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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December 2020

Mohammad Rafi’s First Solo Song With The Music Director: 1967-1969

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

We have reviewed the first part of the years 1964 – 1966 for the present 5th  Six-Year Period , and for the time last part of the present series in July 2020. Presently, we will take the last three years – 1967 to 1969 – of this 5th period.

As has been noted by the musicologists and the Film Music historians identify three main stages for the first 25 years of a 50-years long active career. ‘40s was the period for Mohammad Rafi to create his space in the playback singing. The period of 50s was the period of consolidation and strengthening his position. He started getting varied song genres by almost all music directors and emerged as THE voice for many of the heroes of that period. One male playback singer who was displaced totally by the end of the ‘50s was Talat Mahmood. ‘60s was the period he was considered to adapt to racy compositions that was now becoming the order of the day. He was the automatic choice for the next generation heroes who came up on the scene in the early ‘60s.Mohammad Rafi developed customized theatrics for most of the heroes.

In the year ’69 Rajesh Khanna suddenly came out of his initial struggle period with Aradhana, 1969, (Music S D Burman, but virtually conducted by R D Burman because of SDB’s ill health) and Dushman, 1971 (Music- Laxmikant Pyarelal). R D Burman and Laxmikant Pyarelal were the new stars of the emerging, new, generation of the music directors, who had huge success in the use of Kishore Kumar as THE voice of Rajesh Khanna. As a result, Mohammad Rafi started losing his top position. He continued singing almost till the end and did have quite a few ‘good’ songs, history records this period as the period of the afterglow after the Sun has finally set for the day.

Moreover, as was observed in the first three years of the present 5th Six-Year Period, on one hand, the entry of new music directors who were to succeed in the years to come seemed to dry-up considerably. On the other hand, the music directors and the lead actors of the previous generation, who distinctly preferred Rafi, were distinctly seen ‘aging out’. It therefore makes all the more sense to complete the series of Mohammad Rafi’s First Solo Song With The Music Director with year 1969, as we take up the years 1967 to 1969.

1967

The year 1967 has 88 solo songs for Mohammad Rafi.  Mohammad Rafi has had fairly popular songs from the films like Aman. An Evening in Paris (music director for both – Shankar Jaikishan, Amne Samne (Music: Kalayanji Anandji), Nai Roshani (Music : Ravi), Naunihal (music: Madan Mohan), Palki (Music: Naushad), Taqdeer(Music: Laxmikant Pyarelala). From his many popular songs during 1967, I would even consider Hum Intezaar Karenge Tera Qayamat Tak (Bahu Begam; Music :Roshan, Lyrics: Sahir) and Tere Pyar Ne Mujhe Gham Diya (Chhaila Babu, Muic: Laxmikant Pyarelala, Lyrics: Asad bhopali) that has strong shades of charm – less theatrics, more depth – of Rafi that we had seen during later pat of ‘50s. Mohammad Rafi had had two songs in Oriya film a’Arundhat’ and one in Gujarti film, ‘Sneh Bandhan’ –

Milan Na Deep Sau Bujai Gaya Chhe  (Muisc: Dilip Dholakia)

The year 1967 has only music director Bhushan, who has his first ever Mohammad Rafi solo song. If I have been able to get all correct references, Bhushan seems to have only one more film – Purani Pahechan (1971) – subsequently.

Baithe Baithe Dil-e-E Nadaan Ye Khayal Aaya Hai – Maikhana – Lyrics: Kidar Sharma

We have here Mohammad Rafi that we usually hear in his NFS ghazals – playing with lyrics of mukhada differently every time, with deep emotions, sans all loudness even when he raises the scale a few notches.

1968

The year 1968 has 82 solo songs of Mohammad Rafi. The successful films for the year include Aadmi, Sangharsh (music director for both ; Naushand), Brahmchari, Jhuk Gaya Aasman, Kanyadaan, Mere Huzoor  (All: Shankar Jaikishan), Mere Hamdam Mere Dost (Music: Laxmikant Pyarelal) , Neel Kamal (Music: Ravi).

I would pick up Mile Na Phool To Kanton Se Dosti Kar Li (Anokhi Raat, Music: Roshan, Lyrics; Kaifi Azmi) and Dil Ki Awaz Bhi Sun Mere Afasane Pe Na Jaa (Humsaaya, Music: O P Nayyar, Lyrics: Shewan Rizvi) as real Rafi-touch songs.

We have five music directors – Ved Shethi, Parmarthi Ashwatham, Ram Kadam, S Kishan and Jimmy / Premnath recording their first solo songs for Mohammad Rafi this year.

Ved Shethi has only one Hindi film to his credit.

Ek Nanhi Si Kali Roye Daali Ke Liye – Aanchal Ke Phool – Lyrics: Naqsh Lyalpuri

The song is background genre song, that describes the fate of the child protagonist. The lyrics for these songs usually convey the meaning for the song. Singer has to ensure that he /she remains faithful to that message.

Pamarthi Ashwatham belongs to those music directors who have rendered music for the films that were originally made in South Indian languages.

Kaahe Ka Rona Dhona – Ram Aur Raheem (1968) – Lyrics: Sant Kabir

The film was directed by V Nagaiya. Nagaiya and Surya Kumari were in the lead roles. It had as many seven Mohammad Rafi solo songs, all Saint Kabir’s bhajans.

Ram Kadam was essentially a music director of Marathi films (113 films) who has also scored music for three Hind films and 1 Telugu film. We have two solo songs for his 1968 film Raaste Aur Manzil.

Jalte Jalte Ho Gayi Gam Ki Raat, Ho Gayi Gam Ki Raat, Khatam Hua Dil Jalte Jalte – Raaste Aur Manzil – Lyrics: Ibrahim Faiz

This is a poignant mood song. Rafi has done full justice to the mood.

Main Bahut Door Chala Aaya Hun – Raaste Aur Manzil – Lyrics: Ibrahim Faiz

Hindi films show the heroes resorting to heavy drinking to forget his sorrows. That always an ideal situation for a drunkard genre film.

S Kishan seems to have composed films earlier too, however all these B or C grade films never seem to have even faintly succeeded at the box office.

Ab Madad Farmaiyiye Mehboob Subahani Meri – Tattar Ki Haseena – Lyrics: M Yusuf

This is film which uses the folk themes – this time for the Tattar community of Mongolia. As can be expected, the composition has a strong influence of Mid-east music style.

Jimmy (James Singh), a Christian Sikh, from Ludhiana, had a long stint at Hindi films, but was not rewarded according to his merits. However, he has attained fame as the first music director  to have a ‘yodelling’ song – Ek Do Teen Char, Bagon Mein Aayi Hai Bahar – by Kishore Kumar (With Asha Bhosle, Muqqadar, 1950). Shrimatiji (1952) is his relatively more remembered film.

One more music director- Premanth– is also credited as (joint) music director for the film Tarzan In Fairyland.  However not much information is available about him

Hindi Cinema has all kinds of films made with Tarzan and King Kong. It seems Tarzan and King Kong also were infected with song-singing virus. The film Tarzan In Fairyland has one Mohammad Rafi solo – Ho Gaalon Pe Gulab Liye Nainon Mein Sharab Liye – probably composed by Premnath, for which I have not been able to find a digital version on the net.

1969

The year 1969 has 114 solo songs for Mohammad Rafi. The films that had all Rafi songs on the high-popularity chart were Aaya Sawan Jhhom Ke (Music: Laxmikant Pyarelal), Chirag (Music Madan Mohaan), Pagla Kahin Ka (Music: Shankar Jaikishan) and  Pyar Ka Mausam (Music: R D Burman).

It is really interesting that one music director who changed the course of Hindi Male Playback Singing history – though, officially, as assistant to S D Burman in Aradhana – has three solos and one duet for Rafi in Pyar Ka Mausam (Lyrics: Majrooh Sultanpuri, all of which have been filmed on the lead male actor, Shashi Kapoor. Of the three solos, Che Khush Nazare….Ke Khud Pukare Ke Hai Pyar Ki Manzil is a mandatory song wherein hero entices heroine by his happy-go-lucky mannerisms. Tum Bin Jaun KahaN had four versions in the film – two each by Kishore Kumar and Mohammad Rafi, each with a happy and sad shades version each respectively. The Kishore Kumar fans o one side and Mohammad Rafi fans on the other side were strongly divided then, as they may probably be divided today, as to which of the version is better delivered by the singer. Well, I have no intention to step into the quagmire of that discussion here. Rafi – Lata duet – Ni Sulatana Re – was the undisputed THE popular song of the films. The irony of the fate that is Hindi film music is that it was Pyar Ka Mausam that turned out to be launching pad that ser R D Burman to the outer orbit of success.

Narayan Dutt is again a music director about whom not much is known. The only notable feature that can be be note of the film ‘Pujarin’ is perhaps the only film wherein Rehana Sultan is not in her ill-famed ‘bold’ roles.

Piya Ki Nagariya Taj Ke Gori Jaaye Re – Pujarin – Lyrics: Madan

This is a background song, for the one of the extremely popular Hindi Film situations of Bride Farewell from her parental home after the marriage.

With that we also bid farewell to our Six-Part series Mohammad Rafi’s First Solo Song With The Music Director…. Till we meet again for a series on Mohammad Rafi’s Duet Song From the FIRST Film With The Music Director.


Both episodes of the 5th Six Year Period of Mohammad Rafi’s First solo with a Music director – 1964-1969 can be downloaded as one file by clicking on the link.


All six parts of the series Mohammad Rafi’s First Solo Song With The Music Director can be read / downloaded as one file by clicking on the hyperlink.


All episodes of Fading Memories…. Unforgettable Songs, from January 2020 to December 2020 can be read / downloaded by clicking on Fading Memories…. Unforgettable Songs 2020.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – April 2020

Welcome to April 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

April was the month of COVID-19 induced nation-wide lockdown. So here are two posts on the subject:

Lockdown Lyrics: Songs for Covid-19 Times is a bunch of upbeat songs that, in some way or the other, relate to this lockdown. Enjoy!

Here a few representative ones :

My Favourites: Songs of Sickness looks at the songs that have the medical interpretations of the lyrics that would make for some interesting illnesses, e.g.

  1. Chhuo Na Chhuo Na Alabele Mere Saiyan – Honeymoon (1960)- Sabita Banerjee, Mukesh – Salil Chowdhury – Shailendra

.“Guide, The Film: Perspectives” – Lata Jagtiani & Other Writers | Blue Pencil, New Delhi, 2019 | ISBN: 978-81-939555-2-9 – review is a good by-product of COVID-19 lockdown. A quote by RK Narayan, pointedly mentioned in the post, has all the more relevance in these times – loneliness is the only truth in life. The post also adds a very perceptive conclusion that “Marco discards Rosie, who, in turn, discards Raju, and, finally, Raju discards the physical world to self-actualise”, because there is room for only one at the peak of self-actualisation.

And then there is one for the children too, in the form of a list of some of the best children’s movies @ CHILDREN’S MOVIES TO SEE DURING LOCKDOWN

We pick up other tributes and memories:

The immortal voice: The echoing memories of KL Saigal on his birth anniversary – Sharad Dutt offers a tribute to KL Saigal on his 116th birth anniversary (4 April 1904 to 18 January 1947). A film career that merely lasted fifteen years (1932-1946), K L SAigal performed in just about 36 films and rendered about 185 songs in Hindi, Urdu, Persian, Punjabi, Bangla and Tamil, thus proving the dictum that it’s not the extensiveness but the intensity of those renderings that bequeaths the mantle of immortality.

[N.B. – For those who would like to know more about Sharad Dutt , here is Guftagoo with Sharad Dutt.  Sharad Dutt has authored a national award winning book, Kundan: Saigal’s Life and Music, which has  a treasure of  archival records, rare photographs and posters of Saigal’s films.]

Versatile musical genius – Kamal Dasgupta – Sharad Dutt – With a career of about fourteen years, Dasgupta have approximately 8,000 songs under his belt including 80 Bengali movies – his unique contribution was the invention of a shorthand method for swaralipi

Anuradha, or the musical genius of Pandit Ravi Shankar, Lata Mangeshkar and Shailendra – Music is in every frame of Hrishikesh Mukherjee’s film, and the soundtrack is the kind that stays in one’s head for a long time. Anuradha won the National Award for the Best Feature Film and was nominated for a Golden Bear at the Berlin International Film Festival. To mark the 100th birth anniversary of Pt. Ravi Shankar, it would be fittingly appropriate to spend time with the music of Anuradha.

Veteran Actress Nimmi No MoreYesteryear actress Nimmi (a.k.a. Nawab Banoo) breathed her last on 26th March, 2020 evening in Mumbai. She was 88 years old.

We have two posts in a homage to the career of Nimmi –

The isolation of Bhuvan Shome is all too real in a time of social distancing – The thing about Bhuvan Shome is that actually, very little happens. In terms of its actual plot, the 96-minute Hindi movie, adapted from a Bengali story by Banaphool, could easily be a 20-minute short film. But then it wouldn’t be the classic it is, the movie that pioneered an entire cinematic movement. As a tribute to Utpal Dutt’s 91st birth anniversary, watch Bhuvan Shome not only for the pioneering example of cinema it is, but also for its strangely beautiful depiction of a different kind of loneliness.

Ranjit Chowdhry (1955-2020): ‘Khoobsurat’ and ‘The Office’ actor dies at 65 – Across three decades, Chowdhry worked with Basu Chatterjee, Hrishikesh Mukherjee, Mira Nair, and Deepa Mehta.He passed away in Mimbai 0n 15-4-2020

Ranjit Chowdhry in Last Holiday (2006). | Paramount Pictures

Johnny Walker: Comedy’s Humane Face – Johnny Walker (a.k.a. Badruddin Jamaluddin Kazi) worked under a strict self-imposed regimen as to his demeanour. He was never loud. He never took recourse to slapstick and was never vulgar. He became another name for comedy in Hindi cinema. And if there were ever an idol to symbolize mirth and laughter, it would not be surprising if it resembles Johnny Walker in appearance.

Remembering Satyajit Ray: The Rare Master of All Trades – Though the world chiefly knows him as the creator of some of the most elegant films ever made, he was also a multi-talented mind.

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

Jawani Diwani was candyfloss Bollywood, but it turned many stereotypes on their head – To mark Balraj Sahni’s death anniversary (13-04-1973), here’s a throwback to Jawani Diwani, a movie that he is not known for, but that would be poorer without him. it is his character upon whom the wheel of Jawani Diwani turns. His is not the lead role, but it is the one that makes the gossamer-thin plot move forward, and he plays it with the restraint and dignity we all know him for.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up the last of Manna Dey’s Comedy Songs. For Mehmood

March 2020  episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958. Till now, we have covered :

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

We will now take up the articles on other subjects:

Amar Prem tells the story of relationships that have no name but the power to break hearts – Not Shakti Samanta, Rajesh Khanna or Sharmila Tagore — it was Anand Bakshi’s lyrics that gave this movie its soul.

Baaja that was Harmonium that was Music – Indian music has a history of a strange love-hate relationship with the harmonium. The present post presents songs which has visually appealing presence of Harmonium. I have picked up one song from this post here:

‘Mera Sundar Sapna Beet Gaya’ – Filmistan Studio – It as a banner which with its wonderful music based high quality movies mesmerized its viewers leaving an indelible imprint on their minds. It was this banner which gave us ace composers like S D Burman(Shikari, 1946) and Hemant Kumar (Anand Math, 1952) and well-known producer-director like Subodh Mukherjee. The beautiful and bubbly actress of the 1950s, Shyama had also made her debut as a heroine under this banner. Hindi Cinema’s first totally western music inspired song – Aana Meri Jaan Meri Jaan Sunday Ke Sunday  – was also made under this banner.

Revisiting ‘Yehi Sach Hai’, the short story that inspired ‘Rajnigandha’books to film  –  Nirupama Kotru – Manu Bhandari’s Yehi Sach Hai was published in 1966. Basu Chatterjee’s Rajnigandha, the 1974 movie based on Yehi Sachi Hai, waters down some of Bhandari’s more radical ideas, while retaining its core themes – a woman’s romantic dilemma, and her quest for a well-paying job.

A Rivière of Asha Bhosle – S D Burman Gems- Her transformation from Geeta-esque Asha to a complete playback singer with her own adaptable style is clearly seen under the baton of S D Burman. E.g.. Dil Ki Manzil Kuchh Aisi Hai Manzil – Tere Ghar Ke Samne (1963) – S D Burman – Hasrat Jaipuri

How film composers have used raag Maand to express love and longing – In Hindi cinema, both SD Burman (Piya Tose Naina Laage Re, Guide, 1965) and Naushad (Bachpan Ki Mohabbat – Baiju Bawra, 1952) picked Maand for situations that expressed passion.

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

Jaane Kahan Gayee Dil Mera Le Gayi Woh – Dil Apna Aur Pree Paaryi (1960) – Mohammad Rafi – Shankar Jiakishan – Shailendra

Phir Teri Yaad Naye Geet Sunane Aayee – Bekhabar (1964) – S Mohinder – Raja Mahendi Ali Khan

O Lakshmi O Sarsu O Sheela O Rajni… Dekho Kya Kay Laya Ye Mausam Is Bar – Kahin Aur Chal (1965) [Unreleased] – Shankar Jaikishan – Hasrat Jaipuri

Hame Pyar Karne Na Dega Zamana, Agar Ho Sake To Mujhe Bhul Jana – Pyar Ki Baazi (1967) – with Geeta Dutt –  Jimmy – Indeevar

I look forward to your inputs to enrich the contents of Carnival of Blogs on 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: August, 2017

Shailendra and “Other” Music Directors

Shankardas Kesarilal , born on 30 August 1923, popularly known to all of us Shailendra ,passed away by living a Chhoti Si Yeh Zindagani, like a comet that lit the sky while it lasted, at (just) the age of 43 on 14 December 1966.

Most of the songs that Shailendra wrote under the batons of Shanker Jaikishan or Salil Chaudhary or S D Burman have already been immortal. In a career[i], spanning around 800 released songs for Hindi films, Shailendra had had opportunity to work with several ‘other’ (than these three) music directors as well. Most of these songs also have been equally live in our memory today.

We will dedicate our August, 2017 episode to Shailendra’s songs with the ‘other’ directors. For this episode, special care has been exercised to cover to select chronologically first film with that music director while casting the net wide enough to cover as broad spectrum of singers as is possible. Also, I have intentionally chosen songs that I have either not heard or those that need a refresher push.

The first set of these songs, coincidentally, have Geeta Dutt as (one of) the singer.Geeta Dutt had hardly any occasion to sing Shanker Jiakishan songs. By the time Shailendra teamed up with S D Burman, S D Burman had switched over to Lata Maageshkar. So is the case with Salil Chudhary’s songs too. Therefore, this has turned out to be good incidence where we can hear Shailendra’s songs in Geeta Dutt’s voice.

Kaise Rokoge Aise Toofan Ko – Anand Math(1952) – Talat Mahmood,Geeta Dutt – Hemant Kumar

The song apparently is meant to divert the chasing British police, but has an apparent message for the inadvertent hurricane the freedom fight is likely unleash. Geeta Bali sings with gay abandon that may also mean the upsurge from the young hearts.

Ghir Aayi Hey Ghor Ghata, Apni Majbooriyon Se Lipat Ke Pyar Rone Laga – Badnaam (1952) – Geeta Dutt – Basant Prakash

The song is an ideal fit with our image of silken smoothness of Geeta Dutt’s voice.

Teri Chahat Mein Balam, Teri Chahat Mein Sanam Meet Gaye Ham Teri Kasam – Shrimatiji 1952 – Geeta Dutt – Jimmy

This is a dance song that seeks to hoodwink the listeners so as to cover the acts of the partner in the deed. So the lyricist has to not only pack in a meaningful, mind-catching message for the lay listeners and but also has to convey an intended message to the target partner.

Yeh Rut Yeh Raat Jawaan – Sailaab (1956) – Geeta Dutt –Mukul Roy

The film had 4 songs penned Majarooh Sultanpuri, 1 by Madhukar Rajashathani and 2 by Hasrat Jaipuri . All songs are in Geet Dutt’s voice, except one which had Laxmi Roy.

We now move on to songs that have other playback singers.

Mere Dil Ki Dhadkhan Kya Bole – Anhonee (1952) – Talat Mahmod, Lata Mangeshkar – Roshan

After SJ, SDB and Salil Chaudhary, Shailendra has written most number of songs for Roshan in films like Nau Bahar , Sanskaar (both in 1952), Aagosh and Mashuqua in 1953, Chandani Chowk (1954), one song each in Cofee House (1957 and Aji Bas Shukriya (1958), Deep Jalte Rahe, Heera Moti and Madhu in 1959, and Soorat Aur Seerat in 1962.

Desh Ki Dharti NeLalkara Gunja Aazadi Ka Naara – Chhatrapati Shivaji (1952):- Chitalker, chorus – C.Ramchandra

This song adds genre of patriotic songs in the Shailendra’s arsenal.

The other film where Shailendra teamed up with C Ramchandra is Anrakali (1953), which has such immortal songs as Aaja Ab To Aaja Mer Kismat Ke  Kharidar and Dua Kar Gham E Dil Khuda Se Dua Kar.

Dil Ki Lagi Khel Nahin – Bhai Saheb (1954):- C H Atma, Kaumudi Munshi – Ninu Majumdar

Each is piece of the song – singers, music directors – except Shailendra is quite rare.

Badi Mushkil Hai (Lata Mangeshkar) /\ Jiyunga Jab Talak (Talat Mahmood) – Chingari(1955) – Manohar

Down the career, Shailendra has given several meaningful twin songs. Here is the one early one.

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Sawan Aaya – Pipili Saheb (1954) – Usha Mangeshkar, Meena Mangeshkar, Shaminder – Sardul Kwatra

Here is the song that has the basic flavor of a very rustic setting that is presented with in its natural simplest form.

Mehfil Mein Kaisi Chaam Chaam – Dilli Darbaar (1956) – Lata Mangeshkar – S N Tripathi

Shailendra has teamed up with S N Tripathi for more than one film – like mythological Ram Hanuman Yudh (1957) or Shiv Parvati (1962) to a period film Sangeet Samtrat Tansen (1962) to a social film Kunwari (1966).

Chal Ri Ameeren Bhai Chal Re Fakire – Dilli Ka Thug (1958):- Kishore, chorus – Ravi

This is one more example of Shailendra’s comfort in dealing with unusual situations. Here is the song that is a traditional dance song attributed to street-performances of a monkey trainer with his pet monkey. Compare this song with another song of the film, a Kishore- Asha duet – Ye Raatein Yeh Mausam Nadi Ka Kinara.

Chhupa Chhupi O Chhupi Agad bBagad Jai Re, Chuhe Mama O Mama Bhag Billi Ai Re – Savera (1958) – Manna Dey, Lata Mangeshkar – Shailesh  Mukherjee

The lead protagonists become young children in the company of the children and so does Shailendra.

Ho Choonva Moonva…. Deke Daam Lele Maati Ka Khilauna Kaisa Khel Khele Ye Maati Kholauna – Naya Kadam (1958) – Shailesh Mukherjee – Shivram–Narayan

Shailendra deftly uses a traditional street performance to deliver a strong philosophical message. I am not sure that singer of the song, Shailesh Mukherjee, is the same person as music director Shailesh Mukherjee.

Nani Teri Morni Ko Mor Le Gaye, Baaki Jo Bacha Tha Kaale Chor Le Gaye–  Masoom (1960) – Ranu Mukherjee – Robin Banerjee

The film had 5 more songs – 4 by Raja Mahendi Ali Khan and one by Sahir Ludhyanvi. So, obviously Shailendra has been allotted this situation wherein the child artistes perform the song on the screen. The song had been quite popular.

Hai Re Woh Din Kyon Na Aaye, Ja Ja Ke Ritu Laut Aaye Re – Anuradha (1960) – Lata Mangeshkar – Pt Ravi Shankar

In an otherwise an experimental social film, the songs filmed on the heroine, Anuradha (lela Naidu) help strongly develop the characterization of the role. Here is a song that is coposed on a fairly difficult Carnataki Classical Raag – Jansammohini, also known as Shiv Kalyan or Madh Kalyan.

Asides:

The piece that is considered to have inspired the song is  Ganpat Vighanharan  :

शुक्लाम्बरधरं  विष्णुं  शशिवर्णं चतुर्भुजं । 
प्रसन्नवदनं  ध्यायेत्   सर्वविघ्नोपशान्तयेत्  ।
अभीप्सितार्थसिध्यर्थम्  पूजितो  यस्सुरासुरैः  । सर्वविघ्नहरस्तस्मै  गणाधिपतये  नमः ।।

गणपत  विघ्न  गण  गजानन ।  विराजती  चन्द्रमा  भाल ।  गणपत  विघ्न  गण  गजानन  ।।

by  Ashwini Bhide

Pandit Ravi Shankar also later on used this raag for the hymn of Asiad Games 1982 – Swaagatam

Here are two representative classical pieces of Raag  Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

https://www.youtube.com/watch?v=k-jWtjlZNiw

Jhoomte Sharabhi Zara Hosh Mein Aa– Kaanch Ki Gudiya (1961) – Asha Bhosle – Suhrid Kar

KaanchKi Gudiya invaribaly would conjure a Mukesh and Asha Bhosle duet – Saath Ho Tum Raat Jawan. However, the song that we have selected presents a very different Asha Bhosle to us.

Paisa Nahin Hota Jo Kuchch Nahin Hota – Sautela Bhai (1962) – Anil Biswas, Manna Dey – Anil Biswas
In an otherwise a very serious social subject, Anil Biswas teams with Shailendra to come up with a satirical song.

Their next association is 1965’s Chhoti Chhoti Batein.

Daaton Ka Zamana Pyare Dant Bachana – Begana (1963) – Mahendra Kapoor – Sapan Jagmohan

The obvious reason for picking this song for the present episode is it has Mahendra Kapoor. In the process, we also get the benefit of listening to a very light-hearted song from Shailendra.

Chand Tale Jhoom Jhoom Thirak Rahi Hain Ghoongherwaliyan, Mastiyon Ki Aaj Dhun Baja Rahi Hai Taaliyaan – Jab Se Tumhe Dekha Hai (1963):- Subir Sen, Suman Kalyanpur – Dattaram

As we know well, Dattaram was one of the very important links on the Shankar Jaikishan team. The song has very prominent us of what was popularly known as Dattu Theka – a typical stroke that Dattaram would invariably conjure up in his the accompanying base instrumentation.

Rahi Tu Ruk Mat Jaana Toofan Se Mat Ghabharana, Kahin To Milegi Teri Manzil Kahi Door Gagan Ki Chhaon Mein – Door Gagan Ki Chhaon Mein (1964):- Hemant Kumar (in three parts) – Kishore Kumar

One the most respected song- be it from the singer’s perspective or music director’s perspective, from the perspective of a song that includes the film title or from the perspective of the delivery of song writer’s message

I have lined up songs that have Mohammad Rafi in the end of the episode. Incidentally each one represents a very different point of a spectrum of Shailendra’s vast repertoire

Ja Ja Na Ched Maan Bhi Ja – Satta Bazar(1959) – Mohammad Rafi, Suman Kalyanpur  – Kalyanji-Anandji

This is the only song that Shailendra has penned for the film. Hasrat Jaipuri and Indeevar had two songs each, whereas Gulshan Bawra had 3 songs. This also gives us one more of a Johnny Walker song to accompany one of the most illustrious one – Jangal Mein Mor Nacha Kisi Ne Na Dekha

Gham Ki Badli Mein Chamakta Ek Sitara Hai Aaj Apan Ho Na Ho Kal Hamara Hai – Kal Hamara Hai (1959):- Mohammad Rafi, Sudha Malhotra – Chitragupt

As the name of the films suggests, the film essentially would be based on the Patriotism theme. Therefore, it is not quite surprising to see Shailendra being easily able to handle the songs that befit the theme.

Aam Chhum Taam Chhum Haar Ho Ki Jeet Ho Khel Mein Rahe Magana – Chhote Nawab (1961) Mohammad Rafi – R D Burman

Here is the song that depicts the mental state of a grown-up prince.

Illahi Tu Sun Le Hamali Duva, Hame Sirf Ek Asara Hai Tera. Teri Rahamate Rah Roshan Kare, Salamat Rahe Saya Man-bap Ka – Chhote Nawab (1961):- Mohammad Rafi – R D Burman  The song was the game changer in the film. In his maiden venture, RDB, on one hand succeeds in  providing just the right platform to Mohammad Rafi to fully express the emotions of the song and on the other hand has lived up to the challenge of the Shailendra’s very poignant lyrics.

When we look back now, we see one most glaring association missing at the core career path years of Shailendra – with Madan Mohan. Similarly, if we see the presence of R D Burman from the (so-called) next generation of music directors, one may note absence of Laxmikant Pyarelal.

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

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

[i]   Virasat – Lyricist ‘Shailendra’