The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Other Singers – Shamshad Begum

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We continue with songs by Other Leading Female Playback Singers during our micro-revisit of the  Best songs of 1950: And the winners are?.

In the previous post we listened Suraiya’s memorable songs of 1950.

In this post, we will take up some of the memorable songs of another front ranking female playback singer of that era – Shamshad Begum.

Shamshad Begum continues to retain her position as the lead female singer in quite a few films. Moreover, she also remains the first choice for dance numbers and similar other peppy songs. Her quantitative share, both in terms of number of films and number songs across diverse music directors also compares very favourably with those of Lata Mangeshkar.

1. Kismat ne humein majboor kiyaAankhen – Saraswati Kumar Deepak – Madan Mohan

2. Mohabbat karnewalon ka yahi anjaam hota haiAankhen – Raja Mehdi Ali Khan – Madan Mohan

3. Dhadke mera dil mujhko jawani Ram qasam na bhaayeBabulShakeel Badayuni- Naushad – Nargis lip-synchs Shamshad Begum in this song.

4. Na socha tha ye dil lagaane ke pahleBabulShakeel Badayuni- Naushad

5. Jaadu Bahre Naino Mein Dole JiyaBabulShakeel Badayuni – Naushad – Nargis lip-synchs Shamshad Begum in this song.

6. Chhod babul ka ghar mohe pee ken agar aaj jana padaBabul – Shakeel Badayuni- Naushad – A Haapy version- Again Nargis lip-synchs Shamshad Begum

The song has several versions

7. Thandi hawa ke jhonkeBhai BahenIshwar Chandra KapoorShyam Sundar

8. Main to maarungi nainon ke baan re zara bach ke rahnaBijliBharat Vyas – Vasant Desai

 ( I have not been able to find the video link of this song.)

9. Choodi dheere pahna choodiwaali hoDahejShams Lakhnavi – Vasant Desai

10. Ae kale baadal bol tu kyun itarata haiDahejShams Lakhnavi – Vasant Desai

11. Chhod chale rajaji li haye kaise rahun akeliHanste AansooMajrooh Sultanpuri – Ghulam Mohammad

12. Kaahe nainon mein naina dale re O pardesiyaJogan – Buta Ram – Bulo C Rani

13. Jin aankhon ki neend haraam huiJogan – Buta Ram – Bulo C Rani

14. Thoda thoda pyaar thodi thodi taqraar hoKamal Ke Phool – Rajendra Krishna – Shyam Sundar

15. Mohabbat meri rang laane lagi haiNirala – P L Santoshi – C Ramchandra

16. Kateele tore naina raseeleNishana – Naqshab – Khursheed Anwar

17. Mere ghungharwale baalPardes – Shakeel Badayuni – Ghulam Mohammad

18. Husnwalon ki galiyon mein aana nahiSheesh Mahal – Shmas Laknavi – Vasant Desai

 

Continued……………….

The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Other Singers – Suraiya

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Till now we have covered Memorable Songs of Lata Mangeshkar  (Part 1, Part 2, Part 3) during our micro-revisit of the  Best songs of 1950: And the winners are?.

We now take up songs by Other Leading Female Playback Singers.

1950 truly reflects the transformation that was taking place in the Hindi Film Music in so far as Female Playback singers are concerned. Lata Mangeshakar has attained fairly large share of songs as compared to any other individual singer. Music Directors like Madan Mohan (Aankhen), Roshan (Bawre Nain) , S D Burman (Pyar) who went on to create some of the greatest ever songs for the film industry, in Lata Mangeshakar’s voice, just a few years down the line, had films that had not one Lata song this year. This year also has recorded a very large number of songs in the voice of other female singers, like Sulochana Kadam, or Jayshree (in Dahej) who may not have been called front-line singers. Asha Bhosle is certainly seen, but has not made her presence felt. And when we try to draw up a list most favourite songs for the year, one easily lines up several songs from each of these ‘other leading’ female singers, which were iconic in that year and have remained so ever since.

In this post, we will take up some of the memorable songs of Suraiya.

Suraiya seems to have an excellent year, having acted in films in one year. She has performed quite credibly with Other Than Frontline music directors. However, her Afsar ( S D Burman) and Dastan (Naushad) topped not only cash counter charts but also critics’ ratings.

1. Man mor hua matwalaAfsar – S D Burman

2. Nain deewane ik nahi maaneAfsar – S D Burman

3. Pardesi re aate jaate jiya mora liye jaao Afsar – S D Burman

4. Aaya mere dil mein tuDastan – Shakeel Badayuni – Naushad

5. Ye mausam aur ye tanhaai Dastan – Shakeel Badayuni – Naushad

6. Ae shamma tu bata tera parwana kaun hai Dastan – Shakeel Badayuni – Naushad

7. Nainon mein preet hai hothon pe geet hai Dastan – Shakeel Badayuni – Naushad

8. Mohabbat badha kar juda ho gaye Dastan – Shakeel Badayuni – Naushad

9. Naam tera hai zabaan par yaad teri dil mein hai Dastan – Shakeel Badayuni – Naushad

10. Koi dil mein samaaya chupke chupkeKamal Ke Phool – Rajendra Krishna – Shyam Sundar

11. Sazaa mili hai kisi se yah dil lagaane kiKamal Ke Phool – Rajendra Krishna – Shyam Sundar

12. Haaye ye judaai ki chot buri haiNili – Surjit Sethi – S. Mohinder

13. Majboor hun main nashad hun mainShaan – Rajendra Krishna – Hansraj Behl

 

Continued………………………….

The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Lata Mangeshkar songs of Anil Biswas and other music directors

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This is Third of Memorable Songs of Lata Mangeshkar during our micro-revisit of the  Best songs of 1950: And the winners are?.

In the First Part, we had a look at Lata Mangeshkar Songs of C Ramchandra, whereas in the Second Part, we had a look at Lata Mangeshakar’s Songs of Husnlal Bhagatram and Ghulam Mohammad.

In this third and concluding part, we will look at Lata Mangeshakar’s Songs of Anil Biswas and each of Lata Mangeshkar’s two Songs of S D Burman, Naushad and Bulo C Rani and one that of Vinod.

 

Anil Biswas’s Lata Mangeshkar Songs

Anil Biswas continues to repose his faith in vocal cords of Lata Mangeshkar, in two films that he did in 1950.

1. Mera naram karejawa dol gayaArzoo – Prem Dhavan

 

2. Aankhon se door ja ke jana na dil se doorArzoo – Majrooh Sultanpuri

 

3. Kahan tak hum uthayein ghamArzoo – Jaan Nishar Akhtar

 

4. Unhein hum jo dil se bhulane lage wo kuchh aur bhi yaad aane lageAarzoo – Majrooh Sultanpuri

All songs in one clip:

5. Matwale naino waale ke main waari waari jaaunBeqasoor – Arzoo Lakhanvi

S D Burman’s Lata Mangeshkar  Songs

S D Burman’s very popular score of Afsar had Suraiya as The Female Playback Singer, which was obvious. His another film, Pyar, has Geeta Roy as the lead Feamle Playback singer. Even Mashal had one solo to Geeta Roy and duet to Shamshad Begum

1. Aankhon se door door hain par dil ke paas joMashal – Pradeep

2. Aaj Nahin To Kal Bikhar Jayenge Yeh BadalMashal  – Pradeep

Naushad’s Lata Mangeshkar Songs

Naushad had only one film, but all the songs were top grossers. Shamshad Begum had primarily lent voice for Munnawar Sultana as well as to Nargis, whereas Lata Mangeshkar was used for Nargis in two slos and duet with Shamshad Begum. In the previous years, Shamshad Begum was the lead playback in Mela, then next year in Andaz, Lata got into the hot seat, this year situation again takes U-turn, to be reversed again completely in the subsequent years.

1. Panchhi ban mein piya piya gaane lagaBabul – Shakeel Badayuni

2. Lagan more man ki balam nahi maneBabulShakeel Badayuni

Bulo C Rani ‘s Lata Mangeshkar Songs

1. Hans Hans Ke Mere Chain Pe Bijli Ghiraye Ja – Rasiya

2. Wo humse chup hain hum unse chup hain dilon ke armaan machal rahe hain Rasiya – DN Madhok

Trivia: Not very surprised if this song reminds us of more popular song that has similar sounding opening lines : Woh Humse Chup Hai, Hum Unse Chup Hai, Mananewale Mana Rahe Hain – which also happens to be song in the year 1950. One more beauty of the song is that Chitalkar has lip sang for Raj Kapoor.

Other Music Directors’ Lata Mangeshkar Songs

More dwar khule hain aanewale kab aaoge – Anmol Ratan – D N Madhok – Vinod

 

Continued…………

The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Lata Mangeshkar songs of Husnlal Bhagatram and Ghulamm Mohammad

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This is Second Part of Memorable Songs of Lata Mangeshkar during our micro-revisit of the  Best songs of 1950: And the winners are?.

In the First Part, we had a look at Lata Mangeshkar Songs of C Ramchandra. We now look at Lata Mangeshakar’s Memorable Songs of 1950 under two other music directors who also seemed to have accepted Lata Mangeshkar as the principal female playback singer.

 Husnlal Bhagatram’s Lata Mangeshkar songs :

1. Ban ke suhagan rahi abhaganAadhi Raat: – Sarshar Sailani

2. Rona hi likha tha qismat meinAadhi Raat: – Khumar Barabanqvi

3. Dil hi to hai tadap gaya dard se bhar na aaye kyunAadhi Raat – Asad Bhopali

4. Agar dil kisi se lagaya na hotaGauna – Qamar Jalalabadi

5. Tujhe barbaad karna tha.. haye dil bhi diya to kisko diyaMeena Bazaar – Qamar Jalalabadi

6. Dard-e-Judai HaiChhoti Bhabhi

Ghulam Mohammad’s Lata Mangeshkar songs :

1. Raat hai taaron bhari chhitaki hui chaandniPardesShakeel Badayuni

2. Janewale tujhe hum yaad kye jayengePardes – Shakeel Badayuni

3. Kismat Bananewale Zara Samane To AaPardes – Shakeel Badayuni

4. O ji dheere dheere O ji haule haule anganaa mei aa ja piyaPardesShakeel Badayuni

5. Eh Dil-E-BequararMaang –Nizam

 

Continued…………..

The Micro View of The Best Songs of 1950 @ Songs of Yore – Female Solo Songs– Lata Mangeshkar songs of C Ramchandra

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The well – established review format of Best songs of year’ takes up an in-depth review at four broad levels:

Best male playback singer Best female playback singer Best duets Best music director

We will first take up Female Solo Songs. End of 40s and very early years of 50s did see a very distinct transition from the female playback singers of the vintage era to the near-complete hold period of Lata Mangeshkar. That has necessitated two sub-divisions within the category of Female Solo Songs – Songs of Lata Mangeshkar and The Songs of Other Leading Female Playback Singers. So here we go with Memorable Songs of Lata Mangeshkar for the year 1950: Among various music directors who used Lata Mangeshkar’s voice in the year 1950, C Ramchandra, Husnlal Bhagatram and Ghulam Mohammad seem to account for a large share of the songs. Presently, we will listen to the memorable songs of Lata Mangeshkar under the baton of C Ramchandra.

1. Aisi mohabbat se hum baaz aajyeNirala – PL Santoshi

2. Mehfil mein jal uthi shamaNirala – PL Santoshi

 3. Majboor meri aankhein majboor mera dilNirala – PL Santoshi

4. Dekhoji dekhoji.. Chandni raat mein jane kya baat reNirala: – PL Santoshi

5. Tooti Footi Gaadi Anaadi ChalaiyaNirala PL Santoshi

6. Abhi shaam aayegi nikalenge tareSamadhi – Rajendra Krishna

7. Woh paas aa rahe hain hum door ja rahe hainSamadhi – Rajendra Krishna

8. Jo mujhe bhula ke chale gaye mujhe unki yaad sataaye kyunSangeeta – PL Santoshi

9. Na Umeed Ho Ke Bhi Sangeeta – PL Santoshi

10. Zara Suno Suno Kya Kahein NigahenSangeeta – PL Santoshi

11. Jab Se Mili Hai NazarSangeeta: PL Santoshi

12. Din aaye pyare pyaare barsaat keSangram – Raja Menhadi Ali Khan

13. Nazar Se Nazar Jo Mil GayeeSangram –With chorus – P L Santoshi

14. Koi kisi ka diwana na baneSargam – P L Santoshi http://www.youtube.com/watch?v=YazPJ6yTzsM

Continued……..

The Micro View of The Best Songs of 1950 @ Songs of Yore – Setting the stage

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Review of songs of Hindi films for a particular year is now a well-established practice @ Songs of Yore. Previously conducted reviews of 1955, 1953 and 1951 were widely debated among the readers. The exercise does not remain confined to only the pros and cons of a song (or a music director), but revives several aspects related the popularity as well as merits of the composition, then and over the subsequent years. The exercise also provides a very apt opportunity to re-visit the songs. Many of the songs have already faded out from the memory, but thanks to this vivacious all-round discussion and YouTube, we get to refresh our deep layers of memory while reconnecting with these songs.

Presently, ‘Best songs of 1950: And the winners are?’ takes us back to 1950. The post opens the subject further through sub-topics like Musical Land Marks, Other Important Musical Compositions, Debut, Fact-file and Trivia. As one wades through these waters, list of Memorable Songs opens up the flood gates by way of shortlist of song that stood out from all the songs of that year. The overview is rounded up a very incisive view of Special songs – ‘which are largely unfamiliar and which may not figure in any conventional list of ‘Best songs’, but these are the songs which mesmerise you on the first listening, and tend to remain with you forever.’

I also take very active part in the discussions on these posts @ Songs of Yore. Every piece of point of view that I submit does necessarily call for a fairly detailed (and quite interesting) homework, in terms of revisiting the songs on YT. This year I would document the back-end work as a series of posts tagged here The Best Songs of 1950 @ SoY

Having leafed through other songs of 1950 from other sources like Hindi Film Geet Kosh, I would totally agree that 152 songs presented @ MEMORABLE SONGS and another 16 songs @ the Special Songs indeed ensure that “nothing of value is left out” to base our discussions nor the songs that matter in terms of their intrinsic listening pleasure at the present juncture. So, all my discussions and listing of the songs in the present series of posts would remain within the bounds of these songs.

For the ease of reference, we may refer to the Best Songs of 1950 – Memorable Songs and Special Songs, created by copying the relevant portions from the original post.

So, every fourth day from now on, we will take a micro-view of various segments of The Best Songs of 1950.

 

Continued …….

Carnival of Blogs on Golden Era of Hindi Film Music – March, 2015 edition

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Welcome to March, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

March has a very important festival – Holi – linked mainly to onset of the spring in the North India. The celebration of the festival is deeply ingrained into the fabric of the entire social culture of the people. As a natural corollary, it is but natural that the festivities are reflected into the mainstream (Hindi) Cinema. From the mellow and richly classical Holi songs in the 50s to the fun songs in the 70s, the flirtatious songs of the 80s to the power-packed, rigorous dance sequences in the new millennium, Holi songs have seen a gradual but marked change in style of music and the manner of filming the sequences. It is natural that we devote the opening session of the current edition of our blog festival to the articles featuring Holi songs in the Hindi Films.

And here are some of the randomly selected articles published in the mainstream journalistic flavor:

We now turn to the anniversaries:

Conversations Over Chai has three articles to commemorate Talat Mahmood’s birth anniversary on 24th February (1924):

The Legends: Talat Mahmood – has a few ‘quintessential Talat’ songs, each one for a different music director. While reading the article and comments thereto, Tum To Dil Ke Taar Chhed Kar, Kho Gaye (Roop Ki Raani Choron Ka Raaja – 1961- Shanker Jaikishan) came up from my memory. This, incidentally, is a twin version song. Furthermore, looking for some other songs, I landed upon Tera Khayal Dil Ko Sataye To Kya Karen (Naqab – 1955 – Govind Ram).

My Favourites: Talat Mahmood – Lata Mangeshkar Duets

In addition to a fairly rich collection and the contents in the main article, these songs in Comments also catch our attention:

Yaad aanewale phir yaad aa rahe hain Anmol Ratan – Vinod. He gave another great duet Shikwa tera main gaaun in the film.
Mat chhed zindagi ke khamosh taar le jaRaag Rang – Roshan.
Saawan ki raaton meinPrem Patra – Salil Chaudhary
Chaahe nain churao chaahe daaman bachao pyar ho ke rahegaAas – Shanker Jaikishan

Mausam Ye Pukare Masti Mein Le Chal – Burmah Road (1962) – Chitragupt

The Legends: Talat Mahmood – Part 2 – has lined up duets with different singers.

SoY continues with Focusing on Naushad as the theme of the year while undertaking comparisons with C Ramchandra in Talat Mahmood by Naushad and C Ramchandra. Naushad used Talat Mahmood in lead only once in Babul (1950) and then as a co-singer with Mohammad Rafi in Kaisi haseen aaj baharon ki raat hai (Aadami – 1968). In the queer twist of commercial considerations, Talat Mahmood was replaced by Mahendra Kapoor in the final track, but the records were already in the market. In comparison, C Ramchandra has a fairly large share of ‘great’ songs with Talat Mahmood. Here also, Talat Mahmood was on the losing streak once – Kitna haseen hai mausam kitna haseen safar hai – which is finally rendered by Chitalkar himself.

Naushad-C Ramchandra duel for Amirbai Karnataki, is an innovative tribute to Amirbai Karnataki, on the 50th death anniversary (c.1906 – 3 March 1965). Naushad had About fifteen songs in seven films in a span of eight years whereas C Ramchandra had Eight films and about fifteen songs in a span of eight years – same as Naushad’s. ,,,, If we look at Amirbiai Karnataki’s singing career in overall perspective, Anil Biswas first catapulted her to great fame with Kismet (1943); she sang the maximum number of her songs for Gyan Dutt and maximum number of his songs were sung by her…. Vidur Sury has written an exhaustive and excellent article – Amirbai Karnataki – A Legendary Indian Singer on Amirbai Karnataki. He has also contributed to Atul’s bollywood song a day- with full lyrics Amirbai Karanataki’s Deendayaal sakal dukhbhanjan (Narsi Bhagat – 1940)……..And this in turn takes us to the categories Ameerbai Karnataki songs, which has 118 posts and Ameerbai Karnataki solo, (78 posts) on Atul’s bollywood song a day- with full lyrics

‘Bags, Books and More’ pays tribute to Ravi, through his scores to Sahir Ludhyanvi’s songs, in My favourite Sahir Ludhianvi – Ravi songs, on the third death anniversary. In terms of getting less to hear a song , we pick up Mahendra Kapoor-Asha Bhosle duet Rangeen Fiza hai (Bahu Beti, 1965) from among the ‘favorites’ .

We now turn to other posts on our regular blogs:

Tennis, Pathakji and ‘Tere sadke balam’ – There would many who have very strong association with a song….But it takes SoY to make it a memory to be shared with all as if we lived all those moments ourselves.

Film Songs Based on Classical Ragas (8) – Pilu – Guest article by Subodh Agrawal in which he discusses the best film songs based on this Raga and some fine classical pieces. Pilu is the one that truly captures the mood evoked by this earthy smell, possibly because it is the raga of the Gangetic plain, where the summers are long and severe, and the rain – when it comes – comes in torrents, as in a fragment from the film Sara Akash (1969), as it captures the traditional movement better than any other clip one could locate.

As can be easily expected, the advent of spring should have led to posting of articles on the subject. Ten of my favorite spring songs takes up the task with the rules: the synonym for spring—basant, bahaar, etc—should actually be present in the lyrics, the word (especially in the case of bahaar, which can also refer to scenery or enchanting environs) should specifically refer to spring itself and the word should be used in the literal, not the metaphorical, sense, making the reading even more interesting.

Ten of my favourite cloud songs is a thematic songs-list article, which follows these rules: firstly, the synonym for cloud must be in the first line of the song, and secondly, the reference to clouds should be literal; clouds should not be used only in the metaphorical sense. On a similar vein, there have been other posts on rain songs and wind songs.

Ijaazat (1987) very fondly traces the origin for writing up the review to Mera kuch samaan from the album You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood

Word Play: Shaam presents the Shaam songs with the self-imposed rules : the song had to begin with the chosen word. (At the most, the word could be the second one in the first line.) Preludes to songs didn’t count. And two, it has to be the word itself, not its variations., which have yielded three posts – Raat, Piya and Chand – in the past. We pick up, again on the basis of the criterion of not-getting-to listen-often:

Shaam gayi raat aayi – Shree 420 (1955) – Lata Mangeshkar – Shanker Jaikishan- a song that is recorded and then discarded from the film is classic fit for Mystery of the Missing Songs, strangely, this song was never used in any subsequent RK film either

Shaam dekho dhal rahi hai -Anjaan Hai Koi (1969) – Mohammed Rafi, Usha Khanna – Music: Usha Khanna

Gulzar’s “shaam se aankh mein nami se hai – Mukesh .The original Salilda tune has been used in another song and has also been sung by Mukesh.

The succinct review of Aah – 1953 has very judiciously provided a link to the jukebox filled with songs from the film.

Dances By Egypt’s Naima Akef -Egypt’s Golden Age of cinema happened very close in time to India’s, beginning in the 1940s and extending into the ’60s. …there also are close parallels between this cinema and Indian cinema in the song-and-dance sequences, with the main difference being that the Egyptian dances were mostly Middle Eastern…..the present selection starts with Naima Akef’s most strange and possibly most modern dance, “Mambo.” After that one, thrown in are six more, which fall all along the spectrum from modern cabaret to traditional Egyptian folk dance. Rather than going into any descriptions of those, let the dances speak for themselves (because they certainly do speak for themselves….).

Kahan Le Chale Ho Bat Do Musafir – Beena Rai – a career starting form Kali Ghata (1951) ran into some 18 films ending with Apna Ghar Apni Kahani (1968). The post has provided links to some of her very famous songs.

Whilst on Beena Rai, we may recollect Ashok Dave;s review of Vallah Kya Baat Hai (1962) (in Gujarati), and enjoy these two exceptional Roshan songs –

Enjoyable western beats has compiled a special list of 15 songs on the player, applying the criteria that You should distinctly hear the bongo, conga or drums played as a lead instrument for at least a few seconds, in some part of the song, hindi film songs from the 1950s to the 1970s (with one song from 1980).

Rhythm of CastanetsCastanets are relatively tiny instruments that fit into the palms of the two hands and were originally used in European music. They can be played quickly in continuous notes to create a roll type of sound, or they can be played with each click on the castanet being a discrete note. The representative songs are on Rhythm of Castanets.

Jinhen Naaz Hai Hind Par, from Pyaasa 1957 takes us to Madhukar Shukla’s Translation of the original poem, and in turn to original version in Roman Urdu and the modified film song version. Here is the video clip of the song, wherein @ 6.26 we have my most favoured portion:

vo ujale dareechoN meiN paayal ki chhan-chhan
thaki haarii saaNsoN pe tabale ki dhan-dhan
ye be-ruuh kamroN meiN khaaNsii kii Than-Than
jinhe naaz hai hind par vo kahaaN haiN?

And its English translation:

The jingling trinklets at casement bright,
Tambourins athrob’ mid gasping life;
Cheerless rooms with cough alive;
Where are they who praise, the pious eastern ways?

On this rather sombre note, we now turn over to articles from the random search of other blogs/ sites:

The Hindi film song & the soundtrack of our livesSantosh Desai in City City Bang Bang -..It would be far too simplistic to connect the change in Hindi film songs to the harsher angrier discourse that we see in our public conversations, but surely the inability to find little islands of gentleness into which we can periodically retreat must take its toll. With no better self to find refuge in, no song to hum with eyes closed in melancholic bliss, the world is a harsher place full of people resigned to their hardness.

The “Indian” Dances in Kali Yug (1963, Italy/France/Germany) – The four dances in the films all center around the character Amrita, an exotic-enough sounding Indian name, played by the French actress and “Bond girl” Claudine Auger.

And now over to exclusive articles on Mohammad Rafi…

clip_image002The search for songs on Holi had led to writer and journalist Vinod Viplav’s article होली से कटती मुंबइया फिल्में. A little more exploration of the blog leads us to the category Mohammad Rafi, where we come to know of publication of the second edition of his biographical book Meri Awaz Suno (ISBN – 81-904097-1-9), which in turn led to:

As we close our books for this edition, we get the news that Shashi Kapoor, who just celebrated his 77th birthday, will receive this year’s Dadasaheb Phalke Award.

We continue our pursuit of the golden period of Hindi Film Music …….

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