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

Fading Memories…. Unforgettable Songs : May 2022

Manna Dey – Chale Ja Rahein Hai…. – 1956

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) was trained for wrestling during his childhood. However, he could struggle free from that cocoon to metamorphose into a singer. Having been brought up in the atmosphere of music, he was also trained hard in the classical singing genre. However, if one looks back at his early career in Hindi films, one may wonder whether he was indeed caught into the clutches of hardened cased die of typecasting that Hindi film industry was so strongly adept at. However, his initial training as a fighter, did help him to experiment with every possible genre that film industry would offer and establish his unique position therein. Music directors like Anil Biswas and S D Burman firmly believed that Manna Dey could sing any song that any of his contemporary singer can sing, but none of these singers can sing a song that Manna Dey could sing with technical virtuosity.

By the turn of decade of 40s, Manna Dey has started making foothold into romantic song, which was further cemented by the songs that Shankar Jaikishan offered him in 1951 and 1953. As such, Manna Dey’s popular romantic, classical, devotional, comedy, western or qawwali songs have now been etched into the minds of every fan of Hindi Film music. But Manna Dey’s songs that unfortunately could not get ‘popularity’ also have the spirit of life and a sense of timeliness. It is that universality that we want to refresh in our present series Chale Ja Rahen Hai by specifically choosing the so-called less popular, less-heard songs.

Till now, we have covered Manna Dey’s less popular, less-heard songs for the years

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

1956 had some of the Manna Dey’s career-best  romantic songs –  Jaa Tose NahiN BoluN Kanhaiya  (Parivar, with Lata Mangeshkar; Lyrics: Shailendra – Music :Salil Chowdhury), Chaley Sipahi Dhul Udate Kahaan Kidhar Koi Kya Jaane ( Rajhath – Lyrics: Shailendra – Music: Shankar Jaikishan), Nain Miley Chain KahaaN (Basant Bahar- Lyrics: Shailendra – Music – Shankar Jaikishan) ; all-time best background song like Nirbal Se Ladai Balwan Ki (Toofan Aur Diya- Lyrics: Bharat Vyas – Music: Vasant Desai) or classical raag-based Bhay Bhanajana Vandana Sun Hamari and Sur Na Saje Kya GauN Main and Ketaki Gulab Juhi (all from Basant Bahar, the last one with Bhimsen Joshi- Lyrics: Shailendra – Music- Shankar Jaikishan).

Presently we will take up Manna Dey’s less heard songs for the year 1956.

Jodi Mile Na Mile Shaadi Rachaye Chale – Gauri Pooja – Lyrics: G S Nepali – Music: Manna Dey

Manna Dey has so soulfully composed and rendered the bride farewell song.

In those days. The bride had to accept the groom and subsequent life that fate had forced on her.

Kah Do Ji Kah Do Chhupao Na Pyar, Kabhi Kabhi Aati Hai Zumati Bahaar – Kismat Ka Khel – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Shankar Jaikishan’s marked preference for Manna Dey can be seen in the form his selection for the male playback.

The song is a signature romantic tune that Shankar Jaikishan used to compose those days – full of vivre and feelings as well as so pleasing to the ears.

Ek Din Tera Bhi Savera Aayega – Sati Anasuya – Lyrics: Bharat Vyas – Music: Shivram Krishna

Here we have one more typical background song, deployed as an inspirational song to the protagonist in deep trouble.

Wo Dekho Udhar Chand Nikla Gagan Mein, Idhar Aa Gayi Chandani Muskarati – Roop Kumari -with Geeta Dutt – Lyrics: B D Misra – Music: S N Tripathi

S N Tripathi is was also a very talented and versatile music director who had to be satisfied with B and C Grade mythological / historical films. The present song is testimony of S N Tripathi’s talent.
The song is so pleasant a romantic duet,

Aside Trivia: Knowledgeable YT follower has mentioned in a comment to this video clip that S N Tripathi has used this tune again for Nigahon Mein Tum Ho – Jadoo Nagari – Lata Mangeshkar – Lyrics: Hasrat Jaipuri.

Khel Khiladi Jis Sey Na Khel Apni Jaan Se – Badshah Salamat – Lyrics: Vinay Kumar – Music: Bulo C Rani

The lyrics of the song indicate that this ought to be ‘fakir’ genre song. Manna Dey is well adapted for such songs.

Chhod Bhi De Aakasah Singhasan, Phir Dharati Par Aa Ja Re – 26 January – with Asha Bhosle and chorus – Lyrics: Rajendra Krishna – Music C Ramchandra

The lyrics clearly tell us that this an ‘inspirational’ – devotional genre song, but I do not have any more information on the song.

Aaj Ki Baatein Raja Bhool Mat Jaiyyo Ji…Hum To Nahin Bhoole Tum Na Bhool Jaiyyo Ji – Dhola Maru – with Asha Bhosle – Lyrics: Bharat Vyas – Music: S K Pal

Asha Bhosle and Manna Dey render a seemingly simple, romantic, song so intimately.

Bahta PaanI Bahta Jaay Raah Take Na Teri, Aeji Samay Ka Haal Hai Na Kar Der Ghaneri – Dhake Ki Malmal – with Asha Bhosle and Kishore Kumar – Lyrics: D N Madhok – Music: Robin Banerjee

This is the only song composed by Robin Banerjee, whereas all other songs are composed by O P Nayyar.

Robin Banerjee comes up with a Bengali folk tune set and has composed the song to varying pace.

Mudkar Bhi Na Dekh Suhaagan MahloN Ki Ye Shaan, IS Duniya Mein Ab Tera Bas Pati Hi Bhagwan…..Udhar Chali Ja Janaki Jidhar Chale Tere Ram – Devta – Lyrics: Rajendra Krishna – Music: C Ramchandra

This is a background song, advising the protagonist to accept the husband that fate has chosen for her.

Many a times, our (Hindi) films have such highly contrived situations, which have to be made palatable by the team of lyricist, music director and the singer.

Apart from these, the sites https://mannadey.weebly.com/ and http://www.mannadey.in/  also mention songs from films like Lal-e-Yaman, Kar Bhala, Jungle Queen, Indraleela,  Grand Hotel, Zarina, Sudarshan Chakra, Scout Camp, Sati Nagkanya, Rajraani Meera, Ayodhyapati, Anurag and Dayar-e-Habib. However, several other authoritative sites either do not mention existence of Manna Dey songs from these films or do not have a digital version of the song. That does tell us what we have missed quantitatively but does not indicate what we have missed qualitatively.

On that note, we rest our episode here, to continue with our explorative journey of Manna Dey’s less heard songs………………

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

Welcome to May 2021 edition of IX^th 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 houses – Luis 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 Bhatia – Sunil 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 oeuvre – Ranjit 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 Mangeshkar – SUBHASH 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 compare – Ajay 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 anniversary – Shaikh 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 Ko – Malhar (1951) Mukesh / Music – Roshan

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

• Laxmikant Pyarelal – Their Music was a Key to Succ…
• Majrooh Sultanpuri- A Long Lyrical Journey from 19…
• Subodh Mukharjee- Freedom Fighter to the Leading F…
• Nainital and ils Bollywood Connection
• Aaja Nachle with Madhuri Dixit
• The Great Muslim Socials of the Golden Era of Boll…
• 50 Years of Navketan’s ‘Tere Mere Sapne’
• Top 15 Doctor/Nurse based Bollywood Films
• The Evolution of Mothers in Bollywood
• ‘Tere Mere Milan Ki Ye Raina’- The Song based on R…
• Naushad- The Man Who Introduced Raaga Based Song…
• The Story Behind the Song ‘Zindagi Kaisi Hai Paheli’
• 50 Years of ‘Haathi Mere Saathi’

Laxmikant-Pyarelal’s story is as much about friendship as it is about their tunes – Ganesh 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.

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

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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.

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.

 

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.

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

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

• songs for the years 1942 – 1946 in our 2018 issue, and
• songs for the year 1947-1950 in the 2019 episode.

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.

• Sada Ek Sath Jaisey Do Sitarey     Do Sitaare (1951)  –  Anil Biswas     Rajendra Krishna
• Jaaney De.. Kismat Ki Nao – Bhagywan (1953) – Avinash Vyas – Ramesh Gupta
• Dilruba Aye Dilruba….Pyar Kar Aa Pyar Kar – Suhaag Sindooer (1953) – Shailesh Mukherjee  – HFGK records “other Male Singer and Other female singer’ as the playback singers for this song.

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.

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.

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.