Fading Memories ….. Unforgettable Songs : March 2022

Ghulam Mohammed and His Singers : 1950-1952

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.

Since the song is not available on YT, here is an adio link: Hum Dil Hi Apna Haar Gaye.mp3

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.

Zohrabai Ambalewali, Shamshad Begum – Dil Ke Sheesh Mahal Mein Aaya Yeh Matwala Chor – Amber (1952) – Lyrics: Shakeel Badayuni

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.

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

top-post-markGhulam Mohammed (1903 – 17 March 1968), born in the family of musician in Bikaner (Rajasthan), got his early training from his father, Nabi Baksh, a tabla player and a stage artist. The career of Ghulam Mohammed is littered with ironies of fate that did give him his credit for his creation, but a little too late and far too less.

Every single piece of article written on Ghulam Mohammed would invariably focus on at least one defining characteristic. And yet, the fact that Ghulam Mohammed got to compose music for just 37 films in a career spanning almost four decades does neither tells the full story of his caliber nor it does justice to his talent. As such, in the month of his death anniversary, we commence an annual series that relives his known and less known songs.

We will begin with an overview of Ghulam Mohammed’s career in the form of songs he has composed for different singers. The choice of singers does seem to be a function of the period in which the music for the film is composed. Every song that Ghulam Mohammed created songs with each of this singer had the perfect mix of the singer and of the music director. We have adopted a conscious choice of selecting the songs that can easily be classified as the ones receding from the memory.

Hamida Bano – Ud Ja Re Ud Ja Panchhi Pee Pee Mat Bol – Mera Khwab (1943) – Lyrics: M E Ashq

Ghulam Mohammad got his first break as an independent music director in 1942 for a stunt film, Mera Khwab, released in 1943. However, some sources indicate Banke Sipaahi (1937) as Ghulam Mohammad’s debut film. There does not seem to be unanimity among film historians on this count. This was the period when he was known to be working as an instrumentalist for music directors like Rafiq Ghazanvi, Irshad Ali, Anil Biswas etc. It is further recorded that his first major break that elevated him to the status of assistant was in Sharda (1942; Music: Naushad). Their this relationship lasted till Aan (1953) even after Ghulam Mohammad had charted his own independent course in the meantime. Naushad also paid his tribute to their relationship by completing the unfinished tasks of Ghulam Mohammad swan song film ‘Pakeeza’

Zohrabai Amablewali – Tere Bina O Balam Kaise Kategi Mori Raina Bata Jaa – Mera Geet (1946) – Lyrics: Ramesh Gupta

The film had four music directors – Bal Mukund, Geeta Varma, Shankar Rao Vyas, Ghulam Miyan, Reejram – to compose as many as 16 songs. HFGK has been able to identify only a few songs for their respective composers. Even as we get to read the name is Ghulam MIyan, Cinemaazi confirms that this song is indeed composed by Ghulam Mohammed.

The song has very prominent and distinct use of dholak as rhythm instrument.

G M Durrani – Khel Nahi…Khel Nahi Gir Gir Ke Sambhalana – Doli (1947) – Lyrics: Majrooh Sultanpuri

The song is set to what is popularly known as Ghoda songs 9 singer rides a horse or a horse driven cart on the screen). The song is set to a fast pace, but runs on a very low octave, indicating that protagonist is deep thoughts as he sings the song during the ride.

Mukesh, Shamshad Begum – Tere  Naaz Uthane Ko Jee Chahta Hai – Grihasthi (1948) – Lyrics: Shakeel Badayuni

The song uses a duff (sometimes spelt as ‘daf’, too), another rhythm instrument that Ghulam Mohammed is credited with popularizing in Hindi film songs.

Knowledgeable bloggers inform us that this song was filmed on Pran and Sharda who was the sister of actor of ‘70s-‘80s Vinod Mehra

Mohammad Rafi – Nigahein Milane Ko Jee Chahata Hai – Parai Aag (1948) – Lyrics: Tanveer Naqvi

Composed to a softer, but relatively a fast, ‘qawwali’ style, and set to a soft Mohammad Rafi rendition, this easily the forgotten preceding song with the initial lyrics – Nigahein Milane Ko Jee Chata Hai. Yes, the one with better recall value is one which was used in Asha Bhosle qawwali song by Roshan (Dil Hi To Hai, 1963 – Lyrics: Sahir Ludhyanavi)

Suraiya – Mohe Mera Bachpana La De … Jawani Bhaye Na – Kaajal (1948) – Lyrics: D N Madhok

The orchestration has strong resemblance to what is used in Naushad’s songs. However, this playful song is well-remembered by Suraiya fans.

Sitara Kanpuri – Dil Ki Lagi Zubaan Par Aaye To Kya Karun – Pugree (1948) – Lyrics:  Shakeel Badayuni

‘Pugree’ is the second film that Ghulam Mohammed composed music for the production house All India Pictures, after Doli (1947). All India Pictures perhaps is the only banner that Ghulam Mohammed had under his belt as an independent music director. Other films that followed were: Paras (1949), Pardes (1950), Nazneen (1951), Guahar (9153), Rail Ka Dibba (1953), Laila Majnu (1953), Hoor-e-Arab (1955) and Sitara (1955).

Songs of ‘Pugree’ were resounding success in those days.

Shamshad Begum – Masti Bhari Bahar Ne Masatana Kar Diya – Pugree (1948) – Lyrics: Shakeel Badayuni

So ever young Shashikala lip-syncs Shamshad Begum on the screen.

Geeta Dutt – Na Tum Mere Na Dil Mera, Azab Hai Bebasi Meri – Dil Ki Basti (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed had two other solos, two male-female duets and one female-female duets in the film. However, Ghulam Mohammed has also used Lata Mangeshkar for two solos as well.

Lata Mangeshkar, G M Durrani – Do Bichhade Hue Dil Lo Aapas Mein Gaye Mil – Shair (1949) – Lyrics:  Shakeel Badayuni

‘Shair’ was also quite popular album, in the year wherein blockbusters like Andaz or Barsaat or Mahal would have occupied the memory space of the listeners.

It should be interesting to note that G M Durrani is preferred as a playback voice to the male lead, Dev Anand.

Even as I had planned to take up film-wise song later in this series, it would be opportune to listen to two other duets from Shair, for the use of different percussion instruments.

Mukesh, Lata Mangeshkar – Ye Duniya Hai Yahan Dil Ka Lagana Kisko Aata Hai – Shair (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used ‘matka’ (an earthen clay pot) in this song. Matka was another percussion instrument that is credited to Ghulam Mohammed for being popularly used in Hindi film song.

Playback voice now shifts to Mukesh, possibly because the of the pathos mood of the song

This duet was also a chart buster of those days.

Mohammad Rafi, Shamshad Begum – O More Balma…Kahe Maari Kataar…. Haye… Daiya…. Daiya – Shair (1949) – Lyrics: Shakeel Badayuni

Since my knowledge of music, and as a natural corollary, that of music instruments, is abysmally limited, I could only recognize a different instrument is used here, possibly a mix of dholak and matka, but do not which one it is!

A few strains of orchestration in the prelude seem to have faint the precursors of orchestration that we got to listen in the music of Pakeeza.

One interesting, and equally very rare as well, trivia to be observed is that Cuckoo is in the spectator’s gallery and enjoying the dance on the stage.

I plan to take up a few more singers in the next episode, before switching over to the usual format of remembering the songs from different films in chronological order.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Hemant Kumar’s Hindi Song Compositions: Male songs – [3] – ‘Other’ Male Singers

This is the third and concluding part of the article – Hemant Kumar’s Hindi Song Compositions: Male songs. The previous parts have covered Hemant Kuamr’s solo songs in the voices of Hemant Kumar |Mohammad Rafi and Kishore Kumar |Manna Dey.

The end of the spectrum of Hemant Kumar’s solo male compositions presents quite unusual variety of, not-from-the-mainstream, male singers. Except for the first and last song, incidentally in the chronological order, all other songs can also be ascribed to not-so-usual song situations. However, one thing that stands out is the Hemant Kumar’s choice of the singer for the song – he has fully leveraged the singer’s voice quality in the first and the last song, while duly accommodating his compositions to the vocal range of the respective singer in the other songs.

Kavi Pradeep

Pradeepji was essentially a poet, but the beauty is whichever film song is recorded in his voice has become a massive hit.

Aao Bachcho Tumhe Dikhaye Jhanki Hindustan Ki – Jagriti (1954) – Lyrics: Pradeepji

When I look at the song now, I realize how imaginatively the song has been conceived, filmed, composed, and rendered. No wonder, we found the song so enchanting in our school days in the latter half of ‘50s.


Chitalkar (a.k.a. C. Ramchandra) has very rarely agreed to sing a song for other music directors. However, the mutual rapport that both will have developed while working together for Anarkali (1953) seems to have tilted the scales.

Sunaoon Ik Majnu Ka Haal, Ke Ghar Pe Pakati Na Thi Daal – Lagan (1955) – Lyrics: Rajinder Krishna

The song seems to be street song. Hemant Kumar has packed in all possible variations that the situation for the song seems to have demanded and Chitalkar deftly handles his part of the deal.


It is said that Ravi’s original plan was to make a career as a singer, as well. As such, he did pick up every possible opportunity in the beginning of the career. However, he did seem to have finally settled to focus on his music direction career.

Khol Ke Aankhein Dekh Jara…. Dekhi Teri Duniya Duniyawale – Lagaan (1955) – Rajinder Krishna

Whether it is quirk of circumstances or was Ravi’s own choice, but good many of beggar song genre songs that Ravi composed were popular.


HFGK records Mohammad Rafi as the singer of the song ‘Dekhi Teri Duniya’ (Lagan 1955). There is a footnote saying that initially the song was recorded in the voice of Ravi.

Therefore, we may surmise that Mohammad Rafi was called in to sing the song with a view to boost the sale of records, and in turn, possibly help the performance of the film at the box office.


Balbir (a.k.a. S. Balbir) has had a fairly long active career in the Hindi films. He is said to have sung around 120 songs in the films, but he was so typecast as a co-singer in male-male duet songs that there are hardly a dozen or so solo songs to his credit. To that extent, Hemant Kumar deserves special mention since he has used Balbir’s voice as a standalone singer in the following song, and the duet – O Lili, Yu Tham Ja Mere Aagey Aa Gayi Billi – with Geeta Dutt.

Main Mar Gaya To Likhna Ye Kabhi Mere Afsaane Mein… Arre Hamne To Saari Zindagi Gujaari Kedkhane Mein – Laalten (1956) – With chorus – Lyrics: Shewan Rizvi

Mukesh – In a Version Song

Mukesh apparently did not have solo song composed by Hemant Kumar.

Gori Chori Chori Jaana Buree Baat Hai, Teri Kismat Ki Chaavi Mere Haath Hai – Ek Jhalak (1957) – Lyrics: S H Bihari

Mukesh Geetkosh (Hindi Edition, November 2020) records this as version song, with record number FT21009


Here is the song as it appears in the film, in the voice of Hemant Kumar

Anil Kumar

Hardly anything is known of this singer.

Rooh Pyase Hai, Pareshan Hai Oos Raat Ke Baad – Oos Raat Ke Baad (1970) – Lyrics: Gohar Kanpuri

The song is rendered in Mohammad Rafi style.in the credit titles of Oos Raat Ke Baad. The credit of the singer and the lyricist for the title song appears in a separate frame in the credit titles.

This is the video clip of the film. The titles run from the beginning till @2.19 in the clip.


Yesudas was playback voice for many of the songs filmed on Anmol Palekar on the screen., Probably, hence the choice.

Kise Khabar Kahan Dagar Jeevan Ki Le Jaaye – Do Ladke Dono Kadke (1979) – Lyrics: Yogesh

This film is produced by Hemant Kumar’s son, Jayanta Mukherjee. Hemant Kumar, the music director, has easily been able to rhyme in with the NextGen singer in the song.

In this Long Tail of the Other Singers Yesudas is the only exception of being a mainstream playback singer.

On the whole, this representative selection of Hemant Kumar’s male solo songs abundantly endorses the tenet that a music director knows whose voice would justice to the composition.

For the purpose of the debate of deciding whether Hemant Kumar is a better composer or a better singer, we can always have a couple of more of such samples, in the future.

Originally published on SoY as Hemant Kumar’s Male Playback Singers. This is the edited and improved-on-the-inputs-of-discussions-thereupon version.

A single file collated version of the three parts of Hemant Kumar’s Hindi Song Compositions: Male Solo Songs is available for download by clicking on the hyper link.


The Micro View of Best Songs of 1945 @ SoY :: Male Solo Songs – Golden Era Singers

For the year it would be interesting enough to classify the male solo songs under three broad categories

  • Solo Songs of Golden Era Male Singers – the singers who are easily associated with the Golden Era of HFM
  • Solo Songs of Vintage Era Male Singers – the singers who are primarily associated with Vintage Era of HFM, and
  • Solo Songs of K L Saigal, who is a class in himself during any era of the Film Music.

We will first listen to the Solo Songs of Golden Era Male Singers.

1945 is easily the year when all the (so-called) Golden Era Male Singers were still a couple of songs old in the Hindi film industry.  As such, their struggle to get establish also can not be said to have started.

Mohammed Rafi

Before 1945, Mohammad Rafi had just one chorus in 1944 and one male-male duet (for the film which was released in 1945). We have four solo songs, form three films to Mohammad Rafi’s account for the year 1945.

Aye Dil Nakaam Tamanna, Ab Jeene Ki Tamanna Chhod De – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

[Considered to be the first ever solo song recorded by Mohammad Rafi.]

Pyar Karana Padega Hi Ek Din – Sharabati Aankhen – Firoz Nizami – Pt. Indra

Bahut Mukhtasar Hai Hamari Kahani – Sharabati Aankhen – Firoz Nizami – Tanveer Naqvi

Ab Na Been Baja Snehi… – Sharabati Aankhen – Firoz Nizami – Pt. Indra

Haae Re Duniya, Jhoothon Ka Darabar – Zeenat – Meer Sahab –


The first ever solo song of Mukesh was “Dil Hi Bujha Hua Ho To” (Nirdosh, 1941; Music: Asho Ghose; Lyrics: M Neelkanth) as an actor-singer  His first ever song as a playback singer was in the year 1945.

Maana Ke Tum Haseen Ho Ahl-e-Shabah Ho – Moorti – Bulo C Rani – Pt. Indra

Haseeno Ko Haseeno Se Muhabbat Ho Hi Jaati Hai – Moorti – Bulo C Rani – Pt. Indra

Dil Jalata Hai To Jalne De – Paheli Nazar – Anil Biswas – Dr. Safdar ‘Aah’

[Considered as first solo song as a playback singer.]

Tay Kar Ke Badi Door Ki PoorPech Dagariya – Paheli Nazar – Anil Biswas – Dr. Safadar ‘Aah’

Manna Dey

Manna Dey started his career in playback singing in Hindi films with a duet “Jago Aayee Usha Panchi Boley Jago” (Tamanna, 1942; co-singer- Suriya; Muisc : Naushad)with Suraiya which was an instant hit.

Ek Chakori Dev Se Apane – Vikramiditya – Shankar Rao Vyas – Ramesh Gupta

Hement Kumar 

Hemant Kumar had put his first step in Hindi films in 1942 with the song Aankhon Ki Oat Jo Rahta Hai (Meenaxi,- Music: Pankaj Mallik)

(Acknowledgement: Corrections carried out in response to Shri AKji’ s comment. )

Laga Tu Us Se Lau Tu Madadgar Hai – Ban Phool – Biren Mitra -Natrendra Nath Tuli

Thus, we have (just) eleven songs to the account of Golden Era Playback singers for the year 1945. In our next episode we will get the flair of solo songs of vintage era male singers.

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [2]

We listened to Male-female duets of Mohammad Rafi and G M Durrani in the 1st part.

Duets of Mukesh

In these male-female duets, Mukesh can be seen in both the colors – under-the vintage era Saigal-shadow singing style and his more familiar golden-era style sinnging.

Kya Jadu Hai Tere Paas Piya, Surat Dekhi Dil Haar Diya – Chehra – with Shamshad  Begum – M A Mukhtar – Ishwar Chandra Kapoor

Main Nagan Hu, Badi Zaharili, Badi Katili – Durban – with Beenapani Mukherjee – Gulshan Sufi – Tanvir Naqvi

Lagat Nazar Tori Chhaliya More Gore Badan Ko – Gvalan – with Susheela Rani – Hansraj Behl – Pt. Indra

Ja Parwane Ja Kahi Shama Jal Rahi Hai – Rajputani – With Hamida Bano – Bulo C Rani – Pt. Indra

Duets of Chitalkar

Except for one song that Chitalkar singsa for S D Burman, all his other duets for 1946 were composed by himself.

Ek Nai Kali, Sasural Chali, Dubali Si Dulhan – Eight Days –with Meena Kapoor–  S D Burman – G S Nepali

Kanhi Yaad Kar Ke, Gali Paar Kar Ke, Chali Aana Hamare Angana – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Nazar Bachana Babuji Nazar Bachana – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Chhoti Sethani Ji Tere Firaq Mein Ham To Gaye Badnam – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Duets of Ashok Kumar

Ashok Kumar does pleasurable justce to the difficult part of these duets.

Jagamag Hai Aasman, Dagamag Hai Mere Pran, Dol Rahi Naiya Meri – Shikari – with Paro Devi – S D Burman –

This song has a twin solo too, in the voice of Ashok Kumar

Har Din Hai Naya, Har Raat Nirali Hai – Shikari – With Amirbai Karnataki – S D Burman – G S Nepali

Duets of Surendra

Surendra is usual vintage singing-self along with, one veteran and the other a relatively fresh, female singers in these two duets.

Awaz De Kahan Hai, Duniya Mera Jwan Hai -Anmol Ghadi – with Noor Jehan – Naushad Ali – Tanvir Naqvi

Teri Nazar Mein Main RahooN, Meri Nazae Mein Tu – 1857 – with Suraiya – Sajjad Hussain – Shewan Rizvi

We will  take up first part of Male-Female Duets of Other Male Singers in the next episode in this four part  Micro View of Best Songs of 1946 @ SoY – Duets.

The Micro View of Best Songs of 1946 @ SoY – Male Solo Songs – Solo Songs of Golden Era Male Singers

For the year it would be interesting enough to classify the male solo songs under three broad categories

      • Solo Songs of Golden Era Male Singers – the singers who are easily associated with the Golden Era of HFM
      • Solo Songs of Vintage Era Male Singers – the singers who are primarily associated with Vintage Era of HFM, and
      • Solo Songs of K L Saigal, who is a class in himself.

We will first listen to –

Solo Songs of Golden Era Male Singers.

1946 is the year whereat most of the Golden Era male singers were still considered new enough. As a result, one would not expect very strong presence to their share.

Solo Songs of Mohammed Rafi

We have a good mix here, in terms of the songs quite well-known and songs not-so-well-known.

Mohammed Rafi’s Popular Songs

As may be expected of a post-’60 HFM follower like me, the song appearing herein are composed by the music directors who had fairly strong presence in the ‘50s and ‘60s.

Tera Khilona Toota Balak Ter Khilona Toota – Anmol Ghadi – Naushad – Tanvir Naqvi

Ab Wo Hamare Ho Gaye, Iqrara Karin Ya Na Karein – Safar – C Ramchandra – G S Nepali

Kah Ke Bhi Na Aaye Tum, Ab Chuupane Lage Taare – Safar – C Ramchandra – G S Nepali

Mohammed Rafi’s other songs,

These are the songs which could not measure up on the same level of popularity.

It is a good opportunity to revisit these songs after almost two and half years and refresh the memories of the first ever segment of years 1944-1946 of the series Mohammad Rafi’s Solo Song(s) From The FIRST Film With The Music Director.

Todo Todo Todo Dil Ke Taar Tootein To Sangeet Lutaein – Amar Raj – Feroze Nizami – Ishwar Chandra Kapoor

Pran Tyag Kar Tune Diwani, Jag Mein Bana Di Amar – Amar Raj – Feroze Nizami – Ishwar Chandra Kapoor

Rahe To Kaise Rahe Dil Pe Ikhtiyaar Mujhe – Roon No. 9 – Rasheed Are – Nakhshab Jarachavi

Data Ji Tera Bhed Na Paya – Sona Chandi – Tufail Farooqui – Shamim

Solo Songs of Mukesh

We have been able to locate only two solos here. I have listened to both the songs for the first time. Mukesh sound raw enough, but not under KL Saigal influence in both the songs.

Kiyo Na Pyar…Na Himmat Haar, Kabhi Inkar Kabhi Iqarar – Rajputani – Bulo C Rani- Pandit Indra

O..Prani Kya Soche Kya Ho Gaya – Chehra – M A Mukhtar – Ishwar Chandra Kapoor

Solo Songs of Manna Dey

Quantitatively, Manna Dey has the strongest presence. However, he remains a niche player in the films where his songs have an appearance, which is going to type cast in the years to come.

Allah Khata Kya Hai Garibon Ki Bata De – Dil – recorded as P. Dey – Jafar Khursheed

Dil Churane Ke Liye Koi AA Raha Hai– Door Chalein – recorded as P Dey – K C Dey

Nayano Ke Baadal Baras Rahe, Ham Tumhare Daras Ko Taras Rahe – Insaaf – H P Das – D N Madhok

Ye Jagat Hai Matlab Ka Dera Kyon Kaheta Hai Mera Mera – Rupa – Govind Ram

Ram Naam Se Sabake Man Ke Ho Jata Hai Shudhdha Vichar – Valimiki – Shankar Rao Vyas – Mahesh Gupta, M A

The songs for which I have not been able to locate the soft links:

    • O Dharati, Kyon Rooth Gai Maan Dharati – Dharati – Bulo C Rani – Pandit Indra
    • Gaon Se Chal Doo O Bharat Ka Sanwariya – Shravan Kuamar – Bulo C Rani – Wali Saheb

Solo Songs of Other Male Singers of Golden Era

Ummid Bhara Panchhi, Ya Khoj Raha Sajani – Eigt Days – S D Burman – S D burman – G S Nepali

  • We will listen to solo songs of G M Durrani and Ashok Kumar within the category of Male Songs of Vintage Era Singers.

The Micro View of Best Songs of 1947 : The Male Female Duets : Duets of Mukesh

The Duets

We now take up the third leg – The Duets – of ‘Best songs of 1947: And the winners are?’. As per our Micro View Practice, we will cover this leg of the Micro View journey in three stages – Male-Female Duets, Male- Male Duets and Female-Female Duets.

The Male Female Duets

The male female duets have been accorded almost equal respect as that accorded to male or female solo songs. Many of the male female duets have been accepted as the benchmark milestones as are some male or female solo songs have been accepted as the benchmark milestones in the Hindi Film Music.

My back of the envelope notes quickly separated duets of Mukesh, and to some extent those of Mohammad Rafi, from the other male-female duets – first, in terms of numbers, and then, in terms of my familiarity of these duets.

Duets of Mukesh 

Mukesh has an overwhelmingly share in the Male-Female Duet space for 1947. The quality of spread, in terms of music directors, as well as co-singers, is equally overwhelming. As a result, we can hear different shades of Mukesh’s inherent tonal range.

Mukesh, Hamida Bano – Door Kahi Door Kahi Is Jag Se Duniya Ham Tum Nayi Basaye – But Tarash – Gulam Haidar – Amin Gilani

Mukesh, Shamshad Begum – Moti Chugane Gayi Re Hansi, Man Sarovar Teer – Chhin Le Azadi – Hansraj Behl –  Pandit Indra

Mukesh, Suraiya – Jab Badal Ghir Ghir Aaenge, Kaho Ji Kit Jaenge – Dak Bangla – Naresh Bjattachary – D N Madhok

Mukesh, Rajkumari – Hamare Saiya Daaru Pee Ke Aaye, Aa ke Hamein Bulaye – Do Dil – Govind Ram – D N Madhok

Mukesh, Suraiya – Maati Ka But Bha Gaya, Dil Hi To Hai Aa Gaya – Do Dil – Govind Ram – D N Madhok

Mukesh, Suraiya – Kagaz Ki Meri Nav Aur Doot Kinara Hai – Do Dil – Govind Ram – D N Madhok

Mukesh, Hamida Bano – Dekh Hamein Muskaraye Kyon Balamawa Sajanwa  – Duniya Ek sarai – Hans Raj Behl – Kedar Sharma

Mukesh, Geeta Roy, Chorus – Watan Ki Maati Haath Mein Le Kar, Mathe Tilak Laga Le – Gaon – Khemchand Prakash – D N Madhok

Mukesh, Johrabai – Patthar Se Tum Dudh Bahao Aag Se Phool Khilao – Neel Kamal – B Vasudev – Kedar Sharma

Mukesh, Johrabai  – Pyar Se Ham Ko Kaleje Se Janno Tum Na Lagao To Kaun Lagaye – Neel Kamal – B Vasudev – Kedar Sharma

Mukesh, Hameeda Bano –Sochata Kya Hai Sudarshan Ke Chalanewale  – Neel Kamal – B Vasudev – Kedar Sharma

Mukesh, Hameeda Bano – Jeene Ki Surat Ho Gai Aur Teri Badaulat Ho Gayi – Tohfa – M A Rauf – Nazir Hyderabadi

Mukesh, Hameeda Bano – Mohabbat Kar.. Jawani Hai Jawani Hai – Tohfa – M A Rauf – Nazir Hyderabadi

We will Micro View Duets of Mohammad Rafi and those of G M Durrani in our next episode.

The Micro View of Best Songs of 1947 : Male Solo Songs – Mukesh / Manna Dey


Solo Songs of Mukesh

Numerically, in terms of not only number of solo songs but also number of films or music directors, Mukesh seems to have slack year in so far as his career take-off stage is concerned. He did have three solos in “Tohafa’, and ‘Do Dil’ each, and one in Beete Din.

Arson Pe Sitara Hai Wo – Beete Din – A Dinkar Rao

Jiya Beimaan… Bas Mein Paraye Hai, Din-Din Dhale Jawani – Do Dil – Govind Ram – D N Madhok

Pyar Jata Ke Apna Bana Ke Wo Gaye Wo Gaye – Do Dil – Govind Ram – D N Madhok

Le Matki AAja Radha Ri, Ghar Se Kisi Bahane – Do Dil – Govind Ram – D N Madhok

Kahan Tak Jafa Husnwalon Ki sahate – Tohafaa – 1947- M A Rauf (Usmania) – Saquiba Lakhanavi

Ek Aisa Geet Sunao Tan Man Mein Aag Lagao – Tohfa – M A Rauf (Usmania) – Nazir Hyderabadi

Kisne Chheda Manka Taar – Tohfa – M A Rauf (Usmania) – Shanti Arora

We will take special note of

Shri Kamal Netra Stotram – Neel Kamal – with chorus –  B Vasudev –

Solo Songs of Manna Dey

Manna Dey’s spread of number of films is relatively better. Ha has had fairly noticeable presence in Geet Govind.

Suno Suno Hey Nar Naari Yeh Katha Purani Hai Aage Badho – Sudhir Phadke – Amar Varma

Jhan Jhan Jhan Jhan Payaliya Baaje – Geet Govind – Gyan Dutt – Pt. Indra

Kadam Kadam Pe Dhokha Bhai, Samhal Ke Pano Uthana – Seedha Rasta – S K Pal – Amar Varma

The songs for which I have not been able to locate the soft links:

  • Jug Jug Ke Avtar Bhar DharatiKa Diya Utar – Part 1 & Part 2 – Geet Govind – Gyan Dutt – Pt. Indra
  • Ham Kya Jaane Teri Maaya Tujhe Koi Samajh Na Paya – Geet Govind – Gyan Dutt – Balam
  • Chhod De Likhana Lekh Vidhata, Chood De Likhana Lekh – Kaun Hamara – Bulo C Rani – Pt. Indra
  • Naina Besabari Mora Darshan Bina Maane Na – Gaon – Khemchand Prakash – D N Madhok

We will take up Solo Songs of K L Saigal and G M Durrani for the year 1947 in our next episode.

The Micro View of the Songs of 1948 @ SoY – The Duets – Male-Male Duet & Triads, Triads+ Songs

Male-Male Duet Songs

While remaining an essential variant of the duets, male-male duets has neither been a popular format nor been an easy one to compose. We have only two male-male duets for the year, essentially with chorus support.

Mohammad Rafi, Khan Mastana, ChorusWatan Ki Raah Mein Watan Ke Naujawan Shaheed Ho – Shaheed – Ghulam Haider – Raja Mahendi Ali Khan

Mukesh, Shailesh, ChorusRab Mere Araj Sun Meri, Sharan Ab Teri – Aag – Ram Ganguli – Saraswatikumar ‘Dipak’

Triads, Triads+

1948 has quite a fairly large selection of triads or triad+ songs. All of the songs that could be listed form HFGK do not have digital link on the most of the otherwise rich reference platforms.

Popular TRiad Song

Mohammad Rafi, Chitalkar, G M Sajan, ChorusAji Khushiyan Manae Na Kyon Hum , Ham Kise Se Kyun Dare, Kismat Hamare Sath Hai, Jalanewale Jalanewale Jala Kare – Khidki – C Ramchandra – P L Santoshi

Its all female version – by Shamshad Begum, Lata Mangeshkar, and Mohan Tara – was equally popular.

Other Triads, Triads+ Songs

Shamshad Begum, Lata Mangeshkar, Unidentified voiceHello Hello Gentleman, Milate Nahi Kyun Ham Se Nain – Actress – Shyam Sundar- Raja Mahendi Ali Khan

Moahammad Rafi, Chitalkar, Shamshad BegumAji Mera Bhi Koi Haal Suno,.. – Khidki – C Ramchandra – P L Santoshi

Lata Mangeshkar, Geeta Roy, ChitalkarTere Bina Suna Suna, Man Ka Mera Anagana  – Khidki – C Ramchandra – P L Santoshi

Suraiya, Surinder Kaur, Meena KapoorKabhi Panabhat Pe Aaja Mere Sapno Ke Raja – Pyra Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Suraiya, Surinder Kaur, Meena KapoorRut Rangeeli Hai, Suhani Raat Hai, Tum Chale Aao To Kya Baat Hai  – Pyar Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Mohammad Rafi, Shamshad Begum, Sulochana  Kadam  – Chalo Jamuna Ke Paar – Lal Dupatta – Gyan Dutt – ?

Chitalkar, Lalita Deulkar, P Chandar, S L PuriKathawa Ke Nayaa Banaihe Hai Re Malhawa, Nadiya Ke Paar Tej Dhar– Nadiya Ke Paar – C Ramchandra – Moti B A

We will take up the concluding part of the Duet Songs of 1948 in our next episode.

The Micro View of the Songs of 1948 @ SoY – The Duets – Male Female Duets – Mukesh +

We now take up the third leg – The Duets – of ‘Best songs of 1948: And the winners are?’. As per our Micro View Practice, we will cover this leg of the Micro View journey in three stages – Male-Female Duets, Male- Male Duets and Female-Female Duets.

The Male Female Duets

The male female duets have been accorded almost equal respect as that accorded to male or female solo songs. Many of the male female duets have been accepted as the benchmark milestones as are some male or female solo songs have been accepted as the benchmark milestones in the Hindi Film Music.

Duets of Mukesh

Mukesh has a fairly substantive presence in the Male-Female Duet space for 1948. In terms of numbers, he has far more duets with Shamshad Begum. His memorable duets with Shamshad Begum also are many. However, he has at least one memorable duet with almost all other female singers, too.

+ Lata Mangeshkar

Ab Darane Ki Koi Bat Nahi Angrezi Chhora Chala Gaya – Majboor – Ghulam Haider – Nazim Panipati

Ab Yaad Na Kar Bhool Ja Aye Dil Wo Fasana – Anokha Pyar – Anil Biswas – Shums Azimabadi

+ Shamshad Begum

Raat Ko Ji Chamake Taare Dekho Balam Mohe Akhiyan Maare – Aag – Ram Ganguly – Majrooh Sultanpuri

Kaise Bataun Unse Dil Ko Pyar Kyun Hai – Anjuman – Bulo C Rani – Majrooh Sultanpuri

Bhool Gaye Kyon Ke Deke Sahara Lootanewale Chain Hamara – Anokhi Ada – Nuashad – Shakeel Badayuni

Tere Naaz Uthane Ko Jee Chahata Hai – Grihashthi – Ghulam Mohammad – Shakeel Badayuni

Dharati Ko Akash Pukare Aaja Aaja Prem Dware– Mela – Naushad – Shakeel Badayuni

The film has excellent Mukesh solo version and an ending with a pathos-full Shamshad Solo version .

Aayee Sawan Rutu Aayee Sajan Mora Dole Hai Man – Mela – Naushad – Shakeel Badayuni

Main Bhawara Tu Phool Yah Din Mat Bhool – Mela – Naushad – Shakeel Badayuni

Mera Dil Todanewale Mere Dil Ki Dua Lena – Mela – Naushad – Shakeel Badayuni

O Jaanewale O Jaanewale Ham Ko Bhool Na Jaana – O Jaanewale – Ali Hussain Moradabadi – Kaif Mustafa

Sajanwa Premkahani … O Dheere Dheere Kahana – O Jaanewale  – Ali Hussain Moradabadi – Kaif Mustafa

+ Geeta Roy

Raja Mohe Le Chal Tu Dilli Ki Sair Ko – Toote Tare – Shaukat Dahelvi (Nashad)

Rehate To Ab Har Ghadi Meri Najar Ke Samne – Toote Tare – Shaukat Dahelvi (Nashad)

+ Other Female Singers

Husn Bano +Parawane O Parawane Tu Kya Jalana Jaane – Pardesi Maheman – Hansraj Behl – Pt. Indra

Raaj Kumari +Ye Bura Kiya Jo Saaf Saaf Keh Diya – Suhag Raat – Snehal – Kedar Sharma

Meena Kapoor +Ab Yaad Na Kar Bhool Ja Aye Dil Wo Fasana – Anokha Pyar – Anil Biswas – Shums Azimabadi

Sitara (Kanpuri) +Ek Teer Chalanewale Ne Dil Loot Liya – Pugree- Ghulam Mohammad – Shakeel Badayuni

Suraiya +Laaye Khushi Ki Duniya Hansati Hui Jawani – Vidya – S D Burman – Anjum Pilibhiti

In our next episode, we will take up Micro View of Mohammad Rafi’s duets of 1948 with the female singers.