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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – May 2021

Welcome to May 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our tribute to Vanraj Bhatia who left for heavenly abode on 07.05.2021.

(Photo: Rajya Sabha TV/YouTube)

Vanraj Bhatia dies at 93, He was best known for the music of films such as Ankur, 36 Chowringhee Lane and TV show Tamas, has passed away at the age of 93. The veteran music composer was battling poor health and financial constraints.

‘An Indian film without songs is meaningless’ – Jyoti Punwani draws memories from her interviews with the legendary composer Vanraj Bhatia himself explained what made his music so unique…. “The first duty of music is to express the film’s texture, and the second is to be able to stand on its own feet. It must be absolutely perfect,” he said…. “When I compose, I make the music matter in the film, even if the director pushes it into the background. Like my teacher would say, you must speak the same language as everybody else, but infinitely better.”

When Vanraj Bhatia asked me to mail his opera DVD and resume to the world’s major opera housesLuis Dias – In an interview in early 2013, the great music composer professed to me his love affair with opera and shared his earnest hopes.

Night Music for Solo Flute (Rachel Woolf) by Vanraj Bhatia

Legacy Of The Enigmatic Vanraj BhatiaSunil Sampat – On the occasion of a felicitation of Bhatia at the NCPA in March 2017, Zakir Hussain said, “Vanraj Bhatia is India’s greatest ever composer. Period.” 

Young Vanraj with his family

Vanraj Bhatia’s extraordinary, multi-faceted oeuvreRanjit Hoskote – The composer’s transcultural experiments were always intense and persuasive.

I have always liked Vanraj Bhatia’s interview with Irfan, of Rajya Sabha TV – Guftagoo with Vanraj Bhatia for his candid views. The song that Vanraj Bhatia refers to @22.48 is Barse Ghan Saari Raat – Tarang (1984) – Lata Mangeshkar – Vanraj Bhatia – Raghuvir Sahay

It’s a long narrative number describing a deserted wife’s desolation. About the song, Lataji recalls, “It was one of the most difficult and complex songs of my career. [Ref: Vanraj Bhatia’s CHALLENGE for Lata MangeshkarSUBHASH K JHA]. The story that is connected with the song is also narrated by Harish Bhimani in In Search of Lata Mangeshkar’ (1955, Harper-Collins, ISBN 81-7223-183-0) – excerpted as hereunder, as a footnote on page 102 – “Composer Vanraj Bhatia rushed in excitedly….exclaiming, “(Lata) Bai stayed back yesterday to listen to my recording !”……”….The intent of this passage is that Lata Mangeshkar, who never waited to check back on her recording, was keen to know how the song was recorded.

We now move on to other tributes and memories:

The Masters: Majrooh Sultanpuri – Majrooh’s simple turns of phrase expressed the most profound emotions. With more than 6,000 songs in over 300 films to his credit, Majrooh’s poetry traversed the gamut from the soulfully romantic to philosophical, cynical and devotional.

Remembering Bulo C Rani who debuted as independent music director in Pagli Duniya (1944).

Remembering Naushad: The music director beyond compareAjay Mankotia – Naushad passed away on May 5, 2006 – 15 years ago. But old masters never die. The music lovers and connoisseurs still adore him.

India’s DeMille: Remembering Mehboob Khan on his 57th death anniversaryShaikh Ayaz   – We know him as the ambitious maker behind Bollywood’s greatest ode to Indian womanhood (1957’s Mother India) and perhaps as the founder of Mumbai’s iconic Mehboob Studio. But Mehboob Khan was more than that.

‘Teesri Kasam’ was the perfect meeting of minds between Phanishwarnath Renu and Shailendra – Phaniswarnath Renu had named his youngest daughter Waheeda Rehman, after the actor who played the lead in Teesri Kasam.

Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey – Even as several of Dattaram;s songs with Mukesh and Manna Dey have had large following, Dattaram was not limited Mukesh And Manna Dey.

Kaif Irfani – A Forgotten name – Here is his very popular, romantic song Dil Tujhe Diya Tha Rakhane KoMalhar (1951) Mukesh / Music – Roshan

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

Laxmikant-Pyarelal’s story is as much about friendship as it is about their tunesGanesh Vancheeswaran – The 1963 B grade film, Parasmani set the tone for an unprecedented 35-year-long run for Laxmikant-Pyarelal, in which they offered 3,000-odd songs they composed in about 500 films.

Pyarelal (left) and Laxmikant. Courtesy Rajeshwari Laxmikant.

Ban Mein Bahar Aa Gayee, Man Mein Umang Chaa Gayi – Balwant Singh was born in 1918.He got his break aas a singer, for Bomaby Talkies’ film Jeevan Prabhat (1937).. Here is his duet with Devika Rani from the film – Tum Meri Tum Mere Saajan (Music – Saraswati Devi = Lyrics: J S Kashyap).

Digging (Into) the ’60s and early ’70s Songs of Usha Uthup/Iyer – Usha Uthup has a very special voice as far as Indian film singers go, a bit lower and thicker even than many western female singers’, and it often has a certain unusually appealing hoarseness too. before she sang in Hare Rama Hare Krishna for R.D. Burman, she got a role singing as part of a Shankar-Jaikishan soundtracks in Bombay Talkie (1971) – Hari Om Tat Sat and Good Times and Bad Times..

May 2021 episode of Fading Memories, Unforgettable Songs takes up Manna Dey – Chale Ja Rahein Hai…. 1954 – 1955. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the 2020 episode.

When Rafi sang for Hanuman, Manna for Ravan… – On the legendary Manna Dey’s 102nd birth anniversary, Subhash K Jha traced an interview he had done with Mannada way back in 1997.

We now move on to songs on other subjects –

Romantic Songs with a Third Person – These are songs where apart from the couple in love, there is someone else in the frame – either obtrusively or unobtrusively

Here’s A Vintage Pic Of Raj Kapoor And Wife Krishna

From Bollywood Rewind Sampada Sharma – Indian Express’s weekly column:

  • Sharada: Of love that is beyond labels – Starring Meena Kumari and Raj Kapoor, LV Prasad’s Sharada is the kind of romance that makes you question your understanding of love, and how meaningful relationships can exist, even with the strangest labels.
  • Awara: Of nature vs nurture – Starring Raj Kapoor, Nargis and Prithviraj, Awara is set in an era where climbing out of the vicious cycle of poverty was near impossible, and strangely enough, times haven’t changed much in the last 70 years.

The Catch-22 Songs which juxtapose options and thus, present dilemmas. Some are frivolous whereas the others are weighty.

Composers sing for themselves: Ten songs are the songs where a composer actually recorded—and it was included in the film in question—a song in his/her own voice

Anand Bakshi on his legacy as a film lyricist: ‘My songs will beat just as our heart beats’ – An excerpt from a biography, Nagme, Kisse, Baatein, Yaadein – The Life & Lyrics of Anand Bakshi, Rakesh Anand Bakshi, Penguin Random House India, of the songwriter whose career in Hindi cinema spanned six decades.

Rabindra Sangeet in Films: 10 Songs Sankhayan Ghosh presents a range of songs, from the obvious to the not-so-obvious to the innovative.

Regional Star, Hindi Also-Ran: Ten Actors, Ten Songs –who, for some reason or the other, never could make it big in Hindi cinema.

‘क्या भूलूँ क्या याद करूँ’ – a journey into what one wants to forget and what to remember.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Tum Hase To Gam Sharmaya – Dana Pani (1953) – with Shamshad Begum – Mohan Junior – Kaif Irfani

Aate Jaate Aankh Bachana ..Haye Re Tera Jawaab Nahin – Mehbooba (1954) – with Shamshad Begum – OP Nayyar – Majrooh Sultanpuri

Mujhe Jag Ki Bana De Malika, Phir Malik Ban Mere Man Ka – Dark Street (1961) – with Suman Kalyanpur  – Dattaram – Gulshan Bawra

Shokhiyan Nazar Mein Hain – Aasra (1966) – Laxmikant Pyarelal – Annad Bakshi

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2021

Manna Dey – Chale Ja Rahein Hai…. – 1954 – 1955

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) had sang more than 4000 songs in all languages. He has had some phenomenally successful romantic songs with almost all major actors of his times. But the lady luck seemed to bend upon ensuring him a ‘next-best’ place to him. The Hindi film industry considered Manna Dey too good for his own good. And in an industry once you are cast in a die, you remain stuck to that mold.

We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the2020 episode.

In the present episode, we will take up his les heard songs for the year 1954 and 1955. As far as possible, we have studiedly avoided his songs from the mythological films.

Even after success of Awara (1951) and Boot Polish and Do Beegha Zamin (both 1953), the flow of non-romantic songs has not ebbed during the year 1954.

Shamo Sahar Hai Sahar Hi Sahar – Danka (1954) – with Asha Bhosle and chorus – Aziz Hindi – Arshi Ajmeri

This is an inspirational song, one more of a genre for which Manna Dey was to be typecast.

Jhini Jhini Re Bhini Chadaria – Mahatma Kabir (1954) – Anil Biswas – Kabir (Traditional)

Anil Biswas has imparted his own touch to this traditional bhajan.

Sangeet Hi Shakti Iswar Ki … Bhagat Ke Bas Mein Hai Bhagwan, Mango Milega Sab Ko Daan – Shabab (1954) – Naushad – Shakeel Badayuni

This again is bhajan, set to semi-classical tune. Naushad, in a rare use of Manna Dey’s voice, has used Manna Dey’s voice quality to a telling effect.

Jati Jati Hai … Aaj Naiya Meri…. Nila Hai Akash Dharati Hari – Baadbaan (1954) – Timir Baran S K Pal – Uddhav Kumar

We have selected this song over more traditional bhajan, Jai Deva Ho (with Asha Bhosle), because it being based on a Bengali folk tune.

Ye Jag Rain Basera Bande, Na Tera Na Mera – Ilzaam (1954) – Madan Mohan – Rajinder Krishna

We have a film from Madan Mohan’s early part of the career.

A singer is seen passing on the road singing this song. However, that voice has struck some chord with Meena Kumari, who runs after the singer.

As such, we see even a relatively new entrant like Madan Mohan too using Manna Dey for such ‘niche’ song.

1955 had two another great success to Manna Dey’s credit – Shree 420 and Seema. Each of Dil Ka Haal Sune Dilwala, Pyar Hua Ikrar Hua and Mud Mud Ke Na Dekh represented a different genre and Manna Dey as Raj Kapoor was playback, as well as singer, was hugely popular in  each of these songs. Tu Pyar Ka Sagar Hai can be classified as prayer, for which Manna Dey was already in the process of being typecast. So, the great success of the song only went ton to fortify the strength of the cast.

Murli Manohar Krishna Kanhaiya, Jamuna Ke Tat Par Viraje Hai – Jhanak Jhanak Payal Baje (1955) – With Ustad Amir Khan Saheb, Lata Mangeshkar – Vasant Desai – Diwan Sharar

Vasant Desai Has been using Manna Dey’s voice for a variety of songs. The present song is a semiclassical piece that has been used as a dance song. Manna Dey sings @ 4.48, for Gopikrishna who plays Krishna in this dance song.

The film had several more of Manna Dey songs. Of these, Mere Aye Dil Bata can be considered to be leaning towards romantic genre, while Gurur Brahma…. Rut Basant Aayi  Ban-Ban Upvan has more classical base even when the base feeling is that of Romance.

The music of the film was indeed highly successful, but that success was normally considered as an add-on to the over success of the film. So, neither Vasant Desai or even singers could make much of this success into far-reaching commercial success.

Chal Chal Paani Hamari Zindgani, Ye Chal Ke Rukna Jane Na – Amanat (1955) – with Asha Bhosle – Salil Chaudhury – Shailendra

Here too we have not considered a vicarious song, Chet Re Murakh Chet Re Avsar Bita Jaaye….Re Murarkh Tu Kya Jaane, filmed on an alms-seeking old man and his young companion couple . Such songs typically contain a message for the main character in the film.

The present song represents typical small celebrations in in a poor rural rea. Manna Dey comes in with alaap @1.40 and then takes over the next stanza on behalf of a village tradesman.

Aan Milo Aan Milo Shyam Sawarey – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

Here we have typical example of Manna Dey not being used as main singer in the film. In fact, he along with Geeta Dutt, seem to have been selected because the song is based on Baul Bengali folk tune.

Saajan Ki Ho Gayee Gouri – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi

This is song which is being rendered by the same Boul singers as in the previous song, but Paro has now grown as an adult. The songs reflect the feelings of adult Paro, in the song by these singers. Manna Dey and Geeta Dutt very deftly reflect the mood the song.

Hosh Me Aa O Murakh Bandey – Kundan (1955) – Ghulam Mohammad   Shakeel Badayuni

This essentially a background song which leaves a vicarious inspirational message to the key protagonist. That seems to be the reason why Ghulam Mohammad, who has not used Manna Dey much, seems to have leaned towards choosing Manna Dey as playback voice for the song.

Ha Main Lanka Naresh …. Mere Dus Hai Shis – Insaniyat (1955) – with Mohammad Rafi – C Ramchandra – Rajinder Krishna

Here again Manna Dey sings for a character that plays Ravan in the is belle. The song has Agha in the focus, but he lip-syncs playback of Mohammad Rafi.

Naino Me Neer Liye, Hriday Mein Peer Liye – Oonchi Haveli (1955) – Shivaram Krishna – Bharat Vyas is again a background genre song for which I could not locate a YT link.

Similarly, Bharat Mata Ke Laadlo Mein Hove Na Ladai – Teen Bhai (1955) – with Laxmi Shankar – Arun Kumar – Bharat Vyas is an interesting composition, which is based on Baul folk music, deriving its main message form A Ramayana episode.

Manna Dey is his usual best even in these non-romantic songs. It seems that perhaps it was this versatility that led him to be cast a niche-singer who was perceived as being too versatile for the lead actor who was supposed to sing songs on the screen that common man on the street can also easily sing.

For Manna Dey fans, these songs are a treat to remember and for others these offer a glimpse of hidden treasure of Manna Dey’s songs


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

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

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I Liked Music from films

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.

 

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I Liked Music from films

The Micro View of Best Songs of 1945 @ SoY :: Male Solo Songs – Golden Era Singers

For the year it would be interesting enough to classify the male solo songs under three broad categories

  • Solo Songs of Golden Era Male Singers – the singers who are easily associated with the Golden Era of HFM
  • Solo Songs of Vintage Era Male Singers – the singers who are primarily associated with Vintage Era of HFM, and
  • Solo Songs of K L Saigal, who is a class in himself during any era of the Film Music.

We will first listen to the Solo Songs of Golden Era Male Singers.

1945 is easily the year when all the (so-called) Golden Era Male Singers were still a couple of songs old in the Hindi film industry.  As such, their struggle to get establish also can not be said to have started.

Mohammed Rafi

Before 1945, Mohammad Rafi had just one chorus in 1944 and one male-male duet (for the film which was released in 1945). We have four solo songs, form three films to Mohammad Rafi’s account for the year 1945.

Aye Dil Nakaam Tamanna, Ab Jeene Ki Tamanna Chhod De – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

[Considered to be the first ever solo song recorded by Mohammad Rafi.]

Pyar Karana Padega Hi Ek Din – Sharabati Aankhen – Firoz Nizami – Pt. Indra

Bahut Mukhtasar Hai Hamari Kahani – Sharabati Aankhen – Firoz Nizami – Tanveer Naqvi

Ab Na Been Baja Snehi… – Sharabati Aankhen – Firoz Nizami – Pt. Indra

Haae Re Duniya, Jhoothon Ka Darabar – Zeenat – Meer Sahab –

Mukesh

The first ever solo song of Mukesh was “Dil Hi Bujha Hua Ho To” (Nirdosh, 1941; Music: Asho Ghose; Lyrics: M Neelkanth) as an actor-singer  His first ever song as a playback singer was in the year 1945.

Maana Ke Tum Haseen Ho Ahl-e-Shabah Ho – Moorti – Bulo C Rani – Pt. Indra

Haseeno Ko Haseeno Se Muhabbat Ho Hi Jaati Hai – Moorti – Bulo C Rani – Pt. Indra

Dil Jalata Hai To Jalne De – Paheli Nazar – Anil Biswas – Dr. Safdar ‘Aah’

[Considered as first solo song as a playback singer.]

Tay Kar Ke Badi Door Ki PoorPech Dagariya – Paheli Nazar – Anil Biswas – Dr. Safadar ‘Aah’

Manna Dey

Manna Dey started his career in playback singing in Hindi films with a duet “Jago Aayee Usha Panchi Boley Jago” (Tamanna, 1942; co-singer- Suriya; Muisc : Naushad)with Suraiya which was an instant hit.

Ek Chakori Dev Se Apane – Vikramiditya – Shankar Rao Vyas – Ramesh Gupta

Hement Kumar 

Hemant Kumar had put his first step in Hindi films in 1942 with the song Aankhon Ki Oat Jo Rahta Hai (Meenaxi,- Music: Pankaj Mallik)

(Acknowledgement: Corrections carried out in response to Shri AKji’ s comment. )

Laga Tu Us Se Lau Tu Madadgar Hai – Ban Phool – Biren Mitra -Natrendra Nath Tuli

Thus, we have (just) eleven songs to the account of Golden Era Playback singers for the year 1945. In our next episode we will get the flair of solo songs of vintage era male singers.

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I Liked Music from films

Manna Dey’s Comedy Songs for Other Actors [2]

Manna Dey’s was the bridge who made passage of classical based songs to move to the comedy form. This happened during a period when the prevalent practice was required that the best songs can be created on a note of pathos only. The next slot was assigned to the songs of pure romance. Comedy songs were simply ‘filler’ songs. No one noticed the serious efforts that went into making of comedy songs. The music director had weave a tune which is very easy to sing, the lyricist had to use the ‘light’ lyrics, the actors had to try not be ‘loud’ and the playback singer had to improvise  on multiple styles in one song. Above all, it had to be so created in the film that the audience remains seated during the song sequence.

Obviously, all the experiments were not very successful in integrating all these differing elements in to a song that would stand competition with a tragic or a romantic songs. But some songs which did measure up to that competition, one of the most frequently seen common element was Manna Dey’s very distinct style of sinning the comedy songs.

While commemorating the birth centenary of Manna Dey, we have specially focused on Manna Dey’s comedy songs – first with Mehmood and then, in the last episode with ‘other comedy actors.  Presently, we take up the last episode of our Manna Dey centenary commemorative series, wherein we have recalled Manna Dey’s comedy songs for Agha and I S Johar.

Manna Dey – Agha

Agha(jan Baig) gained recognition as comedy actor very early in his career. Once the practice of allocating a song to a comedy actor became an established part of the Hindi Film formula, Agha also got to sing songs on the screen. He did not have a specific playback singer as his THE voice. As such, association of Manna Dey and Agha can be traced to an ‘Insaaniyat’ (1955) song.

Main Ravan Lanka Naresh – Insaniyat (1955) – with Mohammad Rafi – C Ramchandra – Rajendra Krishna

In this song Mannaa Dey sings for a charchter playing Ravana in the stage play. Agha seems to be absconding from the police, and gets a reprieve as he takes on the make-up of Hanuman, to save his skin. Mohammad Rafi sings for Agra-turned-Hanuman    on the screen.

Bum Bholanath Bum Bholanath – Rajtilak (1958) – C Ramchandra – P L Santoshi

Here is a tailor-made situation for a comedy song, with an element of comedy blended with the altruistic motives.

Phul Gendwa Na Maaro – Dooj Ka Chand (1964) – Roshan – Sahir Ludhyanvi

This is one of the landmark classical raag based comedy song. Even as the song is a parody of a classical Bhairavi thumri rendition, Roshan, Sahir and Manna Dey have ensured that song  maintains the basic charm of the original composition style.

Ho Gori Ter Banki Banki Chitawan Mein – Aadhi Raat Ke Baad (1965) – Chitragupt – Prem Dhawan

Chitragupt was quite adept in fusing the indigenous and western styles of song composition over a variety of moods. Presently, Chitragupt has set the opening of the song on a classical singing style, but then easily switches to western style, possibly to create the sense of comedy in the composition itself. Manna Dey is his very usual natural self at every twist and turn of the composition.

Manna Dey – I S Johar

I(nder) S(en) Johar, though may be known more as a comedian in Hindi Films, was a versatile film personality. He was producer, director and the story writer as well.  For some time, he administered a column of witty exchange of questions and answers in a well-known film magazine, Filmfare. The first film in which he acted was Ek Thi Ladki (1949) and the first film he wrote and directed was Shrimatiji (1952).. He also has several roles to his credits in major Hollywood films.

Are HaaN Dildaar Kamado Wale Ka Har Teer Nissane Par – Bewqoof (1960) – with Shamshad begum – S D Burman – Majrooh Sultanpuri

Here is the song that should suffice to vouch for the sense of comedy that I S Johar had. He sings, from the back of a radio, to pose that song comes out from the radio!

Manna Dey had two more songs in Bewqoof – which I S Johar had produced and directed as well -that had I S Johar on the screen. In Delkh Idhar Tera Dhyan Kidhar Hai, I S Johar masquerades as a girl (played back by Asha Bhosle) to entice two “gentleman” (played back by Manna Dey). Manna Dey also got to sing a line in Dhadka Dil Dhak Se., which is filmed as dance song on Helen (playedback by Asha Bhosle).

Yeh Do Diwane Dil Ke  – Johar Mahemood in Goa (1965) – with Mohammad Rafi – Kalyanji Anandji – Qamar Jalalabadi

Johar Mehmood In Goa was the first in the subsequent series of films that I S Johar di with his own name in the title of the film. Though the films had huge leaning on comedy, the background of each film was the contemporary historical perspective of the locale – which was also included in the film title. It was very unfortunate that such a talented personality churned out slapstick comedy films.

Pyaar Kiya To Marna Kya – Raaz (1966) – Kalyanji Anandji – Shamim Jaipuri

This is also a direct, and complete parody of Pyar Kiya To Darna Kya (Mughal-e-Azam, 1960)

The songs that we have now are not worth to listen in detail. Whether in terms of the quality of the music or from the quality of I S Johar’s screen roles. However, these songs do provide us Manna Dey’s comedy songs by the music directors, lyricists or playback singers not covered hitherto, or give us the types of films that I S Johar perceived (e.g. Nasbandhi, (1978). Moreover, we have satisfaction that we have done fair justice to the in completing the documentation

Bachpan KI Hasin Manzil Pe Jab Husn Guzar Ke Aaye  – Johar in  Bombay (1967) – with Usha Mangeshkar – Usha Khanna – Asad Bhopali

Besharmi Se Sharm Na Kar, Hera Feri Se Mat Dar – Teen Chor (1973) – with Mohammad Rafi , Mukesh – Sonic Omi – Rajendra Krishna

Ham Sab Ka Hai Subhchintak – Khalifa (1976) – with Kishore Kumar – R D Burman – Gulshan Bawra

Kya Mil Gaya Sarkar Tumhe Emergency Laga Ke – Nasbandi (1978) – with Mahendra Kapoor -Kalayanji Anandji – Hullar Muradabadi

We conclude our Manna Dey centenary celebration series here.

There could still be some comedy songs that may not have been covered in this series. We would take up these stray songs in our parallel, annual series, Manna Dey – Chale Jaa Rahen Hai .

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All episodes relating Manna Dey’s centenary celebrations series can be read / downloaded by clicking on the respective hyperlink.:

Remembering Manna Dey

Manna Dey and Contemporary Lead Actors

Manna Dey’s Comedy Songs

Manna Dey’s comedy Songs for Mehmood

Manna Dey’s comedy songs for Other Actors

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2020

Manna Dey – Chale Ja Rahein Hai…. – 1951 – 1953

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) could have been said to have not succeeded in the mundane meaning of the word. But it is also an equally undeniable fact that he can never be considered as an ‘also ran’ competitor. If he was acknowledged as No. 1 in the classical raag based songs genre, several of his solos and duets remain all-time classics across all other types of Hindi Film genres. If his Bengali film songs and NFS have yielded him a place of high respect in Bengali, his foray into several other languages like Bhojpuri, Awadhi, Punjabi, Assamese, Oriya, Gujarati, Konkani, Marathi, Kannad, Malayali, Sindhi etc. remains well-respected in the respective languages. In so far as Hindi songs are concerned, it is not only the quality outcomes in terms of parameters like clarity of voice, purity of diction, fidelity of expressions and emotions that is accorded very high respect, it is also the quantity outputs, in terms of parameters like number of songs, number of active singing years, number of music directors and playback singers he worked with, number of awards bestowed on him remain well-respected. In fact, one will definitely find at least one Manna Dey song in each genre that is considered to be THE benchmark song.

We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have his

Starting from May 2019, till May 2020, we also took up a once-a-month series under the title Remembering Manna Dey to commemorate his centenary birth year. In this series we covered Manna Dey’s Songs for contemporary lead actors, Manna Dey’s comedy songs for Mehmood and Manna Dey’s comedy songs for other actors and comedians. As result, in our present series, we will not e include the songs that we have covered in these earlier series. As it so happens, that, still,  gives  us a very wide range of Manna Dey’s less heard songs to choose from.

Presently, we will recall here Manna Dey’s less heard songs for the years 1951 to 1953.

1951

1951 had Awara, which gave Manna Dey entry into RK Films. He got to sing, one song along with Lata Mangeshkar and chorus – Tere Bina Aag Ye Chandani  -wherein he voices the deep anguish of Raj Kapoor’s character. However, except for that, he still remains confined to religious films.

Bhole Nath Re Naiya Paar Laganewale – Shri Ganesh Janma (1951) – with Geeta Dutt – Khemchand Prakash / Manna Dey – Bharat Vyas

It seems that Manna Dey has been assisting Khmechnad Prakash in this film. Is that why the song seems to have been based on Bengal’s folk Baul singing style.

We also have a Ganesh Stotra  Jai Ganesh Deva (with Sulochana Kadam and chorus) from the film, which is said to be based on Raag Asavari Sarang, wherein Manna Dey sings only the opening mantra.

Jao Jao Aa Gaya Bulawa Jung Ka – Rajput (1951) – with Madhubala Jhaveri, Talat Mahmood – Hans Rah Behl – Bharat Vyas

The first part of the songs is a dialogue between the recently married couple, Wife, in the voice of Madhubala Jhaveri, encourages her husband to go for the war and the husband, in the voice of Talat Mahmood, keeps vacillating. Manna Dey comes in as the narrator – @2.06- who takes over the tale to inform us what has happened after this dialogue ended.

Vande Mataram – Andolan (1951) – with Sudha Malhotra, Parul Ghosh – Pannalal Ghosh – Bankim Chandra Chattopadhyay

The court room gets converted into an open defiance platform as the accused commences to the song.

Subah Ki Pahali Kiran Tak Zindagi Mushkil Mein Hai – Andolan (1951) – with Kishore Kumar – Pannalal Ghosh – Niaz Haider

Kishore Kumar is o raw here, both as actor and as singer. Manna Dey comes in @1.30 to sing for another character- the actor not identified by me- who is already in jail.

Asides: There was one more film by the same name, released in 1975, for which music was composed by Jadev.

1952

This should be one of the leanest years in the career of Manna Dey.

Jiyo Jiyo Mere Lal, Teri Tedhi Tedhi Chal – Maa (1952) – with Kishore Kumar, Arun Kumar – SK Pal – Bharat Vyas

The songs also is interesting as we get to see very young Bharat Bhushan (Kishore Kumar sings for him) , Sudesh Kumar, Asit Sen, and very lean, almost boyish Mehmood.. The song is set to a very hilarious situation. However, here too Manna Dey to o gets song his lines in the style of bhajan-singing @ 2.30

Asides: There were two more films with same name, one in 1960, for which Chitragupta composed the music and the other in 1976, for which Laxmikant Pyarelal have composed the music.

1953

1953 was to see two films – Boot Polish and   Do Bigha Zameen – that gave Manna Dey his ail time best, and even popular songs. The irony of fate was also lurking behind this success, in that the fame of these songs now cast Manna Dey in tow more types of songs – rural or downtrodden people songs and comedy songs.

1953 also gave Manna Dey songs to playback all the songs for main lead actor. And as irony of fate would have had, the hero of that film – Hamdard – Shekhar did not hit commercial success. The two part season specific raag medley based duet Ritu Aaye Ritu Jaaye Sakhi and Pee Bin Suna Ree  (Hamdard, 1953, – with Lata Mangeshkar – Anil Bishwas – Prem Dhawan) is still remembered.

Tera Haath Haath Mein Aa Gaya….Ke Chiraag Rah Mein Jal Gaya – Hamdard (1953) – Anil Biswas – Majrooh Sultanpuri

This is one is a song of pensive mood. The song is set o very complex tune.

Mere Man Ke Dhadkan Mein Koi Nache – Hamdard (1953) – Anil Biswas – Prem Dhawan –

The song is filmed as a stage song. The support activity on the stage is a dance, so the song essentially exudes feelings of happiness.

O Ghayal Karate Hai Khud Hi,Badal Gaya Rang Mehfil Ka – Hamdard (1953) – Anil Biswas – Prem Dhawan

The song is positioned as song rendered by artists in hotels etc. for the entertainment of the guests.

Naina Bhaye Anath Hamare…Jab Aankhe Hi Na Di Malik Ne To Dil Bhi Na Diya Hota – Hamdard (1953) – Anil Biswas – Prem Dhawan

The song is set to a qawwali style song, since it is filmed as fund raising stage show for charity organization.

Daata Tu Jaga Ka Tu Palanhar– Mahatma – Vasant Pawar – Ram Wadhavkar

Some authorities have recorded this song under ‘Other Male Singer’ category. A comment at the videoclip mentions ‘Prakash’ as the singer. However, since  http://www.mannadey.in/  and https://mannadey.weebly.com/ have included this as Manna Dey song, I have gone along with that.

Aas Ne Kitane Diye Jalaye ….Phir Bhi Ram Nazar Na Aaya – Mehmaan (1953) – Anil Bishwas – P N Rangeen

Flute is prominent in the prelude as well as interlude orchestration. It was considered customary that most of the major flute recitals in Anil Biswas songs were played by Pt.  Pannalal Ghosh,

Asides: There was a film by the same name prior to this, in 1942, for which music was composed by another stalwart, Khemchand Prakash and one film afterwards, in 1974, for which Ravi had composed the music.

Chali Radhe Raani, Akhiyon Me Paani – Parineeta (1953)– Arun Kumar Mukherjee – Bharat Vyas

Here is one more song that did get very wide acceptance then, and even now. This is Bengali folk style – baul – singing. The clip here has included both the versions of the song. Manna Dey’s clarity in expressing the emotions of the situations come out very clearly in these two versions. First one is a happier version, with Manna Dey playfully navigating the lyrics. The second one is of not-so-happy times, with Manna Dey so delicately caressing the feelings that lyrics express.

Asides: ‘Parneeta’ was filmed afresh in 2005. For which music was composed by Shanatnu Moitra

Sahi Ki Zanjire Todate Chalo – Shaneshah (1953) – S D Burman – Sahir Lughyanavi

After hiatus of three years, S D Burman has called up services of Manna Dey’s voice for this march-tune based song that seems to entice throwing off the shackles of authoritarianism and the high-handedness of the tormenting ruling class..

Krodh Kapat Ke Andhiyare Ne – Armaan (1953) – S D Burman -Sahir Ludhyanavi

S D Burman again chooses Manna Dey’s voice for this background songs.

Raat Ke Raahi Thak Mata Jaana Manzil Teri Ab Door Nahi – Babla (1953) S D Burman – Sahir Ludhyanvi

One more inspirational song comes to the fold of Manna Dey. The song did become very widely accepted so unintentionally hardening up his type-cast mold.

The songs has a Lata Mangeshkar twin version as well.

Sonewale Jaag Jara, Kyun Samay Suhana Khota Hai – Surang  (1953) – with Sulochana Kadam – Shvram Krishna – Shewan Rizvi

The film relates to a period where some of the casts, essentially the poor ones, had to stay away from the main town. These people normally would get together in  the evening and .would entertain themselves with songs or dance that would also give people a message for good living.

Chal Dil-e-Majbur, Is Zulm Ki Duniya Se Door – Surang  (1953) – with Sulochana Kadam – Shvram Krishna = Shewan Rizvi

This is song of pathos, but we get to listen Manna Dey in a quite different style, even though it is actually filmed on a community elder on the screen.  The singer so effectively voices the feelings of the hero that hero (Vinod Kumar) gets attracted to the congregation where the the elder of the community is singing the song.

Apart from these, we also can listen to some more songs in the audio clip form @ https://mannadey.weebly.com/  a site created by S P Chatterjee-  This site seems to be following the http://www.mannadey.in/    site, and has made available digital audio versions of as many songs as could have been located. The songs for which such audio digital link is not seen here, I have not mentioned in this post.

Our journey into the Hindi film Songs career of Manna Dey will move to the next milestone in the net (year) episode.

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

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

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I Liked Music from films

Manna Dey’s Comedy Songs for Other Actors [1]

We have noted that Manna Dey’s formal association with comedy songs with the text-book comedians of the cinema roots in Manzil (1960) song Hato Kahe Ko Jhoothi Banao BatiyaN.. This certainly blazed a trail that distinguished the career of Manna Dey as well as Mehmood.  As can be expected many other music directors subsequently used Manna Dey’s voice for comedy songs with other comedians as well.

Before we fully explore this dimension, it is certainly worth its while to note that Manna Dey has recorded quite a few comedy songs for what is broadly termed as Hero in the cinemas. We begin our present, and last for the time being, leg of Manna Dey’s career journey.

Manna Dey’s Comedy Songs for Lead Actors.

We have had a multi-part series journey of Manna Dey’s Songs for the Lead Actors. Barring a few songs, we had refrained discussing Manna Dey’s Comedy Songs with Lead Actors there..

Manna Dey’s Comedy Songs for THE Kapoor Brothers

The active singing careers of some of the playback singers like Mohammad Rafi, or Kishore Kumar or Manna Dey have spread over several decades and were so potently dominant in their own times that each one having rendered playback voices for the Kapoor Brothers Trio has not attracted any attention. Manna Dey singing a comedy song for each of the three Kapoor brothers, there for does require a special mention.

Manna Dey and Raj Kapoor

Manna Dey had emerged as the principal alternative playback voice for Raj Kapoor from the very first film – Awara (1951) – of their association. It was therefore very obvious that he would get to sing special situation songs like, a sad song Tere Bina Aag Ye Chandani or sheer romantic duet Pyar Hua Ikrar Hua or very light-station dance number Mud Mud Ke Na Dekh or a song bordering to a classical comedy song Dil Ka Haal Sune Dilwala.

However, the first truly comedy song that Manna Dey sang for Raj Kapoor for the first time came up in Paravarish (1958)

Mama Oh Mama Oh Pyare Mama.. Gharwale Khaye Chakkar… – Paravarish (1958) – with Mohammad Rafi – Dattaram – Hasrat Jaipuri

Manna Dey was used as (almost) a default playback for Raj Kapoor in this film. So it was very natural that Manna Dey would playback to Raj Kapoor and Mohammad Rafi to Mehmood.

Next big comedy song that Manna Dey sang for Raj Kapoor came up in Dil Hi To Hai (1963)

Laaga Chunari Mein Daag Chuupaun Kaise – Dil Hi To Hai (1963) – Roshan – Sahir Ludhyanavi

It was Mukesh who was the default playback singer for Raj Kapoor in this film. However, for so strong classical rag-based comedy song, Roshan easily seems to have preferred Manna Dey

Manna Dey And Shammi Kapoor

Manna Dey had had an occasional chance to playback for Shammi Kapoor – Ab Kahan Jaye Hum – in Ujala  and a few other films, which we have covered in details in our Manna Dey – Shammi Kapoor piece earlier.

Meri Bhains Ko Dand Kyun Mara – Pagla Kahin Ka (1969) – Shankar Jaikishan – Hasrat Jaipuri

It was Shankar Jaikishan who again recalled Manna Dey for a full-fledged comedy song, filmed on Shammi Kapoor, when Mohammad Rafi had become THE ShammI Kapoor Playback voice.

Manna Dey and Shashi Kapoor

Manna Dey also had his share of Shashi Kapoor songs. It was in Pyar Kiye Ja (1966) that he gets a very light song to sing for Shashi Kapoor

Sun Le Pyar Ki Dushman Duniya – Pyar Kiye Ja (1966) – with Kishore Kumar, Lata Mangeshkar, Asha Bhosle – Laxmikant Pyarelal – Rajendra Krishna

This is a cry against the tyranny of the world towards the young people in love, but presented in a lighter tone.

Manna Dey’s Comedy Songs with Other Lead Actors

We have had a detailed look at Ashok Kumar – Manna Dey Comedy Song Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), in Ashok Kumar – Manna Dey piece @ Manna Dey and Lead Actors. So, we will be satisfied here with taking a note of that one excellent comedy songs of Manna Dey. Of course, no discussion of Manna Dey’s comedy sngs for Ashok Kumar can ever be complete without mention of Babu Samajo Ishare, Horn Pukare (Chalti Ka Naam Gaadi, 1958; Music – S D Burman; Lyrics: Majrooh Sultanpuri)

One of the rarest find while working for this entire series is Manna Dey’s Comedy Song for Vijay Ananad.

O Mister, O Mister Suno Ek Baat – Agra Road (1957) – with Geeta Dutt – Roshan –  Prem Dhawan

Vijay Anand was considered to be one of the most competent drifters of the films. Picturization of the songs was his forte. He would suddenly briefly appear, in Alfred Hitchcock’s signature style, in some in  the films he directed,  His attempts to act, and that too as lead actors, have been considered to be equally rare, and by and large not very successful.

Agra Road was his first maiden such effort. The film direction was in th every able thriller film directors, (Nagina -1951– fame) Ravindra Dave.

Here Vijay Anand is seen lip-synching Manaa Dey in a very light situation dance sequence. Of course, he himself wi very seriously dressed in a full suit, a tie, shoes and all.

Manna Dey’s Comedy Songs with Other Comedians

After Hato Kahe Banao Jhoothi Batiyan (Manzil, 1960) for Mehmood, we get to listen Manna Dey’s comedy songs for full-fledged comedians in 1962 for Johnny Walker.

Manna Dey’s comedy songs for Johnny Walker

The default playback voice for Johnny Walker has always been Mohammad Rafi. Mohammad Rafi had in fact so much developed a style of throw of words that synched perfectly with Johnny Walker’s theatrics that just by listening  to a song one would know this is Johnny Walker song..

Arre Kisne Chilman Se Maara – Baat Ek Raat Ki – S D Burman – Majrooh Sultanpuri

It is probably no coincidence that it is S D Burman who has chosen to use Manna Dey for Johnny Walker, taking on a contrarian step of not using Mohammad Rafi.. In fact SDB has already used Mohamad Rafi for Johnny Walker, right in this film – Aaj Ka Din Bhi Pheeka Pheeka. However, for this classical styled mujra, S D Burman has opted for Manna Dey. S D Burman has maintained spaces for Johhny Walker’s signature theatrics, while creating one of the most iconic comedy song in the annals of Hindi film history.

We have next three songs, all composed by Kalyanji Anadji.

Mere Mehboob Mujhko – Haseena Man Jayegi (1968)  – with Asha Bhosle –  Kalyanji Ananadji – Qamar Jalalabadi

This is a masala comedy song involving a sulking ‘the other half’ with our ‘comedian’ displaying all the theatrics available in his arsenal to win her over.

Ek Anar Do Bimar – Baazi 1968   -Kalayanji Anandji – Shakeel Badayuni

The templates are so rigidly cast, that even a new combination of music director – lyricist also is not able to inject any noteworthy variation.

Haye Re Raama Raam Qasam Kaisa Aaya Ye Zamaana  – Ek Haseena Do Deewaane (1972)  -Kalyanji Anandji –  Qamar Jalalabadi,

If a film has a comedian, and that too of the order of Johnny Walker, or Mehmood, he has to be allotted one song. By now there are some standard templates typecast. Any one of that template style will be lifted up and a song will be worked out by crafting some variation here or some variation there.

We would once again to end an episode in this series by ruefully noting the sudden drop in the quality of compositions that Manna Dey had to sing as the years pass, starting always from an iconic song to end with most certainly the forgettable song.

We have one song that can help us move away from that gloom –

Munh Se Mat Laga Ye Cheez Hai Buri – Johnny Walker (9157) – with Mohammad Rafi – O P Nayyar – Hasrat Jaipuri

This is an all-Johnny Walker- Mohammad Rafi song. Manna Dey has played back for some unknown ‘on-screen’ friends. But that has not made a shade of difference to Manna Dey – he matches a note-to-note with Mohammad Rafi.

That is the beauty of a really ‘class’ composition!!

We still have one more episode-worth material for Manna Dey’s comedy songs for Other Comedians. We would take that up in our next episode.

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Manna Dey’s Comedy Songs – Mehmood [4]

Even though we have travelled to three episodes of Manna Dey’s comedy songs for Mehmood, we are still in the ‘65/’66/67 period of Mehmood’s career, even though the trails from there have led us to ‘70s and even ‘80s. We have seen that most of the songs on this later part of Mehmood’s career trail have yielded forgettable songs., from those music directors only who created some of the most memorable songs that Manna Dey played back for Mehmood. So, the root cause possibly is the trajectory that Mehmood’s career took as he grew more established in his career. Playing the roles of different types of the people from across the varied walks of the life from Indian diversity seemed to be the key to his success.  Even as he would on a new character, his acting style, dialogue delivery, basic build of the character, selection of situations for the songs was seen to be getting type cast into some his past successful roles as the chosen few model templates.

Simultaneous with this was the gradual decline with beginning of ‘60s, of the successful second-generation golden period music directors who formed the backbone for taking the Hindi Film music to a melody height in 50’s.  The music was getting more repetitive, less lasting and more commercial.

We take up this fourth, and last, link of Manna Dey-Mehmood chain in the backdrop of these circumstances. As we will see, the pattern that we saw in the previous episode, repeats here also. Of the three music directors we have for the present episode, two begin with reasonably ‘good’ Manna Dey- Mehmood songs, but then slip into the lane of churning out some quite unforgettable songs.

We once again would emphasize that basic intent of our ‘Remembering Manna Dey’ series was not judging the quality of Manna Dey’s songs across the passage of the years. We have only sincerely attempted to look at Manna Dey’s career with some specific angles so as to get as many varieties that we could come across under one common reference point.

In the chronological order of the year in which the film was released, it is Ravi who would be the fulcrum around which we would list Manna Dey – Mehmood songs.

De Data Ke Naam Tujhko Allah Rakhe – Ankhen (1968) – with Asha Bhosle|– Ravi – Sahir Ludhyanavi

‘Ankhen’ was intended to be spy thriller themed masala film. The spies were made to go to the extent of combing the dusts on the streets as beggars to get the clue of the abductors / villains, with some honing device tucked in ther beggar wheelbarrow. Manna Dey and Asha Bhosle have made their best efforts to make the song quite vearble.

Muslim Ko Taslim Arz Hai.. Main Hun Ek Hazzam Pyare – Do Kaliyan (1968) – with Mehmood – Ravi – Sahir Ludhyanavi

Mehmood dons the role of an unemployed educated in this song. The idea of venturing into a mobile hair-cutting saloon does appear like an out-of-the-box- start up idea. But the song has turned up to be a run-off-the-mill average song .

Khali Dabba Khali Botal Lele Mere Yaar– Neel Kamal (1969) – Ravi – Sahir  Ludhyanavi

The household scrap purchase was an important street business. It was an important in the recycling cycle of many of the used domestic wares. So Mehmood ‘s choice of donning role of that character was a good idea, but the way the song is created and filmed, the idea turns out to be damp squib.

Cycle Pe Hasino Ki Toli – Amaanat (1975) – with Mouhammad Rafi, Asha Bhosle – Ravi – Sahir Ludhyanavi

The film bears 1975 as the year of release, but looking the age of Manoj Kumar or Sadhana,or Ravi’s song composition style (recall – two quite the then known ones Matalab Nikal Gaya Hai To Pahechanate Nahi and Door Rahe Ke Na Karo Baat or not so known credit title song Har Ek Din Mein Aramaan Hai Amanat – all by Mohammad Rafi), the film seems to have been produced a decade or so earlier and seems to have been stuck for release. The situation of the songs – a group youngsters on a bicycle picnic- also belonged to that period. The lyrics and the singing styles of each of the singers helps in maintaining the mood of the song

Kalayanji Anandji have apparently only one song in Manna Dey, Mehmood genre. In fact they seem to have opting for Mehmood songs in Mehmood’s own voice, at least in these three instances –  Lori Suna Suna Ke (Purnima, 1965), Gali Gali Gaon  Mein (Paras, 1971) and Hoshiyar Rahena Khabardar Rahena (Vardan, 1974) – in a major departure from the then popular practice of using Manna Dey, or Mohammad Rafi.

Mere Dil Se Dil Ko Jod Do – Suhaag Raat (1968) Manna Dey– Kalyanji Anandji – Indeevar

By now, even this type of chhed-chaad romance songs of Mehmood had drifted to become too trite and loud.

For our present plot we now take up Manna Dey’s ssongs for Mehmood, composed by Laxmikant Pyarelal. In comparison of their use of Mohammad Rafi for a male playback singer slot in the years before ascendancy of Kishore Kumar in 1969, they have used Manna Dey very selectively.

Let me confess that I have not taken any extra pains to search all of Laxmikant Pyarelal’s Manna Dey songs for Mehmood on the screen. I have not gone beyond a few known films for this purpose. We may have missed out some of Laxmikant Pyarelal compositions of Manna Dey for playback to Mehmood on the screen, but, I am personally satisfied that,  the ones that we get to listen here do represent a fairly predictable pattern of what to expect from other such songs, if there are some more.

O Meri Maina Tu Maan Le Mera Kehna – Pyaar Kiye Jaa (1966) – with Usha Mangeshkar – Laxmikant Pyarelal – Rajinder Krishna

Mehmood and very young, and fairly junior in those days, Mumtaz, dish out some loud dancing while singing this song.

A For Apple B For Baby – Sadhu Aur Shaitan 1968 – with Asha Bhosle – Laxmikant Pyarelal – Rajinder Krishna

Mehmood succeeds fairly in mimicking child-like mannerism here. Manna Dey, as usual, gamely matches Mehmood’s on-screen theatrics.

Qatal Hua Nazon Ka Pala Mera – Meri Bhabhi (1969) – with Suman Kalyanpur – Laxmikant Pyarelal – Majrooh Sultanpuri

Laxmikant Pyarelal has experimented with parodying a bride departure marriage folk tune song.

Jawani Tera Bola, Budhapa Tera Munh Kala – Anokhi Ada (1973) – with Asha Bhosle – Laxmikant Pyarelal – Majrooh Sultanpuri

Memhmood caricatures role of an old drunkard here.

It is on a not-so-happy note that we end this episode and our Manna Dey – Mehmood combination songs series. Pain is more when we look at the very promising beginning of their association. The feeling of sadness of both the talents not getting their due deepens as the years went on. Mehmood gradually slipped along to become very repetitive in his theatrics, even when he did stick to playing a multitude characters from across day-to-day life. Manna Dey, on the other hand would seem get most of the compositions that all these composers may have composed just to fill in the typical comedian song slot of a film. His best efforts to salvage the song with his high-quality singing could not raise the song to a n average song, from their very low-level birth DNAs.

In the next episodes we will take Manna Dey’s comedy songs for other actors.

All episodes of Manna Dey’s Comedy Songs For Mehmood can be accessed / downloaded in a single file by Clicking on the hyperlink.

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Manna Dey’s Comedy Songs – Mehmood [3]

In the first part of this Manna Dey’s songs for Mehmood, we saw Mehmood’s career graph on the rising mode. The second part can be said to be the period when his career had peaked. The present, third part takes off from the year 1966 where we had ended second part. As we progress through this part, we come across a stage whereat we feel the beginning of the end of Mehmood’s career. As we have set a limit of end of ‘60s as our period of interest in so far as our core of focus in so far as Manna Dey’s sinigang career in Hindi Films, we are relieved form not being forced to witness the final decline of Mehmood’s career. However, we may, still, will have to bear some pain of listening to some not-so comparable Manna Dey songs for Mehmood

Allah Jane Main Hoon Kaun – Pati Patni (1666) – R D Burman – Anand Baxi

Pati Patni was produced by Mehmood. This was the fifth film of R D Burman’s career. The song is tailor-made for Mehmood’s typical theatrics, but Manna Dey is able to make tolerable.

Meri Patni Mujhe Satati Hai – Pati Patni 1966 – with Surendra and Johnny Walker – R D Burman – Anand Baxi

In a rare situation, Om Prakash, Mahmood and Johnny Walker, three comedians of different styles and essentially of different periods have come together, in a song. Surendra sings for Om Prakash and Johnny Walker for himself – another rare incidence.

Kaise Dekha Hai Mujhe Ji O Ta Ta Thiyo Ta Ta Thiyo – Pati Patni (1966) – with Asha Bhosle – R D Burman – Anand Bakshi

This eve-teasing song, which, in Hindi films, invariably succeeds in sealing up the relationship of mutual love, is also tinged with a touch of comedy.

Nir Ta Ta – Chandan Ka Palna ((1967) – With Mohamad Rafi – R D Burman – Anand Baxi

This song is also a parody of classical singing. Rafi plays the role of Guru (Dhumal) to which the disciple, Manna Dey (Mehmood) plays pranks.

Baat Karate Ho Baat Karana Nahin Aata – Chandan Ka Palna ((1967) – With Asha Bhosle – R D Burman – Anand Baxi

Asha Bhosle (Mumtaz)  sings in the ‘modern’ style to Manna Dey’s (Mehmood) old-fashioned Bangla style, but that does not seem to have any adverse effect on their romantic feelings.

Aao Aao Aao Sanawariya – Padosan (1968) – R D Burman- Majrooh Sultanpuri

Padosan was the film wherein what is typically termed as supporting roles, play more dominant roles than the official lead pair. The song carries on the Mehmood’s parodying of south Indian (Tamil_ accented Hindi

Ek Chatur Naar — Padosan (1968) – with Kishore Kumar – R D Burman – Majrooh Sultanpuri

The song is said to be inspired from  Saraswati Devi‘ s composition [Jhoola(1941), Singer – Ashok Kumar,  Lyrics –  Kavi Pradeep. Manna Dey losing to Kishore Kumar in this song   is also said to be his quiet repentence of having won against Bhimsen Joshi in Ketaki Gulab Champak Ban Phoole [Basant Bahar, 1956, Shankar Jaikishan, Shailendra)

Muthu Kodi Kawari Hada – Do Phool (1973) – with Asha Bhosle and MehmoodR.D. Burman – Majrooh Sultanpuri

The song is a direct lift from a Tamil film. The first two words mean – Give me a kiss.

Mehmood, by now, seems to resort more and more to some loud theatrics for his comedy acts. Music director(s) and Manna Dey battle to maintain the classical or regional styles.

We end this episode here by taking up Manna Dey – Mehmood Songs composed by R D Burman only. In the next and concluding episode of Manna Dey – Mehmood combination we will continue our journey form 1966, but through the songs of other music director

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Manna Dey’s Comedy Songs – Mehmood [2]

The 1st episode of Manna Dey’s comedy songs, we tracked development of Mehmood’s career, under the lens of Manna Dey’s voice as playback. S D Burman’s 1960 song Hato Kahe Ko Jhoothi Banao Batiyan did play major role in shaping Manna Dey’s career track on comedy songs, but Manna Dey virtually becoming Mehmood’s behind-the-screen voice appears to firm only by 1964. This impression will be further consolidated in our present episode, wherein we have only partially covered Manna Dey- Mehmood combination songs till 1966.

Incidentally, we carry forward trough in Manna Dey – Mehmood comedy songs under the baton of a particular music director, who has otherwise given some of the most notable Manna Dey songs – across different genres.

Kaisi Jhulmi Banayi Taine Nari Ke Mara Gaya Brahmchari – Chitralekha (1964) – Roshan – Sahir Ludhyanavi

Even if we do not consider Roshan’s two earlier Manna Dey comedy songs (that we plan to take up for detailed discussion in the subsequent episodes)  – Laaga Chunri Mein Daag and Phool Gendawa Na Maro – the song is an exceptional aberration from within other songs that Roshan – Sahir duo has so majestically composed for the film.

Haye Re Main To Prem Diwana Mera Dard Na Jaane Koi – Bedaag (1965) – Roshan – Shakeel Badayuni

Roshan now comes back with a tightly composed light, classical based tune. This time it is Shakeel Badayuni who has parodied the first line of a famous Meerbai bhajan Ae Ri Main To Prem Diwani, which Roshan has so melodiously composed as a Lata Mangeshkar solo in Nauabahar (1952)

Jaane Na Dunga Na Jaane Dunga  – Daadi Maa 1966 – with Asha Bhosle – Roshan – Majrooh Sultanpuri

Set to a very the then popular tonga rhythm genre, Roashan has once gain very skillfully deployed the semi-classical base tune while making room for comedy theatrics of the song. Shashikala who commenced her career in the heroine roles, and accepted well as vamp in the later part of her career, is seen here pairing with Mehmood in a comedy role.

Rehne Ko Ghar Do – Biwi Aur Makan (1966) – Hemant Kumar – Gulzar

Produced by Hemant Kumar and directed by Hrishikesh Mukherjee, Biwi aur Makaan centres round five young men, bosom buddies from their college days, who have vowed that they will stick together (which means living together) until each of them has a job and is independent. Mehmood, wielding his signature mannerisms, in a rustic youth role, is on the look out for a room for the five musketeers.

Duniya Mein Do Sayane, Ek Jhooth Hai Ek Sach   – Biwi Aur Makan (1966) – with Hemant Kuamr and Jayant Mukherjee – Hemant Kumar – Gulzar

Hemat Kumar has composed a very light mood song on a faster rhythm-based composition.

Hamare Hal Pe Reham Karo Ke Humse Aur Nahi Hota – Biwi Aur Makan (1966) – with Mukesh, Hemant Kumar  – Hemant Kumar – Gulzar

Two of the musketeers, masquerading as girls, vent their frustrations of playing this roles, to which the third one (Mehmood) cajoles in classical style, by lauding the roles of women in this world.

Anhoni Baat To Ho Gayi Hai – Biwi Aur Makan (1966) – with Joginder, Talat Mahmood, Mukesh – Hemant Kumar – Gulzar

One of the musketeers has now been stung by the arrow of Cupid. Two other friends excitedly try to make him understand the futility of such errands. The fourth one resorts to serious dialogue, with a biting tongue-in-cheek counselling.  Hemant Kumar and Gulzar have worked out a very innovative song for such a situation.

Dekhi Anadi Teri Preet Re – Biradari (1966) – Chitragupt – Prem Dhawan

Like many times in his valiant career, Chitragupt so forcefully holds the fort in an otherwise forgotten film. He has conjured up a very light classical composition which is made more lively by Manna Dey’s now well-experienced voice modulations for such songs.

Tum Jo So Ho Khuda To Nahi – Biradari (1966) – with Mohammad Rafi – Chitragupt – Prem Dhawan

The song is performed by Shashi Kapoor, Mehmood and Kanhaiyalal on the screen. But only two singers – Mohammad Rafi and Manna Dey – have been pressed in to playback the song. So what happens is that each of the three performers gets to lip sync both the singers. As we follow the performers on the screen and the singing voices in sequence, we can clearly make out that all three are singing lines by these two singers, by rotation.

Beta Jamure Ek Bat Kahega, Hanji, Kya Jhuth Kahega,  Naji – Biradari (1966) – with Mohammad Rafi – Chitragupt – Prem Dhawan

The song is set to a classical Monkey and his Guardian master roadshow. Songs of the roadshow genre songs bring in load of benign messages for the erring humanity.

Arara Arara Rang Do Sabhi Ko Ek Rang Mein – Biradari (1966) – with Mohamad Rafi, Suman Kalyanpur – Chitragupt – Prem Dhawan

This is not a comedy song. However the festival of colours, Holi, is always celebrated with loads of earthen pleasure. The song is a very playful presentation of that gay mood.

Jodi Hamari Jaamega Kaise Jaani – Aulad (1968) – with Asha Bhosle – Chitragupt – Majrooh Sultanpuri

Chitragupt, in very able company of very versatile Majrooh Sultanpuri, once again pumps life into a a very simple comedy situation – hero trying to be a westernized guy, heroine pulling towards her tadeonal culture. Manna Dey and Ashaa Bhosle also ably chip in.

Manna Dey – Mehmood combination have still some more songs in 1966 itself. But we shall take them up in the next episode along with later year songs, to conclude the Manna Dey – Mehmood comedy songs set.