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Centenary Celebrations

Sahir’s Songs of Romance – Three Film Associations

Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with  anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.

Jaidev (B: 3-8-1918 | D: 6-1-1987) and Sahir Ludhianvi, both, had a common period  of their youth spent in Ludhiana. So, when they got together in Joru Ka Bhai (1955) it was expected to a reunion which would be very fruitful. But, the prides of both the talented artists created the situation where the relationship remained soured from the first stage. Fate gave them another chance in Hum Dono (1961). Their work together in this film revived the hopes. But the egos clashed again in the next outing, Mujhe Jeene Do (1963), and the paths separated out. Fate intervened once again in Laila Majnu (1976) when Jaidev took up the unfinished work of Madan Mohan. But that was too late to fill up the chasm of the separation of minds.

Surmai Raat Hai Sitare Hai, Aaj Dono Jahaan Hamare Hai, Subah Ka Intezaar Kaun Kare – Joru Ka Bhai (1955) – Lata Mangeshkar – Music: Jaidev

phir yah rut yah samaaN mile na mile
aarzu kaa chaman khile na khile
vaqt kaa aitabaar kaun kare

le bhi lo ham ko apani baahoN mein
ruh bechain hai nigaaho mein
iltejaa baar baar kaun kare

nayi raat dhalati jaati hai
ruh gam se pighalati jaati hai
teri zulfoN se pyaar kaun kare

Surmai Raat Dhalati Jaati Hai, Ruh Gam Se Pighalati Jaati Hai, Teri ZulfoN Se Payar Kaun Kare, Ab Tera Intezar Kaun Kare – Joru Ka Bhai (1955) – Talat Mahmood – Music: Jaidev

tumko apna bana ke dekh liya
ek baar aazma ke dekh liyaa
baar baar aitbaar kaun kare

ae dil e zaar saugwar na ho
unki chaahat mein beqaraar na ho
badnaseeboN se pyaar kaun kare

Abhi Na Jao Chhod Kar Ke Dil Abhi Bhara NahiN – Hum Dono (1961) – Mohammad Rafi, Asha Bhosle – Music: Jaidev

abhi abhi to aai ho, bahaar banake chhaai ho
havaa zara mahak to le, nazar zara bahak to le
ye shaam dhal to le zara, ye dil sambhal to le zara
maiN thodi der ji to lun, nashe ke ghunt pee to luN
nashe ke ghunt pee to luN
abhi to kuchh kaha nahiN, abhi to kuchh suna nahNi

sitare jhilamilaa uthe,
charaag jagamagaa uthe
bas ab na mujhako tokanaa …..
na badhake raah rokna
agar maiN ruk gayi abhi to jaa na paaungi kabhi
yahi kahoge tum sadaa ke dil abhi nahiN bharaa
jo khatm ho kisi jagah ye aisa silsilaa nahiN

adhuri aas, adhuri pyaas chhod ke, adhuri pyaas chhod ke
jo roz yunhi jaaogi to kis tarah nibhaaogi
ki zindagi ki raah mein, javaaN dilo ki chaah mein
kai mukaam aayenge jo ham ko aajmayenge
buraa na maano baat kaa ye pyaar hai gila nahiN

haaN, yahi kahoge tum sadaa ke dil abhi nahiN bharaa

haaN, dil abhi bharaa nahiN nahiN nahNi nahiN nahiN

Maang Mein Bhar Le Rang Sakhi …Anchal Bhar Le Taare Ke Milan Ritu Aa Gayi….Jaegi Tu Un Sang Jo Tohe Lage Pyare, Milan Ritu Aa Gayi – Mujhe Jeene Do (1963) – Asha Bhosle, Chorus – Music: Jaidev

koi chandi ke rath mein aya hai
mere babul, mere babul ki rajadhani mein
maiN use dekhati huN chhup chhup kar
ek halachal si hai jawani mein
tadake ek ek ang sakhi re
aaj khushi ke mare, milan ritu aa gayi

surkh chudaa hai meri baaho me
surkh jodaa mere badan par hai
sab ki nazarein hai mere chahare par
aur meri nazar sajan par hai
machali jaye umang sakhi ri
dhadakan kare ishaare, milan ritu aa gayi

meri doli saja rahe hai kahar
phul bikhare hue hai raahoN mein
phul bikhare hue hai raahoN mein
jinki baho ki arazu thi mujhe
jaa rahi huN maiN unaki bahoN mein
angna lage tag sakhi ri
piya jab banh pasare, milan ritu aa gayi

Raat Bhi Hai Kuchh Bhigi Bhigi, Chand Bhi Hai Kuchh Madhdham Madhdham, Tum Aao To Aankhein Khole Soyi Hui Payal Ki Chham Chham – Mujhe Jeene Do (1963) – Lata Mangeshkar – Music: Jaidev

kisko bataaeN kaise bataaeN
aaj ajab hai dil kaa aalam
chain bhi hai kuchh halkaa halkaa
dard bhi hai kuchh maddham maddham

tapte dil par yu girati hai
teri nazar se pyaar ki shabanam
teri nazar se pyaar ki shabanam
jalate hue jangal par jaise
barakhaa barase ruk-ruk tham-tham

hosh mein thodi behoshi hai
….   ……  ……..   ……. …..
behoshi mein hosh hai kam kam
….   ……  ……..   ……. …..
tujhko paane ki koshish mein
….   ……  ……..   ……. …..
dono jahaaN se kho gae ham
….   ……  ……..   ……. …..

chham-chham, chham-chham

Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff[1] kise pesh karuN in the set of three ghazals in the same film, Ghazal (1964), viz.

Nagma-o-sher Ki Saugat Kise Pesh KaruN – Lata Mangeshkar

Ishq Ki Garmi- e-jaazbat Kise Pesh KaruN – Mohammad Rafi, and

Rang Aur Noor Ki Baraat Kise Pesh KaruN – Mohammad Rafi

Each one is as exquisitely penned by Sahir as is composed Madan Mohan.

Chand Madhdham Hai AasmaN Chup Hai, NeeNd Ki God Mein JahaaN Chup Hai – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

door vaadi mein doodhiyaa baadal
jhuk ke parbat ko pyaar karte hain
dil mein naakaam hasratein lekar
ham teraa intazaar karte hain

in bahaaroN ke saaye mein aajaa
phir mohabbat javaaN rahe na rahe
zindagi tere naamuraadoN par
kal talak meharbaaN rahe na rahe

roz ki tarah aaj bhi taare
subah ki gard mein na kho jaayein
aa tere gham mein jaagti aankhein
kam-se-kam ek raat so jaayein

Jiya Kho Gaya Ho Tera Ho Gaya, Main KahuN To Kaise KahuN, Jiya Kho Gaya – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

gair hai phir bhii tu mujhko apna lage
terii har baat chahat ka sapna lage

uthate uthate jhukuN, jhukte jhukte uthuN
aur takra gai do nigahein
phul se khil gaye dil se dil mil gaye
jaise milti hai manzil se rahein

mujhko apne pe bhii laaj aane lagii
main akele mein chhup chhup ke gane lagi

Mujhe Ye Phool Na De Tujhko Dilbari Ki Qasam, Ye Kuchh Nahi….Tere HothoN Ki Tajhagi Ki Qasam –  Ghazal (1964) – Mohammad Rafi, Suman Kalyanpur – Music: Madan Mohan

najhar hasiN ho to jalve hasiN lagte hai
main kuch nahiN huN mujhe husn ki qasam

tu ek saaz hai chheda nahi kisi ne jise
tere badan mein chhupi narm ragini ki qasam

ye ragani tere dil mein hai mere tan mein nahi
parkhne wale mujhe teri sadgi ki qasam

gazal ka lauch hai tu najam ka shabab hai tu
yakin kar mujhe meri hi shayri ki qasam

Unse Nazarein Mili Aur Hijhab Aa Gaya, Zinagai Mein HasiN Inquilab Aa Gaya – Ghazal (1964) – Lata Mangeshkar, Minoo Purushottam – Music: Madan Mohan

bekhabar the umar ke taqaazoN se ham
hamko maalum na tha aise bhi din aayege
aayina dekhe to aap apne se sharamaayege
…..    ……  ……   …… ……
bekhabar the umar ke taqaazo se ham
aaj jaana ki sach much shabaab aa gaya

aankh jhukati hai kyoN saans rukati hai kyoN
in savaalo ka khud se javaab aa gaya

dil ke aane ko ham kis tarah rokate
jispe aana tha khaana kharaab aa gaya

Is Reshami Pazeb Ki Zankar Ke Sadquay … Jisne Yeh Pehnai Hai Us Dildar Ke Sadquay – Laila Majnu (1976) – Mohammad Rafi, Lata Mangeshkar – Music Madan Mohan

us jhulf ke qurbaN lab-o-rukhsar ke sadquay
har jalwa tha ik shola husn-e-yar ke sadquay

jawani mangati thi yeh hasin jhankar barsoN se
tamanna bun rahi thi dhadakno ke tar barsoN se
…..   ……    ……  …… 
chhup-chhup ke aanewale tere pyar ke sadquay

jawani so rahi thi husn ki rangin panaho mein
chura laye ham unke najani jalwe nigaho mein
….. ……   ……    …… ……….
kismat se jo huwa hai us didar ke sadquay
…       …..          …….  ……        ……..

us jhulf ke qurban lab-o-ruksar ke sadquay

najhar lahra rahi hai jism pe masti si chhayi hai
dubara dekhne ki shauk ne halchal machai hai
…..   ……   …….    ……….  ……
dil ko jo lag gaya hai us ajhar ke sadquay

Ye Diwane Ki Zid Hai…Apne Diwane Ki Khatir Aa – Laila Majnu (1976) – Mohammad Rafi – Music: Jaidev

jahaN mein quais jhinda hai
to laila mar nahiN sakati

ye da’awaa aaj
duniya bhar se
manwane ke liye aa

….  ….. ….. .   ….. …..    ……

tere dar se main khali laut jauN
kya qayamat hai
tu meri ruh ka kaa’aba
meri jaan-e- ibaadat hai

jhabeen-e-shauq ke
sajdon ko apnaane
ki khaatir aa

Sahir’s lyrics also spans over two decades with the common link of 1976 film Laila Majnu However, the subject of the film, Laila Majnu, and support of music of two music directors – Jaidev and Madan Mohan  – who could  truly lend music to his poetry, provide ample opportunity to Sahir Ludhiyanvi to maintain his elements in his lyrics even after the quite transformed period of HFM in the second half of ‘70s.

In the next episode, we will take up Sahir Ludhianvi’s romantic songs composed by R D Burman for four films they did together.

[1] Radiff (Arabic: رديف) is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a Ghazal, the second line of all the couplets (bayts or Shers) must end with the same word/s. This repeating of common words is the “Radfif” of the Ghazal. (Source: Wikipedia)

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Fading Memories….Unforgettable Songs

Fading Memories….Unforgettable Songs: January 2020

Jaidev: Brilliant, But Underrated, Composer:  1971

In the centenary birth year, Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could moulid classical or folk tune in his very unique style.He also boldly experimented using emerging singers like Dilraj Kaur, Bhupinder, Hariharan, Chhaya Ganguli, Pinaz Masani or Runa Laila and also classical singers like Parveen Sultana, Bhimsen Joshi or Laxmishankar.

Jaidev is the only Hindi film music director to have won three National Film Award for Best Music Direction, three times for Reshma Aur Shera (1972), Gaman (1979) and Ankahee (1985). But fame and money eluded him. So much so that, no prints of Prem Parbat (1973) – which has two great Lata Mangeshkar songs – are thought to have survived.

We have taken up this commemorative annual series on Jaidev on this platform w.e.f. 2018, wherein we had covered his songs from 1955 to 1963. Next year we followed by taking up Jaidev;s songs from 1964 to 1970. Presently, we will his known, and less known songs from three films for the year.1971. Of these, the two films– Do Boond Paani, and Reshma Aur Shera – are on rural background and the third one – Ek The Reeta – is urban comedy thriller.

Jaidev’s magic in flopped films

1971

Do Boond Paani

Written produced and directed by K A Abbas, Do Boon Paani is set against the backdrop of Rajasthan. The film focused on the scarcity of water, and the eventual building of a dam. Its cast included Simi Garewal, Jalal Agha and Madhu Chanda and was the debut film of actor Kiran Kumar. The film won the Nargis Dutt award for Best Feature film on National integration. The music by Jaidev was stated as a “magisterial score”, however, the film was not a commercial success and flopped at the box office

Banni Teri Bindiya Ki Le Loon Re Balainyyan – Lakshmi Shankar – Lyrics: Bal Kavi Bairagi

Jaidev weaves the song around a simple traditional song. Use of shehnai in the interlude is also in line with the tradional marriage ceremony set up where at two musicians would keep playing shehnai and nagadaa during the ceremony.

The audio version includes both stanzas of the song.

Jaa Ri Pawaniyaa Piyaa Ke Des Jaa – Asha Bhosle – Lyrics: Kaifi Azmi

Kafi Azmi is at his poetic best in conveying message of

tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
ambar pyaasaa, dharti pyaasi
pyaasi saari nagariyaa

(Body and soul are thirsty, thirsty is the gaze; thirsty is even water-carrying vessel. Thirsty are even sky, land and the town too.)

Jaidev has used the Asha Bhosle’s voice in a scale that fully reflects the feeling of the thirst of the wait. Visuals in the interlude integrate the building of the dam along with rural domestic ecosystem.

Peetal Ki Meri Gagari Diladee Se Mol Mangayi Re – Parveen Sultana. Minno Puroshottam – Lyrics: Kaifi Azmi

Jaidev so effortlessly weaves in Rajashatn rural backdrop visuals with this wonderfully melodious Rajastahni Maand tune based song. Use of Parveen Sultana and Minoo Purushottam also provides a very unique earthen touch to the emotions of the song.

The audio version of the song has much better audio notes and has one more stanza as a bonus.

The song has poignant version, too, as a Parveen Sultana solo.

Apne Watan Mein Aaj Do Boond Paani Nahi = Mukesh, Noor Jahan – Lyrics – Kaifi Azmi

The lyrics and the visuals of the song narrate the tale of exodus of the people from their native village in search of new water resources.

Reshama Aur Shera

Reshma Aur Shera was produced and directed by Sunil Dutt. It was well-acclaimed by the critics internationally. The film was shot in and around Jaisalmer. It is a romeo-Juliet story embeded in the realm of feuding Rajput clans.  Like film’s cinematography, music by Jaidev also adds to the true ethnic tone the film.The film won music director Jaidev, his first National Film Award for Best Music Direction in 1972, for the two Lata Mangeshkar so;o songs Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar).

Trivia: Amitabh Bachchan’s semi-cameo role as speech-impaired younger brother is considered as his one of the unsung role, before he hit pay dirt in Zanzeer.

Jab Se Lagan Lagayee… Umar Bhar Neend Na Aayi – Asha Bhosle – Lyrics: Neeraj

The song is a sweet compliant for the after-effects of falling in a love-relationship. Asha Bhosle easily recreates the mood of the song.

Tauba Tauba Meri Tauba… Ek To Ye Bharpur Jawani…Us Par Yeh Tanhayee – Asha Bhosle – Lyrics; Rajinder Krishna

This is a full-fledged mujra song, filmed on Padma Khanna.

Zalim Meri Sharaba Mein Ye Kya Mila Diya – Manna Dey and chorus – Lyrics: Rajinder Krishna

A full-some qawaali wherein Sanjay Dut, a young boy of 12 then, makes a cameo debut.

Ek Thi Reeta

Ek Thi Reeta is an action comedy thriller, produced and directed by Roop K. Shorey. The film was an adaptation of Shorey’s earlier success Ek Thi Ladki (1949), which had highly successful music score by Vinod. (Remember Lara Lappa Lara Lappa Lai Lakda). The earlier success formula did not work this time, and Ejk Thi Reeta was a commercial flop. The films starred Vinod Mehra, Tanuja and I. S. Johar in lead roles with Lolita Chatterjee, Rehman, Faryal and Manmohan Krishna forming the ensemble cast .

As much as the earlier two films are known, this film and all of its 10 songs are totally unknown, so we have selected here a few representative ones.

Ho Balama Beimaan Na Mane – Manna Dey and Sarala Kapoor – Lyrics: Vikal Saaketi

The song is influenced in Bhojpuri singing style. Jai Dev has introduced a new female voice of Sarala Kapoor in this duet.

Baaton Baaton Mein Baat Badhati Hai…Ye HaiN Pyar Ke Nazare – Asha Bhosle Jagjit Singh – Lyrics: Prem Jalandhari

The song is a teasing song, probably sung in a picnic situation. Jagjit Singh gets introduced in the last stanza of the song. This said to be his first recorded son, wherein we find him in a rare different mood.

Paani Mein Jo Ham Doobey, To Dub Gaye Hairani Mein….Wah Wah Re Lachchi Tera Pallu Latake – Asha Bhosle, Sarala Kapoor – Lyrics: Sarshar Shailani

The song is of mischievous playful young girls got together a river or a talab like waterbody. Jaidev deftly handles the rustic joyous mood of the song.

Non Film Songs

Before we come back to the two songs of Mohammad Rafi from Ek Thi Reeta, to end our episode in our traditional style, we need takenote of two NFS of Jaidev which were recorded in 1971.

Carvan Guzra Kiya Ham Rahguzar Dekha Kiye – Asha Bhosle – Lyrics: Faani Badayuni (Original Name – Shaukat Ali Khan)

Jaidev creates sublime mood with Asha Bhosle’s voice.

Jayate Jayate Jayate Satyamev Jayate – Lata Mangeshkar – Idhav Kumar

Jaidev very creatively weaves chorus with Lata’s leading voice to create the spirit of Truth always prevails.

Back to Ek Thi Reeta, with two Mohammad Rafi songs, to end our present episode –

Jo Mere Pyar Pe Ho Shaq To Kar Lo Dil Saaf Beshaq…..Dareech-e-Shaq, Dareen-e-Shaq…Kisi Ko Ho Bhala Kyun Shaq –Ek Thi Reeta 91971) – Asha Bhosle, Mohammad Rafi – Lyrics: Prem Jallandhari

Both the young players openly confess that now there is hardly any room to create any doubt about the bond of our love.

Ye Shor Hai Gali Gali …Ke Woh Jawan Ho Chali – Mohammad Rafi – Lyrics: Sarshar Shailani

Jaidev creates a playfully throw-of-love youthful joy in Mohammad Rafi’s voice. The song is et to quite a difficult to tune to sing, but Rafi remains very comfortable in the course all the ups and downs and turns of the song.

We end today’s episode on a happy note to record that Jaidev has so effectively used Mohammad Rafi, even in 1971. Our journey of Jaidev’s Hindi Film Music career 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 – January, 2019

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

Let us Swing into the New Year with Swing a song of sixpence on a swaying spree of ‘jhoola’ songs with Ashwin Bhandarkar.

Mrinal Sen: The Man Who Fought Through Cinema – Bhuvan Shiome, the sophisticated satire’s runaway success not only created cine-history, it created an entire generation of cine-maestros…showing a multifaceted India on the silver screen.

For the micro-level review of the film please read on Bhuvan Shome (1969).

Some more tributes to Mrinal Sen, on Scroll.in:

This is also the birth centenary year of Kaifi Azmi. Tabla maestro Ustad Zakir Hussain, singer-composer Shankar Mahadevan, lyricist Javed Akhtar, actor Shabana Azmi and filmmaker Feroz Abbas Khan have come together for a ‘Raag Shayari’ to mark Kaifi Azmi’s centenary celebrations

We take a look at a retrospective by Rajya Sabha channel – Remembering Kaifi Azmi

On Kaifi Azmi’s centenary year, Garm Hava writer Shama ZaidiAaj ki Raat Bahut Garm Hawa Chalti Hai – Kaifi Azmi recites for Balraj Sahni

Shakeel-Naushad: Classy Confluence, Seamless Flow – 2 – After exploring the Shakeel – Naushad initial phase in the Part 1, Vijay Kumar now delves into their combined work from Mughl-e-Azam.

Bharat Vyas – The Prolific Lyricist – I and Bharat Vyas – The Prolific Lyricist – II is a series of tributes to the lyricist in his centenary birth year.

OP Nayyar, the Music Maestro Who Regretted Nothing, is republished to mark OP Nayyar’s birth anniversary. Listen to OP Nayyar jukebox here.

Remembering poet and lyricist Neeraj, who gave us some great lyrics and enduring ideas – On his 94th birth anniversary, flashbacks to the time Neeraj escaped death thrice and his views on Hindi film music.

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

The flashback series: why you should watch Kala Bazar with its celebrity cameos, vivid sound design, and an early glimpse of Vijay Anand as director and actor

Pancham And His Jalpari – Tale Of Choral Tail –The previous Jalpari article relates to the lovely buildup of the emotion / yearn of the beloved, as lovingly detailed as a mermaid’s cute face/ mukhada in RDB songs. The present sequel takes up the tale of the choral tail, the tail that follows as smoothly after the mukhada as the aqua-dynamic as the shape of the tail of the mermaid, an apt example is the improvised sad version of Saagar Kianre

‘Do Gaz Zameen Ke Neeche’Imtiaz Khan, elder son of actor Jayant, played played important roles in many hit films like ‘Yaadon Ki Baaraat’, ‘Dharmatma’, ‘Zakhmi’, ‘Zorro’, ‘Kala Sona’, ‘Kabeela’ and ‘Darwaza’., but his first love was film direction.

From Left Imtiaz, Jayant, Amjad

January, 2019 episode of Fading Memories, Unforgettable Songs is second article in the series of annual article series on Jaidev: Brilliant, But Underrated Composer. The present article covers less remembered songs of unknown films from 1964 to 1970. For the records, we had covered his take-off years of 1955 to 1963 last year.

We also have another article, JAIDEV- A composer with the highest number of unreleased films, in which he had composed some gems

And, now the posts on other subjects:

Welcomed with Arrows – Arrows and bows are called teer and kamaan respectively in Hindustani language. They are also called baan and dhanush. Our poets have used teer and baan as metaphors in poetry, both to ignite love—in the Cupid way—as well as to injure it. The post checks out these songs from our films, which make an early reference to such ammunition:

Greatness in the shadow of the giants: Pandit Shyam Sundar – Shyam Sundar was not only central to the career of the three greatest singers, Noorjehan, Lata Mangeshkar and Rafi, he takes the sole credit for Sulochana Kadam’s fame. Shyam Sundar’s career was short, spanning about 14 years (1939-1953) in which he gave music for only 4 Punjabi and 20 Hindi films. He died prematurely in 1953.

The Irony of an Iron Building – One wonders how the word hotel became a substitute for an eatery in Hindustani parlance, with names like one finds names like Ram Bharose Hindu Hotel or Allah Bux Hotel being ubiquitously seen across towns in India. The post recalls the song engaging with this idea,

Aao Hamar Hotel Mein Chai Piyo Ji GaraM Garam, Biscuit Khalo Naram Naram – Kundan (1955) – S D Batish, Sudha Malhotra – Ghulam Mohammad – Shakeel Badayuni

Shehnai (1947) and a Sad Video About the River in the “Chhuk Chhuk Chhaiya Chhaiya” SceneThe clean, fragrant, and sweet waters that the song talked about have long since lost their spirit. Today, the Kandivli ‘nullah’ bears an ominous look.

More Than Meets the Eye – What is it about sunglasses that is so cool? Why is it that they are seen more as style accessories than as protection for the eyes? When did they transform from a thing of function to one of fashion? In any case, Hindi films have a known tradition of actors who were seen wearing sunglasses in a song. The post lists such songs.

We will take a quick look at these guest posts, before we move over to the curtain call for the present episode:

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

Chand Ki Sundar Nagri Mein Pariyon Ki Raani Raheti Thi – Dholak (1951) – with Uma Devi and Chorus – Shyam Sundar – Aziz Kashmirir

Koi Ek Ana Koi Do Ana Koi Ten Ana Koi Char Ana – Dhun (1953) – with Satish Batra, Madan Mohan, Babul – Madn Mohan – Bharat Vyas

Ishq Mein Mere Kya Kaya Junoon Ki – Khunus (Unreleased) – Jaidev – Bahadur Shah Zafar

Wo Teer Dil Pe Chala Jo Teri Kaman Main Hai.… – Aarti (1962) – with Asha Bhosle – Roshan – Majrooh Sultanspuri.

Nain Mila Ke Pyar Jata Ke Aaj Na Ja Tu –  Mera Bhai Mera Dushman (1967) – With Jagjit Kaur – Khayyam – Kaifi Azmi

Jinke Pas Haathi Ghoda Inke Pas Dil Thoda – Dil Ka Raja (1970) – with Asha Bhosle and Manna Dey – R D Burman – Mahrooh Sultanpuri

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: January, 2019

Jaidev: Brilliant, But Underrated, Composer:  Journey from 1964 to 1970 – Jaidev’s music remains unscathed in less remembered songs of unknown films

We have been co-travelling the musical journey of Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) in this month of death anniversary, starting from the last year. We had covered the films from 1955 to 1963 last year..

By the end of this period, Jaidev’s career had seemed to attain the required escape velocity to go into the orbit of sustained commercial success. But, the fate had some other designs in its store. During the making of Mujhe Jeene Do, he had a bitter difference of opinion with Sahir Ludhyanavi, with whom he had created the two last masterpieces – Hum Dono and Mujhe Jeene Do. And then, Navketan was (reportedly) coerced to revert to S D Burman for Guide (1965), which turned out to be an all-round success.

With no (so-called) big banner under his fold, he was forced to take up work for low budget films. However, post-Mujhe Jeene Do, his music perhaps lost that ‘melody’  which gives the music a ‘mass’ touch, even though his compositions, still, were of an exalted order – soulful and sublime, spiritual and transcendental, ethereal and heavenly. In Hindi film industry, such music directors get cast for low-budget films. Jaidev could not emerge as an exception.

As may be observed in this episode, his elaborate compositions for smaller films found a smaller audience and yet Jaidev continued to give of his best in every film he worked on. Many of his best compositions are lost in unfinished films and albums. Though he is the only music director to have received three national wards for music in Hindi Films, as a music composer, he never properly received his due and was passed over many times for others, but his film scores linger on in the deep in our memories.

Presently, we continue with Jaidev’s musical journey from the year 1964 to 1970…….

Naihar Chhootal Jaaye (1964)

This is a Bhojpuri film. The one song that I could locate is thanks to Atul’s Song a Day.

Jiyara Kasak Masak Mor Rahe Laagal – Mohammad Rafi – Lyrics: Shailendra

We have a lilting, light songs from Jaidev. To many a Rafi fans, the song may not be totally unknown.

The songs has a Asha Bhosle version too. The subtle change in the composition that reflects the inherent feelings of a male and a female respectively strikingly comes to our notice.

Hamare Gam Se Mat Khelo (1967)

This one is also an obscure, low budget, film which has six songs, spanning singers like Talat Mahmood, Geeta Dutt, Asha Bhosle, Mahendra Kapoor and Krishna Kalle.

Ye Khamoshi Kyu Ye Madhoshi Kyu – Geeta Dutt – Lyrics: Nyay Sharma

This is the only song that Jaidev has recorded with Geeta Dutt,based on a western style composition, which is also a rarity for Jaidev. Geeta Dutt sounds as lively as she was in ‘40s.

Ye Bahar Ka Sama Karar Ka Sama Nikhar Ka Sama Kho Na Dena – Mahendra Kapoor – Krishna Kalle – Lyrucs: Nyay Sharma

Even if the singers seem to have been chosen to fit into the shoe-string budget, Jaidev maintains his touch in the composition. The composition has inherent melody to listen to, but is difficult to hum with.

Ansoo Chuupaye Aankh Mein, Khoon-e-Jigar Piya Karun – Talat Mahmood –  Lyrics: Shireeh

This is fairly known song. The composition has a typical Jaidev touch – probably little difficult hum along, but certainly very melodious to the ears. Such songs do not become very popular, but are not easily forgotten too.

Kahiye Kya Hukam Hai, Main Pyar Karoon Ya Na Karoon, Kahiye Kya Hukam hai – Asha Bhosle – Lyrics Nyay Sharma

Essentially this is a mujra song.. The composition is set to rather difficult style.

Jiyo Aur Jeene Do (1969)

This is the only films wherein Jaidev and Hasrat Jaipuri team up together.

Main to Kar Kar Binati Haari Re – Suman Kalyanpur – Lyrics: Hasrat Jaipuri

Here is another song which is rare – from the point of view of hardly being heard, being a maiden song of Jaidev-Suman Kalyanpur combination and being a song which is as melodies as a Jaidev or a Suman Kalyanpur song will always be.

Ye Dharati Hamari Dharati Hai,Hum Isko Swarg Banayenge – Manna Dey, Sulakshana Pandit –  Lyrics: Hasrat jaipuri

The composition and bass orchestration are literally down to earth, in spite of the inherent complexity of the tune.

Aaj Ki Raat Bas Jalwa Dikhane Ke Liye – Mohammad Rafi – Lyrics: Hasrat jaipuri

Here is a composition that is complex, but sounds so appealing in Mohammad Rafi’s voice.

Roop Ki Dhoop to Dhal Ke Rahegi –Mohammad Rafi – Lyrics: Hasrat jaipuri

The prelude and interlude pieces suggest that the song would be a street song

Sapna (1969)

One more obscure film, not much known lyricist, and yet, Jaidev holds the fort.

Anadi Mor Balma .. Achar Dhar Thunke – Laxmi Shankar – Lyrics: V N Mangal

Jaidev experiments using voice of classical singers for his semi-classical songs.

Ae Meri Majbutr Zindagi.. Chal Ri Kahin Chal Tu Zindagi – Manna Dey – Lyrics: V N Mangal

Even though we have audio track of the song, the rhythm leaves no doubt that the song would have been sung while travelling on a cart, which was a very-well experimented genre in those days.

Mujh Se Mat Rootho, Na Na Rootho Meri Jaan Chali Jaayegi  – Mohammad Rafi – Lyrics: V N Mangal

A fast-paced, rootahana-manana’ genre song that shows that Jaidev can also do that any other commercially successful music director could do !

A twin version in the voice of Krishna Kalle, which has some obvious variation to reflect the rendition by the female counterpart of a roothana manana situation.

This episode has so large a share of Mohammad Rafi songs that I could have done away with the tradition of ending the episode with a Rafi song. However, I find two unreleased film songs in Mohammad Rafi’s voice.

Ek Bulbulaa Paani Ka (1970, Unreleased)

Teen Taal Par Naach .. Budhape, Bachpan aur Jawani Ke.. Rang Hazaron – Mohammad Rafi – Lyrics: Kaifi Azmi

Jaidev presents Mohammad Rafi in a soulful bhajan.

Shaadi Kar Lo (1970, Unrelased)

Na Tum Haton Na Hum Hatein  – Mohammad Rafi and Parveen Sultana – Lyrics : Jan Nisaar Akhtar

We have a very rare qawwali from Jaidev, wherein he has daringly experimented with voice of Parveen Sultana.

Normally, we do not add any commentary in any episode, after we come to the end of the episode with Mohammad Rafi songs. However, I would seek to make an exception in the present case.

I have a confession to make. After re-visiting the songs from the last episode, when I started listing the films from Jaidev’s filmography, I had a feeling that I should be lucky if I can choose at least one song from each of these totally obscure film.

However, as soon as I started listening to these songs, I started realizing what a gross under- judgement I had made about the genius that is Jaidev. Each song is worth listening repeatedly. Each song has its own unique composition, set to different styles, has used different singers and has been penned by different lyricist. Hence, I have chosen to post YT video of each song here even at the cost of making the song a little larger in the quantity of number of songs.

Also, I have recorded elsewhere my feeling that Jaidev has not done much work with Mohammad Rafi, after Mujhe Jeene Do. That impression also goes out of the window here.

On that note, I now look forward to Jaidev’s creations in ‘70s, even more eagerly in our next episode next year.

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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I Liked

Mohammad Rafi’s First Solo Song With The Music Director: 1957 – 1958

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.

Till now we have covered

  • 1st Five-Year Period: 1944 -1948: December, 2016

1944-1946 – 11 December, 2016

1947-1948 – 22 December, 2016

  • 2nd Five-Year Period: 1949-1953

1949 – 15 July, 2017

1950 -1951 – 10th December, 2017

1952-1953 – 17th December 2017

Presently, we are into the 3rd Five-Year Period of 1954 to 1958, of which we have already covered

1954-1955 – 8 July, 2018

1956 – 9 December, 2018

We now take up the 3d and the last piece of the years 1957 and 1958 of this five-year period.

1957

1957 had as many as 187 solo songs of Mohammad Rafi. Apart from the music directors who already have been regularly selecting him, we see music directors, like Anil Biswas, Ajeet Merchant, Shivram Krishna, who had first solo with Rafi in 1956 also opting for Rafi again.

1957 has its own share of Mohammad Rafi’s landmark solo songs from these music directors, like  Chal Ud Jaa Re (Bhabhi, Chitragupta); Mohabbat Zinda Rehti Hai (Changezkhan, Hans Rah Behl); Janam Janam Ke Phere (Janam Janam Ke Phere, S N Tripathi); Zindagu Bhar Gam Judai Ka (Miss Bombay, Hans Raj Behl); Na Main Bhagwan Hoon (Mother India, Naushad); Ye Hasrat Thi Ke Is Duniya Mein (Nausherwan-e-Adil, C Ramchandra); Ana Hai To Aa (Naya Daur, O P Nayyar); Jinhe Naaz Hai Hind Par and Ye Duniya Agar Mil Bhi Jaaye (Pyasa, S D Burman); Yun To Hamane Lakh Haseen (Tumsa Nahin Dekha, O P Nayyar) etc.

In terms of numbers, 1957 does not seem to have many of Mohammad Rafi’s maiden solo songs with a music director. But the ones that are there, more than make up for the paucity of numbers.

Dattaram (Wadkar) had had a maiden solo song with Mohammad Rafi that has gone onto become a milestone song. In his later films Dattaram seems to have experimented with other male singers like Mukesh and Manna Dey too. However, his own career unfortunately could not reach the critical escape velocity, for reasons other than his merit as composer.

Chun Chun Kar Ke AAyi Chidiya – Ab Dilli Door Nahin – Lyrics: Shailendra

The song has remained so evergreen, that hardly anything more need to be said about it.

Ramnath has only other picture, Meera of 1947 to his credit. This is the film that was a remake of the Tamil version. Both had M S Suubulaxmi as the lead actor and, obviously, the lead singer. Ramnath was the music director who seems to have been added for the Hindi version.

Radhe Shyam Duniya Door Se Suhani – Aadmi – Lyrics Sartaj Rahmani

Getting to listen the song for the first time!

Jaidev, though did not use Mohammad Rafi in his maiden film Joru Ka Bhai. However, he has several of Rafi’s greatest songs to his credit.

Budhdham Sharanam Gachchami – Anjali – Lyrics: Nyaya Sharma

Even though the song has not attained the level of popularity that the Anil Biswas composition of 1960 film Angoolimal has attained, Mohammad Rafi has full justice to Jaidev’s concept of composing the tune to the spirit of the message.

Ravi made his debut from ‘Vachan’ in 1955. This film had two duets of Mohammad Rafi – a classic tonga song – Jab Liya Haath Mein Haath and one of the pioneering song in the genre of beggar songs –  O Babu Ek Paisa De De .

Dil To Kisi Ko Doge Kisi Ke Aakhir Hoge – Ek Saal – Lyrics: Prem Dhawan

Ravi has successfully created a classic-fit composition to Johnny Walker’s signature mannerisms.

Kis Ke Liye Ruka Hai Kis Ke Ruka Hai Karana Hai Jo Bhi Karle Ye Waqt Ja Raha Hai – Ek Saal – Lyrics: Prem Dhawan

Here is another successful experiment of using Rafi’s voice for a background title song. Ravi has used voices of Hemant Kumar (Ulaj Gaye Do Naina) and Talat Mahmood (Sab Kuchh Luta Ke) in the film..

Basant Prakash began his career in Hindi films from 1942. So he becomes one more of vintage era music director to work with Mohammad Rafi. He has composed two solos Dharti Maan Ke Veer Sipahi Jeene Marne Aaj and Gajar Baj Raha Hai Sehar Ho Rahi Hai in ‘Maharani’. I have not been able to locate the digital links to these songs.

S Haridarshan is another obscure music director whose first solo with Rafi, Aya Kar Ke Bhesh Nirala in ‘Shahi Bazaar’ seems to have no soft digital link.

To end the year with live linked song, we reach out a forgotten song from the film which had one Rafi song which remains a milestone even today- Jawan Ho Ya Budhiya Ya Nanhi Si Gudiya – Bhabhi (1957) – Music: Chitragupta – Lyrics: Rajinder Krishna); –

1958

1958 was also quite a productive year for Mohammad Rafi, with as many as 177 solo songs., with a fairly large share of some of the all-time greats like – Tujhe Kya Sunau Main Dilruba (Aakhari Dao, Madan Mohan); Bhala Karnewale Bhalai Kiye Ja (Ghar Sansar, Ravi); Hum Bekhudi Mein Tujm Ko Pukare (Kala Pani, S D Burman); Toote Hue Khwabon Ne (Madhumati, Sail Chaudhary); Man Mora Bawara (Ragini, O P Nayyar); Aaj Galiyon Mein Teri (Sohini Mahiwal, Naushad); Raat Bhar Ka Mehman (Sone Ki Chidiya, O P Nayyar); etc.

1958 has a fair catch of songs befitting our subject.

Mukul Roy, brother of Geeta Roy (Dutt), debuted with Sailaab in 1956, which he had produced too, in association with his sister.

Chhodiye Gussa Huzur Aisi Naraazgi Bhi Kya – Detective – Lyrics: Shailendra

On the Brother Mukul Roy page of the site Geeta Dutt.com, it is noted that the song borrows its main body and interlude from “Bimbo” – a 1953 Jim Reeves song.

Khayyam, technically, could be considered to have made a debut with a 1949 film Parda. But here we have films with his more official name. We have two films in this year. So, instead of choosing which film should appear as the one to include a maiden Rafi solo, I would prefer to place Hai Kali Kali Ke Lab  Pe Tere Hush Ka Fasana (Lala Rukh, Lyrics: Kaifi Azmi) in the phigh pedestal of an evergreen song. That leads us to another film, Phir Subah Hogi, in the same year.

Sabki Ho Khair Baba Sab Ka Bhala, De De Bhookhe Pet Ko Roti Ka Tukda – Phir Subah Hogi – Lyrics: Sahir Ludhyanavi

Here is the least noted song from the film which had some great Mukesh songs, including a Mukesh- Rafi duet, Jis Pyaar Mein Ye Haal Ho. The present song is a beggar genre song, wherein chorus of support singers also join Mohammad Rafi.

R Sudharshanam is a music director from the Tamil films, and as such would be content with scoring music for the remake-into-Hindi films.

Jis Dil Mein Lagan Manzil Ki Ho – Matwala – Lyrics: Har Govind

We have what is popularly known as Tonga genre song, wherein Rafi maintains high scale to reflect the high mood of the song.

Iqbal Quereshi, is one of those fairly known music directors, who could not make it as big as his caliber was. He makes a debut this year..

Milke Baitho Jodo Bandhan – Panchayat – Lyrics: Shakeel Nomani

This a background title song, and assuch conveys the core message of the film.

Adinarayana Rao, also is a music director from Telugu films, who makes appearance on Hindi films because of the remakes form the South. He, also, is the producer of Suvarna Sundari, the film that figures presently.

Ram Naam Japna Paraya Maal Apna – Suvarna Sundari – Lyrics: Bharat Vyas

The song is possibly made to cater to the Hindi film audience.

Maa Maa Karta Phire Laadla – Suvarna Sundari – Lyrics: Bharat Vyas

This is a background song, which typically is used a vehicle to carry the film story forward .

Dhani Ram, as per some of the records, was Guru of music directors like Vinod and O P Nayyar.

Botal Mein Band Jawani Peete Peete Dil Jaani – Taqdeer – Lyrics: Verma Malik

A fast paced, drunkad (sharabi) genre song, which I hae listened for the first time.

Is Taqdeer Ke Aage Koi Hi Tadbeer Chalti hai, Agar Chalti Hai Dunia Mein To
Bas Taqdeeir Chalti Hai, Is Taqdeer Ke Age Jhuk Gaye …  – Taqdeer – Lyrics: Verma Malik

This appears to be the background song, which typically is played with the film titles.

The receding-from-the-memory song that I have selected to end the present episode is a very unique Madan Mohan composition

Bada Hi CID Hai Wo Nili Chhatriwala – Chandan (1958) – Music: MadanMohan – Lyrics: Rajendra Krishna

Well, on the whole, the third five-year period of 1954 to 1958, for Mohammad Rafi’s maiden solo song with a music directors, has indeed proved to a very rich experience that has refreshed as many known or quite unknown songs, with a large catch of gems as an add-on bonus.

Next year we will take up the 4th Five-year period of 1959 to 1963, which expectedly should be as interesting as our present 3rd five-year period.

 

P.S.

All the three separately posted posts of Mohammad Rafi’s First Solo Song With The Music Director: 1954 -1958 can be accessed at / downloaded by clicking on the hyperlink.

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

Our focused topic for the month of August, 2018 is Mena Kumari’s 85th birthday on 1st August, 2018.

Google Doodle celebrates tragedienne Meena Kumari’s 85th birthday – The formidable actress in Indian cinema appeared in more than 90 movies during her career that spanned over three decades.

The Life And Death of Meena Kumari | Tabassum Talkies

The Films of Meena Kumari and Dev Anand did together are: Sanam (1951), Tamasha (1952), Baad Baan (1954) and Kinare Kinare (1963). I have selected on song from each of these films

Bedard Shikari Are Bedard Shikari – Sanam – Suraiya, Lata Mangeshkar – Husnlal Bhagatram – Qamar Jalalabadi

Thi Jinse Pal Bhar Ki Pehchan – Tamasha – Asha Bhosle – Khemchand Prakash / Manna Dey – Bharat Vyas

Dekho Chanchal Hai Mora Jiyara – Baadbaan – Asha Bhosle – Timir Baran, S K Pal – Indeevar

Har Ash Ashqbar Hai Har Saans Beqarar Hai – Kinare Kinare – Lata Mangeshkar – Jiadev – Nyay Sharma

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

The Great Sawan Songs of Bollywood – The month of Savan, 5th month in Hindu calendar, normally coincides with August. Hindi films have relished Savan in the songs.

Remembering Poet & Lyricist ‘Jan Nisar Akhtar’, whose maiden Hindi film song was Aa Jaane Wafa ( Anarkali, 1953, Geeta Dutt, Basant Prakash), but had first major commercial success was Yasmin (1955, C Ramchandra).

KHEM CHAND PRAKASH – The creator of musical gems, and the mentor of stalwarts like Lata Mangeshkar, Kishore Kumar, Naushad, Manna Dey and Bulo C Rani

Neel gagan ki chhaon mein – Deepa Buty relives the song from Amrapali on Vyjayanthimala’s birthday on 13 August 2018

[N.B. Deepa Buty is the founder of the site SongPedia, which has a tagline “For Music Lovers, By Muisc Lovers’. The site spots tags like Legends , Song Sketch, Collections, Startups, People, Songs, We will commence our detailed visit to this site from our next issue.]

Most Memorable Films of Vyjayantimala – Born on August 13, 1933, she was a natural performer who danced for the pope at the age of four. She started in films under MV Raman’s direction at AVM with Vazhkai/Jeevitham (1949), a bilingual film in Tamil and Telugu. The immensely popular film was later adapted as Bahar (1951).

My Favourites by Shakeel Badayuni  – the only lyricist to have scored a hat trick of Filmfare awards:

1961Chaudhvin Ka Chand Ho Chaudhvin Ka Chand
1962 – Husnwale Tera Jawab Nahin Gharana
1963Kahin Deep Jale Kahin Dil Bees Saal Baad

Two faces of Haribhai, a.k.a. Sanjeev Kumar is an effort to say some vaguely nice things about SK, by the author who is generally skeptical about the histrionics abilities of Sanjeev Kumar.

Interestingly, but certainly not having any link to the previous article, Dusted Off has chosen Nishan (1965), one of the early, B-grade Sanjeev Kumar films, for a full-fledged review this month.

The Songs of Gulzar shadow over his other roles as (originally assistant director) director and film script and dialogue writer.

in Part II, Monica Kar follows up, Musically Yours, 1963 (Part I) to pay a personal tribute to 12 music directors who created note-worthy compositions in 1963.

The Unforgettable Tunes of JAIDEV – unfortunately many of his best compositions are lost in unfinished films and albums.

The Master of Qawwali Roshan and some hidden qawwalis of Madan Mohan – In a career which had many parallels, as Roshan carved a niche in qawwaalis, Madan Mohan was known to specialize in composing the ghazals. The present post, lists the well-known Roshan qawwalis and some not so-known Madan Mohan qawwaalis.

The Great Yodeling Songs of Kishore kumar on his 89th birthday on 3rd August.

The world’s first South Indian Pathan? Why Sridevi’s accent in her Hindi films has never mattered – Edited excerpts from an upcoming biography of the actress, who would have been 55 on 13th August this year, by Lalita Iyer.  Shridevi had turned her language handicap into a quirk. Throughout her Hindi film career, she spoke Hindi with a thick, sing-song Tamil accent, and depending on whether one is a Shridevi fan or not, this could be grating or cute.

Shammi Kapoor – Who Sang his Songs from his Heart, whether they were serious pre-Tumsa Nahn Dekha songs or peppy post-Tumsa Nahin Dekha songs.

August, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Shailendra’s songs composed by Roshan.

And, now the posts on other subjects:

The Great Bollywood Songs based on Folk Music – The leading composers of Bollywood films had used the folk songs in successful films and popularized them.

Musical Rhythms of the Running Train – Trains have been integral to the lives of people ever since the first train ran in 1853 in India. In Indian cinema, there are lots of songs which are picturized either on the running train or in the backdrop of the moving locomotive, snaking through the hills and the fields. Kunal Desai observes how composers have created the basic rhythm for songs which were picturized on a train or with the train as the subject. It is the story and the scene sequences, which influence the sound arrangement of any song.

Hindi Songs with ‘Anokhe Bol’ is akin to the songs that Radio Ceylonbroadcasted in it’s the tehn popular program Anokhe Bol

On the World Photography Day, The Hindi Films where Hero plays a photographer.

Ten Songs from ‘One-Song-Wonder’ Films is a list of songs that were the one major hit song in a film otherwise characterized by forgettable songs. E.g. Tum jo aao toh pyaar aa jaaye from Sakhi Robin,

Seen But Not Observed  the instrument Double Bass like Michael Caine, who got his fame “as being seen, but not being observed”. Check out Mera naam Chin Chin Choo from Howrah Bridge, 1958, and also Teen canastar peet-peet kar gala phaad kar chillaana from Love Marriage, 1959). The interesting thing is that while most significant instruments have been played by at least one major Hindi film actor on the screen, the Double Bass has the dubious distinction of never having been played by a significant actor, except for a few seconds by Kishore Kumar in Gaana na aaya.

The Great FRIENDSHIP Songs of Bollywood – Friendships have remained a popular genre in Hindi Film songs.

Live Music While You Eat – Many restaurants offer music to add to the dining experience; ghazals, popular film songs or pop, jazz, country western, etc. A book by Charles Spence of Oxford University, Gastrophysics: The New Science of Eating, announces that music can make our food taste better. The posts lists songs where a person was seen singing in a restaurant. Not dancing and singing, because that becomes a story of song and dance. If the patrons themselves dance, that’s ok J

‘Forgotten Artists of Early Cinema and The Same Name Confusion’ – While introducing the maiden book – Forgotten Artists of Early Cinema and The Same Name Confusion  –  published by Shri Arunkumar Deshmukh , co-authored by Surjeet Singh, the post has listed a few songs that link up with the subject of the book. Here is one such song:

Hath Chakra Trishul Sadashiv Alakh Jagaate Nagari Mein Abhram Bhagat (NFS bhajan, 1940)

Book Review: Anil Zankar’s ‘Mughal-e-Azam: Legend as Epic’ (Harper Collins Publishers India, 2013; 200 pages; Rs 250) – The author,among a good many other interesting details,  mentions that of the fifteen songs originally written for the film, only twelve were finally used, he doesn’t mention that one song—Husn ki baaraat chali—was actually shot, though eventually not used in the film.

Behind the Human Curtain – As for our poetry, we put all cloaks under the simplistic umbrellas of ghunghat, parda and naqaab. While by parda we also mean a curtain separating the women from the men, the result being the same. And in this collective simplification can be found several songs from Hindi cinema.

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein after having covered solo songs of Suraiya and Geeta Roy,  Shamshad Begum. Rajkumari, Amirbai Karnataki (Part I and Part II) Zohrabai Ambalewali (Part I and Part II), we have now covered Khursheed, Noor Jehan & Kanan Devi, Meena Kumar, Naseem Akhtar and Zeenat Begum in ‘other’ female singers.

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

Rafi’s best songs by Madan Mohan – Madan Mohan has composed nearly 168 Mohammad Rafi songs, of which quite a few have everlasting fame. I have also picked up a very rarely heard, but famously enjoyable, song from the list:

Duniya Ke Saare Ghamon Se Begana, Ho Main Hun Mastana – Mastana (1954) – Madan Mohan – Rajendra Krishna

Yeh To Kaho Kaun Ho Tum – Akeli Mat Jaiyo (1963) – with Lata Mangeshkar – Madan Mohan – Majrooh Sultanpuri

Yahan Koi Nahi Tera Mere Siwa – Dil Ek Mandir (1963 – Shanker Jaikishan – Hasrat Jaipuri

Sanjeev Kumar Speaks on Mohammed Rafi

Haye Tabassum Tera – Nishan (1965) – Usha Khanna – Javed Anwar

Chalte Chale Chalo Chalta Hua Saahil Hai Zindagi – Insaan Aur Shaitan (1970) – Usha Khanna – Asad Bhopali

Teen Taal Par Naach Budhape Bachpan Aur Jawani Ka – Ek Bul Bula Paani Ka (1970 – Jaidev – Kaifi Azmi

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: January, 2018

Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963

Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) one hand is the only music director of Hindi Films to have been awarded three national awards and on the other hand the fate, machinations and his propensity for blending classical and folk music into his tunes getting him branded as “too arty” eluded the commercial success. In his entire career, he may not have scored songs for more that 30-40 films (around 100 songs), but he does remain enshrined in the very fond deeper recesses of connoisseur Hind Film fans.  His one of the greatest songs, Raat Bhi Hai Bheegi Bheegi”’s  Sahir’s lyrics probably very easily sits as an apt metaphor:

“Tapte dil par yoon girti hai
teri nazar se pyaar ki shbanam
teri nazar se pyaar ki shbanam
jalte huye junglel par jaise
jalte huye jungle par jaise
barkhaa barse ruk-ruk tham-tham
barkhaa barase ruk-ruk tham-tham”

(Your gaze falls on my red-hot heart like drops of dew just as the halting rains fall over jungle fire…)

Use of harmonium, clarinet and tabla in the song very loudly underscores his brilliance par excellence. In fact, in his first ever exposure to Hind film music world, as an assistant to Sarod Maestro Ali Akbar Khan in Chetan Anand directed Aandhiyaan (1952), he gets a special mention for playing surmandal in the background music.

Probably his musical brilliance and lack of motivation and skills to commercially market it consigned him to such other underrated stars as Sajjad Hussain or Madan Mohan.

We have remembered here songs for his first film as an independent director to probably his last commercially successful film in this first stage of refreshing our memories of the songs that epitomize his sheer brilliance.

Joru Ka Bhai (1955)

Kabhi Bhula ke Kabhi Yaad Aake Pooch Liya, Ye Kya Kiya Mujhe Apna Bana Ke Loot Lliya – Kishore Kumar, Balbir, Shamshad Begum and chorus – Lyrics: Vishwamitra AdilThis was the only film wherein Jaidev has used Kishore Kumar as well as Shmashad Begum.

There appears to be another version of the song as well:

Shamshad Begam, Kishore Kumar and chorus. –

Naina Kahe Ko Lagaye.. Hum Sang Naina Kahe Ko Lagaye – Asha Bhosle – Lyrics: Vishwamitra Adil

Jaidev has used Asha Bhosle for some of the equally outstanding songs as his songs of Lata Mangeshkar. THowever, not many of his Asha Bhosle songs did not attain as much success as those of Lata Mangeshkar. For example: The twin song penned by Sahir Ludhyanvi– Subah Ka Intezar Kaun Kare in Lata Mangeshakr’s voice and Teri Zulfon Se Pyar Kaun Kare in Talat Mahmood’s voice

Samundari Daku (1956)

Dil Jawaan Hai Aaarzoo Jawaan, Ek Nazar Idhar Bhi Meharbaan, Kab Talak Ye Hamse Berukhi, Kab Talak Rahegi Chup Jubaan – Talat Mahmood, Asha Bhosle – Lyrics Vishwamitra Adil

This is one of Jaidev’s very rare compositions based on western style tune. Talat Mahmood has been known for singing romantic songs of melancholic mood He has been as effective in this happy romantic song too.

Talat Mahmood has rendered this song as a solo version too.

Sama Pyaara Hai….Din Hain Bade Kaam Ke, Aana Aise Mein Dil Ko Zara Thhaam Ke -Asha Bhosle, S Balbir –  Lyrics-Vishwamitra Adil

Here is the song that is based on some Punjhabi folk rhythm.

Anjali (1957)

Kunj Kunj Gunjan Bhanware Ka. . . Buddham Sharnam Gachchhaami – Mohammed Rafi- Lyrics:– Nyay Sharma

Jaidev has very creatively used Lata Mageshkar in the aalaap at the beginning of the song.  The song then follows the Sinhalese original version with all subtle variations in the way song is delivered at different layers.

Aside:

The song that would probably come to our memory first would be Anil Biswas Meena Kapoor – Manna Dey composition from Angulimal(1960) : Buddham Saranam Gachhami , when we first see the key lyrics Budhdam….

[N.B.: By any means, I have not presented this song for any sort of comparison between the two songs or any music aspects thereof.]

Lo Chori Pakdi Gayee – Asha Bhosle, Sudha Malhotra, Usha Mangshkar, Meena Mangeshkar – Lyrics: Nyay Sharma

As simple tune and orchestration as the one here has a variation in the beginning of each antara. Nonetheless, the earthen sweetness befitting the situations – four friends going about their domestic chores – of the tune remains intact.

Raat Ke Raahi (1959)

Two out of five songs have been composed by Jaidev. The other three were composed by Bipin Babul.

Pau Baarah Pau Baarah Pyaar Mein Pau Baarah – Asha Bhosle – Lyrics: Vishwamitra Adil

Commensurate with meanings of the lyrics,the song manifests the energetic tempo and mood.

Hum Dono (1961)

Perhaps, commercially the most successful film in so far as popularity and critics acclaim for Jaidev’s musical score. However, he was on some meagre payroll of Naketan when he had composed the songs.  The commercial success of the songs too came up as big roadblock to Jaidev’s career graph. It is said that, for Navketan’s next film he already had composed two songs, but the inner wheels so moved that he was summarily shown the gates, forever.

Prabhu Tero Naam,Jjo Dhyaaye Phal Paaye, Sukh Daaye Tero Naam – Lata Mangeshkar – Lyrics: Sahir Ludhyanvi

For various reasons, the other bhajan “Allah Tero Naam, Ishwar Tero Naam’ has been  the more heard one of the two.

Kinare Kinare (1963)

The film had 11 songs of which only 5 or 6 were retained on the final editing table, and this 11th song is just out of the box:

O Mast Nazar Tu Chaahe Agar – Vinod Desai -Lyrics: Nyay Sharma

And the two songs from the other 10 gems:

Chale Ja Rahe Hain Mohabbat Ke  Maare Kinare Kinare – Manna Dey – Lyrics: Nyay Sharma

This song has been considered to be one of the greatest solo song of Manna Dey.

Teri Tasvir Bhi Tujh Jaisi Hasi Hai Lekin, Is Pe Kurban Meri Jan-e-Hazin Hai Lekin,, Ye Meri Jakhm-e-Umango Ka Madaawa No Nahi – Mohammad Rafi – Lyrics: Nyay Sharma

A complicated poetry that Jaidev has so subtly translated into a soft song.

Mujhe Jeene Do (1963)

A film from a big banner production house (Sunil Dutt’s Ajanta Arts) that did very well on the ticket window collections, The songs also got all round acceptances. However, this time the success again was not destined to boost Jaidev’s career graph – Something that transpired between the two resulted into break up with Sahir Ludhyanvi, with whom every association of Jaidev had resulted into highly successful outcomes.

Maang Mein Bhar Le Rang Sakhi ri Aanchal Bhar Le Tare Milan Ritu Aa Gayi  Asha Bhonsle,- Lyrics:Sahir Ludhianvi

Jaidev has used Asha Bhosle, as well as Lata Mangeshkar, for widely varying mood songs in Mujhe Jeene Do

Mohe Na Yoon Ghoor Ghoor Kar Dekho Najar Lag Jaayegi – Lata Mangeshkar – Lyrics: Sahir Ludhianvi

Lata very lightly renders this thoomari-style folk –toned song. The song seems have been truncated out in the film.

Here is the full song in the audio mode:

Jaidev’s brilliance was not totally missed hereafter, even if commercial success never peaked to this level. But, probably that was what destiny had chalked out for him, as composed by him in Sahir’s words:

Kaun Rotaa Hai Kisi Aur Ki Khaatir Aye Dost,

Sabko Apni Hi Kisi Baat Pe Ronaa Aayaa

[No one weeps for someone else, my friend. Everyone does weep for his own tales only.]

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 – August,2016

Welcome to August, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

One of our regularly visited blogs Dances on the Footpath celebrated its ninth anniversary on 30th July, 2016. We join all the readers to congratulate the blog author Richard on this great milestone.

As we delve into the posts on Anniversaries,

We take a belated note of the 80th birth anniversary of Nutan @ The origin of my admiration for Nutan and join in sharing the author’s views : «Nutan shares with classic Indian cinema this quality that I find so important and that we in the West have lost, in a way: a fundamental honesty. She adds to this quality something personal and special which I choose to call vibrant grace”.

Happy birthday Kishore Kumar: Top 5 things to know about the legendary singer – Kishore Kumar started his career in the field of acting, with “Shikari” in 1946. – 1946 is when S D Buramn also made his debut with Hindi films – In 1948, music director Khemchand Prakash gave Kishore Kumar a chance to sing “Marne ki duayen kyon mangu” for the film “Ziddi”…During the making of ‘Mashaal’ way back in 1950, Burman visited Ashok Kumar’s house, where he heard latter’s younger brother, Kumar imitating KL Saigal. Kishore Kumar, along with R D Burman, also formed a formidable team which ensured a volley of  chartbusters whenever they came together.

The Unforgotten and Unremembered Genius Jaidev – A tribute on his 98th birth anniversary (3 August 1918 – 6 January 1987) – Jaidev was neither a remembered composer nor a forgotten one. He is also possibly the only music director to have won the National Awards thrice for Reshma Aur Shera (1971), Gaman (1979) and Ankahee (1985). We have picked up a few songs here:

We also have a couple of more articles on Jaidev:

And so far as I am concerned, no discussion on Jaidev could ever without remembering

Raat Bhi Hai Khuchh Bhigi BhigiMujhe Jine Do (1963) – Lata Mangeshkar – Sahir Ludhyanvi

We now take a look at posts on other subjects –

The ‘Biopic’ TeaserDebamitra Mitra – “Biopic films have more often than not run into controversies and debates about the authenticity in depicting the life of a celebrated person. From the Hollywood myth-making trends to the Bollywood surge in making biopics on sports-persons, film-makers worldwide are perennially plagued with legal hurdles, insufficient data and at times difficulty in finding the proper actor for the role. However there is no doubt that biopics have an important significance in the contemporary film culture.”

Rimjhim ke Taraane… The Breezy Rain SongsAntara Nanda Mondal and Peeyush Sharma relive at some evergreen rain songs of Hindi films that never cease to evoke a smile, a memory or simply uplift the heart, especially when you hear the raindrops starting to fall. Readers have also chipped in with songs on rain.

Ten of my favourite songs of waiting – “Waiting, of course, can be of different types, and for different things. It can be a patient wait, for something one knows is coming one’s way. It can be restless, dominated by an urge to do something to alleviate one’s own suffering. Or the restlessness can be one of hopelessness, of knowing that one waits for something that can never come to be…One may wait for a much-longed for event to happen. One can wait for news. For friends, relatives. And, much more frequently in Hindi cinema, where romance is such an important element of most plots, for the beloved.”

Kuchh to log kahenge” has presented songs wherein emphasis has to be on the issue of ‘saying’, e.g.

Patriotism and cinema are old companionsSanjukta Sharma – Directors and producers of 1950s’ Hindi cinema best exploited the patriotic sentiment …. In Hollywood and other big film-making nations like India, patriotism is a commonly used, commercially lucrative storytelling trope. Even a romance has a few patriotic scenes.

Santoshi Maa: The celluloid goddess – Ruchika Sharma – How an unexpected hit in the 1970s catapulted a minor local goddess to national fame.. The mythological, being unique to Indian cinema, is also its founding genre. Starting with Dadasaheb Phalke’s 50-minute silent movie Raja Harishchandra (1913), mythologicals dominated the silver screen before Independence. Their numbers began to dwindle post-1947, and by the 1970s, they had been relegated to the B-circuit….This was until Jai Santoshi Maa, a low-budget movie featuring unknown actors, became one of the highest grossing films of 1975, alongside Sholay and Deewar.

Here, Have Some Chutney! – Chutney is a fusion of Indian and Caribbean music that was born in the mid-20th century. Wikipedia specifically mentions that the people who created chutney music had ancestors in Bihar and Uttar Pradesh…. [the post has presented several video clips that gives enough idea about the subject….]

Faiz & Nayyara Noor – “Jab Teri Samandar AankhoN maiN” – Unlike Faiz Ahmed Faiz’s very popular, overtly political poetry, Yeh dhoop kinaray is an example of Faiz at his finest.

Harmonium has remembered two of my favorites records [Talat Mahmood] In a Blue Mood and In 1976 The Finest Ghazals from Mohd. Rafi @ Mixed up Blue: Talat Mahmood  and New and Old Ghazals: Mohammad Rafi respectively.

The Power of Holding Hands is so aptly presented via Hum Panchhi Mastane (Geeta Dutt, Lata Mangeshkar – Dekh Kabira Roya (1957) – Madan Mohan – Rajendra Krishna).

Usha Kiron – Dr. Kher Wedding Picture (May, 1954)

Usha Kiron – Dr. Kher Wedding Picture (May, 1954) - Shammi (right) “says” it with flowers

Shammi (right) “says” it with flowers

As we could not cover articles form Scroll.in last month, we have a deluge of articles that have to be accommodated in our episodes. This month also our episode seems to be bordering on being too verbose. So, we will need to take them up  in smaller groups in our forthcoming issues.

In Micro View of the Best Songs of 1949 @SoY, having covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs in the Male Solo Songs category till now, I followed it up with MY Top Male Solo Songs, choosing Mohammad Rafi as the Best Male Singer for 1949 and his Suhani Raat Dhal Chuki (Dulari, Naushad) as the Best Song. SoY also has released Best songs of 1949: Wrap Up 1, choosing Mukesh as the Best Male Singer and Tu kahe agar as the Best Male Solo.

Then,  I have finished up the Micro View of  Solo Songs of ‘Other Than Lata Mangeshkar’ Female Singers, in which we covered Suraiya, Geeta Roy , Shamshad Begum, Raajkumari, Asha Bhosle, Surindar Kaur,Uma Devi and Meena Kapoor to end up with solo songs of Lalita Deulkar, Amirbai Karnataki, Hamida Bano, Zeenat Begum and Pushpa Hans. I also went on to wrap up the subject My Choice of the TOP Solo Songs of the Other Female Singers for 1949. My final choice was a toss-up among Suraiya ( Woh Pas Rahe Ya Door Rahein, Nazron Mein Samaye Rahate Hain); Shamshad Begum – Na Bol More Angana Pi Pi Panchhi Ja Re Ja and Raajkumari – Ghabra Ke Jo Ham Sar Ko Takaraye To Achcha Ho. SoY also has released its analysis and choice@ Best songs of 1949: Wrap Up 2, which happens to be Shamshad Begum, followed by Suraiya.

Our journey now continues with Solo songs of Lata Mangeshkar, part 1 and 2 of three part review.

We have some more of articles on Mohammad Rafi’ on his 36th death anniversary 31st July, 2016:

In his tribute, Not just Hindi: When Mohammed Rafi sang in English, Creole, Dutch and Persian , Manish Gaekwad  recounts how the legendary singer extended his vocal range to foreign languages whenever he got the opportunity.

On Mohammed Rafi’s 36th death anniversary, the question lingers: How did he sing so effortlessly? – While lamenting as to we are still waiting for the definitive study of the timeless songs he sang, Akshay Manwani  takes us through Mohammad Rafi’s versatility over a widest possible range – of subjects, situations, notes and all that ““Rafi sa’ab jo kar saktey hain”.

Month of August also has one more very strong connection with Mohammad Rafi – his patriotic songs:

Are you patriotic tonight? Here is a songlist that will make your heart swell with pride– India’s greatness has been frequently celebrated through nationalist songs, as proven by Manish Gaekwad’s  potted list.

List of 120 Patriotic songs by Rafi Sahab – Swaminathan Rajan has painstakingly collected film and non-film songs here

In order to maintain continuity with the subject of patriotism, we will end our present episode with

Vande Mataram on recycled instruments and other versions of the modernised national song, which happen to be one more take-off on AR Rahman’s ‘Vande Mataram’, not the original one.

I look forward to receive your inputs for further enriching the contents of the posts…..