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I Liked Music from films

Songs of 1945 @ SoY :: Summing Up : MY Top Music Director(s)

The year 1945 has been a year, where I happened to listen for the first time most of the songs that came up in the Micro View.  As such, all the (s0-called) objective or scientific measures that have been deployed for the selection of MY Top Music Directors seem to lose all the rationale that they had supposedly carried.

The only possible solution that appears plausible at this tage is to seek the quantitative analysis of the songs that I have short-listed at the stages of MY Top male solo songs, female solo songs and the duets and see which music directors have composed these songs.

Quantitative view My Top Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets –

Music Director Male Solos Female solos Duets Total
Bulo C Rani 1 3 2 6
Govind Ram 2 4 6
Amarnath 2 1 3
Srinath Tripathi 1 1 2
Gyan Dutt 1 1 2
Hafiz Khan 1 1 2
Ninu Mazumdar 1 1 2
G A Chisti 1 1 2
Firoz Nizami 1 1 2

Other than these, Shanti Kumar and Pt. Ganapat Rao have one sons each in Male Solo songs, Datta Koregaonkar, Khemchand Prakash, Dhiren Mitra, Anil Biswas, Arun Kumar, R C Boral have one each in Female Solo songs and C Ramchandra, Naushad, Lal Muahammad have one Duet each in MY respective ‘Top’’ lists.

This approach has resulted in Shyam Sundar, the music director who has given a run away popular albu, Village Girl, being left out of the consideration.

SoY has also presented an exhaustive analysis to arrive at the Best Music Director spot for the year 1945 in its Best songs of 1945: Wrap Up 4. Going by the popular choice, SoY has adjudged Shyam Sundar as the Best Music Director and Bulo C Rani getting special mention.


P.S. All the episodes of Micro View of Best Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper link.

Categories
I Liked Music from films

The Micro View of Best Songs of 1946 @ SoY – MY Top Music Director(s)

As the Journey of Micro-Viewing the songs of a given year has progressed, backwards  in terms of the chronology of the years, the task of selecting TOP music director has become an exercise that is getting severely affected by MY limited exposure to the pre-1950 songs. Music directors with whose work I am more acquainted were making initial tentative strides in the years before 1949. Some of the otherwise familiar music directors, like Naushad or Anil Biswas, had not yet fully graduated to post-1950 styles. The Hindi Film Music field of post-1950 years was to so dramatically changed that criteria like number of films in year, or number popular songs in year seem carrying no purpose.

As such, therefore this exercise essentially remains MY micro-summary View of the songs from rests mainly on one of dimension, that of songs of the music director(s) that I liked most. However, I have included two other parameters too in this Micro View. Nonetheless, this review does not male any claim to be a review of overall impact a music director has made in that year.

So, here we go into MY mico-view of the Top Music Director(s) for the year 1946:

The review parameters that form the base of discussin are:

  • Music directors of the films appearing in the heading image of the overview post Best songs of 1946: And the winners are?’,
  • Top Box-oofice grossers for the year and
  • The quantitative summary of Music directors whose songs appear in MY TOP micro-view of other three dimensions, viz. of Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets.

A] SoY over-view post banner

The banners of SoY over view posts fairly faithfully reflect the most noted films of the given year from the view of the songs and music of the films in that year.

For 1946, we have Anmol Ghadi and Shajehan (Music Director: Naushad Ali), Eight Days (Music Director: S D Burman), and Safar (Music Director: C Ramchandra).

Over and above Anmol Ghadi and Shajehan, Naushad indeed continues to remain a heavy-wieght player in the year with the third film Keemat this year. Naushad has three excellent singers –Noor Jehan, Surendra and Suraiya – for Anmol Ghadi, K L Saigal – for his three wel-known, loved and remembered even now solos – in Shahjehan. In comparision, Keemat does not have ‘star singers’, but Naushad has done all the justsice to main sigers Amirbai Karanataki and NAseem Akhtar in the songs for the film.

Along with Eight Days and Shikari, S D Burman’s debut with Hindi films remains noteworthy. He has commandeerd the musical resource, in terms of playback singers, well enough to successfully create songs that seem to lend fresh breath with the vintage era environment.

C Ramchandra ‘s Safar is indeed a trail-balzing one, both from the point of view of his own career as well as for some deifinitive trends in the Hindi Film Music. Before, Safar, he had done 10 C grade films and just 5 social films and his name had not yet become famous. The success of Safar’s music changed that scene for ever. If his duet with Beenapani Mukhrjee, Kanhi Yaad Kar Ke, Gali Paar Kar Ke, Chali Aana Hamare Angana, set his very distinctive western-music influenced peppy songs, his two solos for Mohammad Rafi, Ab Wo Hamare Ho Gaye, Iqrar Karen Ya Na Karein  and Kah Ke Bhi Na Aaye Tum, Ab Chuupane Lage Taare helped Rafi in not firmly setting his foot on the scene but also helped evolve his own style.

B] Top Five box-office grossers for 1946

The popularity of the songs has remained one major factor that influenced the success of a film at the box office.

For the year 1946, the Top Five box-office grosser films and the corresponding music directos are:

        • Anmol Ghadi – Naushad Ali
        • Shahjehan- Naushad Ali
        • Phoolwari – Hansraj Behl
        • Omar Khaiyyam – Lal Mohammad
        • 1857 – Sajjad Hussain

We have had a fairly detailed look at the songs form these films in our Male Solos, Female Solos and Duets sections. Aprt from the songs from the two wel-known films, two solos Surendra – Wo Paheli Mulaqat Hi Bas Pyar Ban Gayi – 1857, K L Saigal – Hare Bhare Baag Ke Phoolo Pe Riza Khayyam – Omar Khaiyyam – have found place in MY Top (Male Solo) songs too.  Of course, appearance of a song, or otherwise, does not have any reflection on either the merits of the song or its then then popularity, as these are driven by my own limted range of choice of songs for these years.

C] Quantitative add-on view of other three dimensions, viz. My Top Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets –

Since I have bent towards a wide range of singers, as well as not-sofamiliar=to-me songs while selecting the songs in these three categories, the numbers in the present analysis, in all probabilities, expectedly should emerge the music director(s) whose songs I liked for 1946. It is likely that casting the net wider over all the songs that have appeared in the micro-review of the respective category may have yielded a different pattern. But in a year where most of the songs are heard first time, such an exercise would not have helped to identify the music director who has bearing on the songs that I liked.

We have two sets of data – music directors who has only song in any one of these categories and the music directors who have either one song in more than one categories or more than one song in one or more categories.

Lal Mohammad, Sajjad Hussain, S N Tripathi, Gulshan Sufi, K C Dey and Rasheed Atre have one song in MY top Male Solos, Shankar Rao Vyas,  Shantikumar, Hafeez Khan, Vinod, Sushant Banerjee, Shyam Sundar and Prem Nath have song each in MY Top Female Solos and Narayan Rao has one song in MY Top Duets.

The music directors whose one or more songs have appeared in one or more of the categories are.

Music Director Male Solos Female solos Duets Total
C Ramchandra 2 1 3
S D Burman 1 1 1 3
Bulo C Rani 1 1 1 3
Naushad Ali 3 2 5
Hansraj Behl 1 3 4
Vasant Desai 2 2
Anil Biswas 2 2
Kamal Dasgupta 2 2
Qadir Faridi 2 2
H P Das 1 1 2

These analyses would yield Naushad Ali as the MOST Liked Music Director for 1946, without in any way diminishing my LIKEs of the songs of all other music directors.

How would have you analysed the Songs of 1946?

I look forward to you to join me to take up a similar detailed Micro View when SoY takes up futher more challenging year of 1945 next in this Best songs of year series.

 

P.S. : All the episodes of The Micro View of Best Songs of 1946 can be read / downloaded from one file, by clicking on the hyper link.

P.P.S  – In the final wrap-up article, Best songs of 1946: Final Wrap Up 4, the SoY Award for the Best Music Director of 1946 goes to Naushad.  And, special mention is made of Ghulam Haider and Hansraj Bahal for their outstanding music in the year.

Categories
I Liked Music from films

The Micro View of Best Songs of 1947 : MY Top Music Director(s)

As the Journey of Micro-Viewing the songs of a given year has progressed, backwards  in terms of the chronology of the years, the task of selecting TOP music director has become an exercise that is getting severely affected by limited exposure to the pre-1950 songs. Music directors with whose work I am more acquainted were making initial tentative strides in the years before 1949. Some of the otherwise familiar music directors, like Naushad or Anil Biswas, had not yet fully graduated to post-1950 styles. The Hindi Film Music field of post-150 years was to so dramatically change that criteria like number of films in year, or number popular songs in year seem carrying no purpose.

As such, therefore this exercise essentially remains MY micro-summary View of the songs from only one of the four dimensions, that of songs of the music director(s) that I liked most. In other words, it is not a review of overall impact a music director has made in that year.

So, here we go into MY micro-view of the Top Music Director(s) for the year 1947:

For the sake of lending some sort of structure to my thought process, I have selected two criteria:

  • Music directors of the films appearing in the heading image of the overview post Best songs of 1947: And the winners are?, and
  • The quantitative summary of Music directors whose songs appear in MY TOP micro-view of other three dimensions, viz. of Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets.

SoY over-view post banner

The banner of SoY over view posts fairly faithfully reflect the most noted films of the given year from the view of the songs and music of the films in that year.

For 1947, we have Parwana (Music Director: Kursheed Anwar), Dard (Music Director: Naushad Ali), Jugnu (Music Director: Firoze Nizami), Meera (Music Directors: S V Venkatraman, G Ramanathan, Naresh Bhattacharya), Shehnai (Music Director: C Ramchandra) and Mirza Sahiban (Music Directors: Pt. Amarnath, Husnalal-Bhagatram).

Of these music directors, Meera remains beyond any comparison because of presence M S Subbulaxmi as the singer of all songs. Of course, that would not take way the credit from the music directors for creating songs that did full justice to the voice of the singer as well as to the spirit of the subject.

Parawana’s Suariya songs did make noticeable impact even when the male songs had overshadowing dominance of K L Saigal and established Suraiy as a capable singer too.

In comparison, songs of Jugnu, possibly either because of the story or because of the presence of Noor Jehan, appear more Noor_jehan-cemntric.

Naushad indeed continues to remain a havey-wieght player in the year with three films – Dard, Elaan and Naatak.

Pt. Amarnath, Husnlal Bhagatram’s core in Mirza Sahiban remains quite varied in terms of choice of singers or song format. Husnlal Bhagatram, separately too, have a few noticeable scores in the year.

C Ramchandra (Saajan and Leela, over and above Shehnai) emerges as an iconoclast who is ready to tread a dirrent path for creating his own space in the field already dominated by stalwarts of the vintage-era-style-compositions. He has succeeded in the pursuit of his strategy.

Quantitative add-on view of other three dimensions, viz. My Top Solo songs of Male Playback Singers, Solo songs of Female Playback Singers and the Duets

Since I have bent towards a wide range of singers while selecting the songs in these three categories, the numbers in the present analysis, in all probabilities, as expected, should emerge the music director(s) that I liked for 1947. It is likely that casting the net wider over all the songs that have appeared in the micro-review of the respective category may have yielded a different pattern. But in a year where most of the songs are heard first time, such an exercise would not have helped to identify the music director who has bearing on the songs that I liked.

I have listed here music directors whose two or more songs have cumulatively appeared in the three, aforementioned, individual lists.

From amongst the music diectors whose only one song has appeared in the any of there aforementioned dimensions, I would take specific note of Hansraj Behl for the duet Moti Chugane Gayi Re Hansi, Man Sarovar Teer and Naushad for the duet Betab Hai Dil Dard E Muhabbat Ke Asar Se

The quanitative analysis of male, female solos and duets @ Best songs of 1947: Final Wrap Up 4, places Naushad, Khursheed Anwar and C Ramchandra in the top three list. Based on the qualitative evaluation The Songs of Yore Award for the Best Music Director of 1947 has been jointly conferred on Naushad and C Ramchandra.

How would have you analysed the Songs of 1947?

I look forward to join me to take up a similar detailed Micro View when SoY takes up further more challenging year of 1946 next in this Best songs of year series.

P.S. All the episodes of The Micro View of Best Songs of 1947 can be read  / downloaded from one file, by clicking on the hyper link.