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
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
Welcome to August, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
We have three posts for our present episode that befit the season:
Beyond ‘Maa Tujhe Salaam’, the film songs that dare to step out of line when things go off-key – Rather than pop patriotism tunes, it’s the songs about dissent and debate that resonate as India turns 70 – Rineeta Naik recalls the anti-nationals in Hindi films who stepped out of line and reminded us of the times when things went off-key… The songs presented here convey a poet’s despair over social and moral decay, the agony of a man unfairly marked as a traitor, and the exuberant cynicism of city-dwellers who discovered that “sone ki chidiya” rhymes nicely with malaria.
Celebrate the monsoon with this performance of raag Mia ki Malhar by Amir Khan – Malhar raags are prescribed for the rainy season. – Aneesh Pradhan – Amir Khan’s presentation of Mia ki Malhar, a raag considered to have been created by the 16th-century vocalist and composer Mia Tansen, has always been considered by musicians and aficionados as one of the most iconic interpretations of the raag. The recording featured here was made for the All India Radio National Programme of Music in 1958, but it continues to haunt listeners to this day.
Rainy Days has captured songs picturised in the rain, let it be for a part of the song or the entire length, from drizzle to showers! The song may not be about the rain itself.
We will first take up the posts on Meena Kumari in our regular anniversaries or eulogies posts:
Meena Kumari: An enigma – DP Rangan pays a very touching and vivid tribute to Meena Kumari on her 85th birth anniversary (1 August 1932 – 31 March 1972).
We have chosen to take a Retrospective look to revisit:
‘No One Quite Like Her – The Inimitable Meena Kumari’ – “Good looks, great talent and unhappiness. Perhaps no other star combined all three in such a heady brew as Meena Kumari did.” Sathya Saran writes about how the iconic actress carved out an inimitable niche for herself, had held sway over her audiences for two decades and continues to fascinate her fans to this day….. Nothing added as much to the legend of Meena Kumari as her liviing of it. For many it seemed the natural culmination to a life of suffering. To be abandoned and exploited, and left without money after earning sums that were beyond the reach of lesser stars, and die sick in heart and body is a tale that cannot fail to touch anyone who hears it.
Meena Kumari – Interview (1952). This is an interview when Meena Kumari was on the verge completing two significant and much talked-about films, “Footpath” and “Baiju Bawra”, in which she had played the feminine lead.
Of the Ten of my favourite Mumtaz songs, presented in celebration of the 70th birthday on 31sy July, I have picked up O matwaare saajna chhalak gaya mera pyaar (Faulad, 1963) as my own offering to the celebration.
Subodh Agrwal has taken up a very difficult subject of Asymmetric Duets. He has further tightened the rules by taking up the duets in which the rhythm and the tune do diverge and yet complement each other too. SoY readers have chipped in a very large number of such interesting songs.
Welcome toApril, 2015 edition ofCarnival of Blogs on Golden Era of Hindi Film Music.
Come 1st April and rest assured that SoY will come up with something brilliant. For the present, Some thoughts on taxonomic-mathematical analysis of Hindi films and songs has a fairly lashing tongue in the cheek, but that would not take away the merits of three core ideas – viz. Duet Balance Index (DBI) – ‘Duets that are really solos’, Popularity-Quality Index (PQI) – Popularity versus quality and Mathematical Analysis of Bollywood Triangles and Other Films presented therein.
We turn our sails to our regular fair –
Shamshad Begum songs by Naushad – SoY’s tribute to Shamshad Begum on her 96th birth anniversary (14 April 1919 – 23 April 2013). Shamshad Begum’s entry is credited to Ghulam Haider. Nonetheless she sang with same élan with most of the music directors of the vintage era. When Naushad used her voice first time in Shahjehan (1946) , Shamshad Begum was already at her peak. As she went on to sing a wide range of moods and scales in around 60 songs with Naushad, her portfolio was concurrently getting richer with other music directors like C Ramchandra, S D Burman, Ghulam Mohammad and others. She blazed a scorching trail with O P Nayyar. It remains a very typical irony of the vagaries of Hindi Film Music that she was quite easily replaced with Lata Mangeshkar and Asha Bhosle by Naushad and O P Nayyar respectively in course of 50s.
SoY has picked up Shamshad Begum songs of C Ramchandra in Shamshad Begum songs by C Ramchandra as a tribute on the 2nd death anniversary of the legendary singer.” During a brief period in the late 1940s, before Lata Mangeshkar happened in a big way to C Ramchandra, Shamshad Begum was his most important singer, and he was at his creative best. The combination gave some everlasting songs, which are an important part of our musical legacy.”
We will end April month’s episode with a very typical Shanker-Jaikishan – Mohammad Rafi songs of 1960s – from (of course) the film ‘April Fool’ – a song which has one of the longest prelude, studded with a huge ensemble of violins, wherein Rafi has taken flights to all the scales –
Aa Gale Lag Jaa, Mere Sapane, Mere Apne, Mere Paas Aa…….
We continue our pursuit of the golden period of Hindi Film Music …….