Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960
Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.
However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.
If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name
In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –
The songs from 1950 to 1953 in 2017,
The songs from 1953 to 1955. In 2018
The songs from 1956 -1957 in 2019,
The songs from 1958 in 2020, and
The songs from 1959 in 2021.
Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani), Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.
An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.
Music Director: Khayyam
Bambai Ki Billi
This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.
Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!
Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt
This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.
Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)
Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle
This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.
Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar
This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.
Baarood
Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.
Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein…. Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara – Mohammad Rafi
A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.
Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar
This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.
Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar
For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.
Music Director: Dattaram
Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.
Kala Aadmi
Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur
Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.
Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge – Mohamamd Rafi
To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.
If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.
Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar
We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.
Music Director: O P Nayyar
Kalpana
Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.
The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.
O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle
The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!
Music Director: Sardar Malik
Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.
Mera Ghar Mere Bacche
There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.
The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.
Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur
We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.
Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle
No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.
Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai ….. – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal
Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.
Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle
Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!
Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh
We have a here a good-to-listen, but difficult-to-hum pathos mood composition.
As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.
Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.
Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.
Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.
I recall that we had bought the cans of this film for screening in our open-air garden theatre of our colony in 1960s. It was this film that had led me to read the novel, written so majestically by K M Munshi (a.k.a. 
The world is too small? or Is it? 