt in the film – Jhuki Jhuki Pyar Ki Nazar Dekhe Unhe

We will leverage the advantage of having Mohammad Rafi’s ssongs in the film to maintain our tradition of ending the episode with Mohammad Rafi songs.

Ae Dil Tu Na Dar Is Jahan Se…– Mohammad Rafi

Mohammad Rafi is in his full Johnny-Walker style in the song.

Muh Se Mat Laga  Dekh Zaraa Cheez Hai Buri – Mohammad Rafi, Manna Dey

Mouhamad Rafi and Manna Dey have joined to sings duets across a variety of moods and genre. Her we have one of the finest Raf-Manna Dey duets in a very light situation.

We will continue our journey of Hasrat Jaiuri’s songs for other music directors in our next episode.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September, 2018

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1955 – 1957

As long as all four were alive Shankar – Jaikishan did not work with any other lyricists than Hasrat Jaipuri and Shailendra, even as Hasrat Jaipuri and Shailendra did work with other music directors in that period, with probably two exceptions. One is O O Mujhe Kisi Se Pyar Ho Gaya from ‘Barsat’ (1949) and the other being Arzoo 1965). However, our topic of the present discussion is not this matter.

September is the month of death anniversary of Jaikishan [4 November, 1929 – 12 September, 1971) and Hasrat Jaipuri [15 April, 1922 – 17 September, 1999].  In our present series we have been covering the songs written by Hasrat Jaipuri that have been composed by Shankar-Jaikishan in the month of September. In September, 2017 we had covered the (S)J-HJ songs from 1949 to 1954.

The quartet had very smoothly carved out a seamless division of work – who would compose whose songs, which situations will be handled by whom etc. In that arrangement Jaikishan and Hasrat Jaipuri worked in tandem.

For our present episode, we have covered (S)J-HJ songs from 1955 to 1957. As I started compiling the list for the post, the songs that came up from the initial films happened to be the songs that had been rendered by Lata Mangeshkar. Therefore, I went on to only select the (S)J-HJ_LM songs for the rest of the present episode, save of course the traditional end-of-the-post Mohammad Rafi song(s)..

Baat Baat Mein Rutho Na, Apane Aap Ko Loota Na – Seema (1955)

Here is typical Jaikishan composition, opening up with a melodious stroke of piano accordion that continues well into the first and the second interlude. Hasrat Jaipuri matches his lyrics well with the mood of the songs, but has not missed the chance to show his soft, poetic feelings in the lyrics.

O Jaanewale Mud Ke Zara Dekh Ke Jaana – Shree  420 (1955)

Here is one of the relatively-less-heard song from the film but is a signature HJ composition which begin with couplet. The second stanza of the song had been edited out in the film.

Main Piya Teri Tu Maane Ya Na Maane – Basant Bahar (1956)

Shailendra had lion’s share of songs for ‘Basant Bahar’, but the ones that HJ penned have also been equally melodious and well-remembered ones. The use of flute pieces in the orchestration add to the melodious effect.

Us Paar Sajan Is Paar Dhare Le Chal O Maaji Kinare Kinare – Chori Chori (1956)

The present video clip has very rightly captured the first few moments of the songs wherein Nargis is seen frantically swimming out in the sea. Jaikishan has captured the motion with a very quick stokes of violin ensemble. And the, Nargis seems to have reached a safe distance, symbolized the beginning of a chorus by the fishermen-women on the boats.

HJ has also additionally contributed one of the most iconic Manna Dey – Lata duets  (Aa Ja Sanam), or  a very lilting Lata song (Panchhi Banu Udati Pheeru) on one hand and a very light Rafi-Lata duet (Tum Arabon Ka Her Pher Karanewale) in the film.

Usse Mil Gayi Nayi Zindagi.. Jise Dard-e-Dil Ne Mita Diya – Halaku (1956)

Hasrat Jaipuri had a minor share of songs in this film too. The other two songs are also Lata Mangeshkar numbers – O Sunata Ja and Bol Mere Malik. Each of these three songs are written for totally different situations.

Koi Mere Sapnon Mein Aaya , Dheere Man Mein  Samaya – New Delhi (1956)

(S)J comes up with a complex tune that is orchestrated equally richly.

Saat Samundar Paar– Patrani (1956)

One more complex tune by (S)J.

I had originally selected “Nadiya Kinare Phiru Pyasi, Haay Pi Bin Jiyara Taras Taras Reh Jaaye” from Raajhath (1956). However, I could not locate audio / video link for this song. So, we move on to the next best choice.

Anatar Mantar Jantar Se Maidan Liya Hai Maar – with Usha Mangeshkar – Rajhath (1956)

As per the general understanding of the outsiders, the dance numbers were usually composed by Shankar. However, in this case, it is difficult to guess who would composed the tune and set it to orchestra.

Gori-Gori-Gori Main Pariyon Ki Chhori… Chham Chham.. Karati Aayi Hun Main Saat Aasma Se – Begunah (1957)

We have one more song wherein a very complex set of bass rhythm has been set, orchestrated over a multiple instruments simultaneously.

(S)J-HJ combination’s duet – Din Albele Pyaar Ka Musam (Manna Dey, Lata) – in the film is a very typical SJ tune.

So Ja Re So Ja Mere Raj Dulhare So Ja Taare Bhi So Gaye Dharati Ke Sitare So Ja– Kathputli (1957)

For Hindi Film lullabies this is very complex tune, perhaps befitting the mood the situation in the films

We conclude our each episode with a relevant Mohammad Rafi song. For the present episode I have picked one of the two songs from – Seema- and one from – Raaj Hath.

Hamien Bhi Dedo Sahara Ke Besahara Hai  – Seema – with chorus.

In terms of the poetical quality of the lyrics of Hasrat Jaipuri songs would go, this song perhaps would occupy top row.  (S)J have also excelled in composing the tune and setting supporting orchestration to the tune.

Aaye Bahar Ban Ke Lubha Kar Chale Gaye, Kya Raaz Tha Dil Mein Chhupa Kar Chale Gaye – Raaj Hath (1956)

(S)J – HJ have grabbed every opportunity to compose a ghazal in Mohamamd Rafi’s voice and we have had excellent scores to cherish. Here is one more that immediately comes to my memory – Teri Zulfo Se Judai To Nahi Maagi Thi  

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – 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.

Categories
Fading Memories….Unforgettable Songs

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.

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Fading Memories….Unforgettable Songs

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.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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….