It has taken me some time to present this summing up as the mandatory step of the micro-view of the songs of 1948, the base being ‘Best songs of 1948: And the winners are? ‘ . Outwardly I would justify the procrastination on some other (so-called) pressing engagements. However, from the inner most recesses of my heart I know that my choices have already been made even before I ventured into the full scale micro-view of the Male Solo Songs.
I did listen to the songs of G M Durrani, Surendra and ‘other’ male singers a few times. However, the truth remains that I could not connect with those songs. And that is MY limitation – having been brought up listening to mostly the post-’50 songs on the radio in my formative years.
With that bias accepted, here is MY choice of the Male solo Songs for 1948:
More on Sarat and Devdas : In The mortals of Devdas by J.N.Sinha: Its admirers have tracked many a character in Saratchandra Chattopadhyay’s life and his novels….On a closer look, Devdas is none other than the author himself, and Paro a young vivacious girl of the same town.”
The Masters: Madan Mohan commemorates what would have been 93rd birthday of the music director….He once said that “…the foremost requirement of a song is only one thing; it should be capable of capturing the interest of the listeners in a short period and sustaining it in the years to follow.” He needn’t have worried; his legacy endures, as timeless as his soul-stirring compositions.
Jalaa do yeh duniya: poets and merchants in Pyaasa and Navrang – “when I think of the Pyaasa scene, I also think of a very different sort of scene from a film made two years later – another song that touches on the dilemmas facing a pure artist in a material world, but does it with splendid lightness of touch. That Song is “Kavi Raja”, sung by the film’s lyricist Bharat Vyas, begins with a group of friends – poets as well as poet manqués – coming together for an impromptu little sammelan”.
[Earlier Mint Lounge columns on songs-sequence articles here]
Gaddeswarup’s blog expands the on Husnlal Bhagatram by recalling Satish Chopra’s article ‘The diamond cutters!’, and that famous song Chup Chup Khade Ho from Badi Bahen. Here is the Tamil version of the song Enni Enni Parkka Manam, that was filmed on debutant Vyjayantimala in the film ‘Vaazhkai’ (1949). The film was re-made in Hindi as Bahaar, for which S D Burman had composed the music.
K.N. Singh – My Memorable Roles (1963) –“Every actor knows that doing a long stretch of walking in front of the cameras is the worst possible ordeal for a newcomer. The camera is a harsh, relentless observer—a one-eyed monster all eyes for the smallest gaucherie. And why only an actor? Off-camera, how many men can walk manfully, unself-consciously, in the full gaze of a roomful of watchful people?”
Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1949
To commemorate Mohammad Rafi’s anniversaries, we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi with the music director. We had planned to take up one five-year slot in a chronological order to bring all the first films in which Mohammad Rafi had had a solo song with a music director. The first slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We will take up next five-year-slot of 1949 to 1954 this year.
[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]
1949 appears to the year of bounty in so far as Mohammad Rafi is concerned. He has several re-associations, with music directors like Husnlal Bhagatram, Hansraj Behl, Naushad, C Ramchandra, Shyam Shundar. Many of these songs did become evergreen hits as well. He also has plenty of maiden associations with music director who offered solo song(s) to him for the first time. Many of such associations bloomed into quite fruitfully rich associations in the future.
As we will fathom though the maiden solo songs with a music director for the year 1949, we will see that there are more unknown songs than the songs known well. The journey of Mohammad Rafi maiden solo songs, thus, continues to open more and more dimensions of the range of Mohammad Rafi solo songs as we have come to know in the period of post-1950 years – the Golden Years of Hindi Film Music – when he was to ascend to Number # 1 status, among male playback singers.
The maiden solo songs with different music director for the year 1949 are enough in numbers to justify a full length post.
Lo Rukh Badal Raha Hai Zindagi Ka, Dhara Le Kar Chali Hain Duaa, Allah Ka Sahara Khudard Ye Nazara – Banoo – Pt. Ram Prasad
The song is cast in Heer (Punjabi Folk Tune) style.
Main Zindagi Mein Hardam Rota Hi Raha Hun – Barsat- Shanker Jaikishan – Lyrics: Hasrat Jaipuri
Barsat was the maiden film for Shanker Jaikishan as well. As per the demands of the story, the overwhelming number of songs has gone Lata Mangeshkar. Mukesh also had exceptionally noteworthy songs in the film. That almost became the pattern for most of the RK – SJ films down the line. Remarkably, each of RK-SJ film always had at least one Mohammad Rafi song, (‘Aah, 1955 and Jis Desh Mein Ganga Behti Hai, 1961 are equally remarkable exceptions. The Rafi song in the RK-SJ film always had a very remarkable place. Most of the songs are well-remembered today.
Jab Yaad Kiya Ham Aane Lage, Haan Aane Lage……Tum Jhidkiyan Ham Ko Dene Lage, Ha Dene Lage – Chilman – Hanuman Prasad (Sharma)
‘Chilman’ had one more solo of Mohammad Rafi – Zahe Kismat Teri Mehfil Se. Hanuman Prasad – Rafi had one more film in the year Daulat, which also has one Rafi solo on records – Mohabbat Ki Sabha Mein Ham Collector Ban Ke – which is not yet available on net. HFGK notes that the songs of the fil hasve also appeared in ‘Jannat’ in the same year.
Ek Din Ek Armaan Bhara Dil Ulfat Se Do Char Hua – Garibi – Bulo C rani – B R Sharma
Taalim Ka Taraana Unche Suro Mein Gaa – Nai Taalim – Vasant Desai – S R Chopda ‘Saaz’
HFGK lists only two songs in the name of this film. YT’s knowledgable uploader Yashwant Vyas credits Narayan Jaago, Jaago Karunanidhan Jaago (Narsinh Avtar) to Mohammad Rafi, even as HFGK has not identified any playback singer.
Ek Dil Ne Suna Ek Dil Ne Kaha, Ek Dard Bhara Afsana, Haye Dard Bhara Afsana – Parda – Shramaji – Swami Ramanand
As is well-known to most of the Hindi Film Songs fans of the golden Perion, Sharmaji is the pseudonym of Khayyam. The film had one more solos of Rafi – Sitamgar Se Leta Hai Tu Intqam
Samay Ka Chakkar So Bal Khaye – Raaz – Malik Saradar – Meeraji
We have one more song in signature style of Mohammad Rafi. HFGK has mentioned music director as Malik Saradar, whereas most of the references on net show the name as Saradar Malik. However I am not sure whether both are the same person.
Mohammad Rafi opens the solo account with Sajjad Hussain. The present song can easily claim the most popular and known-till-day song in our present list.
Bhaj Man Kamal Nayan Kamlesh– Sant Janabai – Sudhir Phadke – Pt. Narendra Sharma
HFGK lists 22 songs in the film, of which playback singers have been identified in two songs. Source on net identify several songs to Mohammad Rafi. That gets us the opportunity to see Rafi in his now well-known Bhajan singing elements.
Mehmaan Banke Aaye The Armaan Ban Gaye – Shoharat – Aziz (Hindvi) – Gulshan Jharma
The song also has a duet version of this song, in which Rafi teams with Hamida Bano. The clip here has both the versions.
For the year 1949, the number of music directors who opened account of Mohammad Rafi solo songs is 10, same as in 1948. The overall tally of Mohammad Rafi’s songs for the year 1949 is 121 songs, with 21 music directors, spread over 49 films, which was 52, 25 and 21 respectively in 1948. Comparable numbers for the period 1944 to 1949 is 248 songs over 113 films. That should make 1949 as the undisputed hinge over which the floodgates of Mohammad Rafi opened in the decade of 1950.
We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Welcome to June, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
It is a great pleasure to open the curtains of June 2017 post of blog carnival series with Songs of Yore completes seven years that presents what has by now been a well-established tradition of presenting some quite unusual songs and songs of some unique personality form the world of music on the occasion of celebration of the birth anniversary of this blog. Master Madan is the case in point this year.
We will now take up the posts on the anniversaries or eulogies:
Chaar Rahein – K A Abbas at the junction between tradition and progress – is one of the most structurally interesting Hindi films of its time, with separate stories coming together through the device of the crossroads and the personal journeys of the characters passing it. Two years earlier, Hrishikesh Mukherjee’s debut film Musafir had used a house and its landlord to link three discrete narratives. If the “makaan” in that film represents a society made up of many types of people, Char Dil Char Rahein is about the tradition-modernity conflict facing a nation; it is, literally and otherwise, set at the intersection between old roads and a new one.
Homes and Houses: Ten songs– Hindi cinema has done ample justice to the concept of ‘home’ and ‘house’, from songs like Ek bangla bane nyaara to films like Dastak,Biwi aur Makaan, Hamaara Ghar,Gharaundaand Tere Ghar ke Saamne. The author has picked pre-1970 songs of Homes that are envisioned, homes that are hoped for, homes that light up with joy because of the coming of a festival or the arrival of a loved one, homes destroyed. Here are a couple picks form the list:
Raag Darbari fusion with rock music – composed by his nephews Wali hamid ali khan & Kamran Akhtar
Shah Rukh Khan’s Doodle Among Stunning Rare Film Collectibles, Stills, Artwork in Osian’s Auction – Antara Nanda Mondal– Among the rare collectibles in the auction are a bunch of original artworks by renowned filmmakers Satyajit Ray and Mani Kaul. Besides there are original publicity-material art for Andaz (1949), Anari (1959), Guide (1965), Deewaar (1975) and others. A huge collection of rare posters, showcards, lobby cards, photographic stills from the golden 1950’s period to the era of Amitabh Bachchan to the current trinity of Salman, Shah Rukh and Aamir Khan go under the hammer at the prestigious auction on 22 June, 2017.
To end the today’s post with an article on Mohammed Rafi, I have zeroed upon an old post – Seven of My Favorite Rafi Songs– from Dances on Footpath. The author also has noted that these seven songs are not appreciated as Rafi songs go. Well, of the seven songs mentioned therein YT link 4 links have become dysfunctional. At least two songs do certainly would not be qualified as “unappreciated” So here are just two songs that stand out:
Nazron Ke Teera Maare Kas Kas – Do Ustaad (1959) – with Asha Bhosle – O P Nayyar – Qamar Jalalabadi
My Dearo Dearo Mummy Nahin – Nagina (1951) – with Shmashad Begum – Shanker Jaikishan
I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….
We commence our detailed journey for the year 1948 with Male Solo Songs.
It is simply stating the obvious that there are far more songs that I have heard for the first time in this exercise. So, I would wait for the recap of each of the section to draw any of the personal conclusions.
Solo Songs of Mohammad Rafi
If we recall the year of 1949, we had observed that Mohammad Rafi had a fairly large number of solo songs, both in terms of number of films or number of music directors who chose Mohammad Rafi. Apperently, this can be considered as the effect of songs that Rafi had rendered in 1948 (and before that).
Like what we did for 1949, we will split the songs in two categories – one in which were popular then and are even now and the other which do merit note but fall short on the comparative yardstick of popularity.
Mohammad Rafi’s Popular Songs
Hum Apne Dil Ka Afsana Unhe Suma Na Sake – Actress- Shyam Sundar – Nakhshab Jharachavi
Aye Dil Meri Aahon Mein Itna To Asar Aaye – Actress – Shyam Sundar – Nakshab Jharachavi
Sab Kuchch Luataya Humne Aa Kar Teri Gali Mein – Chunariya – Hans Raj Behl – Mulk Raj Bhakhari
Ye Zindagi Ke Mele Duniya Mein Kam Na Hoge Afsos Hum Na Hoge – Mela – Naushad Ali – Shakeel Badayuni
Ek Dil Ke Tukde Hazar Hue Koi Yahan Gira Koi Wahan Gira – Pyar Ki Jeet – Husn Lal Bhagat Ram – Qamar Jalalabadi
Mohammed Rafi’s other noteworthy songs
These are the songs which could not measure up on the normal level of popularity.
Do Wida Do Pran Mujh Ko – Adalat – Datta Javdekar – Mahipal
Kismat To Dekho Humsafar Char Kadam Saath Chale Nahi – Adalat – Datta Javdekar – Mahipal
Wait for the curtains to go up for a review of songs for the particular year @ Songs of Yore is more than an eager wait. It is preganat with more unknown songs now. Having covered songs of 1955, 1953, 1951, 1950 and 1949 in the previous years, SoY has now crossed the threshold well into the Vintage Era as it now ventures into ‘Best songs of 1948: And the winners are?’
As noted in the overview turnkey article, we now enter the period which has two quite distinct characteristics:
One, Lata Mangeshkar did sing over 40 songs of which you can count about ten memorable and a couple of all-time great songs, yet she was not the sole pole star, as she became from 1949 onwards. Therefore, dividing the female playback singers as Lata Mangehkar and ‘others’ as (has been) done for 1949, 1950 and 1951 would not be a true reflection of reality.
Secondly, the Vintage Era also means entering a period of more unknown than known, therefore, the year-wise review would now be more a discovery trip.
Musical landmarks: Like a golden Jubilee (Mela) and a silver Jubileen (Anokhi Ada) under the belt Naushad hasestablished his morchical position. His nearest rival C ramchandra has Nadiya Ke Paar and Kidkiin the year under review. Ghulam Hiader has presened his swan song on now the Indian soil – Shaheed. Raj Kapoor directs his maiden film Aag with Ram Ganguly as music director. Lata Mangeshkar has hardly any presence in these films.
Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –
Bharat Bhushna and Geeta Bali – as actors in Suhag Raat
Fact file and Trivia notes that five songs of Meena Kapoor for Anokha Pyar were recorded on Lata Mangeshkar; Leela Chitnis played mother for first time in Shaheed; Mohammad Rafi holds a falg pole in Watan Ki Rah Mein Watan Naujawan Shaheed Ho; Ameerbai Karnataki composed music for Shahnaz, once only in her career; Vidya Nath Seth sang firve songs for Rooplelka of which he composed one song too.
List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the titleMemorable Songs of 1948, by adding the relevant link to YT file.
For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have thir own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1948.
The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as
Best male playback singer
Best ‘other’ female playback singer
Best songs of Lata Mangeshkar
Best music director
Remembering Madhubala, Bollywood’s Very Own Marilyn Monroe – Khalid Mohamed- republished to mark Madhubala’s birth anniversary – Madhubala’s end-years were spent in deflecting an illness which had a deadline. At one point, doctors had declared that Madhubala wouldn’t last beyond a period of two years. ..Despite that, she attempted to complete the last shooting spell required for Chalak co-featuring Raj Kapoor. Lore has it that since filmmakers had stopped approaching her to act, she threw caution to the wind, and steered towards film direction. Neither this project titled Farz Aur Ishq, nor Chalak, could get to the finishing line.
Waheeda Rehman – The Woman of Substance On-Screen – In Pyaasa, Mujhe Jeene Do, The Guide, Teesri Kasam and Kaagaz Ke Phool – Waheeda’s best four movies to the author’s mind – Waheeda played the women who traded their charms for sustenance.” Vijay Kumar revisits these films from the perspective of the towering women characters in them played by Waheeda Rehman.
In Praise of Waheeda Rehman who had quite a few songs that are songs that are paeans to her beauty, praising her charm and her loveliness, while some of the others are sheer romance, in verse.
Hua jab se dil mein tera guzar, Mujhe chain hai na qaraar hai (Zara sun haseena-e-nazneen – Kaun Apna Kaun Paraya (1963) – Mohammed Rafi – Ravi – Shakeel Badayuni
The Adivasi Chain Dances (Santali and Dhimsa) – Circle dance, or chain dance, is a style of dance done in a circle or semicircle to musical accompaniment, such as rhythm instruments and singing. Circle dancing is probably the oldest known dance formation and was part of community life from when people first started to dance.
We end today’s episode with a prayer composed also by Mohammad Rafi