In continuing our journey of Micro View of Male Female Duets of Other than Mukesh and Mohammad Rafi, we will take up second set of the duet songs today.
Popular Duet Song
Kishore Kumar + Lata Mangeshkar – Ye Kaun Aaya Re Hai Kar Ke Solah Sigar – Ziddi – Khemchand Prakash – Prem Dhawan
The song has got fame as the first duet of Kishore Kumar and Latamangeshkar.
Other Duet Songs
G M Durrani + Lata Mangeshkar – Khamosh Fasana HaimDuniya Se Chhupake Chhupake – Heer Ranjha – Aziz Khan – Vali Sahab
G M Durrani, Rajkumari, Johrabai Ambalewali – Ek Dil Tera Ek Dil Mera – Pt. Hanuman Prasad
HFGK records this as two songs, one a duet by G M Durrani and Rajkumari and the other a parody song by Johrabai, G M Durrani and Chorus.
Shankar Dasgupta + Miss Parvez – Ay Dil Abhi Tu Sabar Kar Teri Bhi Baari Aayegi – Ham Bhi Insaan Hai – H P Das, Manna Dey – G S Nepali
Allaudin + Shamshad Begum – Sawan Ke Din Aaye Balama Sawan Ke Din Aaye Hai – Kaajal – Ghulam Mohammad, D N Madhok / Shakeel Badayuni (?)
Ram Kamlani + Joharabai – Mere Dil Ka Phate Nahi Kahi Atom Bomb – Lal Dupatta – Gyan Dutt – D N Madhok
Karan Diwan + Shamshad Begum – Mujhe Jaane Tum Se Pyar Kyon Hai – Mitti Ke Khilone – Bulo C Rani / Hans Raj Behl (?) – B R Sharama
Ram Kamlani + Surinder Kaur – Chori Chori Mori Atariya Aa Ja Re – Nao – Gyan Dutt – D N Madhok
Krishna Goyal + Meena Kapoor – Balam Mohe Man Se Na Apne Bhoolana – Raees – Manohar Arora _ Kaisar Sabai
Suresh+ Suraiya – Rootho Na Tum Bahar Mein, Mausam-e-Khushgawar Mein – Rang Mahal – K Datta+ V Balsara (?) – ShivKumar
Ram Kamlani + Shamshad Begum – Hamari Baat Ka Kyon Tum Ko Aitbar Nahi – Rangeen Zaman – Pt. Govind Ram – Pt. Fani
We will take up micro view of Female Female Duets of 1948 in our next episode.
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.
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.
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.
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.
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 MorLe 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 :
Jhoomte Sharabhi Zara HoshMein 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.
It has taken me some time to present this summing up as the mandatory step of the micro-view of the songs of 1948, the base being ‘Best songs of 1948: And the winners are? ‘ . Outwardly I would justify the procrastination on some other (so-called) pressing engagements. However, from the inner most recesses of my heart I know that my choices have already been made even before I ventured into the full scale micro-view of the Male Solo Songs.
I did listen to the songs of G M Durrani, Surendra and ‘other’ male singers a few times. However, the truth remains that I could not connect with those songs. And that is MY limitation – having been brought up listening to mostly the post-’50 songs on the radio in my formative years.
With that bias accepted, here is MY choice of the Male solo Songs for 1948:
Apart from the four male playback singers that we have covered till now, we can find fairly noticeable presence of other male singers like Ninu Mazumdar, Chitalkar, Manna Dey or Vidyanath Seth in the year 1948. In some cases, their work is more on the side of duets or in some case even when we list the songs from HFGK, these are not yet posted on net.
I have clubbed songs of any one singer here under the respective name. In all other cases, I have mentioned the name of the singer along with the song itself.
On the whole, in the retrospect, this list does present quite a kaleidoscopic picture.
Kare Badar Baras Barasa Kar Jao Bar Bar – Gopinath – Singer: Ninu Mazumdar – Ninu Mazumdar – Ram Murthy
The song seems to have a version in which Kaumudi Munshi joins in and lends a very different style to the song.
Manna Dey
Chal Tu Preet Nagariya, Preet Nagar Ke Koyal Kooke – Veena – Anil Biswas – Prem Dahelvi
Ham Tere Hai Ham Ko Na Thukarana – Hum Bhi Insaan Hai – Manna Dey, H P Das – G S Nepali
Koi Mujh Se Bhi Bole – Hum Bhi Insaan Hai – Manna Dey, H P Das – G S Nepali
Ghar Ghar Ke Diye Buzakar Bane Hai Dhanwan –Hum Bhi Insaan Hai – Manna Dey, H P Das – G S Nepali
Jay Shivshankar, Gaurishwar, Jay Rameshwar – Jay Hanuman – Bulo C Rani – Pt. Indra
Jab Se Dekha Hai Tumhein – Gopinath – Singer Not Known – Ninu Majumdar
Do Ghadi Beet Gayi, Taine Surat Nahi Dkhayee – Hum Bhi Insaan Hai – Parvez Kapadia – Manna Dey, D C Dutt, G S Nepali
(Technically speaking, this may have to be placed in female solos category. However, the song is performed by a male (adolescent) actor on the screen, so I have placed it in this list.]
Koi Sham Rang Gori – Veena – Singer: Chitalkar – C Ramchandra – Narendra Sharma
Sansar Ke Adhaar Dayaa Hampe – Anjangarh –Singer: Pankaj Mallik– R C Boral –
Tu Dar Na Jara Bhi – Anjangarh –Singer: Pankaj Mallik– R C Boral –Pt. Bhushan
Ek Bholi Bholi Gori Ne Aay Hay Dil Pe Jadoo Liya – Andho Ka Sanasar – Singer: Dost Mohammad– Sridhar Parsekar – Kesarinath Vaidya
Shankar Das Gupta
Ab Kis Nagari Jaun Re Ab Jaane Se Jaa Na Shakunga – Anajaana – D C Dutt – Vishwamitra Adil
Kisi Ka Deepak Jalta Hai, Kisi Ka Deep Bujhata Hai – Didi – Mukund Maurekar – Saraswati Kumar Deepak
Sajan Ke Ghar Jana Pagle Sajan Ke Ghar Jana – Sajan Ke Ghar –– K S Sagar – Saraswati Kumar Deepak
Suhagan Kahe Ko Tu Ansoo Bahae Karam Lekha Na Tale – Bichhade Balam – Singer: Mohammad Farooqui – Bulo C Rani – Pt Indar
Bane Hai Ham To Ghar Jawai – Ghar Ki Izzat – Singer: Ram Kamlani – Pt. Govind Ram –
Vidyanath Seth
Aaj Geet Ke Bol Bol Mein Umada Hai Tufan – Roop Rekha –– Pt. Amarnath – Harikrishna Premi
O Gori Kahe Preet Kare – Roop Rekha –Pt. Amarnath – Harikrishna Premi
Marane Ki Dua Kyon Maangu, Jene Ki Tamanna Kaun Kare – Ziddi – Singer: Kishore Kumar – Khmechand Prakash – Prem Dhawan
We will sum up Male Solo Songs for 1948 in the next episode.
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:
‘Unsung Genius’… – A tribute to Jaidev by the late Mohan Nadkarni, the well-known music critic and author, that appeared in the Illustrated Weekly of India in Jan 1987.
The ‘Biopic’ Teaser – Debamitra 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.”
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 companions – Sanjukta 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….]
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.
We have covered solo songs of two of the five principal male playback singers – G M Durrani + Talat Mahmood – for the year 1949.
Today we will listen to solo songs of Surendra as well those by ‘the other’ male playback singers, before we take two really significant players for the year – Mukesh and Mohammed Rafi.
Solo Songs of Surendra
Not so predominantly as Suraiya does on the female singer side, Surendra continues to hold the flag of singing star high enough on the male side for the current year.
Main To Hun Udaas – Kamal – S D Burman – Prem Dhawan
‘Best songs of 1950: And the winners are?’ very interestingly notes that the year is noteworthy for the number of voices that sang for Raj Kapoor. That in deed calls for a post exclusively dedicated to these songs. We have covered here solo as well as duet songs.
