It is interesting to note that Naushad has used Suraiya as playback for Mehtab in Kanoon and Sanjog for the year. It may sound even more interesting now, but Suraiya was just 13 years old then and Mehtab was on 17 or 18.!
Panghat Pe, Panghat Pe Muraliya Baje – Ishara – D N Madhok – Khursheed Anwar
Koi Chutaki Si Mere Dil Mein Laye Jaaye – Sanjog – D N Madhok – Naushad
It is quite likely that, because of hardly knowledge of the Songs of 1944, during my search, I may have missed a few more solo songs of female singers. Recognizing this short coming, I conclude the present Micro View of (Best) Solo Songs of Female Singers for the year 1944 @SoY.
Noor Jehan has had a dream run in 1946, which was to turn out to be the penultimate year of her active career from (the then) Bombay. 1946 has thre fims of Noor Jehan, each one had a different music director, and hence a very different style. Most of us have known Noor Jehan of ‘Anmol Ghadi’. So, Noor Jehan of ‘Dil’, presented by Zafar Khursheed, and of ‘Hamjoli’ by Hafeez Khan would a treat to listen to.
Popular solo songs
Aaja Meri Barabaad Muhabbat Ke Sahare – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Mere Bachpan Ke Saathi Mujhe Bhul Na Jana – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Jawan Hai Muhabbat HasiN Hai Zamana – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Kya Mil Gaya Bhagwan Tumhein Dil Ko Dukha Ke – Anmol Ghadi – Naushad Ali – Tanvir Naqvi
Other solo songs
Aye Hawa Jaa Jaa Jaa Piya Ke Ghar Jaa, KyuN Chalati Hai – Dil – Zafar Khursheed – Raajiuddin
De Ke Mujhe Wah Dard-e-Jigar, Bhul Gaye Kya Bhul Gaye – Dil – Zafar Khursheed – Raajiuddin
Baba Mere Chhoot Gaye, Chain Mujhe NahiN Aae – Dil – Zafar Khursheed – Arsh
Phoolo Mein Nazar Ye Kaun Aaya, Kaun Aaya – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Ye Desh Hamara Pyara, Hindostan Hai Hamara – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Raaz Khulata Nazar Nahi Aata – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Bhagwan Bhagwan Kab Tak Teri Duniya Mein Ye Andher Rahega – Hamjoli – Hafeez Khan – Anjum Pilibhiti
Dukh Dard Se Jahan Mein Koi Azad NahiN Hai – Hamjoli – Hafeez Khan – Anjum Pilibhiti
In the next epiosde, we will take Solo Songs of Khursheed and of Kanan Devi, for the yaer 1946, for a Micro Review.
Welcome to September, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
Our focused topic for the month of September, 2018 is R K Studios, one of the last icons of the Golden Era of Film-making.RK Studios: The final curtain – Madhu Jain – With the Kapoors deciding to sell the iconic studio that was destroyed last year in a fire, a slice of film history has been lost forever – RK Films was in effect a Nargis-Raj Kapoor banner for a few years. Nargis played a much greater role in RK films than is widely known and acknowledged: supervising the lighting on occasion, going into the production details, recognizing the potential of the actress Nadira, giving generously when the money was needed, and much more. She was alongside him through much of their golden years together. They were in sixteen films together, beginning with Aag in 1948 and ending with Jaagte Raho in 1956.
And, now, we take up the tributes in September 2018:
Tere mandir ka hoon deepak jal raha, by Vijay Kumar – Pankaj Mullick’s voice had a clarity and a boom that, I am certain, would have reached the man in the last row of a listening audience, without the aid of a mike…He had the voice of a supreme bhakt!
Madan Mohan’s tuning with Lata Mangeshkar – For all the shared background and their lofty personal bonding, it has ever remained a mystery for many of music lovers as to why Madan Mohan did not use Lata Mangeshkar’s voice in his first film……
In Memory of Dev Anand’s birthday are the songs that Hemant Kumar played back the screen.-
Guide: A Spiritual Odyssey – Dev Anand’s creative effort reached its apogee in Navketan’s Guide, a film that accommodates more than one perspective. On the occasion of Dev Anand’s birth anniversary (he would have been 95 today), Vijay Kumar relives the finer points of one of the finest Hindi films ever made, exploring its streams and currents of thoughts and views.
Roshan aur Madan Mohan ki Asha draws some parallels and some not so parallels in the patterns willingness of the use of Asha Bhosle by these music directors.
Messenger of Love and Peace – 7th September, 2018 is the 40th anniversary of P L Santoshi. The post lists just a few more of his wonderful songs, with the films and singers mentioned. Let us hear this one – Tum Se Hai Pyar Mujhe Tum Se Hai Pyar – Teen Batti Char Rasta (1953)
Piya aiso jiya mein samaye, by Vijay Kumar – Meena Kumari never looked so beautiful, and so fully subsumed in her role, as in this song. An anticipation of a rendezvous in privacy is writ large on her persona. Shakeel too understood the नज़ाकत of the situation and penned words befitting his stature as the poet of romance. And Geeta sang it effortlessly as if giving voice to her own emotions.
Royal Singing – It is often observed in popular culture that royals do not sing anything; if they do, many people think they should not be doing so. That’s because the arts—especially the performing kind—are seen as trivial affairs. The post lists some songs that were lip-synched by Kings, Queens, Princes and Princesses on Hindi film screen. Actors who portrayed the royals are mentioned too.
Shola Jo Bhadke – Albela – Sparks Of Love – The Cuban percussion at the beginning played by Chic Chocolate warns you of the fire that is about to spread. Geeta Bali herself looking like a luminous spark of that fire, with a Hawaiian lei around her neck, a floral top and a wraparound skirt.
Hindi songs featuring Umbrella, have included the songs where the prop, umbrella is seen throughout the song or at least for a significant portion of the song. Also someone has to handle the umbrella, if it’s just kept there, even if open won’t count for the list.
Badi Der Se Megha Barsa – Namkeen – Withering Woes – There are some who might flaunt that wait when it is over. The show off of that wait you have gone through to your partner might take the romance in your life several notches up. Of course the flaunt is merely a charade to spice up the romance. From here begins the roothna-manaanaa and all the banter. It will also be a treat if this charade of flaunt is in Asha Bhonsle’s voice.
‘Heroine teasing Hero’ songs – Hero ‘Chhed Chhading’ the heroine is a relatively common scenario in Hindi films, but the exact opposite is not that common. No seductive songs are included, as those songs are usually a part of a trap arranged for the hero. So even if it sounds like a teasing song, they don’t count. And, the target should be one single person and not men in general or a group of boys.
Two princes or two paupers? Parvarish, and an identity non-crisis – In view of the SC of India verdict on the Section 377 verdict, the fluidity of identity (sexual and other kinds) assumes a deeper meaning. Here is a reminder of an egalitarian 1950s Hindi film that simply sidesteps the identity question and even lampoons those who get all hot and bothered about it.
Of Trees And Hindi Film Songs – If ecologically, tress provide much needed oxygen, then they also provide a ready nourishment to human love, particularly between a male and a female.
The Ring Given to Suraiya by Dev Anand is still lying in the Arabian Sea – The real story revealed by Dev Anand in his autobiography” Romancing with Life” It was Suraiya herself who threw the ring far into the sea of Bombay only after the last meeting with Dev Anand….It was on the advice of his elder brother Chetan Anand that the actor decided to end his relationship with the actress and concentrate on his film career. While Dev eventually overcame the trauma of a broken relationship and moved on, Suraiya decided not to get married.
Can’t Play Sad Music – One of the world’s most charming musical instruments, the frame drum called tambourine has featured importantly in hundreds of our songs, but yet has unfortunately not been judged in the light it has deserved. This is true not just here, but abroad as well…In India it is called the daffli. Now the daffli also has a big brother called Daff, which is typically a similar frame drum, except much bigger,
In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up one SoY post, one video clip and a few songs that basically have link with the topics discussed in the present post.
This is the last possible year when we can have Hindi (Bollywood) solos songs of these three classic vintage era female singer icons in a year, simply because Noor Jehan was to then migrate to Pakistan. Also, it was this year that Lata Mangeshkar has debuted as a playback singers for Hindi films. Lata went on to totally dominate the female playback singing scene by the turn of the decade, and has almost single-handedly scripted the history of Hindi film music. When all these characters have now been consigned to ‘have been’s, we are left with only question to continue to ponder over: What would have been the character of Hindi film songs had Noor Jehan not migrated to Pakistan?
At the cost of making the post a little linger, we have covered solo songs of these singers in one post, thereby according them a very special status.
Main Khoj Khoj Kar Haari, Prabhuji Aai Sharan Tihari – Aage Badho – Sudheer Phadake – Amar Varma
O Jhoom Jhoom Raha Hai Mera Man Dekho Jhoom Raha – Aage Badho – Sudheer Phadake – Amar Varma
Yah Duniya Pyari Pyari Re Wah Nai Nirali Duniya – Aage Badho – Sudheer Phadake – Amar Varma
Rut Basant Ki Aai – Angoorbala – Ram Gopal – Mr. Shyam
Jis Ke Milane Ki Tamanna Thi Wo Pyar Mil Gaya – Manjhdhar – Ghulam Haider – Shams Lakhanavi
Welcome to December, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
December, 2017 in any case has several anniversary / birth dates of people connected with HFM.
This month, Shashi Kapoor bade farewell to this mundane world. That would have led to Muhammad Rafi’s birthday, in the presence of Shashi Kapoor in the heaven. The first time it happened in Yeh Dil Kisko Doon (music : Iqbal Qureshi, Lyrics: Qamar Jalalabadi) in 1963, a black and white film by K Mishra, that had over half a dozen songs from Mohammad Rafi. Here are the duets:
7 Films That Prove Shashi Kapoor Was Way Ahead of His Time –Khalid Mohammed looks back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest: Dharmnputra (1961) | Sidhdharta (1972) | Satyam Shivam Sundaram (1977) | Kalyug (1980) | New Delhi Times (1984) | Utsav (1984) | Sammie and Rsie Get Laid (1994)
The Final Curtain – The author writes: “Five years ago, I wrote an article on Shashi Kapoor saying I didn’t want to ‘remember’ him after he died; I would much rather commemorate his life. And I did. But now, another era has ended with the demise of yet another much-loved actor of the golden age. Perhaps I will review one of his films later, but for now, a quick but sincerely meant tribute.”
Shashi Kapoor: The Cinematic Journey of a Phalke Award Winner by Karan Bali – Shashi Kapoor also was one of the early Indian actor who broke through internationally through his association with several Merchant-Ivory Productions (The Householder (1963), Shakespeare Wallah (1965), Bombay Talkie (1970) and Heat and Dust (1983) among others), besides other films like Siddhartha (1972), Sammy and Rosie Get Laid (1987), Jinnah (1998) and Side Streets (1998).
NAUSHAD-Once All of India was crazy about his Melodies. – This master composer first made both Mukesh (Andaz) and Talat Mahmood (Babul) sound surpassingly individualistic on Dilip Kumar He was, near clandestinely, getting Mohammed Rafi ready for the big leap. From his first Anmol Ghadi solo, Tera khilauna toota baalak (1946), to O door ke musafir on Dilip Kumar in Uran Khatola (1955), Rafi came a long, long way, once the Baiju Bawra (above) miracle happened in 1952..
My Favourites by Shailendra (30 Aug 1927 – 14 Dec 1966), who worked with nearly all music directors ( exceptions being Naushad & O P Nayyar).
Remembering Meena Kapoor, who passed away on 23rd of November 2017. Meena’s last playback singing was for the movie ‘Chhoti Chhoti Baatein’ that was released in 1965 and was also Anil da’s last film as a music director.
Mohammad Rafi has a special place in December on this blog:
We have two parts episode of Fading Memories, Unforgettable Songs for December, 2017 in the memory of Mohammad Rafi. In the series of articles featuring Mohammad Rafi’s Solo Song from FIRST film with the Music Director, we have covered years 1952-1953, after having covered years 1950-1951 earlier this month and year 1949 earlier this year of the 2nd five-year-slot of 1949 to 1953.
My Favourite Lullaby Songs – one of the first popular lullby songs from a Hindi movie is ‘So Ja Rajkumari So Ja‘ sung by K L Saigal from Zindagi-1940 (Music by Pankaj Malik). The song is still considered to be an ultimate lori
Ravindra Kelkar has presented three more posts on O P Nayyar @ SoY:
We have placed the articles paying tributes to Mohammad Rafi in the space for the tributes here before in the present article. So we will take up two songs of Mohammad Rafi, form the first film he played back solo for Shashi Kapoor to begin the end of the article:
Ye Dil Kiso Dun – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi
Mera Dil Tum Pe Aa Gaya., Mere Pahlu Se Dil Gaya – Ye Dil Kisko Dun (1963) – Iqbal Quereshi – Qamar Jalalabadi
Welcome to November, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1st October (1906) –
Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music
The Incomparable Music Of S D Burman Transcends Generations – What makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his? Antara Nanda Mondal seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.
10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.
We have an excellent career-sketch of Mala Sinha, profiled by Karan Bali in this episode. Well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes – Premendra (Holi AayeeRe (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971).
Helen of the dance floor, in 10 songs – Born on November 21, 1938, and dazzling viewers all the way to eternity, Cha Cha Cha(1964) offered Helen a rare chance to be a heroine, while offering maximum exposure to her dancing prowess:
The debt that Indian cinema owes to Wilkie Collins and his ‘The Woman in White’ – Karan Bali– According to Nasreen Munni Kabir’s seminal book Guru Dutt: A Life In Cinema, Raaz was based on The Woman in White… Although Guru Dutt had abandoned Raaz, the movie was destined to be made. His former assistant Raj Khosla, got permission to use the unfinished film’s story. Khosla reworked Raaz with writer Dhruva Chatterjee as the well-crafted suspense drama Woh Kaun Thi? (1964)… Woh Kaun Thi is the first in a trilogy of mystery films that Sadhana did with Khosla, the others being Mera Saaya (1966) and Anita (1967)… The success of Woh Kaun Thi? inspired remakes, Yaar Nee? (1966), in Tamil and Aame Evaru? (1966) in Telugu, both starring the up and coming J Jayalalithaa. The Woman in White also travelled across the border. Acclaimed music director Khwaja Khurshid Anwar’s Humraz (1967) stars Pakistani star Shamim Ara in the double role of the sisters.
Welcome to September, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
As always, we first take up posts that focus on memories –
The Many Moods of Meena Kumari – with the exception of sadness – and indeed the listing in the post and in the discussion thereon present Meena Kuamri in so different moods that it now appears she was known more as ‘tragedy queen’.
0:00 Awaaz De Kahan Hai
2. 5:06 Talk and Interview
3. 9:17 Sanu Nehar Waley Pul Te Bulake
4. 13:59 Mujhse Pehli Si Mohabbat
5. 20:04 Chithi Zara Saiyaanji
6. 24:30 Bhoolnewale Se Koi Keh De
Kahin Door Jab Din Dhal Jaaye – Mukesh’s Hit Songs for Heroes – Peeyush Sharma takes up on a journey through some of Mukesh’s hit songs, which he sang for the reigning heroes or stars of his time, presented in the alphabetical order in the article, in a tribute to the Golden Voice Mukesh. V. Balsara, the music director settled in Calcutta, had (once) commented that one Mukesh song in the film assured that at least one song would be a hit. The article has a special mention of Saath Ho Tum Aur Raat Jawan (Kanch Ki Gudiya, 1961, Suhrid Kar / Shailendra / Asha Bhosle and Mukesh, picturized on Manoj Kumar and Sayeeda Khan) on Public Demand.
My Favourites: Picnic Songs – Picnics in Hindi films today seem to have gone the way of the dodo, but they were a staple, indeed, integral part of the narrative in the 60s and 70s. Picnics were the perfect occasion to include a song; mostly, it was there so the hero and heroine could a) tease each other b) make fun of the other c) fall in love with each other.
Dekho Dosto Chhed Ka Maza! – Guest article by Shalan Lal – The Chhed chhad songs or the sketches are sub-division of a general term called Comedy. The post and as is always the case, the discussion thereon , are quite scholarly penned presentations of songs and views thereon.
My Favourites: Zulfein – History, mythology and fairy tales are replete with hairy tales……But. Hindi films knew how to celebrate hair. Especially women’s hair, because ‘zulfein’ seemed to refer only to women’s hair. So here are some …‘zulf’ songs, songs that are romantic, sensuous, playful… and extremely lovely plus a bonus song. This has nothing to do with romance, or passion –
Another important memory is rekindled in “Guzra Hua Zamana Aata Nahin Dobara” – S. Mohinder. The interview presented herein no doubt is worth reading. But I have not been able to resist temptation of reproducing here the songs presented in the article. The songs pan S. Mohinder’s career.
Shailendra was the proverbial moth who got burned too quickly – The lyricist died 49 years ago, leaving behind a legacy of exquisite songs that make you cry and think.- Akshay Manwani [Akshay Manwani is the author of Sahir Ludhianvi: The People’s Poet (HarperCollins India 2013)]– Shailendra would have been 92 on August 30. In Ganesh Anantharaman’s National Award-winning book Bollywood Melodies: A History of the Hindi Film Song, eminent lyricist and filmmaker Gulzar said about Shailendra: “In my view he was the lyricist, who understood films as a medium distinct from poetry and theatre perfectly, and adapted to it beautifully. For his ability to know the medium, understand the situation, get into the characters, and writing in a language suiting the character, he was without peer… I’d go as far as to say that among all the lyricists of Hindi cinema, only Shailendra became a part of the film medium, expertly and successfully. All others remained poets who wrote for films.”
We now move over to other posts from our regular blogs.
Ten of My Favorite Background Songs is an interesting compilation of a very popular genre of background songs. Excluded here are the songs that appear in the credit titles of the film. The readers have further enriched the collection.
Bells and Whistles – “Bells and Whistles” is a popular English idiom. It means extra or fancy add-ons. However, when you hear bells or whistles in some Hindi film songs, they seem very much an integral part of the song and not something fancy or extra. There are literally hundreds of songs that feature bells and whistles. We have here a playlist of 15 lively and popular songs with bells and whistles. These songs have been picked from movies from the mid 1960s to the mid 2000s.
Before we pay visit to MUSINGS, we have Nigahen Milane Ko Ji Chahta Hai – The combination of Roshan’s admirable music, Sahir Ludhianvi’s beautiful words, Asha’s flawless rendition, Nutan’s lovely expressive face and the Qawwali style makes this quite irresistible. Here is the song:
rAz kI bAt hai mehfil mE.n kahE.n yA na kahE.n
bas gayA hai kOI is dil mE.n kahE.n yA na kahE.n
Kanha Bole Na – Sangat(1976) – Manna Dey, Lata – Salil Choudhary – Janisar Akhtar
Samir Dholakia has referred songs wherein the actor has also rendered the song or the singer has acted in the film. This should pertain the period after vintage era, when playback singing by specialist singers had become the rule. This can be a very long list, which we will take up separately in due course:
To end, we will take Sumant (Dadu) Vashi’s recall of Sawan Ke Mahine Mein (Sharabai -1963- Madan Mohan), one of the invaluable gems form Madan Mohan – Mohammad Rafi collaboration. Even as the clip here has both versions, our refrence is to the pensive pathos mood version.
We continue our pursuit of the golden period of Hindi Film Music …….