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.

Manna Dey’s Comedy Songs – Mehmood [3]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Manna Dey’s Comedy Songs – Mehmood [2]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Manna Dey’s Comedy Songs – Mehmood [1]

Manna Dey, with his unique style and unforgettable voice, was marked out among his great peers – what was then known as male playback quartet of Mohammad Rafi, Talat Mahmood, Mukesh and Kishore Kumar. His versatility was unparalleled; his singing could convey the vast gamut of human emotions and he could effortlessly switch from serious songs to musical comedy. His many such songs of ‘50s are still remembered with same passion as they were liked then.

In our previous series of ‘Manna Dey and the contemporary lead actors several shades of Manna Dey’s singing style. With the passage of time, as the share of romantic songs showed a shrinking trend, we see Manna Dey slowly shifting to singing songs that were extremely challenging, but now for the character actors.

Steeped in the tradition of classical music, Manna Dey easily straddled over a diverse range of genres, from khayal and thumris to popular Hindi music with a Western tilt to traditional folk songs and Vaishnav kirtans and even Rabindra sangeet. But it was in his rendition of popular songs with a classical tinge that Manna Dey stood unmatched. It was this very distinctive style that made him an ideal choice for comedy songs on the pattern of classical music.

That also was the time when career of Mehmood, was taking the firm shape of a comedian actor. So it was more natural that Mehmood would gravitate to Manna Dey as his playback voice for creating his own different identity as a THE comedian.


Mehmood (Ali – B: 29-9-1932 – D: 23-7-2004), the eldest of sons the dancing star of ‘40s, Mumtaz Ali, was a very versatile artist who could act, dance or sing. However, he is best known as an actor who took the role of a comedian at par with the leading hero of the film. When he didn’t overstep the mark into the cheap antics or drippy sentimentalism, Mehmood could delight the viewer with pure physical comedy with his mimes and on-the-dot comic timing.

The very early footprints of Mehmood’s career can be seen by minutely observing films Do Bigha Zameen, 1953 (a peanut seller), Nastik, 1954 (a henchman), Pyaasa, 1957, ( hero’s negative shaded brother), C I D, 1960 (a cameraman), Kagaz Ke Phool 1959 etc. His first major break as a comedian was in Paravarish, (1958) and then in Chhoti Behan (1959), where he got nominated as Best Supporting Actor for Filmfare award.


Here is the first Manna Dey connection song of Mehmood’s beginning of the career –

Chhod Ayodhya Ke Mahal – Sati Pariksha (1957) – Sanmukh Babu – Saraswati Kumar Deepak

The main lead actor for this mythological film was Daljeet. Mehmood seems to have some side role, but his name does appear in the credits.

Mehmood also started getting roles as the main lead actor at the early stage of his career.

We have one more duet, wherein the song is filmed on Mehmood –

Pyar Bhari Ye Ghatayein Raag Milan Ke Sunaye – Qaidi No. 911 (1959) – with Lata Mangeshkar – Dattaram – Hasrat Jaipuri

Mehmood is paired with Nanda in the lead role in the film.

Mehmood was again in the lead role in Pyase Panchhi (1961).

Babu Bol Ke Kaisa Roka Hamne Dhundha Kaisa Mauka – Pyase Panchhi (1961) – with Geeta Dutt – Kalayanji Anandji – Qamar Jalalabadi

The song is duet, classified under ‘teasing songs’. Here Ameeta teases her beloved Mehmood for making him stop where she likes – she conclusively closes the debate at the end of the song. Mehmood facial expressions narrate his innocence of a ‘gentleman’ hero.

This should go as a rare song wherein Kalyanji Anandji have chosen voice of Geeta Dutt !

In 1961, Mehmood also produced his maiden film – Chhote Nawab, where he gave opportunity to R D Burman to take up an independent music direction assignment. All male songs of the film, filmed on Mehmood, were played back by Mohammad Rafi.

Mehmood produced a comic-horror film Bhoot Bangla in 1965. He assigned music direction to R D burman again. R D Burman, now, dared to experiment with voices of Manna Dey and Kishore Kumar,, for the songs on the lead male character.

Aao Twist Karein Jaag Utha Hai Mausam — Bhoot Bungla (1965) – R D Burman – Hasrat Jaipuri

The song, an inspired version of Chubby Checker’s 1961 hit, ‘Let’s Twist Again‘. The song has been sequenced immediately after O Mere Pyar Aaja, a classically oriented song, performed by Tanjua on the screen, as a mockery of the choice for a youth festival competition song. (Does it also ring the warning to the older generation music directors? )

On its own, Aao Twist Karein now stands as a benchmark icon for a ‘western song’ genre in the Hindi Films.

Manna Dey is so heartfully carefree in the delivery of the song, and seems to draw quite a tough competitive line while sinning “J..a…a…g Utha Hai Mausam”,  to Kishore Kumar in the other two songs in the film – Jaago Sonewalo Suno Meri Kahani and Ek Sawal Hai Tum Se Yeh Mera.

Pyar Karta Ja Dil Kaheta Hai, Katon Mein Bhi Phool Khila – Bhoot Bangla (91650  – R D Burman – Hasrat Jaipuri

Manna Dey is once again in his carefree elements in this ‘young’ crowd picnic song. Mark the way plays the prelude alaap or the end the line Payr Karata Jaa, with his own version of yodeling.

Mehmood finds it convenient to give play to his inner comedian streak to deliver the expressions of carefree mood of the song.

On a parallel track he also was getting lucrative, and increasingly successful assignments as a comedian in films like, Sasural (1962), Raakhi (1963), Dil Tera Diwana (1963) etc. The songs filmed on him were either played back by Mukesh (In Sasural) and Mohammad Rafi. Mehmood’s comedian track went on a winning spree, so Mehmood seems to have concentrated on that path of his career.

Manna Dey – Mehmood association took up the shade of comedy song in a classical moulid with Manzil (1960).

Hato Kahe Ko Jhoothi Banao BatiyaN – Manzil (1960) – S D Burman – Majrooh Sultanpuri

S D Burman has conceived this parody of originally Faiyaaz Khan Saheb’s Bhairavi Thumri Are Batiyan Banao Chalo Kahe Ko Jhoothi in all sincere classical mode, and Manna Dey was an ideal choice for the rendition of the song. Mehmood adds his own colors by his facial mannerisms on the screen,

S D Burman maintained this tempo in their next project together as well.

Pyar Ki Aag Mein Tan Badan Jal Gaya – Ziddi (1964) – S D Burman – Hasrat Jaipuri

The practice of sugar-coating a comedy song in classical style moulid seems to have reached perfection now.

Main Tere Pyar Mein Kya Kay Na Bana – Ziddi (1964) – with Geeta Dutt – S D Burman – Hasrat Jaipuri

S D Burman now gives us a pure comedy song, all earnestness.

Use of Geeta Dutt, after such a long time is welcome on one hand but being deployed for a comedy song is not so welcome.

Before we take a short break in our journey of Manna Dey’s comedy songs for Mehmood, we need to take a painful pinch of salt of falling standards of such songs as well. We will take up an out-of-turn song from Naya Zamana (1971), since this was an S D Burman song – the last in Manna Dey – Mehmood – S D Burman comedy song saga.

Aaya MaiN Laya Chalta Firta Hotel – Naya Zamana (1971) – S D Burman – Anand Bakshi

As we will see in our next episode too, the music directors who were instrumental in setting very high standards of Manna Dey’s comedy songs have also been instrumental in creating such abysmal lows in the genre.

For the time being, we will leave this discordant note for break and continue our journey of Manna Dey – Mehmood comedy songs in our next episode too.

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

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

October, 2017 is the month of Deepawali. So, ‘Let’s Celebrate Diwali!’ at the very beginning of our present blog carnival posts.

We dedicate our October, 2017 episode to Kundan Shah with a selected few obituaries published in memory of his passing away:

Kundan Shah passes away: How the Jaane Bhi Do Yaaro director served anger with bittersweet laughterSita Menon

The one thing that binds all of Kundan Shah’s work is the streak of comedy—of a varied kind | Photo Credit: The Hindu

Kundan Shah (1947-2017): Master of capturing grace in nonsenseNamrata Joshi

So Long Kundan, and Thanks for Inflicting Us With Your Madness and GraceSudhir Mishra

Why Kundan Shah’s Later Works Didn’t Match up to His GeniusSubhash K Jha

And then,

Veteran filmmaker and actor Lekh Tandon dies at 88 – Tandon acted in such films as Swades (2004), Paheli (2005), Rang De Basanti (2006), Chennai Express (2013) and Chaarfutiya Chhokare (2014). Among the films he directed were Amrapali (1966), Dulhan Wahi Jo Piya Man Bhaaye (1977), Agar Tum Na Hote (1983), Doosri Dulhan (1984) and Uttarayan (1985). Tandon also directed television serials Phir Wahi Talaash (1989) and Farmaan (1990).

Here is a retrospective Guftagoo with Lekh Tandon :

We will now take up tribute posts:

Ten of my favourite Roshan songs is a (belated) tribute on birth centenary (14th July, 1917) of the music director.

Best songs of Kishore Kumar 1.0  can easily stand up to great popularity of Rafi or Talat or Mukesh songs in the same period. However, it is KK2.0 that is known more because that is when he became undisputed no. 1.

The alternative Kishore Kumar playlist that is just as good as his most popular songsRudradeep Bhattacharjee – On the brilliant singer’s 30th death anniversary, a reminder of his offbeat tunes.  We have recaptured these pre-1969 songs here:

Woh Meri Taraf Yun Chale Aa Rahe Hain – Kafila (1952) – Husnlal Bhagatram – Vrajendra Gaur

Chup Ho Jaa Amiron Ke Sone Ki Ghadi Hai – Bandi (1957) – Hemant Kumar – Rajinder Krishna

Chand Chup Chaap Hai Sitare Gum Sum – Daal Mein Kala (1964) – C Ramchandra – Bharat Vyas

Akela Hoon Main – Neela Asman (Unreleased)

It’s Mehmood’s birthday! – At his peak, he was paid more than even the film’s hero. Apart from his own disnctive style of acting, his contribution as producer of films, songs fimed on Mehmood has created a very definite space.

MEHMOOD-The Man Who Taught the Nation How to Laugh! – For a brief period in the 1960s, thanks to him, comedy was king. And Mehmood was the uncrowned King of Comedy. A time came, when he was so much “in demand” that producers approached him, offering him full-length comedy films.

How Hema Malini came to be known as Hindi cinema’s ‘Dream Girl’ – Producer and mentor B Ananthaswami came up with the title for her debut film, ‘Sapno Ka Saudagar’. – Ram Kamal Mukherjee – In the authorised biography Hema Malini : Beyond the Dream Girl, the 1970s and ’80s star looks back on her career highs and lows, her relationship with co-star Dharmendra, and her love for classical dance.

Hema Malini Beyond the Dream Girl

The Divas: Hema Malini presents what can be considered as her definitive work on her 69th birthday.

Rekha before Bollywood: A gawky teenager, a Bond girlArchana Nathan – The 63-year-old actor began her career in small yet noticeable roles in Telugu and Kannada films.

Many of Lata Mangeshkar’s best songs by Hemant Kumar have ranked in the all-time greats of Lata’s songs.

50 years of FARZ – This film FARZ released on 6th Oct 1967 gave bolllywood the new star Jeetendra, This movie also gave him that Jumping Jack image, and something that he put to good use in loads of movies at least till Gulzar gave him an image makeover with Parichay (1972).

The October 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Shakila in Mohammad Rafi songs.

Here are posts on other subjects as well:

The blockbuster combination of Guru Dutt and OP Nayyar in ‘Aar Paar’ – The 1954 classic is packed with chartbusting songs, from ‘Babuji Dheere Chalna’ to ‘Sun Sun Sun Sun Zalima’. – Rudradeep Bhattacharjee – To Mohammed Rafi’s “Sun Sun Sun Sun Zalima”, Geeta Dutt’s retort is “Ja Ja Ja Ja Bewafa. Later in the film, when the lovers have their customary tiff, Sultanpuri inventively reworked the lines Ja Ja Ja Ja Bewafa and fashioned a soulful song out of it. Nayyar and Sebastian have kept things simple, slowing down the tempo of Sun Sun… and using minimal instrumentation whilst letting Geeta Dutt do her thing.

Ek Nazar 1951: A Precursor to SD Burman’s Music Trends –S D Burman had had 6 releases – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan and Sazaa. All musically hits, these six films ensured a total of 46 songs in that year. He was composing with a variety of lyricists – Rajendra Krishna in Bahar, Ek Nazar and Sazaa, Sahir in Baazi, Naujawan and Sazaa, Kaifi Azmi and Shailendra in Buzdil, in the immediate footsteps of Shabnam and Mashaal in the previous years. However, in these half dozen musical offerings this year Ek Nazar, is less remembered. Peeyush Sharma presents a very interesting analysis why for a phenomenon that were a precursor to SDB’s hits that would follow later, styles that would evolve and set precedents and experiments that would become the hallmark of the singers.

Ten of my favourite come-hither songs are the songs sung to a single person, not an audience… inviting love (or lust, or whatever interpretation one might want to put on it)….. I have picked up Haaye Mere Ppaas Toh Aa (Shikar, 1968) from the list, simply because it has so young and charming Sanjeev Kapoor being seduced by none other than Helen.

‘Chale Aao’ Songs are the songs that has Chale Aao(come at once or just ‘come back‘) as per the situation in the song) in at least initial lines of the mukhada. For one song, those are the last words of the mukhada. Not surprisingly, the list has only one male solo!

My Favourites: Songs of Regret – Hindsight being perfect, we often dissect our past in the hope that we can find answers to that most frustrating of questions – ‘What if?’. Hindi films have a song to fit the occasion.

Karva Chauth In Hindi Cinema – Normally Ham Dil De Chuke Sanam is credited with giving a decorated prominence to Karav Chauth. But there was a fullfledged song, way back, in Bahu Beti 1965 – Aaj Hai Karwa Chauth Sakhi – Asha Bhosle – Ravi – Sahir Ludhyanvi

In 1994 film Chand Ka Tukda a song was picturised in Gujarati style.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs by concluding the   first part and the second part  of the solo songs of Geeta Dutt with the third part.  We took up solo songs of Shamshad Begum with part one, two, three and the concluding fourth one. We ended the month with solo songs of Raajkumari. SoY has already published Best songs of 1948: Wrap Up 2 covering the female solos and adjudged Lata Mangeshkar and Shamshad Begum as the joint winners.

We will begin the end of the present post with a post on Mohammed Rafi with legacy of composer Roshan.

We will also listen to two of the great but receded-from-the-memory-songs:

Aise To Na Dekho Ke Bahak Jaye Kahin Hum, Aakhir Koik Insaan Hai Farishta Nahi Hum – Bheegi Raat (1965) – with Suman Kalyanpur – Lyrics: Majrooh Sultanpuri

The song to end the today’s blog-post is one of the most-unlikely Roshan compositions:

Sun Ae Mahjabeen Mujhe Tujhse Ishq Nahin | Dooj Ka Chand (1964) – Lyrics: Sahir Ludhyanavi

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….