Numerically, in terms of not only number of solo songs but also number of films or music directors, Mukesh seems to have slack year in so far as his career take-off stage is concerned. He did have three solos in “Tohafa’, and ‘Do Dil’ each, and one in Beete Din.
Arson Pe Sitara Hai Wo – Beete Din – A Dinkar Rao
Jiya Beimaan… Bas Mein Paraye Hai, Din-Din Dhale Jawani – Do Dil – Govind Ram – D N Madhok
Pyar Jata Ke Apna Bana Ke Wo Gaye Wo Gaye – Do Dil – Govind Ram – D N Madhok
Le Matki AAja Radha Ri, Ghar Se Kisi Bahane – Do Dil – Govind Ram – D N Madhok
Kahan Tak Jafa Husnwalon Ki sahate – Tohafaa – 1947- M A Rauf (Usmania) – Saquiba Lakhanavi
Ek Aisa Geet Sunao Tan Man Mein Aag Lagao – Tohfa – M A Rauf (Usmania) – Nazir Hyderabadi
Kisne Chheda Manka Taar – Tohfa – M A Rauf (Usmania) – Shanti Arora
We will take special note of
Shri Kamal Netra Stotram – Neel Kamal – with chorus – B Vasudev –
Solo Songs of Manna Dey
Manna Dey’s spread of number of films is relatively better. Ha has had fairly noticeable presence in Geet Govind.
Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) is considered as one of the most versatile and a highly talented playback singers of Hindi Film Music. In his school days, he was getting trained to become a wrestler. He even reached the finals of the All Bengal Wrestling Competition. But destiny has scripted a different career path for him. in 1942, he tagged along to Bombay with his paternal uncle, K C Dey and opened up gate way to a very long career of playback singing. He has given voice to 4000+songs in Hindi, Bangla, Bhojpuri, Awadhi, Punjabi, Assamese, Oriya, Gujarati, Konkani, Marathi, Kannad, Malayali, Sindhi etc. He has been associated with more than 102 music directors in Hindi films and had had sung duets with most of his contemporary singers.
It is said that his career got a real boost with Upar Gagan Vishal (Masahal, 1950). It got the further momentum to reach the escape velocity, by his two duets in Do Bigha Zameen (1953) under the baton of Salil Chaudhary. In the intervening years he had had excellent songs with Shankar Jaikishan (Aawaraa, 1951) too. He has recorded as many as 758 songs in the period off 1953 to 1969 – more than half of his entire Hind Film songs in an active career that spanned from 1942 to 1992.
There would be no dearth of his very poplar, as well as highly-quality-merited songs to run a long series of annual articles to commemorate his memory. However, in the spirit of bringing up of one page the songs that have faded up in the deep recess of memories, we will take up Manna Dey’s less heard or simply lost in the memory songs.
We begin our journey of remembering Manna Dey’s songs that have faded away from our memories with his maiden (duet) song from Tamanna (1942).
Jaago Aayee Usha Panchhi Boley – Tamanna (1942) – with Suraiya – K C Dey – S K Kalia
Suraiya, barely 13 years old in 1942 had already a hit song – Panchhi Jaa Pichche Raha Bachpan Mera (Sahrda, 1942) in her record book. Their simultaneous rendering of line @ 00.40 in the present song, blends Suraiya’s very adolescent voice with that of Manna Dey in very low octaves.
Gayi, Tu Gayi, Tyagmayi, Tu Gayi, Teri Amar Bhavna Amar Rahi – Ram Rajya (1943) – Sahnkar Rao Vyas – Ramesh Gupta
It is said that Prakash Bhatt, producer, and Shankar Rao vyas, music director, of the film, Ram Rajya, had come to K C Dey to sing the songs for the film. K C Dey did not sing for others, so the songs went to Manna Dey.
Bhula Bhatka Path Hara Man Sharan Tumhari Aaya, Kah Do He Gopal – Jwar Bhata (1944) – With Parul Ghosh – Anil Biswas – Narendra Sharma
“Jwar Bhata’ is the maiden film of Dilip Kumar. Manna Dey also gets into the orbit of the-then known music directors, like Anil Biswas, but is yet to get to sing for the main lead actors.
O Prem Diwani Sambhal Sambhal Kar Chalna – Kadamabari (1944) – Anil Biswas – Narendra Sharama
Anil Biswas seems to have commenced experimenting with Manna Dey’s voic, in line with his strategic intent to evolve a totally different modern style of music as compared to the theatrical style of the Vintage Era.
Kyun Jaane Apne Banten Hain Begaane -1 & 2 – Meena 1944 – with unidentified female singer – Hari Prasanna Das – Pandit Phani
The songs has very distinct Manna Dey’s now-well-known own singing style.
Ye Rang Birangi Dor Hai – Mazdoor (1945) – with Ammrbai Karnataki – H P Das – G S Nepali
Mannaa Dey has been made to revert to typical vintage era style of singing.
Hai Gagan Mein Badal Theare Hue – Vikramditya (1945) – With Rajkumari – Shankar Rao Vyas – Ramesh Gupta
The song had been quite popular in those days. The heavy bass of female singers of Vintage Era is so evident in Rajkuamri;s voice too, whereas we get to listen Manna Dey’s voice that we have known in 60s.
Ek Chakori Dev Se Apne – – Vikramditya (1945) – Shankar Rao Vyas – Ramesh Gupta
The association with Shankar Rao Vyas has now yielded Manna Dey position of the principal lead male playback singer. The film has 4 more Manna Dey solos and one group song which is a prayer.
The soft digital copies of these other songs are not available on net.
Priye Ek Baar Man Mandir Mein Tum Rum Zum Karati Aana – Mera Geet (1946) – with Geeta Roy – Shankar Rao Vyas – Ramesh Gupta
Ye Jag Matlab Ka Hai Dera Kyon Kahata Hai Mera Mera – Rupa (1946) – Govind Ram – Ram Murty
Manna Dey sings a religious-flavored ‘filler‘song in vintage style.
Ram Naam Se Man Ke Ho Jaat Hai Shudhdha Vichar – Valimiki (1946) – Shamkar Rao Vyas – Mahesh Gupta M A
Shankar Rao Vyas has used Manna Dey’s voice in background.
I have sourced soft links of following songs from ‘mannadey.weebly.com/’:
Har Ek Kadam Sochke – Bisvin Sadi (1945) – Pannalal Ghosh
Pardes Musafir Jata Hai, Utha Hai Abodana – Dil (1946) –[Manna Dey gets credit as Prabodh Dey] – Zafar Khursheed – Shams Lakhanavi
Allah Khata Kya Thi – – Dil (1946) – [Manna Dey gets credit as Prabodh Dey] – Zafar Khursheed – Shams Lakhnavi
Naino Ke Badal Baras Rahe – Insaf (1946) – H P Das – D N Madhok
O Duniya Jara Sun Le – Kamla (1946) – With Amirbai Karnataki – Gyan Dutt
The songs for which I could not locate YT or other soft links:
Raj Dwar Pe Baj Uthi Sahanai – Maha Kobi Kalidas (1944) – SreedharPalsekar – Ramesh Gupta
Din Aaye, Din Jaaye – Maha Kobi Kalidas (1944) – Sreedhar Palsekar – Ramesh Gupta
Kya Julm Kabhi Jeet Gaya.. Jeet Hamari Hai – Mazdoor (1945) – H P Das – G S Nepali
Paritranayam Asdhunam…Avtar Liya Jug Jug – Prabhu Ka Ghar (1945) – Khemchand Prakash – Pt. Indra
Tum Nath Ho Phir Main Anath Hun Kyon – Jug – Prabhu Ka Ghar (1945) – Bulo C Rani – Pt.Indra
Kyun Rooth Gayi Maa Dharti – Dharti (1946) – Bulo C Rani – Pt. Indra
Dil Churaney Ke Liye – Door Chalein (1946) – [Manna Dey gets credit as Prabodh Dey] – K C Dey
O Ji More Balamwa – Insaf (1946) – with Raj Kumarri
Aye Naujwan Veerat Ki Hai Kasauti Aaj – Mera Geet (1946) – Shankar Rao Vyas –Ramesh Gupta
In our established tradition of the ending each of our post with a relevant Mohammad Rafi song, I have located a Sonik-Omi composed duet with Manna Dey from an unreleased film. The song does not strictly belong to the period that we have chosen for the present post. :
Hamane Maana Ki Ham Hai
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.
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.
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 –
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.
Wadia and Nadia: How love kicked in pre-Bollywood filmdom – Nadia was a JBH discovery. But it was Homi (May 22, 1911 – December 10, 2004) who gave this memsahib with a thick Scottish accent, a voice. “Homi realised her language was her ‘body’,” says film theorist and curator Amrit Gangar. “He kept Nadia’s dialogue to a bare minimum because of her difficulty with Hindi.”
Happy Birthday Dharmendra: As he turns 81, we bring you his various filmi moods – He was probably the first Indian male star who appeared bare-chested in a song in Phool Aur Patthar. From Anupama (1966) to Satyakam (1969), Dharmendra tried to create a space for himself as an actor. Hrishikesh Mukherjee’s Chupke Chupke is another film which proved that the actor could balance subtle comedy just as well as slapstick elsewhere.
Southern Spice in Hindi Music highlights key aspects of South Indian music that have been absorbed in Hindi film songs, that have added what one would call as a dash of Southern spice in Hindi film music. This is not about the vocal styles from South India, but instruments from South India. LINK TO PLAYLIST FOR SOUTHERN SPICE IN HINDI FILM MUSICtakes us to 12 such songs from 1940s to’60s, with one exception.
For the year 1949, Male female duets with both the singers being equally prominent in the year has quite a comparative share with Male Female Duets in which one singer is dominant, but other does not have that comparable numerical prominence. In this very unique category we have listened to the duets of Shamshad Begum with other male singers.
We now move over to some other sets of such Male-Female duets…
Geeta Roy + Other Male Singers
The pairing of Geeta Roy with other male singers undergoes as many shades as the respective music director of the film.
Kadam Hai Rah-e-Ulfat Mein Najhuk Dil Hai Dil Ki Basti– Dil Ki Basti – with G M Durrani – Ghulam Mohammad – Shakeel Badayuni
Kam Karo, Kam Karo Bhai Kam, Jag Mein Apna Naam Karo – Jeet – with Vinod – Shyam Babu Pathak – Prem Dhawan
Kahane Ko Hai Taiyar, Magar Kaise Kahe Hum – Kamal – with Surendra – S D Burman – G S Nepali
Main Angoor Ke Bell Piya More– Karwat – with S D Batish – Hans Raj Behl – Said-Ud-Din ‘Saif’
Jindagi Hai Dillagi Dillagi Hai Jindagi– Nanand Bhojai – with A R Ojha – Bulo C Rani – Pt. Indra
And Gujarati version, composed by Avinash Vyas, on a totally different style
Jandagi Chhe Dillagi
Mere Man Mein Dol Ankhon Mein Dol Matwari Sajanaiya – Nazare – with G M Durrani – Bulo C Rani
Dhanya Hai Dhanya Hai Avadhpuri, Dhanya Wahan Ki Phulwari – Ram Vivah – with Manna Dey – Shankar Rao Vyas – Moti, B A
Pehan Chunariya Kali Jhilmil Jhilmil Deeyowali – Roshni – with Chitalkar – C Ramchandra – P L Santoshi
Lata Mangeshkar + Other Male Singers
Haye Chhore Ki Baat Badi Bewafa, Bewafa Se Koi Dil Lagaye Na – Chandani Raat – with G M Durrani – Naushad Ali – Shakeel Badayuni
Tum Soch Rahi Ho – Girls School – with Shankar Dasgupta – Anil Bishwas – Pradeep
Suno Saajan Meri Baat – Lahore – with Karan Diwan – Shyam Sundar – Aziz Kashmiri
Suraiya + Other Male Singers
Jalim Jamane Mujhko Tum Se Chhuda Raha Hai– Dillagi – with Shyam – Naushad – Shakeel Badayuni
Celebrating the Urs of Lal Shahbaz Qalandar, Part I: The Song is about THE song. A lot of people know about the origins of the poem, the Sufi poets, etc. What most people don’t seem to know about is the man who composed the music for this song – that is, the music that the famous Sufi poem has been sung to by thousands or millions of people over the last several decades. That man is the Pakistani film composer Master Ashiq Hussain. The film was Jabroo (1956) – Lal Meri Pat Rakhio. Part II: The Festival presents a few good documentary clips and also am transcribing an interesting and amusing piece of writing from a favorite book.
Aha Legayi – Jwala (1970) – Lata Mangeshkar and Asha Bhosle – Shailendra
Romance of letters – Both Hollywood and Bollywood have letters as integral part of many films, but Bollywood goes one step ahead in having letter songs which may not necessarily carry the story forward, but so what, Indian audiences need their quota of dance and songs.
My Favourites: The Rain in Ten Moods – Three years ago, around this time, we have read a post on rain songs, which was followed by another. After two posts on rain songs, we now have one on rain scenes. One of the comments on this article states that a scene from Ascenseur pour l’efachaud does not have the rain but it’s there in the memory unless of course time has etched in something that wasn’t there. But Moreau and the camera and the music are amazing (and the rain later perhaps).
Ten of my favourite philosophical songs – focus on a philosophy of life. The philosophy shouldn’t be hidden away behind another agenda; the philosophy must be the main theme of the song. The discussion on the post has mentioned a very typical song. The songs filmed on comedians, invariably would include a dose of philosophy of life.
On a biography of Shashi Kapoor, householder and movie star – essay-cum-review for Open magazine of Shashi Kapoor: The Householder, the Star – “In between all this, I was struck by Kapoor’s dignified turn as a modern-day Karna in Kalyug,… and dimly aware of his pencil-moustached “serious” roles in films like New Delhi Times and Vijeta. Though not one of my very favourite actors, he was always a pleasing personality, and even at a time when I was more interested in macho men and less so in sensitive, dreamy-eyed heroes like Shashi and his nephew Rishi, I think I realized there was something special about someone who could easily shift between the mainstream films I liked and the somber ones by Shyam Benegal and others.”
Manna from heaven is the melancholic, pining-for-the-past melody Coffee House er adda. The song penned by Gauriprasanna Majumdar recounts the Coffee House days of seven friends, who sat over endless cups and cheap charminar cigarettes burning between their lips with dreams to make it big.
British director Herbert Marshall, making English version of “Wajid Ali Shah”, puts Oudh’s last king (played by Ashok Kumar) in good humor. Suraiya can be seen smiling in the background. The film was shelved later.
A rare picture of 21 years old Raj Khosla who made his debut as an actor in Raen Basera (1946). However, this film is not documented in his biography or elsewhere. (Pic: Pakanati Lakshmi Priya of Old Is Gold FB Group)
The post, as expected contains a large amount of facts, trvias and songs. For example – Khosla dug out an aborted Guru Dutt venture (Raaz) and made it into Woh Kaun Thi (1964). (Incidentally, the Tamil Nadu chief minister, Jayalalitha acted the part in both Tamil and Telugu remakes). We have picked up one song mentioned in the article –
Rare poster of Sara Akash, one of the 3 films – the other two being Mani Kaul’s Uski Roti (1969) and Mrinal Sens’s Bhuwan Shome (1969) – that ushered in the Indian New Wave cinema in 1969-70
(Pic: A Manzil of Memories: Rare memorabilia from Basu Chatterji’s films)
Welcome to May 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
We begin with our regular Anniversaries section.
Forgotten Composers Unforgettable Melodies: Iqbal Qureshi – Once you get to listen to the songs, one would simply wonder how come such a talented music director did not succeed commercially after having composed such songs. Even some of his less heard songs too are a treat to listen to, even today:
Manna Dey’s songs by Shankar-Jaikishan is a tribute to Manna Dey on his 97th birth anniversary with his songs by Shankar-Jaikishan as a part of the celebrations of SJ Year on SoY. As one would expect, the post and the discussion thereon yields a veritable treasure of SJ-Manna Dey combo.
We now take a look at posts on other subjects –
My Favourites: ‘Don’t Go’ Songs – All the songs in this list have that one thing in common – they are all songs that entreat someone not to leave. It doesn’t necessarily have to be the first phrase in the mukhda, but the entreaty has to appear in the mukhda itself. Here are a couple less heard ones –
Ten of my favourite cynical songs – Ten songs that speak of the singer’s cynicism, his or her belief that the world is not a nice place. At times the bitterness boils forth in a fierce and/or despairing rejection of the entire world; at other times, it is cloaked with satire or a sort of bitter humour. Perhaps even smiles. But the cynicism is there, if you only pay attention to the lyrics. Here is the one as an example:
Moon and Mumbai (Bollywood) – Guest Article by D P Rangan – Film makers in Mumbai and Chennai, the first two centers of film studios, had also fallen under the influence of Chand, the Moon and used it as scene creator ab initio, and music directors had risen to the occasion and composed immortal musical pieces for the heroes and heroines to cavort about in joyful abandon. The post and the discussion thereon presents Chand in its all shades:
A music link – Working with a grant sanctioned in 2008, Suresh Chandvankar steered the Endangered Archives Programme (EAP)190 project that has successfully digitized gramophone records, advertisements and publicity material as well as catalogues of the Young India record label that operated in Mumbai from 1935-55. A staggering 1,427 items populate this extraordinary collection which one can now access for free (http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection). [Once you visit this site, you will also find 103 item collection @Music From India.]
For the present, I did not find a fresh post @ that can be taken up here. That gives a good opportunity to go back a little in time and listen to a select Geeta Dutt songs, composed by Madan Mohan @ Madan Mohan: The Composer of the Classes By Gajendra Nand Khanna. These are the songs that have western tunes, fairly heavy orchestration and a very lively Geeta Dutt. These songs amply show that Madan Mohan was capable of doing heavily instrumented songs as well when he did such songs.:
We end our present episode with a posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –
Bhoole Bisre by Prakash Gowda – A zero budget short film with a million dollar message, by Prakash Gowda, that narrates the story of an old man who yearns for a hearing machine, just so that he can enjoy the songs of Mohammad Rafi.
Mohammed Rafi also always used to sing a song in the native language whenever he would visit different countries. Not many people know that Mohammed Rafi visited Kabul, Afghanistan in 1975 and recorded few farsi songs in Radio Kabul. Here is such rare non-filmi farsi song of Mohammed Rafi, with Afghan female singer Zhilla. This song is composed by Hafizullah ‘Khyal’ and recorded in Radio Kabul in 1975 with Afghan musicians. Aye Taaza Gul Tu Zeenat-e-Gulzaar-e-Keesti
(Oh fresh flower, you are beauty of which garden?)
Similarly when he visited the capital city of Suriname, Paramaribo, he sang Baharon Ful Barsao in Suriname language. Here is that clip where we can listen to his live performance in Suriname.
I look forward to receive your inputs for further enriching the contents of the posts…..