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

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Other Singers – 1

In the next couple of episodes, we ill take up micro-view of solo songs of those female singers who have got one, or at best two, films in in 1946. Even from these very limited number of songs, the actual number of songs that we would get to listen to has further reduced, because the digital versions of these songs do not seem to be available on net.

Solo Songs of Dilshad Begum

Sajan Sang Na Chalo – Kahan Gaye – Lachhiram Tomar

Singer is not identified in the HFGK.

Duniyawalon Nadaron Ki Madad Karo – Rehana – Qadir Faridi – Tufail Hoshiyarpuri

Bhar Layi Hun Jawani Saaagar Mein, Jannat Se Chal Kar Aayee Hun – Rehana – Qadir Faridi – Tufail Hoshiyarpuri

Ada Ada Teri Mast-e-Sharab Ho Rahi Hai – Rehana – Qadir Faridi   – Aziz Kashmiri

Solo Songs of Kalyani Das

Chand Paas Hai, Raat Andgeri Kyun – Bindiya – Kamal Dasgupta – Pt. Madhur

Badal Garaj Garaj Ke Paigam Suna De – Bindiya – Kamal Dasgupta – Pt. Madhur

Jeevan Saragam Pe Gae Ja Geet Suhane – Bindiya – Kamal Dasgupta      Pt. Ram Murti

Nazarein Bata Rahi Hai Tum Door Jaa Rahe Ho – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi

Rone Ka Rog Lag Gaya, Tadape Hansi Hansi Mein Hum, Lut Gaye Gaye Khel Mein Mit Gaye Ham Dillagi Mein  – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi

Solo Songs of Meena Kapoor

This the debut year for Meena Kapoor, in the film Eight Days. We have one more solo form ‘Door Chalen’ (Music: K C Dey), but the digital copy does not seem to be available.

Kisi Se Meri Preet Lagi, Ab Kya Karoon – Aath Din – S D Burman – G S Nepali

Solo Songs of Neena

Neena was the lead actress against Prithvi Raj Kapoor in this film – a name that I hear from the first time, because of my very limited knowledge of the films and songs of this era of the Hindi film songs.

Bigadi Meri Bana De, Man Ko Daranewale – Prithviraj-Samyukta – S K Pal – Josh Malihabadi

Kya Jaane Man Kya Kaheta Hai – Prithviraj-Samyukta – S K Pal – Josh Malihabadi

YT shows Sitara Kanpuri as the singer.

Sundar Sapna Ban Ke Aali Nayanan Mein Kaun Samaya – Prithviraj-Samyukta – S K Pal – Akhtar Ul Imaan

We will take up Micro View of some more Other Female Singers – like Beenapani Mukherjee, Shushila Rani, Jayshree, Parul Ghosh, Geeta Roy – for the year 1946 in our next episode.

Carnival of Blogs on Golden Era of Hindi Film Music : November, 2018

Welcome to November, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will take up posts dedicated to commemorate 51^st death anniversary of Roshan as THE topic for November, 2018.

Early Days of Roshan is the first of the two parts that takes us through Roshan’s relatively less known journey of 1950s. In the concluding post, well-known, years 1960-1968 – part of Roshan’s career has been covered. Roshan had his usual creative flavor even in the relatively less-known films like Warrant (1961) in this period, as can be seen in the songs as diverse as Hothon Pe Hasin, Ankhon Mein Shararat Raheti Hai (Lata Mangeshkar), Nigahon Mein Yeh Masti Kyon Kyun (Geeta Dutt), O Beimaan Maine Tujhe Pehchan Liya (Asha Bhosle).

Six years after Rafi’s solos by Roshan, and after a tandem series on Roshan and Madan Mohan, Songs of Yore has presented two well-crafted posts on Roshan:

Rafi’s duets by Roshan – Out of the total 92 Rafi-Roshan songs, solos are about 35 and duets 57. Third of Roshan’s Rafi songs belong to eleven years of 1949 to 1959,, and two thirds belong to the nine years of  1960 to 1968.

Roshan’s songs for ‘other’ singers – Apart from qawaalis, whenever Roshan has used other ‘singer’s, the resulting output has been quite everlasting. e.g.  Yeh Ichak Beechak Chhurr  (Baware Nain – 1950- Shamshad Begum)

And, now, we take up the tributes in November, 2018:

A Eulogy that Touches the Heart – Three-quarters of a century back, a child prodigy from Punjab, the sensational vocalist named Master Madan used to electrify live audiences with his light classical singing of ghazals, thumris and Punjabi gurbanis. But before he became 15 years old, the boy passed away as a result of mercury poisoning, if the rumour is true. He was able to cut just 8 records, through which he is immortalized, especially for rendering two ghazals written by Sagar Nizami: Yoon na reh reh kar humen tarsaaiye, and Hairat se tak raha hai jahaan-e-wafa mujhe…. Our films have featured kids in hundreds of situations as well as songs. On Jawaharlal Nehru’s birthday, Bal Din, the post lists some songs now, but only those where children themselves sing, without any adults singing with them.

Sohrab Modi – His films always carried Social or National Message – (born 2 November 1897) a great filmmaker of the 1930s 1940s.and 1950s. He launched Minerva Movietone in 1936.

Sohrab Modi: The Great Mughal of Historicals – Amrit Gangar║ ISBN : 8183281087, 9788183281089

In the Musical Memory of Meena Kapoor is a tribute to Meena Kapoor on her first death anniversary (B: 1930 – D: 23 November, 2017). In a comprehensive review of Meena Kapoor’s career, Shalan Lal takes a close look at her first 10 films

S D Burman Was Someone Who Adjusted To Changing Times, Therein Lies His Greatness – Anirudha Bhattacharjee – The entire book, S D Burman – The Prince Musician, by Anirudha Bhattacharjee and Balaji Vittal, is full with trivia, minutest details of his work, his career, his unreleased songs, the work which went unnoticed and yet the book focuses on what it should be focussing – his music.

Here is The Concluding Post – S D Burman after S D Burman – the 60s in the S D Burman series that Mehfil Celebrates ‘S D Burman’ Month

That The Song “Gata Rahe Mera Dil” was the Last Addition in Guide is perhaps not a less known story now. Here is a good recount, nonetheless

Usha Uthup – A Journey from Night Club to Bollywood – recorded covers of two pop songs in English, “Jambalaya” and The Kingston Trio‘s “Greenback Dollar”, on an EP.

Runa Laila – The Melody Queen Beyond Borders has listed, among other, her song of a Pakistani ‘Hum Dono’ (1966)

Mala Sinha – One of the most sought-after actresses in the 1950s, 1960s – (born on 11th Nov 1936) was the highest-paid actress from 1958-65

Baazi- The Film that was a trendsetter and gave Bollywood many Legends, like Dev Ananad as a hero, Guru Dutt as a director, S D Burman as a music director and the Kalpna Kartik, the future wife of Dev Ananad.

On the 10^th birthday of the blog, Dusted Off, Ten of my favourite songs from films I haven’t watched. In most cases, the films seem to have completely disappeared off the radar.

November, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Salil Chaudhury’s composition of Shaliendra’s songs for the years 1953 to part of 1956..

And, now the posts on other subjects:

Rahi (1952) – India’s First Film to Venice and Moscow International Film Festivals in 1954 – starred Dev Anand and Nalini Jaywant with Balraj Sahni produced and directed by K A Abbas. The film was based on Mulk Raj Anand‘s novel “Two Leaves and a Bud“. It was produced as a bilingual in Hindi as Rahi and in English as The Wayfarer, under the Naya Sansar banner. It was also dubbed in Russian. The Russian version called Ganga was released in the USSR

When The Moon And Romance Go Together – Moon has fascinated and charmed the poets and the lovers alike. Poets have turned into lovers and lovers have turned into poets because of its beauty. We have folklores singing the praise of the moon too. Here is a list of few such songs.

In continuing the Food and Food Movie Month on Dustedoff, The Food and Food Movie Project, Part 4 is followed by Onscreen Chefs: The Myth and the Reality, Ten memorable food scenes from Hindi cinema..

Mirza Ghalib eats mangoes (Mirza Ghalib, 1954)

Top 20 Bollywood film soundtracks of Golden Era is a very representative selection from the films released in 1940s till 1975.

Coming Down the Musical Notes – If we compare music to adventure sports, it has same thrill of going up the scale like in mountaineering or coming down the scale like in skiing. A song starting from any of these four notes: Sa Re Ga Ma, and then heading up in the mukhda itself is a mountain-climbing, purvaang start song, while any song descending the ski slopes of the saptak, from Sa Ni Dha Pa in the mukhda itself is an utaraang start. You will, normally, find that a large percentage of them belong to the purvaang kind. It is very seldom that you find songs fashioned in the utaraang way. The post has spotted some such songs. Here is one good example:

Aaja o jaan-e-jaan, mere meherbaan (Asha/Hasrat/Ramlal/Geet Gaya Patharone, 1963)

Mi Raat Taakli Mi Kaat Taakli – Jait Re Jait – Liberated In Love – When Shailendra wrote, Tay Kar Liya… Aaj Phir Jeene Ki Tamanna Hai, Aaj Phir Marane Ka Irada Hai, little would he have known that he is going voice to thousands of women. Like Rosie of Guide, Maya of Maya Memsaheb are the examples of the women who had the courage to remove themselves from the situation in life which was unacceptable to them. Present song from Jabbar Patel’s Marathi Film Jait Re Jait (Win Win) is a classic example of art concealing the art.  The film is about winning in life, but losing in love.

The Punjabification of Bollywood – It was B.R Chopra. and Raj Kapoor led the ‘Punjabification’ of the Indian film industry.  Punjabi music was first introduced by Gulam Haider. In the 50s and 60s, we saw the influence of Urdu and Muslim influence in Hindi songs and films besides Bengali.

Urdu sounds are disappearing from Bollywood songs – Rizwan Ahmad traces the gradual decline of Urdu diction in Bollywood songs from Mughal-e-Azam to My Name is Khan.

To Each His Colour – The history of Films is from monochrome – B&W – to, multicolor films. Wadia Brothers were the first production company to announce a B-grade film entirely in colour. That was the Feroz Khan and Sayeeda Khan starrer Char Darwesh of 1964. The post has listed some colour songs that were from “partly-in-colour” films:

From BIG DATA to Small Cinema? Challenges & Opportunities of Cinema in New Media – The rate of increase of mobile internet subscription is extremely fast .. With ‘big’ data being harnessed by companies, the customer targeting has reached a new aggression. Cinema not only gets changed continuously with respect to the format and projection technologies but with the giant nation slowly but surely getting addicted to the small screen, the bigger question is with so much information about the audience preferences whether cinema is actually becoming ‘small’.

Raat bhar ka hai mehmaan andhera – Lata Jagatiani has remembered the stanza that is in the Original Sountrack of the film:

Yoon hi duniya mein aakar na jaana         
sirf aansoo baha kar na jaana
musuraahat pe bhi haq hai tera
kiske roke ruka hai savera…

Do not just pay a visit to this world,
Don’t go away shedding just tears
You have a right over a smile
Who can ever stop the rise of the morning…

Tere mere milan ki ye raina – Monica Kar discusses how Hrishikesh Mukherjee explores the shades of grey in the husband and wife relationship.

We continue Micro View of Best songs of 1947: And the winners are? with the Duets of 1947, in terms of  Female – Female Duets, Male- Male duet as Triads/Triads+, then conclude with a summary of MY Top Duets so as to end the Micro-View of Songs of 1947  with MY Top Music Directors. All the episodes of The Micro View of Best Songs of 1947 can be read / downloaded from one file, by clicking on the hyper link.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up a few songs, each one of which basically has a link with the topics discussed in the present post.

Khali Jebe Ho Kadki Ho, Mera Dil Maage Wo Ladki Ho – Chhora Chhori(1955) – Roshan – Kedar Sharma

Chand Takata Hai Idhar Aao Kahin Chhup Jaen, Kahn Lage Na Nazar Aao Kahi Chhup Jaen – Dooj Ka Chand (1964) – with Suman Kalyanpur – Roshan – Sahir Ludhyanvi

Mere Pyar Mein Tujhe Kya Mila – Suhagan (1964) – Madan Mohan – Hasrat Jaipuri

Gusse Mein Tum Aur Achhi Lagati Ho – Char Darwesh (1964) – G S Kohli – Anjaan

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

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

In continuing our journey of Micro View of Male Female Duets of Other than Mukesh and Mohammad Rafi, we will take up second set of the duet songs today.

Popular Duet Song

Kishore Kumar + Lata Mangeshkar – Ye Kaun Aaya Re Hai Kar Ke Solah Sigar – Ziddi –  Khemchand Prakash – Prem Dhawan

The song has got fame as the first duet of Kishore Kumar and Latamangeshkar.

Other Duet Songs

G M Durrani + Lata Mangeshkar – Khamosh Fasana HaimDuniya Se Chhupake Chhupake – Heer Ranjha – Aziz Khan – Vali Sahab

G M Durrani, Rajkumari, Johrabai Ambalewali – Ek Dil Tera Ek Dil Mera – Pt. Hanuman Prasad

HFGK records this as two songs, one a duet by G M Durrani and Rajkumari and the other a parody song by Johrabai, G M Durrani and Chorus.

Shankar Dasgupta + Miss Parvez – Ay Dil Abhi Tu Sabar Kar Teri Bhi Baari Aayegi – Ham Bhi Insaan Hai – H P Das, Manna Dey – G S Nepali

Allaudin  + Shamshad Begum – Sawan Ke Din Aaye Balama Sawan Ke Din Aaye Hai – Kaajal – Ghulam Mohammad, D  N Madhok /  Shakeel Badayuni (?)

Ram Kamlani + Joharabai – Mere Dil Ka Phate Nahi Kahi Atom Bomb – Lal Dupatta – Gyan Dutt – D N Madhok

Karan Diwan + Shamshad Begum – Mujhe Jaane Tum Se Pyar Kyon Hai – Mitti Ke Khilone – Bulo C Rani / Hans Raj Behl (?) – B R Sharama

Ram Kamlani + Surinder Kaur – Chori Chori Mori Atariya Aa Ja Re – Nao – Gyan Dutt – D N Madhok

Krishna Goyal + Meena Kapoor – Balam Mohe Man Se Na Apne Bhoolana – Raees – Manohar Arora _ Kaisar Sabai

Suresh+ Suraiya – Rootho Na Tum Bahar Mein, Mausam-e-Khushgawar Mein – Rang Mahal – K Datta+ V Balsara (?) – ShivKumar

Ram Kamlani + Shamshad Begum – Hamari Baat Ka Kyon Tum Ko Aitbar Nahi – Rangeen Zaman – Pt. Govind Ram – Pt. Fani

We will take up micro view of Female Female Duets of 1948 in our next episode.

The Micro View of the Songs of 1948 @ SoY – The Duets – Male Female Duets – Other Male Playback Singers [1]

We will now take up Male-Female Duets Song of male singers other than Mukesh and Mohammad Rafi. Individually, none of these singers have duet songs that may compare with the numbers of Mukesh or Mohammad Rafi. But collectively, these duets present a rainbow of many shades of music directors and combinations of male and female playback singers of vintage and the coning-golden-years era.

The first stage selection of such songs from HFGK has yielded a bountiful numbers that would very respectfully measure up to the numbers of duets that have been rendered by both Mukesh and Mohammad Rafi put together. Many of the songs do not have internet soft link till now. But th eons that I could find would certainly provide a tremendous mix of the vintage era style of orchestration and singing justaposed with golden era style orchestration and singing.

[1]

Shamshad Begum + Surendra – Kyun Unhe Dil Diya, Haye Ye Kya Kiya – Anokhi Ada – Naushad – Shakeel Badayuni

Suraiya + G M Durrani – Kyon Dil Mein Mere Base Hue Ho, Tum Kaun Ho Kya Ho – Aaj Ki Raat – Husnlal Bhagatram – Rajendra Krishna

Suraiya + G M Durrani  – Mere Aansoo Meri Hasraton Meri Zindagi Ko Yah Kya Hua – Aaj Ki Raat – Husnlal Bhagatram – Rajendra Krishna

Shamshad Begum + Shailesh – Kahin Ka Deepak KAhin Ki Baati, AAj Mile Hai Jeevan Saathi – Aag – Ram Ganguli – Saraswati Kumar Deepak

Uma Devi + Moti – Sanjh Ki Bela Jiya Akela – Chandralekha – S Rajeshwar Rao – Bharat Vyas

Amirbai Karnataki + Shankar Dasgupta – Pyari Raat Pyari Raat Aj Aayee Hai Sohag Raat – Didi – Mukund Msaurekar – Indeevar

Johrabai Ambalewali + Surendra – Tum Meet Hamare Hum Meet Tumhare Hain – Dukhiyari – Gyan Dutt – F M Kaiser

Johrabai Ambalewali + G M Durrani – Chandani Raatein, Sar Sar Jaaye Mast Hawaen – Dukhiyari – Gyan Dutt – F M Kaiser

Meena Kapoor + Ninu Majumdar – Aayee Gori Radhika Vrij Mein Bal Khati – Gopi Nath – Ninu Majumdar – Surdas

Shamshad Begum + G M Durrani – Taaron Ki Toliyon Ye Kaisa Hai Nikhar – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor

Ameerbai Karnataki + A R Ojha – Aana Na Tha Jo Dil Mein Aankhon Mein Hi Aate – Gunsundari – Hansraj Behl – Pt. Indra

We will continue with Other Male-Female Duets for 1948 in next episode as well.

Carnival of Blogs on Golden Era of Hindi Film Music – December, 2017

Welcome to December, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

December, 2017 in any case has several anniversary / birth dates of people connected with HFM.

This month, Shashi Kapoor bade farewell to this mundane world. That would have led to Muhammad Rafi’s birthday, in the presence of Shashi Kapoor in the heaven. The first time it happened in Yeh Dil Kisko Doon (music : Iqbal Qureshi, Lyrics: Qamar Jalalabadi) in 1963,  a black and white film by K Mishra, that had over half a dozen songs from Mohammad Rafi. Here are the duets:

• Phir Aane Laga Wo Pyar Ka Alaam – with Usha Khanna
• Kitni Haseen Ho Tum – with Asha Bhosle
  Jab Tak Duniya Rahi, Tera Naam Mera Naam – with Asha Bhosle
• Kya Hua Agar Maine Ishq Ka Izahaar Kiya – with Asha Bhosle

I have recalled the solos at the end of the present post.

Here are some other tributes to Shashi Kapoor:

• Meet the Shashi Kapoor no one knows!
• Traversing the Two Worlds of Mainstream and Art: Shashi Kapoor’s Unexampled Journey – Antara Nanda Mondal – Shashi Kapoor carved out a one-of-a-kind path in Indian cinema, traversing the worlds of mainstream cinema as well as parallel films and international ventures with determination and dexterity.
• 7 Films That Prove Shashi Kapoor Was Way Ahead of His Time –Khalid Mohammed looks back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest: Dharmnputra (1961) | Sidhdharta (1972) | Satyam Shivam Sundaram (1977) |  Kalyug (1980) | New Delhi Times (1984) | Utsav (1984) | Sammie and Rsie Get Laid (1994)
• Not just a matinee idol: Shashi Kapoor diversified his career so much that no one type could take hold –  Beth Watkins –
• Handsome he was, but there was much more to Shashi Kapoor – Nimish Dubey – Shashi Kapoor was a romantic hero (and occasionally an action-oriented one), but he also did not shy away from playing other roles
• How Shashi Kapoor helped Sagar Sarhadi make his acclaimed movie ‘Bazaar’ – Sagar Sarhadi
• Shashi Kapoor on Hindi movie songs and their films versus our films – Nasreen Munni Kabir – Excerpts from an archival interview with Shashi Kapoor for the British television series ‘Movie Mahal’.
• Shashi Kapoor loses and finds himself in ‘Tum Bin’ from ‘Pyar Ka Mausam’  – Archana Nathan – The RD Burman composition was the theme song of Nasir Hussain’s 1969 family drama, used at every crucial juncture.
• The Final Curtain – The author writes: “Five years ago, I wrote an article on Shashi Kapoor saying I didn’t want to ‘remember’ him after he died; I would much rather commemorate his life. And I did. But now, another era has ended with the demise of yet another much-loved actor of the golden age. Perhaps I will review one of his films later, but for now, a quick but sincerely meant tribute.”
• Shashi Kapoor: The Cinematic Journey of a Phalke Award Winner by Karan Bali – Shashi Kapoor also was one of the early Indian actor who broke through internationally through his association with several Merchant-Ivory Productions (The Householder (1963), Shakespeare Wallah (1965), Bombay Talkie (1970) and Heat and Dust (1983) among others), besides other films like Siddhartha (1972), Sammy and Rosie Get Laid (1987), Jinnah (1998) and Side Streets (1998).
• A Matter of Innocence (1967) and Mohabbat Isko Kehte Hain (1965) are the reviews by Madhulika Liddle in memory of Shashi Kapoor.

Some other December tributes:

Diip Kumar:

The Many Moods of Dilip Kumar – He was a fantastic actor, a man who was equally good at comedy and romance (if you don’t believe me, just watch Beimaan tore nainwa from Tarana) as he excelled at the intense, angst-ridden characters he so often played.

Naushad:

• Always Aashiqana With Naushad Ali’s Music presents some of the gems on the maestro’s birth anniversary (25 December)
• Aawaz De Kahaan Hai: The Golden Music of Naushad – Naushad’s destiny was written in music, by music to be dedicated to music. Peeyush Sharma, in ‘Silhouette’ pays tribute with a glimpse of his musical journey.
• NAUSHAD-Once All of India was crazy about his Melodies. – This master composer first made both Mukesh (Andaz) and Talat Mahmood (Babul) sound surpassingly individualistic on Dilip Kumar He was, near clandestinely, getting Mohammed Rafi ready for the big leap. From his first Anmol Ghadi solo, Tera khilauna toota baalak (1946), to O door ke musafir on Dilip Kumar in Uran Khatola (1955), Rafi came a long, long way, once the Baiju Bawra (above) miracle happened in 1952..

Noor Jehan:

• Noor Jehan, the Original ‘Chandni Raatein’ Singer On her 17th death anniversary (23 December), here’s celebrating the incomparable Noor Jehan’s music. https://www.youtube.com/watch?v=QIz5cMIXw1Q
• The journey of singing great Noor Jehan in Bollywood – Noor Jehan’s last film in India was Mirza Sahiban (1947) which starred Prithviraj Kapoor’s brother Trilok Kapoor.

My Favourites by Shailendra (30 Aug 1927 – 14 Dec 1966), who worked with nearly all music directors ( exceptions being Naushad & O P Nayyar).

Remembering Meena Kapoor, who passed away on 23rd of November 2017. Meena’s last playback singing was for the movie ‘Chhoti Chhoti Baatein’ that was released in 1965 and was also Anil da’s last film as a music director.

Chalte Chalte Mere Yeh Geet Yaad Rakhna: Bappi Lahiri’s Melodious Hits – On 27th November this year Bappi da turns 65. Also, with his first film, Nanha Shikari, released in 1973, he has completed 45 years in this industry as a music director. Peeyush Sharma takes us on a trip down his memorable songs.

Google remembered Mirza Ghalib on 27^th December.

Who is Mirza Ghalib, featured on today’s Google Doodle?

Mirza Ghalib’s 220th birth anniversary: Google Doodle pays tribute to legendary poet

Here are some more posts on this occasion:

• Remembering Mirza Ghalib as he turns 220: ‘The world is the body, Delhi its soul’
• Famous Mirza Ghalib Lines That Leave Deep Imprints On Heart And Mind
• 5 heart-warming couplets by the real king of romance, Mirza Ghalib
• The debt owed by Gulzar’s lyrics to Mirza Ghalib – Manish Gaekwad – The song ‘Dil Dhoondta Hai’ from the film ‘Mausam’ was inspired from Ghalib’s couplet. In this audio clip, Gulzar and singer Asha Bhonsle decode the song.

Mohammad Rafi has a special place in December on this blog:

We have two parts episode of Fading Memories, Unforgettable Songs for December, 2017 in the memory of Mohammad Rafi. In the series of articles featuring Mohammad Rafi’s Solo Song from FIRST film with the Music Director, we have covered years 1952-1953, after having covered years 1950-1951 earlier this month and year 1949 earlier this year of the 2^nd five-year-slot of 1949 to 1953.

And then, we have –

• Mohammad Rafi Jukebox: Striking the Right Chord Since 1944
• ‘Main Zindagi Ka Saath’ from ‘Hum Dono’ is a tune from 1961 about 2017 – Nandini Ramnath – An ode to optimism or a recommendation to embrace apathy and compromise?
• Ten Songs of Mohd. Rafi We Could Not Include in ‘Gaata Rahe Mera Dil’– Balaji Vittal lists 10 songs of Rafi Sahib that they would have loved to include in their book Gaata Rahe Mera Dil. as his tribute to the iconic singer, exclusively for Silhouette Magazine. Gaata Rahe Mera Dil – 50 Classic Hindi films Songs co-authored by Balaji Vittal and Anirudha Bhattacharjee (published by Harper Collins) had been at the top slot of the Bestseller List and received very positive reviews by the media and readers alike.
• Mohammad Rafi-The Voice That Swayed Millions – Rafi was truly a singer for the masses and not for any particular class. His voice appealed to all, the old, young, rich, poor, men and women.

And, now the posts on other subjects:

My Favourite Lullaby Songs – one of the first popular lullby songs from a Hindi movie is ‘So Ja Rajkumari So Ja‘ sung by K L Saigal from Zindagi-1940 (Music by Pankaj Malik). The song is still considered to be an ultimate lori

Ravindra Kelkar has presented three more posts on O P Nayyar @ SoY:

• Duets of OP Nayyar: Part 1
• Duets of OP Nayyar: Part 2
• OP Nayyar unlike OP Nayyar

Raj Kapoor: ‘I dream cinema, I breathe cinema and I live cinema’ – Ritu Nanda – An excerpt from a compilation of writings by and about the legendary actor and filmmaker.

Beauties bond over baubles in ‘Mann Kyun Behka’ from ‘Utsav’ – Nandini Ramnath – Rekha and Anuradha Patel are visions to behold in the Laxmikant-Pyarelal song from Girish Karnad’s movie.

Ten of my favourite ‘Unusual Singer’ songs, which means:

(a) That it’s the person who’s lip-syncing to the song (and not the playback singer) who’s unusual…

(b) and unusual because the actor in question is a well-known face, but doesn’t usually lip-sync to songs.

“Nazar Lagi Tore Bangle Par” and Zarina Begum, who was a protégé of Begum Akhtar.  Both famously sung a version of “Nazar Lagi Tore Bangle Par” that predated the one in Kala Pani.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are? , we completed the third part of Lata Mangeshkar solo songs, and then summed the Female Solo Songs for 1948 with  My Top Female Solo Songs and then went on to take up Male- female Duets in the Duets section. We covered the male female duets of Mukesh as well as those of  Mohammad Rafi. SoY has concluded the series with Best songs of 1948: Wrap Up 3 and Best songs of 1948: Final Wrap Up 4.

We have placed the articles paying tributes to Mohammad Rafi in the space for the tributes here before in the present article. So we will take up two songs of Mohammad Rafi, form the first film he played back solo for Shashi Kapoor to begin the end of the article:

Ye Dil Kiso Dun – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi

Mera Dil Tum Pe Aa Gaya., Mere Pahlu Se Dil Gaya – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi

‘The Christmas Celebration in Hindi Films’ picks up the rare, ddelightful Christian characters, which always brought a smile on our lips.

On that note of festive smile, I wish you all a very HAPPY & PRPOSPEROUS 2018 that keeps providing rich music to your Life.

The Micro View of the Songs of 1948 @ SoY – MY Top Female Solo Songs

When I look back at all the female solo songs for 1948, what I note is that all most each of the major female singers has at least one song that has stood equal appeal to me. In these years, I may have had opportunity to listen to some songs more than the other, but at this stage I do not really feel any major difference in the appeal of these songs on account of that.

So, here are the songs that would call for TOP slot for the female solo songs for 1948, in no particular order:

Lata Mangeshkar – Chanda Re Ja Re Ja Re Piya Se Sandesha Mora Kahiyo Ja – Ziddi – Khemchand Prakash – Prem Dhawan

Lata Mangeshkar – Kab Aaoge Balama… Baras Baras Badali Bhi Bhikhar Gayee – Gajare – Anil Biswas – G S Nepali

Lata Mangeshkar – Ek Dil Ka Lagana Baaqi Tha To Dil Ko Laga Ke Dekh Liya – Anokha Pyar – Anil Biswas – Zia Sarhadi.

Lata Mangeshkar – Yaad Rakhana Chand Taron Ye Suhani Raat Ko – Anokha Pyar – Anil Biswas – Zia Sarhadi

Surinder Kaur – Badnam Na Ho Jaaye Muhabbat Ka Fasana – Shaheed – Ghulam Haider – Qamar Jalalabadi

Meena Kapoor – Ek Dil Ka Lagana Baaqi Tha To Dil Ko Laga Ke Dekh Liya – Anokha Pyar – Anil Biswas – Zia Sarhadi.

Meena Kapoor –Yaad Rakhana Chand Taron Ye Suhani Raat Ko – Anokha Pyar – Anil Biswas – Zia Sarhadi

Shamshad Begum – Dharati Ko Aakash Pukare Aa Ja Aa Ja Prem Dware – Mela – Naushad – Shakeel Badayuni

Shamshad Begum  – Kahe Koyal Shor Machaye Re, Mohe Apna Koi Yaad Aaye Re – Aag – Ram Ganguly – Bahzad Laukhanavi

Geeta Roy – Nandiya Maare Boli Ke Baan, Balam Main Tumse Na Bolun – Gunsundari – Avinash Vyas – Pt. Indra

Suraiya – O Door Jaanewale Vaada Na Bhool Na Jaana – Pyar Ki Jeet – Husnlal Bhagarram – Qamar Jalalabadi

Suraiya – Tere Naino Ne Chori Kiya Mera Naha Sa Jiya – Pyar Ki Jeet – Husnlal Bhagatram – Rajinder Krishna

Suraiya – Kinare Kinare Chale Jaayenge Jivan Ki Naiya Ko Khete Hue – Vidya – S D Burman – Y N Joshi

Of these top female solo songs for 1948 MY (each one as equal) choice for The TOP female solo songs would be:

Suraiya – Tere Naino Ne Chori Kiya Mera Naha Sa Jiya – Pyar Ki Jeet – Husnlal Bhagatram – Rajinder Krishna

Shamshad Begum  – Kahe Koyal Shor Machaye Re, Mohe Apna Koi Yaad Aaye Re – Aag – Ram Ganguly – Bahzad Laukhanavi

Meena Kapoor –Yaad Rakhana Chand Taron Ye Suhani Raat Ko – Anokha Pyar – Anil Biswas – Zia Sarhadi

Surinder Kaur – Badnam Na Ho Jaaye Muhabbat Ka Fasana – Shaheed – Ghulam Haider – Qamar Jalalabadi

Lata Mangeshkar – Chanda Re Ja Re Ja Re Piya Se Sandesha Mora Kahiyo Ja – Ziddi – Khemchand Prakash – Prem Dhawan

We also note that SoY have awarded the Best Female Playback Singer jointly goes to Lata Mangeshkar and Shamshad Begum for Chanda re ja re ja re and Kaahe koyal shor machaaye re respectively.

We will now over to the The Micro View of the Songs of 1948 @ SoY – Duet Songs from the next episode.

P.S. All the posts on Female Solo Songs of The Micro View of the Songs of 1948 are aggregated here.

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

We have so far covered Suraiya, Geeta Roy, Shamshad Begum, Raajkumari and Surinder Kaur in our Micro-View of Female Solo Songs of 1948. These are the female playback singers who had fairly extended tenure during the (so-called) Golden Era of the HFM – the period from’50s till ’60s (or some cover even mid’70s.).

We have observed that even as these singers had quite a remarkable quantitative share of the songs, the songs which did remain well-known even in the Golden Period were really very few.

With this disclaimer of my personal bias, I decided to curtail songs of other female playback singers into one post. Hence, I have chosen one song of these ‘other’ female singer each. Even the, the list is fairly large. Most of these singers have had three to more than 10 songs in their account of 1948. So collectively they form what statisticians would call a very dominant tail of normal distribution curve.

Ameerbaii Karnataki – Taqdeer Ne Hansa Ke Hamein Phir Ruladiya – Shehnaz – Ameerbai Karnataki – Dukhi Premnagari

Dilshad Begum – Jawani Pukare Jivan Ke Sathi – Birhan – Lachchhi Ram –

Hameeda Bano – Koochch Bhi Na Kaha Ho.. Aur Keh Bhi Gaye – Parai Aag – Ghulam Mohammad – Tanveer Naqvi

Husn Bano – Pee Ansoo Pee, Aahein Bhar Ji – Pardesi Mehman – Hansraj Behl – Pandit Indra

Johrabai Ambalewali – Bus Mein Kar Ke Wo Bas Kar Gaye – Padmini – Ghulam Haider – Tanveer Naqvi

Khursheed – Pacchataynge Jo Hamein Barbad Karenge – Aap Biti – Hari Bhai – Hasrat Lakhanavi

Lalita Deulkar – Jai Bolo Mahatma Gandhi Ki – Khidki – C Ramchandra – P L Santoshi

Meena Kapoor – Boot Polish Karwa Le Babu Boot Ploish Karwa Le – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor

Meena Kumari – Aata Hai Dil Mein Pyar Kyon Chhede Hai Bar Bar Kyon – Bichchade Balam – Bulo C Rani – Narendra Sharma

Munnavar Sultana – Mera Nanha Balam Na Bole – Patjhad – Ghulam Haider – D N Madhok

Parvez Kapadia – Hum To Motor Khareed Ke Le Aayenge – Hum Bhi Insaan Hai – H P Das + Manna Dey – G S Nepali

Sulochana Kadam – Jahan Koi Na Ho Wahan Chalenge Hum – Lal Dupatta – Gyan Dutt – D N Madhok

Sitara (Kanpuri) – Dil Ki Jaban Par Aaye To Kya Karoon – Pugree – Ghulam Mohammad – Shakeel Badayuni

Uma Devi – Kahi Jiya Dole Ho Ho Kaha Nahi Jaaye – Anokhi Ada – Naushad – Shakeel Badayuni

Mrs. Vishnilal – Kisi Tarah Dil Hi Na Jab Chain Paaye – Anjuman – Bulo C Rani – Majrooh Sultanpuri

It may also please be noted that I have not included those female singers who, to the best of my knowledge, did sing some songs in 1948, but that was in the capacity of an actress in the respective film.

In the next episodes(s) we will take up solo songs of Lata Mangeshkar for Micro-View of Songs of 1948

The Micro View of the Best Songs of 1949 @ SoY – Female Female Duets – Other Female-Female Duet Songs

Substantive share of Lata Mangeshkar+ songs in the Female Female duets category for the year 1949 also can be taken as one more indicator of her emergence as THE playback singer. Of course, she does share space with all other major (so-called) competing players in this category, which seems to have weighed in her favor.

So let us listen to the female female duets of singers other than Lata Mangeshkar.

Shamshad Begum +

Aa Javo Phir Meri Bigadi Ko Banane – Dada – with Surinder Kaur – Shaukat Haidari – Majrooh Sultanpuri

Meri Pyari Patang Chali Badal Ke Sang – Dillagi – with Uma Devi – Naushad – Shakeel Badayuni

Chhak Chhak Chali Hamari Rail, Ye Hai Aage Ye Paani Ka Mail – Naach – with Geeta Roy – Husnlal Bhagatram – Mulkraj Bhakri

Pyar Ke Jahan Ki Nirali Sarkar Hai – Patanga – With Lata Mangeshkar – C Ramchandra – Rajendra Krishna

Geeta Roy +

Hasrat Bhari Nazar Ko….O Pardesiya, O Rasiya – Dil Ki Basti – with Zohra Jaan – Ghulam Mohammad – Khumar Barabankvi

Badal Gir Aaye – Karwat – with Asha Bhosle – Hans Raj Behl – V N Madhok

Kheloge Kaun Sa Khel Mere Lal – Tara – with Premlata – Vinod – Aziz Kashmiri

Mithai ki Dukan Dilli Ke Bazar – Tara – with Gandhari – Vinod – Aziz Kashmiri

Johrabai Ambalewali +

Hai Kahani Preet Ki Itwaar Se Itwaar Tak – Daulat – with Lalita Deulkar – Hanuman Prasad –Qamar Jalalabadi

Chhoon Chhoon Ghunghariya Baje, Ye Raat Phir Na Aayegi, Jawani Beet Jayegi  – Mahal – with Rajkumari – Khemchand Prakash – Nakshab Jarachavi

Suraiya +

Aye Dard-e-Mohabbat Tune Mujhe Badnam Kara Ke Chhoda – Singar – with Surinder Kaur – Khursheed Anwar– D N Madhok

Hamida Banu+

Aavo Sakhi Hum Gaye Tarana – Zevrat – with Shanta Kunwar – Hans Raj Behl – Habeeb Sarhadi

Here are a few songs for which soft links do not seem to be have been set up, as yet.

Aayee Hai, Woh Aayee Hai, Dekha Badariya Kali – Bholi – Shamshad Begum with Meena Kapoor – Pt. Govind Ram – Ishwar Chandra Kapoor

Sun O Jaanewale Rahi… In Mitti Ke Khilone Ka – Maa Ka Pyar – with Meena Kapoor – Pt. Govindram – Ishwar Chandra Kapoor

Yahan Naino Mein Pyar Dil Ko Qarar Kiya Lage Piya – Char Din – Shamshad Begum with Premlata – Shyam Sundar – Shakeel Badayuni

If anyone who has the song(s) may please either post it in the comments or upload the soft copy to me by e-mail.

In the next episode we will take up Male-Male Duets as well as Triads & Triads+ songs.

The Micro View of the Best Songs of 1949 @ SoY – Female Female Duets of Lata Mangeshkar

We have covered duets of Mohammad Rafi   – with Lata Mangeshkar,  with Suraiya and with Shamshad Begum, with Geeta Roy and with other female singers, Duets of Mukesh and then an omnibus Other Male Female duets for 1949 in the previous posts.

Today, we will cover Female Female duets for 1949.

Lata Mangeshkar +

Ahaha, Ahaha, Ao Chale Chale Wahan, Bolo Chale Chalen Kahan– Aaiye – with Mubarak Begum – Shaukat Haidari – Nakhshab Jarachavi

Dar Na Mohabbat Kar Le – Andaz – with Shamshad Begum – Naushad – Majrooh Sultanpuri

Chup Chup Khade Ho Zaroor Koi Baat Hai – Badi Behan – With Premlata – Husnlal Bhagatram – Qamar Jalalabadi

Duniyawalo Mujhe Batao Kya Hai Sachcha Pyar – Balam – With Suraiya – Husnlal Bhagatram – Qamar Jalalbadi

Interestingly, this song also has a Male-Male Version : Mohammad Rafi and S D Batish –

Jara Sun Lo Hum Apne Pyar Ka Afsana Kahate Hai – Bazar – with Rajkumari – Shyam Sundar – Qamar Jalalabadi

Agre Ko Ghagharo Mangva De Raja – Laadli – with Ashalata- Anil Biswas – Nazeem Panipati

Chhota Sa Mandir Banaun Jay Jay Jay Prem Devata – Laadli – with Meena Kapoor – Anil Biswas – Chandrasekhar Pandey

Hum Jaani Re Jaani Re Hum Jaani Re – Sanwaria – with Geeta Dutt – C Ramchandra – P L Santoshi

Chalo Ghunghat Mein Guiyan Chhupake Gajab Tore Naina – Sipahiya – with Geeta Roy – C Ramchandra – Rammurti Chaturvedi

We will take up other Female Female Duets in our next episode.