Duets(+) of Mukesh: With Male Singers

A tribute to Mukesh on his 99^th Birth Anniversary (b. July 22, 1923 – d.  August 27, 1976)

Films in India, by and large, revolve around different themes of love between a boy and a girl. As such, songs come in very handy as a very strong and direct, easy-to-comprehend, medium to express the different shades of feelings of love. Traditionally, the solo songs occupied the space of prime importance. During vintage era this was more a necessity because the singers were generally actors themselves. Moreover, the recording technology also was in the development stage, which made recording a duet song with two vastly different musical qualities of pitch and timbre of a male and female voice was quite difficult in comparison to the recording of a solo song.

With the playback singers taking over the onus of singing, and advances in the filmmaking and song-recording technologies, the duets started gaining more importance in the film production considerations. Music directors also started taking this genre seriously and started creating duets that stood, almost, at par with solo songs.

Essentially, the duets are categorised as male-female duets, male-male duets, and female-female duets. As can be expected, the bulk of the duets in the films remain male-female duets. Male-male and female-female duets normally remained as duet songs that friends would sing together. However, the traditions of patriotic songs, devotional songs, or dance songs in the greater arena of music also inspired similar male-male and /or female-female songs. The subjects used to vary from manifestation of friendly affection – either positive or negative (jealousy), celebrating the festivities together, sharing of mutual concerns or one teasing/advising/counselling the other. As such, once the choice of subjects and practices of narrating the story evolved over 40s, male-male duets genre also started getting prominence. In the 60s and onwards, with more films being produced with more than one hero, the male-male genre further got more weightage. However, essentially, the core subjects have not changed as materially as that of solos.

In so far as Hindi film songs are concerned, duets of Mukesh constitute roughly 20 % share of his total film songs. Mukesh Geet Kosh also includes duet songs that have some element of chorus in the song, while taking care that these are separately identified. The male-male duets of Mukesh, including those with chorus element, constitute again around 15% of the duets of Mukesh. The male-male duets of Mukesh offer fairly wide-spread range, in terms of subjects of the songs, co-singers, year of the song, and of course, the popularity, to lead me to zero in on this subject for the post to commemorate the 99^th birth anniversary of Mukesh.

Under the broader category of duets, Mukesh Geet Kosh also has separately identified songs that have some actor /actress chipping with Mukesh a line here or there in the song. I have not included such songs here. Mukesh has more than one duet with Mohammad Rafi or Kishore Kumar. I have chosen the one which I like more than other Rafi or Kishore duets. In some cases, I have included a few triads or quartets (with all male or male-female combination), where the context of the narration, or paucity of a right duet, or the need for variety of different subjects or styles or music directors so necessitated. In one particular instance of duet with Talat Mahmood, I have included, rather had to include, an NFS as well.

So here are Duets(+) of Mukesh with Male Singers, generally, in the chronological order of year of the release of the film.

With Shailesh (Mukharjee)

Rab Mere Araj Sun Meri Sharan Ab Teri – Aag (1948) – Lyrics: Saraswati Kumar Dipak – Music: Ram Ganguli

Ram Ganguli has certainly come up with a very different style of composition for a song that is essentially a devotional song.

If we would have strictly followed the chronological sequence of the release of the films, one of the two Mukesh – Mohammad Rafi duets from Chilman (1949) or Thes (1949) would have appeared here. But from the seven Mukesh-Mohammad Rafi duets, the song that liked most happens to be a duet from the film of the year 1958, So that will have to wait for a while.

With G M Durrani

Aise Mein Koi Chham Se Jo Aa Jaye To Kya Ho – Hanste Aansoo (1950) – Lyrics: Shewan Rizvi – Music: Ghulam Mohammad

Here is an exchange of arguments for pros and cons between two friends of locating the bed if a house is built on a given location – one wants to set up his bed at that very doorstep so that when some (a much awaited) beauty comes up suddenly he would not miss it. His friend warns of another extreme possibility of a high-heeled slipper to be awaiting a welcome instead.

Ghulam Mohammad has come up with so lovely enough orchestration for this composition to induce revisits to the song. If we would have seen the film, we may also have come to know what will have happened after the song is over.

I have picked up a triad next because that provides us with a new combination of singers.

With Khan Mastana

KyuN Shikwa Karein KyuN Aah Bharein – Pagle (1950) – with Talat Mahmood – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

The friends have gathered to vent their frustration of non-result bearing efforts of their pursuit to get someone to love them.

Pagle had one more triad, with G M Durrani as the third player –

Ye Aaj Kal Ke Laila Aur Majnu – Pagle (1950) – with G M Durrani – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

Another song of the youthful frustration when all efforts to woo the ‘fair sex’ fail, which leads to this deep sigh, in the form of

Ye aaj kal ke Laila or Majnu
.. … …
ik haath se dil ko thamate haiN
ik hath se tata kahate haiN

It would be interesting note that Mukesh Geet Kosh has clearly identified the singers for these songs, but HFGK mentions Jagirdar, Agha and Sheri as the singers, who in fact are the actors singing the songs on screen.

With S D Batish

Jaao Sidharo Hey Radha Ke Shyam – Aarzoo (1950) – with Shamshad Begum, chorus – Lyrics: Majrooh Sultanpuri / Jan Nissar Akhtar – Music: Anil Biswas

Mukesh and S D Batish do not actually get connected through a triad here. What is treated as triad in the credits on the record N 38386, is in fact a three-piece stage show story wherein the first (penned by Majrooh Sutmapuri) and third part (penned by Jan Nissar Akhtar) are S D Batish-Shamshad Begum duets with chorus and the second part (also penned by Jan Nissar Akhtar) is a Mukesh-Shamshad Begum duet with chorus.

With Kishore Kumar

The Kishore Kumar – Mukesh combination has an interesting aspect too. Except for one triad in 1953, they did not have a proper duet during the pre-Aradhana, what is generally called as, Kishore Kumar 1.0 career phase. Then they had a triad-chorus in Satyakam (1969) the transition year. They had first proper duet in 1971, in what can be considered as Kishore Kumar 2.0. Since then, Kishore Kumar has had one more duet with Mukesh, in 1976. The duo further had one triad each with Sushma Shreshtha (Dharam Karam, 1975) and Dilraj Raj Kaur (Chor Mandali, 1983) as well as a quartet with Mohammad Rafi and Lata Mangeshkar (Amar Akbar Anthony, 1977)

Lo Mil Gayi Degree Pyar Ki – Maalkin (1953) – with Ram Kamlani – Lyrics: Rajendra Krishna – Music: Roshan

This must rank as the only song where Roshan has used Mukesh in a comedy situation.

However, the real irony of the song being treated as a Mukesh triad comes up only when we listen the full song and find that Mukesh just gets two words – first time just ‘KahaaN Bhai?’ after the first line, Din mein sau sau chakkar kate, in the first interlude stanza and then just ‘Kis ki?’ after the first line, Baithe baithe kismet khul gayi’ of the third interlude stanza!

Haal Chaal Thhik Thhaak Hai – Mere Apne (1971) – with chorus – Lyrics: Gulzar – Music: Salil Chowdhury

I have a very sweet connection with this song.

In our BITS Pilani days, we would have one, just-released, film screened every weekend. Mere Apne was one such film. Since the story is about the restlessness of students (particularly because of paucity of jobs even after proper college education), the film had been obviously very well received in the campus. When you pass near any of hostel block, particularly after dinner time, you will invariably get to listen the whistling used in the song. Also, the cleverly split first line had tremendous popularly as an informal greetings exchange among friends – Question: ‘Haal chaal? Answer: ‘Thik Thaak Hai.’ – obviously, in the lyrical mimic of the song!

With Mohammad Rafi

Mukesh and Mohammad Rafi share the maximum number of songs together – 7 duets, 6 duets+chorus, 5 triads – one with Shamshad Begum (Hanste Aansoo, 1950), two with Lata Mangeshkar (Shree 420, 1955 and Ahuti, 1978), two with Suman Kalyanpur (Dil Ne Phir Yaad Kiya, 1966 and Vishwas, 1969), and one with Hemlata (Jaaneman, 1976), and one quartet with Kishore Kumar and Lata Mangeshkar (Amar Akbar Anthony, 1977). More important. perhaps, is that the association spans almost the entire career of both of them, with first duet in 1949 (Chilman and Thes) and the last one in 1978 (Ahuti).

I have selected one duet, which I have always relished to listen to.  Just the memory of the song has helped to me ease out any tension coiled in, any time, in my mind.

Phirate The Jo Bade Hi Sikandar Bane Hue ….. Jo Bor Kare Yaar Ko Us Yaar Se Tauba… Jis Pyar Mein Ye Haal Ho Us Pyaar Se Tauba – Phir Subah Hogi (1958) – Lyrics: Sahir Ludhiyanvi – Music: Khayyam

Mohammad Rafi so lively pulls up his friend’s legs that even the Raj Kapoor’s lady love Mala Sinha cannot hide her smile. Moreover, if you close your eyes, the way Rafi goes with his part you can imagine how Rehman, otherwise an actor who plays serious roles, must be freely acting it out on screen, while lip-synching Mohammad Rafi. Every line Sahir has penned for Rafi’s part is just enough for any friend on the other side to break up the relationship!

With Mahendra Kapoor

For the records, Mukesh and Mahendra Kapoor have three duets, however the third one, from Saathi (1968) – Jo chalaa gayaa use bhul jaa, Naushad has used Mahendra Kapoor  for just a higher-scale line being heard as echo Bhul Jaa… Bhul Jaa, as haunting memory from the past that has to be forgotten.

Of the other two, both composed by N Dutta, one is for Dilli Ka Dada (1962) and the other for Holiday in Bombay (1963). I have selected the latter one.

Ye Hasin Bambai Hamein Jam Gayi …. Holiday Holiday Holiday in Bombay – Holiday in Bombay (1963) – Lyrics: Anjaan – Music: N Dutta.

The reasons I have selected this song will sound quite trivial – one: Mukesh gets to playback for the hero (Shashi Kapoor), two: one gets a virtual tour of Mumbai in the video clip, the third: you get to see a glimpse of now totally forgotten, Lambretta scooter (@4.12) and fourth of course, it has a connection with a 2018 SoY post – Bharat Darshan Songs (2) – Metros.

It would not be out of place to record here that Mukesh and Mahendra Kapoor share a triad with Rajendra Mehta, a famous ghazal singer of 60s/70s.

Mera Rang De Basanti Chola – Shaheed, 1965 – Lyrics and Music:  Prem Dhawan

This would rank as one of the best patriotic songs Hindi films have recorded.

With Manna Dey

The proper duet of Mukesh and Manna Dey, very surprisingly, has come up only in 1976 for the film Das Numbri. Even Mukesh, Mohammad Rafi and Manna Dey triad also came up in only 1973, for Teen Chor. As such, I thought it would be patently safe to fall back upon a quartet and a quintet from the earlier years.

Sathi Re…. Kadam Kadam Se Dil Mila Rahein Hai Ham – Char Dil Char Rahein (1959) – with Mahendra Kapoor, Meena Kapoor, chorus – Lyrics: Sahir Ludhiyanvi – Music: Anil Biswas

The song is an inspirational song, wherein multiple singers join to playback for corresponding actor on the screen. It being an Anil Biswas composition, the composition and orchestration are ideal, so are the lyrics of Sahir. It is not surprising that the overall outcome is a song that you would like listen, again and again, for its sheer melody.

I am not able to resist the temptation of including a quintet chorus song, so well-known to me, and almost of all of us for that matter, that came up in different light when I listened to it from the point of view of the present article.

Hum Bhi Hai Tum Bhi Ho Dono Hai Amane Samane – Jis Desh Mein Ganga Behti Hai (1961) – with Mahendra Kapoor, Lata Mangeshkar, Geeta Dutt and chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

I always admired this song for several stunning features – Shankar Jaikishan and the team for conceiving and executing the rich orchestrion (of particular notice is the violin ensemble piece @ 5.35 -5.52 that so vividly creates the feeling of speed), meticulous details of choreography of Hira Lal, and so creative camera work of Tara Dutt that captures every expression of every actor so lively and the overall direction of Radhu Karamakar – RK’s otherwise default director of photography. Essentially, the song was a chorus song representing dacoits on one side and the reformer (Raju) on the other side.

However, I could now easily see a parallel under-current of a duet too running in the song, beginning with two lines that follow the opening skirmish between Raka and Raju, when Kammo and her friend Bijli charmingly declare Hum bhi haiN (@2.30), to which Raju responds, unwittingly, Dekh lo kya asar kar diya pyar ne. The visuals @0.45 to 0.51, where Kammo longingly eyes Raju, which Raka too does not miss to notice or that fleeting exchange of mutual appreciations @ 1.52 to 2.00 between Kammo and Raju corroborate the implicit germination of soft feelings for each other. The song virtually turns into a duet after the second interlude when Kammo directly intervenes the song with itana sa ye dil tu de de agar sara jag tera ho jaye. (@5.03)

As the songs moves on, the mood of festivity of all so beautifully morphs into acquiescence of love of the two.

We come back to our main track again.

With Talat Mahmood

As we have seen @ #3 here before, Mukesh and Talat Mahmood did get just one triad as early as in 1950. These two may be the only male singers of that period who did not even have one Hindi film duet in their entire career.

Fortunately, three Mukesh – Talat Mahmood NFS duets, composed by Murli Manohar Swaroop, fill up this void. We had had heard one duet, Kisi ko deke dil koi nawa_sanj-e-fughan kyun ho, in the earlier post, Mukesh’s Non-film Hindi Geets and Ghazals.

I have picked up the other one here –

Woh Jo Ruthe To Manana Chahiye …. Zindagi Se Rooth Jaana Chahiye – NFS – lyrics: Jigar Murarabadi + Mirza Ghalib – Music: Murli Manohar Swaroop

To the opening line from Jigar Murarabadi ghazal sung by Mukesh, Talat Mahmood joins by a Mirza Ghalib ghazal line Chahiye achchhoN ko jitana chahiye, ye agar chaahein phir to kya chahiye…  and so forth.

However, we can take consolation that they did have one more song in the Hindi films – an all-male quintet in 1966.

Mujhko Muhabbat Ho Gayi Hai, Bas Muhabbat Ho Gayi Hai …. Anhoni Baat Thi Ho Gayi Hai – Biwi Aur Makaan (1966) – with Joginder, Manna Dey and Hemant Kumar – Lyrics: Gulzar – Music: Hemant Kumar

Normally Mukesh and Talat Mahmood are put at the slow paced, serious film-song-moods spectrum. Another singer, Hemant Kumar also is considered to be the singer of that part of the spectrum. However, Hemant Kumar, the music director, seems to have helped Talat Mahmood switch the role and join him (in the role of the playback singer) in the fast-paced jest-cum-scolding session with that love-infested friend among the ‘five pandav’ friends who have vowed to remain unmarried till everyone gets a job. Talat Mahmood plays back to Keshto Mukhrjee who impersonates a girl along with Biswjeet who lip syncs Hemant Kumar!

I conclude here my part of the choices of Duets(+) of Mukesh with Male singers so as to start pondering over what subject we should take up for the celebration of Mukesh’s 100^th birth anniversary post next year…….

Acknowledgement and disclaimer:

1. Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

Reproduction of the article originally published on Songs of Yore on 22 July 2022

Hemant Kumar’s Hindi Song Compositions: Male songs – [2] – Kishore Kumar | Manna Dey

Kishore Kumar and Manna Dey were the other two mainstream Hindi playback singers for whom Hemant Kumar composed songs when it seemed to the THE choice that was available.

Kishore Kumar

The songs that Hemant Kumar has composed in Kishore Kumar’s voice have two have two essential variants – one is the songs for the films wherein Kishore Kumar was also acting, and the other is where Kishore Kumar has been playback singer to some other actor on the screen.

Here are a few representative songs, each representing a different mood, each one representing three different phases of Hemant Kumar’s career in Hindi films as music director.

Ek Roz Hamari Bhi Daal Galegi – Bandi (1957) – Lyrics: Rajinder Krishna

The opening lines follow a parody form of popular folk lyrics, Kishore Kumar freely improvising his frustrating progress with cooking the food. The couplet ends with Kishore Kumar’s signature style of parodying of some of the classics, K L Saigal’s Panchhi Kahe Hot Udaas in the present case. The song then moves in, providing enough space to Kishore Kumar’s antics.

Aaj Rona Pada Toh Samjhe, Hasane Ka Mol Kya Hai – Girl Friend (1961) – Lyrics: Sahir Ludhyanvi

The song ranks as one the Kishore Kumar classics. Composed with minimal orchestration support, the composition fully brings into play the beauty of Kishore Kumar’s vocal cords.

Gaana Na Aaya Bajana Na Aaya, Dilbar Ko Ana Bana Na Aaya – Miss Mary (1957) – Lyrics: Rajinder Krishna

Here is a song that has all the trappings of Kishore Kumar’s natural mischievous mannerisms. The net effect is that he indeed sounds so out of tune.

Hawaaon Pe Likh Do Hawaaon Ke Naam – Do Dooni Chaar (1968) – Lyrics: Gulzar

The prelude to the song, mainly in the form of base-tone humming and slightly-higher-scale short alaaps by Kishore Kumar sets the pensive mood of the song.

Aside trivia: The child artist in the frame @0.57, subsequently shown strolling with goat cub, accompanying Kishor Kumar in the whole song is Baby Neetu Singh.

Woh Shaam Kuchh Ajeeb Thi – Khamoshi (1969) – Lyrics: Gulzar

This is one song that is enshrined in the roll of honors in the Kishore Kumar’s filmography. In fact, it may not be exaggeration to say that the song helps to lift the mood of the situation – ruefully reminiscing those moments when the protagonist was with his beloved in the present.

Vaidh Ke Palle Pade , Kaise Vaid Ke Palle Pade, Marta Mar Jaaye Rog Se Rogi, Vaidh Se Kaun Lade – Raahgeer (1969)  – Lyrics : Gulzar

This comedy songs is to the tune of the famous prayer Om Jai Jagdeesh Hare.

Manna Dey

Even as Hemant Kumar has used Manna Dey very sparingly, he has fully exploited the flexibility and range of Manna Dey’s singing prowess.

Ek Bade Baap Ki Beti Kal Ghar Ke Munsi Sang Dekha Gul Mil Batiya Karte – Bandi (1957) – Lyrics: Rajinder Krishna

The ‘common men’ are enjoying behind-the-back jibes at ‘bade log’ and their lifestyles.  The song is filmed as a street nautanki performance, and Hemant Kumar too also has composed it as such and then let Manna Dey do the rest of the job.

Rehne Ko Ghar Do – Biwi Aur Makaan (1966) – Lyrics: Gulzar

The song seems to be tailor made for Mehmood’s signature theatrics on the screen.

Dost Kahan Koi Tumsa, Tumsa Nahi Koi Mister – Khamoshi (1969) – Lyrics: Gulzar

This is a typical mandatory song that must be assigned to a comedian in the film. In most the cases, music directors, lyricists and singers have turned such occasions into presenting a song that, at the minimum, ensures that the public in the cinema hall remains seated during the song.

In the third and concluding part, we will take up Hemant Kumar;s Male Songs in the voices of  Other Singers.

Originally published on SoY as Hemant Kumar’s Male Playback Singers. This is the edited and improved-on-the-inputs-of-discussions-thereupon version.

 

Carnival of Blogs on Golden Era of Hindi Film Music – August, 2019

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

We commence our post with the two sides of the 15^th August connection – the present one and the historic one.

Film and television actor Vidya Sinha passed away on 15^th August. She was 71.

Ten Songs That Force Us to Think About the True Meaning of Azadi, to make Indians think hard about what freedom and independence really ought to mean—an end to  injustice and exploitation, communal divisions, the oppression of women, wars brought upon the people by corrupt or inept leaders—and which celebrate the ideals of solidarity.

We also very solemnly and sadly take note of Veteran music composer Khayyam passes away at 92 on 19^th August.

Shri Harish Raguvanshi has forwarded this WikiBio of Khayyam along with this memorable photograph

From left Harish Raghuwanshi /Rajnikumar Pandya, Urvish Kothari, Chandrashekhar Vaidya, Khayyam, Salil Dalal (Hasmukh Thakkar)

Monica Kar, in her tribute @ Khayyam: The Gentle Giant rues an entire musical era passing into the ages,

 We pick up tributes and memories:

Happy birthday Kishore Kumar: Lose yourself with this playlist of his 10 best songs, one for every mood

Celebrities share special messages on Kishore Kumar’s 90th birth anniversary – Amitabh Bachchan, Baba Sehgal and Mamata Banerjee had something special to say.

Kishore Kumar The Actor: A Legend’s Journey Down the Years = In Part 1, Part 2, Part 3 and Part 4,  Peeyush Sharma remembers journey of Kishore Kumar as an actor.

”Tum mujhe yun bhula na paoge…”: Melodious memories of Rafi  – Vikas Datta – Some voices can never fade from memories!

Rafi’s best songs by Ravi and Ravi’s best duets for Rafi is in memory of 39^th death anniversary of Mohammad Rafi.

Before Karan Johar & Simi Garewal, Tabassum’s show brought celebrities into our living rooms   – Himani Chandna – Tabassum’s Phool Khile Hain Gulshan Gulshan ran for a staggering 21 years on Doordarshan.

KA Abbas, the filmmaker who said, ‘Whatever I own belongs to everyone else’– Anwar Abbas, Sahapedia remembers his austere lifestyle.

The Mystical Mujra of Lekin: Joothe Naina Bole – Debasish Bhattacharya revisits this gem of a mujra as a special on Gulzar Sahab’s birthday.

Teesri Manzil will remain Shammi Kapoor’s, and Bollywood’s, shining glory – As a flashback to Shammi Kapoor’s death anniversary (14^th August), Madhavi Pothukuchi recalls Shammi Kapoor’s most memorable musical thriller, Teesri Manzil, which reels one in with a mystery that’s built up well, and the love story between Shammi Kapoor & Asha Parekh keeps audience invested.

The audience as a piano: the strange case of Alfred Hitchcock – Sandipan Deb In memory of the most famous director in cinema history on his 120th birth anniversary.

Gauhar Jaan – Great Singing Pioneer and Tragic Prototype – But there are many things that Gauhar Jaan could never have predicted, including the fact that her voice would be heard via technology that far surpassed the once seemingly miraculous sound recordings in which she had played the part of India’s greatest singing pioneer.

Sridevi – The Ever-shining Superstar – Aditi Thakur notes that Sridevi has performed exceptionally well in songs like Surmayee akhiyon mein from Sadma

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

• Gulzar – Humne DekhI Hai Un Aankhon Ki Mehakti Kh…
• Shamm Kapoor- Music and Rythum running in his vein…
• Kishore Kumar – A Reluctant Actor
• The wonderful creation of God – Mohammed Rafi
• Manoj Kumar -He sold patriotism at the box office
• Dara Singh Went to the Moon Before Neil Armstrong
• Mukesh Sang Maximum for Shankar-Jaikishan
• The Deleted Scenes of Sholay
• Rajesh Khanna- Dev Anand was his Inspiration

August, 2019 episode of Fading Memories, Unforgettable Songs takes up Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji). This is in continuation to the series, Shailendra’s songs with other music directors, wherein  we have previously covered  Shailendra and “Other” Music Directors and Shailendra and Roshan.

And, now commence the posts on other subjects.

The Songs of Optimism has purposefully uploaded audio files of the songs to help focus on the lyrics.

Why a typical Bollywood hero is Gandhian on the streets, but sings lustfully in the sheets– Sanjay Suri – In every Bollywood film, songs express the desires that the heroes sacrifice or reject in the actual story. In a properly conservative society, ‘one doesn’t say these things’ that express desire. And so, they get said, and shown, in song. The hero is Gandhian when he speaks, flirtatious when he sings. Casting a romantic Gandhi would, of course, need extraordinary measures – an excerpt from ‘A Gandhian Affair: India’s curious portrayal of love in cinema’ by Sanjay Suri

Moon Songs, Part 1: Ten songs addressed to the moon is now followed up with Part 2: Adjectives for the Moon and  Part 3: Comparisons to the moon by the singer

Through the Lens of Bollywood: Kashmir as an Image, Kashmir as a Place – Debashree Mukherjee – Dominant images of Kashmir in popular cinema present only one facet of the kaleidoscope of histories and memories, signs and signification, actions and emotions. Yet they can have a powerful effect on the way we relate to a land and its peoples, its views and its women.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

The Classical Music Giants contribute to Hindi Cinema – IV adds some more classical music artists in this series of the previous three articles – Part 1, Part2, Part 3.

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946  and have covered Suraiya , Shamshad Begum, Part 1 and  Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari till now. For the present, we have covered solo songs of Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi  .

To end the present 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:.

Seedhe Saade Insaano Ka Is Duniya Mein Kaam Nahi – Tu Nahi Aur Sahi (1960) Ravi – Asad Bhopali

Sarfaroshi Ki Tamanna Ab Hamare Dil Mein Hai – Shaheed Bhagat Singh (1963) – Husnlal Bhagatram –

Nain Mila Ke Pyar Jata Ke Aag Laga Di – Mera Bhai Mera Dushman (1967) – With Jagjit Kaur – Khayyam – Kaifi Azmi

Apni Aadat Hai Sab Ko Salaam Karana – Pyar Deewana (1972) – Lala Sattar – Asad Bhopali

Simti Hui Ye Ghadiyan, Phir Se Na Bikhar Jaaye – Chambal Ki Kasam (1979) –  with Lata Mangeshkar – Khayyam – Sahir Ludhyanvi

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.

Manna Dey and Contemporary Lead Actors – 3

We have covered Manna Dey’s songs with main stream lead actors Dilip Kumar, Dev Anand, Raj Kapoor, Ashok Kumar, Balraj Sahni, David Abraham and Bharat Bhushan in the present series till now.

Our search for Manna Dey’s songs for the lead actor has basically reached the period of second half the decade of ‘50s. From what we have seen till now, it appears that it is not incorrect to infer that his songs that have attained fame have rooted deeper his image of niche singer and his romantic songs for the lead player still hunt for a permanent association that can turn out to be game changer for his career.

With Kishore Kumar

There was a period in Kishore Kumar career where he was so active as working as the main lead actor for the films that he has  accepted some of his songs on the screen played back by Mohammad Rafi, and as we shall presently see, by Manna Dey. In each of this case, the song would invariably be a one-off case in that film, all other songs being enacted and sung by Kishore Kumar himself. That would, normally, mean that the music director has some or other valid reason for opting for the other playback singer. However, presently, we have no intention to look out for such reasons. We will be content with listing such songs within the scope of our present series.

Din Albele Pyar Ka Mausam, Chanchal Man Mein Toofan – Begunah (1957) – with Lata Mangeshkar – Shanker Jaikishan – Hasrat Jaipuri

Here we have an ideal romantic duet, once again Shanker Jaikishan choosing to use Manna Dey for such a lovely song. The song did become famous and is quite known even today. But, being filmed on Kishor Kumar, its fate as catalyst for Manna Dey being set as a lead actor’s principal voice does not help the cause. That Begunah was banned within just a few days of hitting the screen further aggravated the case.

Pahele Murgi Ke Pahele Anda Zara Soch Ke Batana – Krorepati (1961) – Shanker Jaikishan – Shailendra

Manna Dey matches Kishore Kumar’s comedy theatrics on the screen. The song is filmed as satirist comedy on the establishment. However, because of the presence of Kishore Kumar as the actor, the song does not fall into the cast of so called comedy genre that Jhonny Walker and Mahemood brought on the screen.

Ho Gayi Shaam Dil Badnam Leta Jaaye Tera Naam – Naughty Boy (1962) – With Asha Bhosle – S D Burman – Shailendra

Here too Manna Dey sounds so natural to Kishore Kumar’s acting. The song is a party song whereat Kishore Kumar resorts to his comedy acting while remaining very faithful to the romance in the lyrics of the song.

Alakh Niranajan – Haaye Mera Dil (1968) – Usha Khanna

One of those non-descript comedy songs that Manna Dey would get after getting type cast for comedy genre songs.

‘Haaye Mera Dil’ has one more Manna Dey song – a duet with Usha Khanna – Jaaneman Jaaneman Tum Din Raat Mere Saath Ho – which is filmed a club song.

With Shammi Kapoor                                                            

Shammi Kapoor’s acting career is normally divided into pre-Tumsa nahi Dekha and post-Tumsa Nahi Dekha films. If Talat Mahmood had a lion’s share for the playback songs for the former part, it was Mohammad Rafi who sang to Shammi Kapoor’s style in the latter part. We have two films which can be considered as twilight zone between these two phases.

Tangewaali (1955) has a duet with Geeta Dutt – Tina Tan Ta Tina Kisi Ne Dil Hai (Music: Salil Chaudhari; Lyrics- Prem Dhawan) –  which Shammi Kapoor ought to have lip-synched on the screen, like a genuine tonga Rafi solo cast on a punjabi folk tune, and two duets  – A Rafi-Lata duet and a Tonga-genre Hemant-Lata duet. Unfortunately, we do not have a digital link.for this Manna Dey- Geeta Dutt duet.

The second film Ujala (1959) was an idealistic socialist theme film. The two songs of the film probably would easily fit in for Manna Dey’s voice, particularly when Shankar Jaikishan have composed the music.

Ab Kahan Jaaye Dil Ye Bata  Aye Zameen, Ab Kisi Ko Kise Pe Bharosa Nahi – Lyrics: Shailendra

This again a choir-Church tune and after the success of a similar song – Tu Pyar Ka Sagar Hai, Teri Ek Boond Ke Pyaase Ham (Seema 1955), choice of Manna Dey to playback for Shammi Kapoor is quite obvious. This song also went to get respect and fame.

Suraj Jara Aa Paas Aa, Aaj Sapnon Ki Roti Pakayenge Ham – Lyrics: Shailendra

The song is deeply stepped into a socialist moulid, and with Shankar Jaikishan having successfully executed  O Raat Gayi (Boot Polish, 1954) and  Dil Ka Haal Sune Dilwala (Shree 420, 1955) with Manna Dey it is again obvious that Shankar Jaikishna would repeat Manna Dey for this song, whoever would be the actor..

And it was not the sheer momentum that would have led Shankar Jaikishan to opt for two romantic, peppy duets with Manna Dey, when they had set one Mukesh – Lata duet and a Rafi-Mukeshi duet in  Mukesh and Rafi’s voice respectively for Shammi Kapoor in this film.

Jumta Mausam Mast Mahina, Chand Si Gori Ek Hasina, Ya Allah Ya Allah Dil Le Gayi– – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri

An excellent off-the-sets outdoor song, that is as much playful as is romantic. Manna Dey sings the song with a caressingly smooth ease.

Chham Chham Lo Suno Chham Chham, O Suno Chham Chham – With Lata Mangeshkar – Lyrics: Shailendra

Here we have a typical Shankar Jaikishan folk-dance composition, based on a fast dholak-rhythm with a violin-ensemble orchestration. Manna Dey enters at the beginning of the 1^st stanza on a very happy, positive note synching melody of the tune with the delivery of the song..

By the time Wallah Kya Baat Hai (1962) was released on the screen, Shammi Kappoor’s happy-go-lucky image formula had tasted great success @ Tumsa Nahi Dekha. Wallah Kya Baat Hai (1962) songs had naturally that Shammi-halo at the core of Shammi’s on-screen songs. Roshan suddenly opts to use Manna Dey for Shammi Kapoor in twin-version song – Katon Ke Saaye Men Phulo Ka Ghar Hai – Vallah Kya Baat Hai (1962) – Roshan – Prem Dhawan

Even when you are soaked with hugely playful Khanke To Khanke KyuN Kahanke, Raat Ko Mera Kangana or a pathos-laden Gam-E-Hasti Se Begana Hota in Mohammad Rafi’s voice, Manna Dey effortlessly slips into Shammi Kapoor’s playback in the first happy version

The second version has a pinch of worry as Shammi Kapoor seems to be in search of his child. The song varies in low to high pitch, maintain a moderately fast rhythm.

Yeh Umar Hai Kaya Rangili – Professor (1962) – Asha Bhosle, Usha Mangeshkar – Shankar Jaikishan – Hasrat Jaipuri

Young Shammi Kapoor is masquerading as an old professor, so Manna Dey(unfortunately) becomes a natural choice to playback for an old Shammi Kappor on the screen.

Tumhen Husn Deke Khuda Ne Sitamgar Banaya – Jab Se Tumhe Dekha Hai (1963) – With  Mohammad Rafi, Lata Mangeshkar, Asha Bhosle – Dattaram – Anand Baxi

Dattaram chooses Manna Dey to sing for Shammi Kapoor in this qawwali.

Chham Chham Baje Re Payaliya – Jaane Anjaane (1971) – Shankar Jaikishan – S H Bihari

Here, too, Shammi Kapoor is in a disguise of an old classical singer, so call of type-cast would befell on Manna Dey as the playback singer.

This is post-Jaikishan, post-Shailendra song, but Shankar has effortlessly maintained his hold on composing a Manna Dey song.

With Guru Dutt

In fact, to the best of the information that I could verify, most of the songs filmed on Guru Dutt have been played back by Mohammd Rafi, with Jaane Wo Kaiase Jinko Pyar Hi Pyar Mila (Pyaasa, 1957) and  Eetal Ke Ghar Mein Teetal and Umra Hui Phir Bhi Jaane Kyun (Bahurani 1963) being rendered by Hemant Kumar or Tumhi To Meri Pooja Ho (Suhagan, 1964) rendered by Talat Mehamood as only the exceptions.

However, there is one more unusual exceptional song that Manna Dey has indirectly played back for Guru Dutt. The song is Jinhe Naaz Hai Hind Par Woh Kahan Hai, which is recorded as a cover version for the officially filmed Mohammad Rafi classic in Pyaasa (1957)..

At present, we do not have any knowledge as to why this cover version will have been recorded. We have only the end result with us.

We draw curtains to our journey of Manna Dey’s songs for the lead actors, to await the opening bell for the next episode wherein we will continue with our search for Manna Dey’s songs with the second-generation lead actors like Raj Kumar, Rajendra Kumar, Sunil Dutt, Manoj Kumar etc.

The Micro View of the Songs of 1948 @ SoY – The Duets – Male Female Duets – Other Male Playback Singers [2]

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.

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’

 

The Micro View of the Songs of 1948 @ SoY – Summing Up: MY Top Male Solo Songs

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:

• Sab Kuchch Luataya Humne Aa Kar Teri Gali Mein – Chunariya – Mohammad Rafi – Hans Raj Behl – Mulk Raj Bhakhari
• Ye Zindagi Ke Mele Duniya Mein Kam Na Hoge Afsos Hum Na Hoge – Mela – Mohammad Rafi – Naushad Ali  – Shakeel Badayuni
• Ek Dil Ke Tukde Hazar Hue Koi Yahan Gira Koi Wahan Gira – Pyar Ki Jeet – Mohammad Rafi – Husnlal Bhagat Ram – Qamar Jalalabadi
• Zinda Hun Is Tarah Ke Gam-e-Jindagi Nahin – Aag – Mukesh – Ram Ganguly – Behzad Lakhanavi
• Jeevan Sapana Toot Gaya – Anokha Pyar – Mukesh – Anil Biswas – Jiya Sarhadi
• Gaaye Ja Geet Milan Ke Tu Apni Lagan Ke – Mela – Mukesh – Naushad – Shakeel Badayuni
• Bahe Na Kabhi Nain Se Neer – Vidya – Mukesh – S D Burman – Y N Joshi
• Marane Ki Dua Kyon Maangu, Jene Ki Tamanna Kaun Kare – Ziddi – Kishore Kumar – Khmechand Prakash – Prem Dhawan

Of these, the one I like the most is Bahe Na Kabhi Nain Se Neer.

We take up the next stage of Female Songs of 1948 from  the next episode – with Solo  Songs of Suraiya.

The Micro View of the Songs of 1948 @ SoY – Male Solo Songs – Other Male Singers

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.

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 30^th 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 98^th 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:

• Kali Kali Taronwali Rat – Joru Ka Bhai (1955)  – Kishore Kumar – Vishwamitra Adil
• O Mast Nazar Tu Chahe -Kinare Kinare (1963)–Vinod Desai – Nyay Sharma
• Teri Tasveer Bhi Tujh Jaisi – Kinare Kinare (1963) – Mohammed Rafi – Nyay Sharma
• Zindagi Cigarette Ka Dhuan – Faaslah (1974) – Bhupinder – Kaifi Azmi
• Aa ja sanwariya tohe garwa laga lun  – Gaman (1978) – Hiradevi Mishra – Shahryar
• Kahan tu jaati aisi lagan lagaaye  – Asha Bhosle, A Meera bhajan

We also have a couple of more articles on Jaidev:

•  ‘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.
• Jaidev – Loneliness of Unsung Music

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

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

We now take a look at posts on other subjects –

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.”

Rimjhim ke Taraane… The Breezy Rain Songs – Antara 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.

• Aise mein agar tum aa jate kuchh tum kahte kuchh hum kahte – Balam (1949) – Suraiya -Husnlal-Bhagatram – Qamar Jalalabadi
• Dil ki kahani kahna to chahe haye ri kismat kah na sake – Sagaai (1951) – Lata Mangeshkar – C Ramchandra – Rajendra Krishna
• Kahun kaase main man ki baat  – Subah Ka Tara (1954) – Lata Mangeshkar – C Ramchandra – Noor Lakahnavi

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….]

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)

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 36^th death anniversary 31^st 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…..

The Micro View of the Best Songs of 1949 @ SoY – Male Solo Songs – Surendra + ‘Other’ Male Singers

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

Jhoom Jhoom Ke Naach Re Manwa – Kamal – S D Burman

Ab Raat Gai Hai Beet – Kamal – S D Burman

Kiyun Samjhe Hamein Parwana – Imtihaan – Shyam Babu Pathak – Hari Krishna ‘Premi’

Solo Songs of Other Male Singers

Even as the songs do remain isolated in numbers, the picture that emerges provides quite a varied and rich canvas.

Aankhen Kah Gayin Dil Ki Baat – Laadli – SD Batish – Anil Biswas – Dr Safdar Aah

Wohi Rota Hua Ek Dil – Lahore – Karan Dewan – Shyam Sunder – Rajendra Krishna

Duniya To Yeh Kahati Hai, Insaan Kahaan Hai – Lahore – Manna Dey – Shyam Sunder – Rajendra Krishna

Jagmag jagmag karta nikla chand poonam ka pyara – Rim Zim – Kishore Kumar – Khemchand Prakash – Bharat Vyas

Khushi Ki Aas Rahi Dil Ko Aur Khushi Na Mili – Sawan Aaya Re – Khan Mastana – Khemchand Prakash – Arzoo Lakhanavi

Chahte Ho Gar..Ankhen Ladana Chhod Do – Chitalkar – Sipahiya – C Ramchandra – Rammoorti Chaturvedi

We will take up 1949’s Solo Songs of Mukesh in our next episode.