Mohammad Rafi’s (b. December 24, 1924 – d. July 31, 1980) NFS had charmed me right from my early radio listening days. When I had reached stage of purchasing my own records, every time I would visit Rhythm House (@Kala Ghoda, Mumbai) I would invariably make sure that I skim through at least couple of Mohammad Rafi’s NFS song records, even as my limited budgets in those days forced me to prioritize the purchases from among different genres of records, thereby limiting my collection to a few Mohammad Rafi NFS songs records.
Now the present internet age has opened up the flood gates of availability of the music online. Thanks to more committed Hindi film songs fans on YT, one can find many songs that one would not have got chance to listen to in the radio-listening days.
From that vast treasure, here are some more of Mohammad Rafi’s NFSes that I have liked :
Zikr Us Pariwash Ka Aur Phir BayaaN Apna, Ban Gaya Woh Raqib Aakhir Tha Jo RaazadaaN Apana – Lyrics: Mirza Ghalib – Music: Khayyam
Khayyam and Mohammad Rafi team up to create a perfect rendering of the ghazal, drawing the listener into the depth of the mood that Ghalib would have imagined when he would have conceived this ghazal, even if the chaste Urdu lyrics remains incomprehensible to the average listener. In fact, more ear-friendly composition of the difficult Urdu / Persian poetry went on to become the norm in the later years.
I am not able to resist temptation to add one more of Khayyam – Madhukar Rajasthani compositions –
Mere GeetoN Ka Singaar Ho Tum, Jeevan Ka Pehla Pyar Ho Tum – Lyrics: Madhukar Rajasthani – Music: Khayyam
The poem is about the heart-felt exposition of the first (ever) love in one’s life, which has injected a new-found passion in the poetic expressions of the protagonist. Khayyam has set the tune to reflect the exuberance of that mood, which Rafi incarnates so lively.
Haaye Mehamaan Kahan Yeh Gham-e-Jana Hoga, Khaana-e- Dil To Koi Roz Mein Viraan Hoga – Lyrics: Daagh Dehlvi – Music: Taj Ahmed Khan
This one is a typical Taj Ahmed Khan composition – soft, sweet, with minimum orchestration. Mohammad Rafi is in his natural flow, with clear diction and throw that fully expresses the feelings embedded in the lyrics.
We will take one more instance of Taj Ahmed Khan composition – a Ghalib ghazal.
Diyaa Yeh Dil Agar Usko Bashar Hai Kyaa Kahiye, Hua Raqeeb To Ho Naamabar Hai Kyaa Kahiye – Lyrics: Mirza Ghalib – Music: Taj Ahmed Khan
The composition is relatively in higher octave scale, more in tune with the tone of the lyrics which is in the form of a complaint after once having fallen in love.
The internet is replete with Taj Ahmed Khan’s NFSes – with different singers – to offer separate subject of study and listening pleasure. However, it is time for us to change the tracks.
Keh ke Bhi Na Aaye Mulaaqaat Ko, Chaand Taare HaNse Khoob Kal Raat Ko – Lyrics: Laxman Shahabadi – Music: Shyam Sharma
Mohammad Rafi begins the opening lyrics of mukhada with extra soft touch before settling into the mood the composition.
Ji Na Sakegi Preet Kunwari Meri Saari Raat … Andekhe Dukh Ki Chhaya Mein Gheri Saari Raat – Lyrics: Madhukar Rajashthani – Sunil Kumar
The special accent lent to Ji Na Sakegi… at the very opening of the mukhada rightly raises our inquisitiveness to a higher scale. Of course, the way song proceeds, our heightened appetite is more than satisfied at every stage.
Shaam Ke Dipak Jale Man Ka Diya Bujhne Laga, Chandani To Aa Gayi… Madhuban Mera Jalane Laga – Lyrics: Madhukar Rajasthani – Music: Vinod Chatterji
Pick up any Mohammad Rafi NFS and you will feel a certain minimum level of musical output, irrespective of the lyricist or the music director.
Here is a pensively pathos mood song, composed by almost not known music director. Does it really matter?
Jab Tere Pyar Ka Afasana Likha Hai Maine, Har Jagah Apne Ko Diwana Likha Hai Maine – Lyrics: Ashish Kanwal – Music: Maqbool / Iqbal Hussain
Mohammad Rafi deftly handles quite a difficult composition….
I have a habit of always doing some work when I listen to songs. However, whenever I get to listen to this song, by the time song enters the first stanza, I get so engrossed into the mood of the song that I leave everything that I may be doing!
Kisi Ki Yaad Mein Payi Hai Jab Kami Hamne…. To AnsooN Se Jala Di Hai Zindagi Humne – Lyrics: Naqh Lyallpuri – Music: Maqbool / Iqbal Hussain
Naqsh Lyallpuri’s songs normally have difficult lyrics to set to a composition. Here the music director has weaved these lyrics in fully pleasing composition, rendered so smoothly by Mohammad Rafi. As a result, the song remains so easy on ears. Mohammad Rafi’s very unique tone in the song is another feather in the cap of this song.
Main Deep Jalaye Baitha HuN, Dam Tod Gayi Lau TaaroN Ki, Main Nain Bichhaye Baitha HuN – Lyrics: Naqsh Lyallpuri – Music: Rajeshwar Pal
Mohammad Rafi renders the song of eager expectation of visit of the beloved one even when all other mundane signs like star lights seem to have given the hope. The intensity of that feeling is accentuated by the least possible intervention of the instrumental music intervention or support.
The journey of listening to Mohammad Rafi NFs songs continues….
Stardust Memories – On the marriage anniversary of the legendary actors Amitabh Bachchan and Jaya Bachchan, Silhouette presents this beautifully penned piece by Taroon Coomar Bhaduri, Jaya Bahduri’s father. The article was published in the Illustrated Weekly of India, March 5, 1989.
In ‘A Country Called Childhood’, Deepti Naval talks about her interest in cinema, and experiences that pushed her to be an actress.
Balraj Sahni Autograph| A Country Called Childhood
Vintage era music relived in films to chronicle those movies/songs in which the songs of the vintage era are remembered sometimes as a tribute and sometimes are very craftily woven into the situation of the film as a parody.
We have inched forward to Male Solo Songs [2] in Micro View of 1943 to conclude with MY TOP Male Songs..
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022 –
Teri AankhoN Ka Rang Nirala Hai – Barood (1960) – Hasrat Jaipuri – Khayyam
Khwab Mein Kahan Miloge …. Kis Liye Ji – Bindiya (1960_ Rajinder Krishna – Iqbal Quereshi
Mera To Dil Dil Ghabraaye – Kala Aadmi (196) – Hasrat Jaipuri- Dattaram
Jhun Jhun Paayal Jhanke O Raja More Man Ke – Maya Machhindra (1960) – Keshab – Ramlal Heera Panna
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
A tribute to Mukesh on his 99th 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 99th 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 100th birth anniversary post next year…….
Acknowledgement and disclaimer:
Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
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 on22 July 2022
Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.
This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’
In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.
Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.
As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.
Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.
With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.
Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri
Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.
One noteworthy feature of Ghulam Mohammed’s compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.
Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics: Shevan Rizvi
Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.
Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini
Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.
Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash
Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)
(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani
Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.
It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.
Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni
Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!
How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!
Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman
The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.
Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni
I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.
Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.
Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni
This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.
In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.
Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni
Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!
Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.
Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni
I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.
Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.
Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!
What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!
Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni
Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.
Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!
We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.
Welcome to February 2022 edition of Xth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.
Lata Mangeshkar (1929-2022): Nightingale has fallen silent – India has lost one of its most prolific and significant artists – the last of her kind. She leaves behind not just her vast oeuvre, but a legacy of a voice that could bridge differences and bring together people with its sublimity.
Till the end, Lata Mangeshkar remained her own person – Mrinal Pande – Her long and distinguished career is not a tragic tale of continuing to shoulder the burden of someone else’s idea of how a woman should sing. She was a genuinely many-voiced singer who considered it an asset to be able to sing for over three generations of stars…..Still it would be wrong to pin her down to a single identity, of a grand dowager queen of music, all white sarees, and an isolation of fervent religiosity and meditational silences. …. But she was very much her own person.
Lata Mangeshkar was India’s inner voice – Pratap Bhanu Mehta – If Lata Mangeshkar became representative of India, it was because the lyrics she sang, and the forms in which she expressed them, contained all of India in them: All of its languages, cultural registers, even its conflicts. It was not benchmarking India to a single measure; it was rather connecting its superabundance.
During the support commentary that Harish Bhimani was providing during the live broadcast of Lata Mangeshkar’s funeral procession, he recalled that on one occasion he had asked her about her one song that spontaneously comes to her mind. This was the song that Lat Mangeshkar recalled:
On being asked the same question to him by Lata Mangeshkar, Harish Bhimani recalled
Man Mohana Bade Jhoothe ..- Seema (1955) – Lyrics: Shailendra – Music Shankar Jaikishan
If I apply the same test to me, the two Gujarati songs that pop up are:
Have Sakhi NahiN BoluN NahiN BoluN Re – Lyrics: Dayaram – Music: Purushuttom Updhyay
Rk RajkaN Suraj Thavane ShamaNe UgamaNe JaI UDe – Music: Harindra Dave – Music: Dilip Dholakia
As can be expected, homages have been showered by almost every newspaper, journal and other social (digital) media. We will confine ourselves to homages from our regular blogs for our present episode.
Though He Actually Never Met Her… – Gulzar voices his “deepest regard” for Sandhya Mukherjee, the Geetasri who never needed any Padma to become the voice of romance for generations. Ratnottama Sengupta explores how Gulzar connected with the iconic actor-singer foursome of Bengali cinema – Uttam Kumar, Suchitra Sen, Hemant Kumar and also Sandhya Mukherjee.
We also sadly bid farewell to Bappi Lahiri who passed away on 15th February 2022
We now move on to the other tributes and celebrations for the month –
In 2021, Talat Mahmood: Duets with Geeta Dutt, from 1954 to 1957, with one duet even in 1972.
Here is a photograph of Madhubala on the 53rd anniversary of her death (23rd February) posted on BollywooDirect:
Madhubala’s films opposite Bharat Bhushan – Madhubala has done four films with Bharat Bhushan – Gateway of India was a one-woman show with the story revolving around the character of Madhubala and the other actors forming the supporting cast, Kal Hamara Hai saw her play the lone double role of her career, Phagun had her in a triple role and Barsaat ki Raat is one of the greatest musicals ever to have been made in our film industry.
We now move on to posts on other subjects –
The Other Songs of Kavi Pradeep, a.k.a. Ramchandra Narayanji Dwivedi (06/02/1915 – 11/12/1998) – the songs essentially which are neither patriotic nor inspirational.
Manna Dey: A Story of Amazing Versatility – In a career spanning 60 years, Manna Dey excelled across a variety of genres – film songs, ghazals, bhajans, classical and pop – he regaled generations of listeners with his romantic ballads, zany rock and roll numbers, playful qawwalis and intricate raga-based songs. In Part 1, Bipin Parekh presents a detailed study of Manna Dey’s musical life and discography to understand and appreciate his massive repertoire and career graph. Part 2 presents analysis of Manna Dey’s association with 195 music directors and his output of 1363 Hindi songs spread over 932 films.
From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series where in we wiil listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022,:
Chalo Ho Gai Taiyaar Zara Thehro Ji – Shaadi Se Pahle (1947) – Lyrics: Mukhram Shaarma – Music: Paigaonkar-Karnad
YuN To Aapas Mein Jhagadate Hai Khafa Hote Hai – Andaz (1949) – Lyrics: Majrooh Sultanpuri – Music: Naushad Ali
Apni Nazar Se Door Voh, Unki Nazar Se Door Ham – Bazaar (1949) – Lyrics: Qamar Jalalabadi – Music: Shyam Sundar
Ab Haal-e-Dl Ya Haal-e-Jigar Kuchh Na Puchhiye – Ek Thi Ladki (1949) – Lyrics: Azeez Kashmiri – Music:Vinod
Zara Tumne Dekha To Pyar Aa Gaya – Jal Tarang (1949) – Lyrics: Kaif Irfani – Music: Husnlal Bhagatram
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
Main Kya Janoo Kya Jadoo Hai – Remembering K L Saigal – “आप सुन रहे है कार्यक्रम, पुरानी फिल्मों के गीत। पेश है आज का आख़री गीत के एल सैगल की आवाज में।”– The announcer on Radio Ceylon would announce it at around 07.57 am daily. It’s been a custom for more than 50 years, to end the program with a song sung by Saigal. Many people consider it as a real start of the day.
Diya Jalakar Aap Bujhaya – Remembering K Datta, born as Datta Korgaonkar alias D P Korgaonkar (as he was credited for Marathi films) was a popular composer of the late 30s and early 40s.
Happy Brithday, Roshan Kumari! – She turned 84 on 24th December. Here is g=her dance scene in Mirza Ghalib that feels a little like a small dress rehearsal
Bhoola Nahi Dena Jee – Remembering Nashad – He started as Shaukat Dehlavi. At times he called himself Shaukat Haideri. He also composed under the names Shaukat Ali, Shaukat Hussein to finally settle for the name, Nashad.
Ten of my favourite devotional songs, which are very specifically about a devotee addressing a deity or a higher power in a spirit of devotion, but consists of spewing anger.. Included here are all forms of devotion. Excluded are the songs which use the Radha-and-Krishna theme where the devotion is tempered by romantic love
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will listen to his iconic patriotic songs from films:
Vatan Ki Raah Mein Vatan Ke Naujwan Shaheed Ho – Shaheed (1948) – duet version with Khan Mastana and a solo version – Lyrics: Raja Mahendi Ali Khan – Music: Ghulam Haider
Ab Koi Gulshan Na Ujade Ab Vatan Aazad Hai – Mujhe Jeene Do (1964) – Lyrics: Sahir Ludhianvi – Music: Jaidev
JahaN Daal Daal Pe Sone Ki ChidiyaN Karati Ho Basra – Sikandar-e-Azam (1965) – Lyrics: Rajendra Krishna – Musc: Hansraj Behl
Ae Watan Ae Watan Hum Ko Teri Qasam – Shaheed (1965) Lyrics and Music: Prem Dhawan
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
Welcome to December 2021edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.
We straight away move on to other tributes and memories this month.
Mehfil Mein Meri continues with Lata – Non-film songs with Part 4, covering period of late 90s,after having presented songs from 1954 till 1965 in Part 1, for the years 1966 to 1975 in Part 2 and those for 1975 till 1995 in Part III
Shaayar-e-Aazam : S.H.Bihari (a.k.a Shamshul Huda Bihari) born in 1922 wrote around 400 songs for 90 films. The present article covers his songs with 10 music directors, other than O P Nayyar.
In documentary on Mumbai film critic Rashid Irani, fond nostalgia and creeping loss – Nandini Ramnath – If Memory Serves Me Right is a 56-minute documentary about a 74-year-old film critic, for the Times of India and Hindustan Times,Rashid Irani, who died on July 30th , for whom cinema was a 24×7 obsession. Rafeeq Ellias’s film explores Irani’s lifelong Cinemania, his relationship with his neighbourhood in downtown Mumbai, and the loneliness and anxieties that gripped him during the coronavirus-induced lockdowns.
Book review: ‘Yesterday’s Melodies Today’s Memories’ – Manek Premchand’s book is “essentially about the many creative individuals whose genius produced unforgettable Hindi film songs from 1931 to 1970, and specifically between the years 1947 and 1970”.
Boat songs, part IV lists songs that have boats in a group.
Similar Tune, Two Different Songs picks five pairs of the songs where one Hindi film song appears to have been inspired by another from a different movie.
Ten of my favourite Hindi film double roles, some of these are people portraying twins; some have other ties of blood (parent and child, for instance). Some aren’t related at all but are uncannily alike anyway.
From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:
In continuation to our tradition of ending the post with a few songs of Mohammad we take a slight detour to take up Vinod Dua, a noted TV journalist, who passed away on 5-12-2021, talking about Mohammad Rafi:
Radio Ceylon also has paid tribute on 24-12-2021 in their prgram ‘Purani Filmon Ka Sangeet – In memory of Rafi Sahab’
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
Carnival of Blogs on Golden Era of Hindi Film Music wishes all a melodiously happy and rhythmically fruitful 2022.
In the 30s and 40s, it was a normal practice for the recording companies to contract the singers with exclusive rights. That would require other companies to launch non-film songs with other singers to make their presence felt in the market. That probably laid the foundation of the practice of publishing the records of non-filmi songs. By the turn of 40s, the singers turned freelancers, hence the major recording companies took up to buying the rights of all songs for majority of the films. That again led the smaller players to approach the singers for recording the non-film songs. In decades of 50s, 60s and thereafter, the market forces kept changing the rules, but non-film songs had created such a niche for itself that the genre has survived and thrived.
Even when considered to be playing the second fiddle to the more known film-songs genre, non-film songs have been pursued quite sincerely by almost all the playback singers. For many of the frontline singers of film-song school of 50s, the changing pattern of film compositions in the early 60s created a situation where the film songs ceased to yield inner satisfaction. In that situation, it was non-film songs that helped them to go back to their basic creative core. Many of such songs remain enshrined as the iconic renditions in the overall portfolio of a singer.
Mohammad Rafi (b. December 24, 1924 – d. July 31, 1980) was one such singer. Mohammad Rafi is credited to have rendered over 4,500 songs during his active career spanning almost four decades. The estimate of his non-film songs varies from as low as around 300 to as high as over 700. We also often get to read in well-publicised articles that around 70 to at best 100 (only) of his non-film songs are available easily.
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I seriously started listening to the (Hindi) film music in the second half of ‘60s. Radio Ceylon, Vividh Bharati and a few programmes on the local AIR stations were the only sources to whet that newfound interest. That pursuit took more serious roots when I had purchased a basic (HMV) record player and four records from my first salary in July 1973. Not before long, I was to land upon the then fast-selling, for more than a decade, vinyl LP, record ‘This is Mohammad Rafi’ that contained non-film geets and ghazals on one side and devotional songs on the other side. Each of the song was composed by Khayyam with his exquisite magic touch. It is said that, in the melee of fast-paced run-of-the-mill songs at the advent of 60s, Mohammad Rafi was seriously concerned that he is losing the natural melody in his voice. He approached Khayyam to help him overcome his cause of concern. The joint efforts of these two resulted in the form of this LP album. One can find many versions of what (may have) happened around this theme. To make different stories associated with this theme short for the purpose of the present article, I will note here that it was that record that opened my ears to the genre of non-film songs in real earnest. I had purchased a few more of Khayyam-Rafi non-film songs records and cassettes as well as those of Manna Dey, Talat Mahmood, Suman Kalyanpur etc. Of course, I did not pursue the matter of collecting the records of Mohammad Rafi’s NFSes as a serious curator. But that was my inertia as an amateur fan, and hence my loss. That inertia may also be reflected in the selection of the songs in the present article too.
Since my source for the songs presented herein is presently limited to only YT and few other songs sites, I have not been able to ascertain the year of release / publication of these songs. As such, it would be apt for to begin with one representative song from the LP record ‘This is Mohammad Rafi’:-
Poochh Na Mujhse Dil Ke Fasane, Ishq Ki Baatein Ishq Hi Jaane – Lyrics; Jan Nissar Akhtar – Music: Khayyam
With such easy-to-understand, and yet thoroughly literary lyrics and the matching soothing composition, Mohammad Rafi soulfully renders the feelings of someone who has totally been immersed into the ocean of love.
No wonder, this record not only remained on the top-selling list for almost a decade of its release, but it also reset the pride of place to the non-film songs genre in what was considered to be decade of growth of new generation listeners who had marked preference for easy, fast-paced film songs.
Before we explore more of different lyricist-music director combinations who have also recorded equally absorbing non-film songs with Mohammad Rafi, one more of representative non-film compositions by Khayyam would be in order:
Here Mohammad Rafi creates that intimate romantic touch to this Madhukar Rajasthani’s sentimental geet.
Before we dwell deeper into lyricist-music director combinations, it would be opportune to take note of extremely rare example of a non-film song wherein all the creative stakeholders – the lyricist, the music director, and the singer – are well known names of Hindi films.
Is Dil Se Teri Yaad Bhulai Nahi Jaati, Ye Pyar Ki Daulat Hai Lutai Nahi Jaati – Lyrics: Rajinder Krishna – Music: Hansraj Behl
Hansraj Behl – Mohammad Rafi have given us some of the most memorable Hindi film songs. They team up with Rajinder Krishan here to come up with this NFS gem. Rafi plays with ‘yaad’ in the mukhada and ascends-descends the scales in each stanza in what is now his familiar style to us. His ‘taan’ at ‘ye pyar ki dualat….. hai’ can also be categorised as his oft-used vocal ‘harkat’. However, and in spite of these, the song retains the charm of an NFS.
One interesting feature of Mohammad Rafi’s non-film songs is that most of the compositions have come from what can at best be classified as unknown-to-average-listener music directors. These songs may have either been drawn from the published works of known ghazal and poetry writers or from the unknown-to-average-listener poets. Taj Ahmed Khan and his Mohammad Rafi’s non-film songs fall in this category. Even as one can find many Taj Ahmed Khan’s composition on internet, next-to-no information is available about this music director.
Dil Ki Baat Kahi Nahi Jaati…. Chupake Rahena Thana Hai, Haal Agar Hai Aisa Hi To … Jee Se Jaanah Jaana Hai – Lyrics: Mir Taqi Mir – Music: Taj Ahmed Khan
Here we have a ghazal from an 18th century Urdu poet, Mir Taqi Mir, who commands respect almost equal to Mirza Ghalib.
Just to get an idea of how different music directors extracted best of Mohammad Rafi for the non-film songs genre, we should listen to another famous rendering of this ghazal by Begum Akhtar.
Please note this not an exercise of comparison between the two renderings but is simply an illustration of how differently Mohammad Rafi NFSes have been carved out.
We will now take up Mohammad Rafi’s NFSes created by less (or practically not known) lyricist or music director or both. Here, too, there are enough songs available on internet to enable a separate study or listening pleasure. I have picked representative songs for the purpose of present article.
The song also begins with a precise strokes of sitar in the prelude to pave the way for Mohammad Rafi to come up with a very brief alaap picking up the initial lyrics ‘Kya Yaad Humein Bhi…’ . Harkats of very fondly playing with ‘yaad’ and then ‘aayenge’ are the simple master strokes of the composition. As the song proceeds we get several such glimpses on the way, with an extended ‘s…..ab….’ @2.25 as an icing on the cake! Music director and singer have done great justice to the lyrics of the song.
This is one of those Mohammad Rafi NFS you yearn to listen again and again.
Note: I had sought the help of several knowledgeable friends @SoY to conclusively locate names of lyricist and music director of this song. Shri Arun Kumar Deshmukhji has provided this information with the help of his friend Shri Dipak Chuadhari, who has the record (#N88276) of this song in his possession (WOW!!). My most sincere thanks to both..
Hansa Beech Gagan Roye, Komal PankhoN Par Ye Murakh Dekho Parbat Dhoye – Lyrics: Shyam Sharma – Music: Shyam Sharma
Shyam Sharma was the regular employee of HMV. HMV and some of the older record companies then headquartered in Calcutta had very strong music departments of their own. This in-house resource also has contributed to score of non-film song records.
Kash KhwaboN Mein Hi Aa Jao, Bahut Tanha HuN – Lyrics: Saba Afghani – Music: Iqbal
How earnestly Mohammad Rafi puts through the request to the beloved to appear in the dreams and break the spell of loneliness! With extra soft beginning of the first line of the stanza, where the feelings are more intense, the entire song is rendered more as a soliloquy with one’s own self!
Jeenay Ka Raaz Maine Muhabbat Mein Paa Liya, Jiska Bhi Gam Hua Use Apna Bana Liya – Lyrics: Muzaffar Shahjahanpuri – Music: Iqbal Quershi
Deep alaap and soft rendering of Jeeney Ka Raaz Maine……sets the tone for pensive mood of the song.
Main To Rahon Mein Pada Paththar Hun Sab Mujhe Chupchap Raundhake Chale Jaate Hai – Lyrics: ? – Music: Kamal Rajasthani
Right from the first note, we find a very close resemblance to the song Main tooti hui ek naiya hun (Aadmi, 1968; Lyrics: Shakil Badayuni- Music: Naushad). Of course, I have no authentic information of year of publication on the present non-film song, so would not hazard any guess whether either one is the inspired version.
Be that as it may, the song is composed to Mohammad Rafi’s deep tonal chords, except in the last stanza when the lyrics take the shape of sharp pain. Mohammad Rafi raises his scale to the top, before coming down to the original scale.
With a candid the disclaimer that sequencing of the following song is not intended after the above song, I conclude the present article, in full concurrence to what Naushad has to say for Mohammad Rafi before the start of the song in the following clip –
Beete Dino Ki Yaad Satati Hai Aaj Bhi.. Kya Jhamane Wapas Kabhi Na Aayenge, Kya Ham Tamaam Umr Yoonhi Roye Jaayenge – Lyrics: Shakil Badayuni – Music: Naushad
Mohammad Rafi does not sound loud even when he sings at a high scale all through the song.
I plan to continue the series on all other future anniversaries of Mohammad Rafi. As such, I have reformatted and shortened up the article which is published on Songs of Yore on December 24, 2021.
Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948
1947-1948
The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.
The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.
As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.
1947
Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.
In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.
Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.
Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal
The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..
There is a male-female duet son too.
Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal
Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.
Aside Trivia:
Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.
Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar
Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.
C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.
Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A
The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..
Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein ……. Marne Ki Duaein KyoN Maangein . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).
Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?
We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.
Part 1:
Part 2
Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.
Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma
This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.
K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films
Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi
HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.
Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi
HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.
1948
In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)
1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.
Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,
Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri
Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.
The visuals of the song can be seen with a typical Raj Kapoor touch.
Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.
Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari
The song seems to be some type of beggar or a fakir song.
Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra
Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.
TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok
On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.
Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.
Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna
This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone
Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.
Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan
The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.
Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.
Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’, wherein Mohammad Rafi had two solos and three duets in the film.
Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori
Mohammad Rafi very deftly handles a medium spaced composition.
Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti
In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale singing.in this very small clip that is available.
Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti
Mohammad Rafi gets to sing a qawwali composition early in his career.
Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.
Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’
Mohammad Rafi is a minor partner in this MM triad.
Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song. Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.
We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…
Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan
Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.
Our journey of Mohammad Rafi’s first duet with a music director continues……
All Mangeshkar sisters Lata, Asha, Usha & Meena together on-screen with Brother Hridaynath in the song Chala Chala Nav Bala from the film Maaze Bal – 1943, composer Datta Dawjekar
In continuation with the practice of presenting Lata Mangeshkar’s songs from a different angle, Mehfil Mein Meri presents Lata – Non-film songs, for the period 1954 in Part 1 and for the years thereafter in Part 2.
The unassuming genius of Hrishikesh Mukherjee – Subhash K Jha – “I confess I’m guilty of making potboilers…That’s because I had a unit and their family to maintain. I console myself with the thought that I’ve made decent films too on family values.” …… Thankfully Hrishida quit this world before people started watching his films on phones.
Happy Birthday, Simi Garewal, who was always ahead of her time. When Indian actresses were demure dainty and shy Simi was a whiff of fresh air. There was no pretence about her personality
Vinod Khanna: The actor who gave Amitabh Bachchan a run for his money – Sampada Sharma – A Stardust cover of 1978 had claimed in big bold letters ‘Vinod Khanna turns No 1’ but unbeknownst to everyone, Vinod was never a part of the rat race and it was perhaps this nonchalance that made him one of the most iconic stars of Hindi cinema.
Songs of Age are not those where there is an observation about how man has no control over time and hence the need to make the best of the moment at hand, but are the songs where there is a mention of not just physical age but also of time passing or of an era having passed
‘Not Quite Usual’ Songs presents songs in two broad categories – Single song-one singer-two characters and Single song-two singers-one character.
Sanchari – Bengal’s invaluable contribution to Hindi Film Music – Sanchari (संचारी), in its very technical sense, n Hindustani classical music has to do with the Dhrupad genre. However, Bengal composers used the term Sanchari as a piece of different tune inserted between two Antaras, thereby imparting the song its unique character.
[Note: For anyone interested in the nuances of music, this post is very informative and should be read, as you listen the songs covered in the post.]
My Favourites: Devotional Songs of Hindi films have knack to move you despite yourself; that make you want to believe even if you don’t; that, either because of the vocals or the picturisation or both, make you believe in the devotion the words expressed.
Romancing through the Window and Door is an immensely explored subject in Hindi film songs of romance. The present post complements the songs on Atariya, Angana and Chhat, thus completing all the features of a house with such possibilities.
The Rendezvous Songs has emphasis more on the element of the meeting place.” … there is an element of escaping the prying eyes of the world in many a song. Some of the songs have risqué lyrics too.”
Boat Songs – Part I focused on the songs that had only the couple on the boat. Now, Part II takes songs with three or more, but not more than five or six people. Presently, Part III finally presents boat songs sung by the boatman.
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, I have selected duets of Lata Mangeshkar and Mohammad Rafi during 1947 to 1949, based on one duet per music director:
Chalo Ho Gai Taiyaar Zara Thehro Ji – Shaadi Se Pehle (1947) – Paigankar- Karnad – Mukh Ram Sharma
Sun To Dil Ka Afasana – Andaz (1949) – Naushad – Majrooh Sultanpuri
Apni Nazar Se Door Vo Unki Nazar Se Door Hum – Bazaar (1949) – Shyam Sundar – Qamar Jalalabadi
Lambi Zoru Badi Museebat Are Din Dekhe Na Raat – Ek Thi Ladki (1949) – Vinod _ Aziz Kashmiri
Zara Tumne Dekha To Pyar Aa Gaya – Jaltarang (1949) – Husnlal Bhagatram – Kaif Irfani
Tadapake Ab Mujhe Chhod Diya – Namoona ((1949) – C Ramchandra – Gulshan Jalalabadi
Dil Le Ke Chhupne Wale Tu Hai Kahan Bata De – Paaras (1949) – Ghulam Mohammad – Shakeel Badayuni
Saajan Ki Ot Leke Haathon Mein Haath Deke – Zevraat (1949) – Hans Raj Bahal – Habeeb Sarhadi
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
charmed me right from my early radio listening days. When I had reached stage of purchasing my own records, every time I would visit Rhythm House (@Kala Ghoda, Mumbai) I would invariably make sure that I skim through at least couple of Mohammad Rafi’s NFS song records, even as my limited budgets in those days forced me to prioritize the purchases from among different genres of records, thereby limiting my collection to a few Mohammad Rafi NFS songs records.
Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.
Mohammad Rafi (b. December 24, 1924 – d. July 31, 1980) was one such singer. Mohammad Rafi is credited to have rendered over 4,500 songs during his active career spanning almost four decades. The estimate of his non-film songs varies from as low as around 300 to as high as over 700. We also often get to read in well-publicised articles that around 70 to at best 100 (only) of his non-film songs are available easily.
The Google Doodle by Mumbai-based illustrator 
The world is too small? or Is it? 