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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.

However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.

If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani),  Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and  Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.

An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.

Music Director: Khayyam

Bambai Ki Billi

This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.

Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!

Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt

This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.

Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.

Baarood

Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.

Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein….  Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara  – Mohammad Rafi

A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.

Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar

This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.

Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar

For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.

Music Director: Dattaram

Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.

Kala Aadmi

Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur

Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.

Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge  – Mohamamd Rafi

To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.

If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.

Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar

We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.

Music Director: O P Nayyar

Kalpana

Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.

The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi  Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.

O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle

The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!

Music Director: Sardar Malik

Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.

Mera Ghar Mere Bacche

There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.

The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.

Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur

We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.

Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle

No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.

Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai …..  – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal

Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.

Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle

Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!

Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh

We have a here a good-to-listen, but difficult-to-hum pathos mood composition.

As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.

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Centenary Celebrations

Sahir’s Songs of Romance – Five Film Association

By now in the present series, it is abundantly evident that Sahir Ludhianvi was easily able to blend his poetry with the demands of the situation-based lyrics of Hindi films. As a result, even what could best be described as ‘masala’ fillers situations, his songs retained the watermark of his style of poetry – use of simple but chaste Urdu lyrics from his broad range of vocabulary that his revolutionary thoughts and romantic emotions would call for. As such, he firmly believed that if his lyrics has enough power, the song will work.

O P (Om Prakash) Nayyar – B: 16 January 1926 | D: 28 January, 2007 – though not formally trained in music composed audacious variety of tunes with such rare texture of rhythm and melody that producers were forced to print his name above the names of the stars on the film publicity materials. He so uniquely blended the Punjabi spirit with western music, that in no time he had risen to the ‘rhythm king’ who was one of the highest paid music directors of his time. It is even said that many music directors were coerced by the producers to copy his style, in the hey days of O P Nayyar.

By the time, in 1957, when Sahir and O P Nayyar teamed up for the first time, both had had a rich – in terms of different shades poetry and rhythm-based melody, respectively – legacy, success, and of course the style of their own. However, Sahir Ludhianvi and O P Nayyar association is statistically speaking if Five Films Association, but one of the films, Tumsa NahiN Dekha, has only one song that they have created together because Sahir reportedly developed strong differences with the director Nassir Hussain, However, it was this song that not only powered the success of the film, but also gave Shammi Kapoor his identity and charisma.

Naya Daur, released earlier than Tumsa Nahin Dekha, had all songs on the top of the chart billing. If the O P Nayyar’s signature-to-become horse-beat duet Maang Ke Saath Tumhara or Punjabi folk tune based Ude Jab Jab Jab Zulfien Teri or Reshami Salwar Kurta Jaalidaar, or motivational Saathi Haath Badhana Saathi Re or Johnny Walker song Main Bomabai Ka Babu or  all-time great Mohammad Rafi devotional song Aana Hai To Aa Raah Mein Kuchh Der NahiN Hai had contributed to the roaring success of the film, these songs also brought out hitherto probably hidden qualities of Sahir or O P Nayyar’s repertoire.  I selected the only song that did not become a hit, perhaps because it was finally not included in the film, So, is the case with 12 O’clock, where I have finally chosen the song that perhaps can be considered as relatively less famous.

However, such wide range of subjects for the songs, perhaps catalysed the differences of each one’s highly individualistic nature and pride of their work to surface sooner than later. Sahir went on to become permanent member of BR banner, but O P Nayyar’s association with BR banner ended with this film.

With this prelude, here is my selection of Sahir Ludhianvi’s Romantic Songs in Five-film Association with O P Nayyar, with the films arranged in alphabetical order:

JahaN JahaN Khayal Jata Hai VahaN VahaN TumhiN Ko Pata Hai….. Ye Kab Hua Ye Kyun Hua Ye Kya Hua Mujhe – Bade Sarkaar (1957) – Mohammad Rafi, Geeta Dutt

zulfein hai ke reshami ghatayein hai
aankh hai ke manchali sadayein hai
hoth hai ke patiyaaN adhkhile gulab ki
jism ki hadein hai ya ke bastiyaN hai khwab ki
….    ……   …..   …..   ….. …..

mera har singar hai tere liye
husn ki bahar hai tere liye

Jawani Jhumti Hai Dulhan Banke Ji Banthan Ke, Na Jane Kiske SapnoN Mein …. – Bade Sarkaar (1957) – Asha Bhosle

rut firi gulsan khile
ban gaye naye dil khile
lachke chal man deke taal
kahuN kya main haal kya hai

kaun ye mujhe bha gaya
kispe ji mera aagaya
na jane kiske sapnoN mein
dil ka saj kare mujhpe naj
vo ajib raaj kya hai

Jab Hum Tum DonoN Razi To Kya Karega Kazi, SaiyaN Humse Lada Le Ankhein Mele Ke Bazar Mein – Bade Sarkaar (1957) – Asha Bhosle

kyuN duniya ke pichhe bhage
kuchh nahiN duniya dil ke aage
…  ……    ……   …..   …..
dekh nazara pakad ke hath humara
samajh le dil ka ishara jama le rang zara

le le koi is rut ki nishani le le koi is rut ki nishani
dekh ye ghadiyaN phir nahi aani
…  ……    ……   …..   …..
chhod jhamaila balam kyuN phire akaila
laga hai rup ka maila jama le rang zara

man marzi se reh le pyare
kuchh sun le kuchh keh le pyare
…  ……    ……   …..   …..
jiye jawani o mere dilbar jani
zara kar le man mani jama le rang zara

Ek Diwana Aate Jate Humse Chhed Kare, Sakhi Ri Wo Kya Mange, Jab Bhi Mere Pass Se Gujre Thandi Saans Bhare, Sakhi Ri Wo Kya Mange – Naya Daur (1957) – Asha Bhosle

din dekhe na raat wo
pakde mera hath wo
kabhi sharmauN main kabhi ghabrauN main
samjh na pauN main

teeloN ke us paar se
mujhe pukare pyar se
rashte mein ruk ruk
mud mud chhup chhup
dekhe mujhe tuk tuk haye

Yun To Hamane Laakh HasiN Dekhe Hai, Tumasaa NahNi Dekhaa – Tum Sa NahiN Dekha (1957) – Mohammad Rafi

tum bhi hasiN rut bhi hasiN
aaj ye dil bas mein nahiN
raaste khaamosh hai
dhadakanein madahosh hai
piye bin aaj hamein chadaa hai nashaa

tum na agar bologe sanam
mar to nahiN jaaegein ham
kyaa pari yaa hur ho
itani kyun magarur ho
maan ke to dekho kabhi kisikaa kahaa

Female version in Asha Bhosle’s voice

uf ye nazar uf ye ada
..  ….  …. …. ….. …
kaun na ab hoga fida
zulfein hai ya badliyaN
aankhein hai ya bijliyaN
jane kis kiski aaegi kazaa

Dekh Idhar Ae Hasina June Ka Hai Mahina, Dal JhulfoN Ka Saya Aa Raha Hai Paseena Dekh Idhar Ae Hasina – 12 O’clock (1958) – Mohammad Rafi, Geeta Dutt

sun le kabhi dil ki sada o najani ji na jala
bimar-e-gam huN shafa mujhko de daman se apne hawa mujhko de
—- —-  —-  —– —– —–  —–
hoye main huN madam marina aure fat fat fati na
dur se baat karna pas aana kabhi na, maiN huN madam marina

lakhoN hi jab aahein bharein tum hi kaho hum kya karein
kis kis ke dil ki khabar koi le kis kis ke gam ka asar koi le

mudat se huN barbad maiN shirni hai tu farhad main
ye na samjhana ki ghar jaunga, main teri chokat pe mar jaunga

SaiyyaN Teri AnkhiyoN Mein Dil Kho Gaya, Dil Kho Gaya Ji Mera Dil Kho Gaya – 12 O’clock (1958) – Shamshad Begum

haye re main kahe tujhe tak ke haNsi
tak ke haNsi to tere jal mein faNsi
nazarein churana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

tir tune feinka aisa chalte huye
rah gayi main to hath malte huye
khud ko bachana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

nindiya na aaye mohe kal na pade
jabse ye naina tere naino se lade
ratiyaN bitana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

Pyaar Par Bas To Nahi Hai Mera Lekin Phir Bhi Tu Bata De Ke Tujhe Pyaar Karun Ya Na Karun – Sone Ki Chidiya (1958) – Talat Mahmood, Asha Bhosle

mere khwaabon ke jharokhon ko sajaane waali
tere khwaabon mein kahin mera guzar hai ke nahin
pooch kar apni nigaahon se bataa de mujhko
meri raaton ke muqaddar mein sahar hai ke nahin

kahin aisa na ho paaon mere tharra jaayein
aur teri marmari baanhon ka sahaara na mile
ashq bahte rahein khaamosh siyaah raaton mein
aur tere reshmi aanchal ka
kinaaraa na mile

Solo Version – Asha Bhosle

tune khud apni nigahoN se jagaya tha jinhein
un tamannaoN ka ijhar karuN ya na karuN
tune jis dil ko bade pyar se apnaya tha
usko shikwoN ka gunahgar karuN ya na karuN

jis tamanna ke sahare pe thi jeene ki ummid
wo tamanna bhi pasiman hui jati hai
zindagi yuN to hameshaN se pareshaan si thi
ab to kuchh aur bhi viran hui jati hai

Sach Bataa Tu Mujh Pe Fidaa, Arre Kyun Huaa Aur Kaise Huaa; Maar Gayi Teri Baanki Adaa, Yun Huaa Aur Aise Huaa – Sone Ki Chidiya (1958)  – Asha Bhosle, Talat Mahmood

naazaniN main hi nahi hai yahaan laakho hasin
mujhase hi tujhe pyaar kyun huaa
dil pe nazaroN kaa vaar kyun huaa

chand si surat teri, mohani murat teri
…  ….  ….  …..   ….. …   ….
teri dhun mujhe be-sabab nahiN
aur jalavoN mein ye gazab nahiN

shukariyaa, ae meharabaan
mil gaye mujhe do jahaan
…  ….  ….  …..   ….. …   ….
…  ….  ….  …..   ….. …   ….
besaharaa thi tum nahiN mujhe
aaj duniyaa kaa gam nahiN mujhe

On a broader scale Shahir Ludhianvi and O P Nayyar’s association 4 films 1 song-in-a-film may appear to be too short, but there is no iota of doubt that that has given us some of most everlasting romantic (as well as meaningful) melodies

Our journey of Sahir Ludhianvi’s Romantic songs will again change track and switch over Seven Film Associations with Laxmikant Pyarelal and Khayyam (2.0) in the next episode.

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I Liked Music from films

Fading Memories…. Unforgettable Songs: April 2020

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too. The critics may not put Hsrat Jaipuri in the same bracket as Sahir Ludhyanavi or Kaifi Azmi, many of Shailndra fans may disparage Hasrat Jaipuri’s lyrics, but the fact remains that his lyrics had very authentic simplicity that would win the hearts of Hindi Film songs fans of all hues.

Hasrat Jaipuri, and for that matter, Shailendra too, has partnered quite effectively with a wide range of music directors beyond Shankar Jaikishan. The underlying reasons might be economic – creating much needed extra stream of remunerative work- or creative – working with diverse range would keep their creative energies charged and wider-based-, we have no authentic versions. But these wider associations for both have yielded us a rich treasure of songs to listen to.

We have commenced the annual series of Hasrat Jaipuri’s songs under Other Than SJ  music directors in 2017. Till now, we have covered

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

Presently, we have covered Hasrat Jaipuri’s songs by Other Music Directors for year 1958.

Since we have been moving on in the chronological order of years, we will see some music directors getting repeated in some episodes. In any given episode, wherever we find more than one film with a music director, we have grouped the films under that music director.

Music Director: Vasant Desai

We have seen in our earlier episodes that Vasant Desai and Hasrat Jaipuri have earlier collaborated in V Shantaram’s Jhanak Jhanak Payal Baje (1955). Presently, too, Hasrat Jaipuri is the sole lyricist for Do Phool (1958) with Vasant Desai.

Do Phool (1958)

Do Phool is the Hindi adaption of famous children novel Heidi (Authoress:  Johanna Spyri). It was produced by famous director A R Kardar.  Of the total 9 songs, Asha Bhosle and Lata Mangeshkar each have two solos and one chorus song, Asha & Lata have two duets and Aarti Mukherjee has one solo.  We have picked up two Asha – Lata duets and Aarti Mukherji.

Bachpan Ka Tora Mora Pyaar – Lata Mangeshkar, Asha Bhosle

This song is about two childhood friends, reaffirming their bond of friendship, and making promises never to forget each other. The on-screen picturization is on Baby Naaz and Master Romi.

Roothi Jaaye Re Guzariya – Lata Mageshkar, Asha Bhosle

Sulking – Appeasing virus have been bugging mankind right from childhood friendship days. Once it caught by the adults, it has given a full-fledged, rich, genre of Hindi films songs. Here the children friends have been afflicted by this virus and seem to manifest text-book symptoms in the present song, including the (child) heroine relenting by the end of the song. And the couple goes on live merrily thereafter.

Matak-Matak Naachu Re – Aarti Mukherjee

The song replicates the street play situation of the film. Aarti Mukherjee comes up with very childlike rendering of the song.

Music Director: Dattaram

In his second film as an independent director, Dattaram gets opportunity to work on a social drama. Unlike the earlier case, Ab Dilli Dootr Nahi (9157), which was an RK Production, Parvarish (1958) has Raj Kapoor in the main male lead only.

Parvarish (1958)

Hasrat Jaipuri has the sole charge of lyricisit here. One romantic duet – Masti Bhara Hai Sama and another a peppy dance number, Beliya… Bheegi Si Baharon Mein (both by Manna Dey, Lata Mangeshkar), one comedy male-male duet Maama-O-Maama (Mohammad Rafi, Manna Dey)  and a poignant Aansoo Bhari Hai Yeh Jeevan Ki Raahein (Mukesh) offered Dattaram – Hasrat Jaipuri as wide a latitude as a music director- lyricist team would ever ask for. And they, too, have come up trumps. These songs are remembered even today.

We have picked up relatively lesser known three heard, songs from the film.

Jhoome Re Jhoome Re – Asha Bhosle

In one of the rare roles, the famous, wily (on-screen) mother-in- law, Lalita Pawar plays a very caring mother for the two kids. She is so hard-wired in this vamp roles, that we need to scratch deep into our memories to recall her very sensitive portrayals in films like Anari or Anand. A lorie being filmed on her is another rare happening in type-cast mold-oriented Hindi film working.

Luti Zindagi Aur Gam Muskuraye – Lata Mageshkar

Here we have a formula share of female poignant song.

Jaane Kaisa Jaadu Kiya Re – Asha Bhosle, Sudha Malhotra

A mujra song adds to the variety to the two very different genre songs we heard earlier and to the songs in the film, in general. For the observer friends, who like identifying the screen performers, the knowledgeable bloggers have identified Meena Fernandez (in Asha Bhosle’s voice) and Sheila Vaz (that of Sudha Malhotra) as on-screen performers.

Music Director: Kalyanji Veerji Shah

Kalyanji Shah has not yet teamed up with Anandji, his brother and a long-time career companion in the successful film music career.

Samrat Chandragupta (1958)

Bharat Vyas has five and Indeevar has one song to their share in this film. Hasrat Jaipuri has penned two of the total eight songs in this film, of which Yeh Sama Hai Mera Dil Javaan (Manna Dey, Lata) is well-known. So we have picked up the relatively less heard Lata Mangeshkar solo. Again for the sake records, there also was a same-named film in 1945, for which music was composed by C Ramchandra

Ae Dilbar Aaja Aaja, Haath Se Mere Lele Jam – Lata Mangeshkar, chorus

Since the version we have an audio version, and I have not seen the film, I would not be in position to correctly place the appropriateness of use of a mid-east influenced tune and words like ‘jam’ in the song that would a court dance in the period of Samrat Chandragupta.

Music Director: P Ramesh Naidu

P. Ramesh Naidu seems to be a very obscure name as far as Hindi films are concerned.  But he is not that unknown to us, since we have covered an earlier of his film, Hamlet (1954) , in the earlier episodes of this series. He has directed music for films in ten languages (in comparison with nine by Salil Chowdhury).  He has been awarded national award for his music in Megh Sandesham. It appears that he would get an automatic membership to the one/two film music director club’.  However, it must be appreciated that established lyricists like Hasrat Jaipuri are seen to collaborate with such music directors and give their as good as with any established music director quality of lyrics.

Piya Milan (1958)

Film “Piya Milan” was originally a Tamil film MARMAVEERA-56  The film had nine songs, of which 3 songs have been written  by Harsh and the rest six by Hasrat Jaipuri. Most of the songs remain unknown ones. So, we have picked up songs that have Usha Mangeshkar as a singer to add variety to the songs in this present episode.

In the present case, too there was a similar-named film in 1945, for which Feroz Nizami had composed the music.

Ho Ji Tum Pyar Hamein – Usha Mangeshkar

Prima faci,e this is a dance performance that basically is meant for the entertainment of a rich client

Tilla Langdi Koyale  – OM Verma, Usha Mangeshkar

A street dance act played inside the drawing room for the entertainment of the rich family, so it seems from the stand alone view of the video.

O Saathi Re Tu Aa Bhi Ja  – Lata Mangeshkar, Usha Mangeshkar, Jagmohan Bakshi, chorus)

We only have an audio version. Having heard Jagmohan Baxi so effectively in Dekho Mane Nahi Roothi Hasina (Taxi Driver, 1954- with Asha Bhosle – Music: S D Burman- Lyrics – Sahir), one would expect to have to get a closer look at Jagmohan Baxi’s voice, because he is not regular singer. But here his use does not give us that strong opportunity.

Music Director: OP Nayyar

OP Nayyar has also appeared earlier on this series for the film Johnny Walker(1957). Presently too OPN and Hasrat Jaipuri have been teamed for Mr. Qartoon MA. OPN and Hasrat Jaipuri teaming up for two songs in Howrah Bridge too this year, Whether it is a coincidence or choice (governed by the success of Johnny Walker, the film  songs), we have not verifiable source to know. Nor does it matter, we have good songs to listen to and enjoy.,

Howrah Bridge (1958)

The film has eight songs of which six have been penned by Qamar Jalalabadi.  We have covered Main Jaan Gayi Tujhe Saiyaan (Mohammad Rafi, Shamshad Begum) earlier, in other context,in our other posts on this blog, so, I have selected  an Asha Bhosle solo.

Yeh Kya Kar Dala Tune – Asha Bhosle

The song is all the way an O P Nayyar song, A hoofing – tonga- rhythm, switching over to Dhalak as base instrument for a while in Antara, clever use of whistling,  sweet use of violin, sarangi – are all the signature stamps of OPN.

Kabhi Andhera Kabhi Ujala (1958)

The film had Kishore Kumar and Nutan as the lead actors.

Ajab Hamari Hai Zindagani  – Asha Bhosle

This is song that has title of the film in the mukda.

Zara Sone De Balam – Asha Bhosle

The song is composed to a signature dholak rhythm of O P Nayyar. We find a major variation in terms of huge violin ensemble at the beginning of the interlude orchestration piece.

MR Qartoon MA (1958)

This is cent per cent Hasrat Jaipuri – OPN film, with Johnny Walker as the main lead. The film had three Asha Bhosle solo and one Geeta Dutt- Asha Bhosle duet., but we have deliberately chose the songs that have presence of Mohamad Rafi, in line with our tradition to end our episodes with Mohammad Rafi songs.

Mai Mai Mai Qartoon  – Mohammad Rafi, Asha Bhosle, Shamshad Begum

This is also a song wherein mukhda lyrics have weaved in film title. O P Nayyar switches between western and Indian style bass rhythms in the interlude stanzas. The song appears to be filmed as a fantasy stage show.

Mera Dil Ghabraye Meri Aankh Sharmaye – Mohammad Rafi, Asha Bhosle

The duet is set to a picnic spot situation. Johnny Walker has put on a deceptive disguise of painting-brush-like thick moustache, but his style of singing remains his by known well-known theatrics.

Tune Maar Ke Pyar Ki Bomb Mere Dil Ko Kar Diya Mom – Mohammad Rafi, chorus

Hasrat Jaipuri has used his own signature style of beginning a song with a couplet (‘sakhi), and then has gone onto build a simple end-rhyming lyric that match the situation of the song. Johnny Walker and his gang have masqueraded as signing ascetics and seem to be on a heart-winning mission.. We can see Mehmood too as his junior, principal, aid.

Music Director : B(aldev) N(ath) Bali

B N Bali is one of those music directors who got confine to B and C grade films. He is credited with composing music for 24 films

Pehla Pehla Pyar (1958)

The film had 3 songs written by Madan Mohan (I trust this not Madan Mohan the music director), one by Anand Bakshi and four by Hasrat Jaipuri. The digital link of the three Hasrat Jaipuri songs are still not available on net.

Roke Se QayamatRruk Jaye Par Rokna Dil Ka Mushqil Hai
Kuchh Bhi Na Sujhai Deta Hai Jis Waqt Mohabbat Hoti Hai

Jab Unka Khayal Aa Jata Hai – Mohammad Rafi

Here too the song begins with a classic Hasrat Jaipuri style couplet.

The composition is considered to have a too close resemblance with a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.

As we end the present episode, it would be interesting to note that Hasrat Jaipuri seems to take up assignments with other music directors when he seems to have less-to-nothing share of songs with Shnkar Jaikishan. 1958 had only tow SJ films – Yahudi and Baghi Sipahi, in which Hasrat Jaipuri has only one and three songs respectively.

Either way we have nothing to lose….. and await eagerly for the next stop of our journey…..

We will continue remembering 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.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – February 2020

Welcome to February 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The first post that we take celebrates the Republic Day of India. Shri N Venkatraman pays the tribute through ‘Vandya Vande Mataram’: The story of a Song Perennial.

Anand Math is the anti-establishment film to watch and learn fromMadhavi Pothukuchi – While the nature of the actual rebellion is disputed — some historians say it was an all-Hindu uprising, while some say it was simply an anti-imperialist movement, and still others dispute its authenticity — the film and the book show it as an all-Hindu, anti-imperialist, nationalist movement.

Happy Valentine’s Day! has been celebrated on the HFM Weblog world too with Hindi Film Songs, albeit from the post-2000 years.

We pick up other tributes and memories:

Returning to “Hum Dekhenge” (and a Happy Upcoming Birthday to Faiz Ahmed Faiz!) – Noor Jehan performed “Mujh Se Pehli Si Muhabbat” in defiance of a ban of Faiz by one military ruler of Pakistan – Muhammad Ayub Khan – and Iqbal Bano performed “Hum Dkehenge” in defiance of a ban by another – the notorious Muhammad Zia-ul-Haq

Mehfil celebrates ‘C Ramchandra’ Month! is carried forward with C Ramchandra – 60s & 70s and Marathi songs by C Ramchandra

The Masters: OP Nayyar – Here is a song remembered in the post – Dekho jadoo bhare more nainAasmaan (1952) – Geeta Dutt – Lyrics Prem Dhawan

OP Nayyar’s music turned Howrah Bridge from a movie to a whole moodMadhavi Pothukuchi – Lyricist Qamar Jalalabadi ascended to the height of his career with the lyrics. They were playful, fun, and enticing and went with the mood Nayyar was intending to set with the music.

Savere Ka Suraj – An Invaluable Art Piece – OPN and Kishore Kumar, deliver a composition which was absolutely classical by theory and amazingly melodious in terms of output. Here is a tune which is having disjointed structure.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

Arth may have been based on Mahesh Bhatt’s life, but Jagjit Singh played a starring roleSamira SoodArth was the first movie for which Jagjit Singh and his wife, Chitra, composed the music together, and he sang every song in it. It is, perhaps, the best movie by which to remember him in the week of his birth anniversary.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. February, 2020 episode covers Manna Dey- Mehmood combination songs till 1966 starting with Manna Dey’s songs for Mehmood in the January 2020 episode from the beginning of Mehmood’s acting career, till Ziddi (1964)

Madhubala and K Asif’s grandeur is what makes Mughal-e-Azam an epicMadhavi Pothukuchi – A film with one of the highest production costs and the biggest collections, Mughal-e-Azam’s success can be put down to Madhubala’s grace and beauty.

February 2020  episode of Fading Memories, Unforgettable Songs takes up Part 1 of Talat Mahmood duets with Geeta Dutt. In our series on Talat Mahmood’s rare duets, we have covered –

2017: Some of the Talat Mahmood Duets receding from the memory

2018:  Talat Mahmood’s Duet Combinations with Rare Co-singers

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

We will now take up the articles on other subjects:

How Sridevi gave Yash Chopra’s career a fresh lease of life with ChandniSridevi – The Eternal Screen Goddess, by author and screenwriter Satyarth Nayak, charts the actress’s five-decade-long journey from a child star to India’s First Female Superstar.

Film Songs Based on Classical Ragas (13) – An afternoon with ragas: Bhimpalasi and her Sisters – I have picked up  are some of the less known songs based on this raag from Shri Subodh Agarwal’s’ comeback post.

FFSI Initiates Campaign to Save the Ancestral Houses of Ray, Ghatak and Sen – Buoyed by the human chains formed in Rajsahi, Dhaka and Toronto to demand restoration of the decaying ancestral houses of the legendary filmmakers Satyajit Ray, Ritwik Ghatak and Mrinal Sen, the FFSI has decided to initiate an international campaign.

Dinesh Shailendra Narrates Story Behind The Anari Song – Shailendra was woken up… He went out…. As soon as RK saw him, he jumped out of the car and rushed to embrace Shailendra….. RK muttered ” Mainey abhi Anari ka gaana sunaa…. jeeyo mere Pushkin…” !.. Years later, it will be discovered that Shailendra has, in this song, actually predicted the pattern his life will follow…. This song is one that we all identify with at certain times in our lives…It has been quoted in the Indian Parliament by Atal Bihari Vajpayee and incidentally, even in the Pakistan Parliament by Nawaz Sharif !!!

Film Songs From Firmament – songs which were not picturised on any actor, but they still played an important role in either conveying a message to the actors on the screen, or just depicting the situation on the screen for the viewers.

Cinemaazi: Chronicling Indian Film Heritage and Its Unscripted Stories – Cinemaazi, an initiative to chronicle, archive, curate, preserve and exhibit the mammoth cinema heritage of India, by far the world’s biggest and most varied film industry, was launched in New Delhi on January 31.

On Nandita Das’s Manto & I – A single, very particular voice runs through this coffee-table book by Nandita Das, the voice of a reader, writer and director who became deeply interested in Saadat Hasan Manto and eventually realised her dream of making a film about him. An earlier post about Manto the film is here.

We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:

Na Tajshahi, Na Badshahi – Shirin Farhad (1956) – S Mohinder – Tanvir Naqvi

Duniya Kya Hai – Sarhad (1960) – C Ramchandra – Majrooh Sutanpuri

Pani Hota To Doob Hi Jaate – Mian Bibi Razi (1960) – with Kamla Sista – S D Burman – Shailendra

Wah Wah Re Teri Chaal – Do Dilon Ki Dastan (1967) – O P Nayyar – Raja Mehdi Ali Khan)

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

 

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too.

Just as Hasrat Jaipuri invested his earnings in real estate or rental property, on his wife’s advice and create another independent stream of income, he also prolifically wrote lyrics for music directors other than Shankar Jaikishan. We have been trying to get some of his less heard songs with other music directors on one page in this forum. We commenced the series in 2017 wherein we had covered his songs with other music directors from 1950 to 1953, and then in 2018 the songs from 1953 to 1955. In this episode, we will cover Hasrat Jaipuri’s songs with other music directors for 1956 and 1957. In order to keep our catch-pool wider enough, we have repeated some of the HJ – music director relationship that may have been covered in the earlier episodes as well.

1956

HJ had 19 songs – Basant Bahar (1), Chori Chori (5), Halaku (3), New Delhi (2), Patrani (2), Kismat Ka Khel (2), Rajhath (4) – with Shanker Jaikishan and  11 songs with 6 music directors – Dilli Darabar (S N Tripathi, 4), Insaaf (Chitragupta, 2), Naquabposh (Ramlal, 2), Shailaab (Mukul Roy, 2) and Toofan Aur Diya (Vasant Desai, 1) – in 1956.With Vasant desai this is his second consecutive V. Shantaram film, after Janak Janak Payal Baje in 1955.

Music Director: S N Tripathi

Dilli Darbar – The film has Hasrat Jaipuri’s professional alter ego, Shailendra, as his partner lyricist in this film. It seems that none of three songs of Hasrat Jaipuri are available on YT.

Music Director: Mukul Roy

Film: Sailaab

Sailaab was produced by Mukul Roy, in virtual partnership with Geeta Dutt, her sister, and was directed by Guru Dutt.

Haye Re Haye Re……Baje Dil Ke Taar Kare Pukaar – Lakhsmi Shankar

We have no basis to find out why was the song awarded to Lakshmi Shankar. None the less, the song is very pleasant to listen to.

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

The song a is a typical solo a young girl in love that is not spelt out in public, would sing to vent her feelings.

Music Director: Chitragupta

Insaaf is another film for which the song written by Hasrat Jaipuri does seem to have been uploaded on YT.

Music Director: Ramlal

Naqabposh also has the similar fate in so far as Hasrat Jaipuri’s songs are concerned.

Music Director: Vasant Desai

Fim: Toofan Aur Diya

All other songs for this film has been written by Bharat Vyas.

Neegahe Neechi Kiye Haaye … Sar Jhukaye Baithe Ho….Tum Hi Ho Jo Dil Mera Chrauye Baithe Ho…..Dil Tumne Liya Hai Mera Jaan  – Shamshad Begum

The song is essentially a mujhra dance, but the song is based on garaba folk tune. However, use of harmonium pieces helps the song to retain its mujhra dance character. Use a prelude couplet in the song is the tell-tale indication of it being a Hasrat Jaipuri song.

1957

HJ’s score was 5 songs with Shanker Jaikishan – Begunah (3), Kahputili (2) – against which he had written 25 songs for Dattaram (Ab Dilli Door Nahi, 4);  Roshan (Coffee House, 1); O P Nayyar (Johnny Walker, 6); Basant Prakash (Maharani, 3) and (Neelofar, 3) ; N Dutta (Mohini, 2) and (Mr. X, 3); Vinod (Mumtaz Mahal, 3).

Music Director: Dattaram

Film: Ab Dilli Door Nahi

As is well-known, Ab Dilli Door Nahi was the maiden film of Dattaram as independent music director. Hasrat Jaipuri’s Choon Choon Karati Aayi Chidiya (Mohammad Rafi) remains hugely popular even today. Jiyo Laal Mere Tum Lakho Baras (Lata Mangeshkar, chorus) was well-acclaimed among the critics.

Lo Har Cheez Le Lo Zamane Ke Logo, Baharon KI Ham To Ada Bechate Hai – Asha Bhosle, Geeta Dutt, Sidha Malhotra and chorus

The song opens with a HJ-signature prelude couplet Idahr Bhi Ek Nazar Jaanewalo….and then runs into a high-pitched street sale of toys by the young children. Lyrics befit the simplicity of the adolescence of the protagonists and yet have very deep meaning.

Aside:

The child actor who opens the main lines of the song is Amjad Khan.

Bhej Chhanna Chhan Khoob Rupaiyya, Ham Tere Kehlate Hai – Mohammad Rafi, S Balbir

The prelude couplet sets the tone of the song when the protagonist yearns the a fourth of a crore as side-kick gift from the almighty. The song goes on to spell out the details of the application, seriously by presenting in a lighter tone.

Music Director: Roshan

Film: Coffee House

Prem Dhawan was the principal lyricist for the film, however Shailendra and Hasrat jaipuri have got one song each to write in the film.

Tod Diya Dil Tune Sanwariya – Asha Bhosle

The prelude couplet marks the Hasrat Jaipuri’s signature style. The song is drenched in pathos mood, even if set to a quicker rhythm.

Music Director: Basant Prakash

Film, Maharani is one more film for which we do not find Hasrat Jaipuri’s songs on YT, even as all songs, except one, were written by Hasrat Jaipuri.)

Film: Neelofar

The film has two pairs of music directors and lyricists. Basant Prakash has teamed up with Hasrat Jaipuri for three songs and Avinash Vyas has teamed up with Pandit Mathur for two songs.

Nazuk Bahar Hoon, Dil Ka Qarar Hoon Duniya Hai Mujh Pe Nichhar, Laayi Hoon Main Ankhon Mein Pyar – Asha Bhosle

The song is simple dance song, both in terms of simplicity of the lyrics as well as that of the composition.

Naache Dil Mera Chhamma Chhamm…. Meri Aankhon Mein Sanam Hai, Meri Saanson Mein Sanam – Sudha Malhotra

A lilting dance song is set to so-called Arab tune.

Music Director : Vinod

Film: Mumtaz Mahal

Out of the seven songs, one each is written by Pandit Priyadarshi and Kaifi Azmi and the rest five are written by Hasarat Jaipuri. We have picked up only one song here.

Main Dil Ka Saaj Bajata Hoon Chaahat Ke Nagme Gaata Hun – Talat Mahmood –

The song fits the possible feelings that music director, Vinod, may have about the way his own music was treated by the commercial world of Hindi films.

Music Director: N Dutta

Film: Mohini

The film has two HJ songs, of which the video clip of Raat Yeh Bahar Ki Tere Pyaar Ki (Asha, chorus), seems that the video of this song seems to  have been removed on YT and does not seem to have been restored.

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

The HJ-signature prelude couplet has been very cleverly used as an opening gambit to draw the initial attention of the king. The song then goes on as dance recital wherein the lady engages the attention to put forth her love.

Film: Mr. X

Mr. X had Ashok Kumar in the lead role, but the film was a thriller in which the hero becomes invisible. The film had as many as four lyricists – Majrooh Sultanpuri, Tanvir Naqvi, Bharat Vyas all had one song each whereas Hasrat Jaipuri had three songs. We have picked up two representative songs here…

Mein Pyar Ki Laila Hoon , Paogi Na Tum Aisi, Ye Chand Bhi Deewana, Surat Hai Meri Aisi  – Manna Dey, Sudha Malhotra

In this duet, it is the lady-love who praises her own beauty for which even Moon is jealous. The poor love musters up courage to reply in the second stanza only. He goes on add to her praise and in the process is ready to throw away all the trivia of the worldly pleasures.

Sadke Tere Chaal Ke’ Kajara Vajra Dal Ke, Jaanewali Aana Kabhi Yaar Ki Gali – Mohammad Rafi, Geeta Dutt

A very playful duet wherein the lady love is lavished with all top-of-the-head -sounding praises by her beauty-and-style infested lover. The lady love also takes the praise in her stride with a chin-up demur.

Music Director: O P Nayyar

Film: Johnny Walker

This is a full-scale film in so far as role of Hasrat Jaipuri as lyricist is concerned. O P Nayyar is also in his usual full flow.

Thandi Thandi Hawa Pooche Unka Pata – Geeta Dutt, Asha Bhosle.

The present song is filmed on Shyama and Sheila Vaaz. This is one of the two duets by Asha Bhosle and Geeta Dutt in the film – Jhuki Jhuki Pyar Ki Nazar Dekhe Unhe

We will leverage the advantage of having Mohammad Rafi’s ssongs in the film to maintain our tradition of ending the episode with Mohammad Rafi songs.

Ae Dil Tu Na Dar Is Jahan Se…– Mohammad Rafi

Mohammad Rafi is in his full Johnny-Walker style in the song.

Muh Se Mat Laga  Dekh Zaraa Cheez Hai Buri – Mohammad Rafi, Manna Dey

Mouhamad Rafi and Manna Dey have joined to sings duets across a variety of moods and genre. Her we have one of the finest Raf-Manna Dey duets in a very light situation.

We will continue our journey of Hasrat Jaiuri’s songs for other music directors in our next episode.

We will continue remembering 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.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – January, 2019

Welcome to January, 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Let us Swing into the New Year with Swing a song of sixpence on a swaying spree of ‘jhoola’ songs with Ashwin Bhandarkar.

Mrinal Sen: The Man Who Fought Through Cinema – Bhuvan Shiome, the sophisticated satire’s runaway success not only created cine-history, it created an entire generation of cine-maestros…showing a multifaceted India on the silver screen.

For the micro-level review of the film please read on Bhuvan Shome (1969).

Some more tributes to Mrinal Sen, on Scroll.in:

This is also the birth centenary year of Kaifi Azmi. Tabla maestro Ustad Zakir Hussain, singer-composer Shankar Mahadevan, lyricist Javed Akhtar, actor Shabana Azmi and filmmaker Feroz Abbas Khan have come together for a ‘Raag Shayari’ to mark Kaifi Azmi’s centenary celebrations

We take a look at a retrospective by Rajya Sabha channel – Remembering Kaifi Azmi

On Kaifi Azmi’s centenary year, Garm Hava writer Shama ZaidiAaj ki Raat Bahut Garm Hawa Chalti Hai – Kaifi Azmi recites for Balraj Sahni

Shakeel-Naushad: Classy Confluence, Seamless Flow – 2 – After exploring the Shakeel – Naushad initial phase in the Part 1, Vijay Kumar now delves into their combined work from Mughl-e-Azam.

Bharat Vyas – The Prolific Lyricist – I and Bharat Vyas – The Prolific Lyricist – II is a series of tributes to the lyricist in his centenary birth year.

OP Nayyar, the Music Maestro Who Regretted Nothing, is republished to mark OP Nayyar’s birth anniversary. Listen to OP Nayyar jukebox here.

Remembering poet and lyricist Neeraj, who gave us some great lyrics and enduring ideas – On his 94th birth anniversary, flashbacks to the time Neeraj escaped death thrice and his views on Hindi film music.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

The flashback series: why you should watch Kala Bazar with its celebrity cameos, vivid sound design, and an early glimpse of Vijay Anand as director and actor

Pancham And His Jalpari – Tale Of Choral Tail –The previous Jalpari article relates to the lovely buildup of the emotion / yearn of the beloved, as lovingly detailed as a mermaid’s cute face/ mukhada in RDB songs. The present sequel takes up the tale of the choral tail, the tail that follows as smoothly after the mukhada as the aqua-dynamic as the shape of the tail of the mermaid, an apt example is the improvised sad version of Saagar Kianre

‘Do Gaz Zameen Ke Neeche’Imtiaz Khan, elder son of actor Jayant, played played important roles in many hit films like ‘Yaadon Ki Baaraat’, ‘Dharmatma’, ‘Zakhmi’, ‘Zorro’, ‘Kala Sona’, ‘Kabeela’ and ‘Darwaza’., but his first love was film direction.

From Left Imtiaz, Jayant, Amjad

January, 2019 episode of Fading Memories, Unforgettable Songs is second article in the series of annual article series on Jaidev: Brilliant, But Underrated Composer. The present article covers less remembered songs of unknown films from 1964 to 1970. For the records, we had covered his take-off years of 1955 to 1963 last year.

We also have another article, JAIDEV- A composer with the highest number of unreleased films, in which he had composed some gems

And, now the posts on other subjects:

Welcomed with Arrows – Arrows and bows are called teer and kamaan respectively in Hindustani language. They are also called baan and dhanush. Our poets have used teer and baan as metaphors in poetry, both to ignite love—in the Cupid way—as well as to injure it. The post checks out these songs from our films, which make an early reference to such ammunition:

Greatness in the shadow of the giants: Pandit Shyam Sundar – Shyam Sundar was not only central to the career of the three greatest singers, Noorjehan, Lata Mangeshkar and Rafi, he takes the sole credit for Sulochana Kadam’s fame. Shyam Sundar’s career was short, spanning about 14 years (1939-1953) in which he gave music for only 4 Punjabi and 20 Hindi films. He died prematurely in 1953.

The Irony of an Iron Building – One wonders how the word hotel became a substitute for an eatery in Hindustani parlance, with names like one finds names like Ram Bharose Hindu Hotel or Allah Bux Hotel being ubiquitously seen across towns in India. The post recalls the song engaging with this idea,

Aao Hamar Hotel Mein Chai Piyo Ji GaraM Garam, Biscuit Khalo Naram Naram – Kundan (1955) – S D Batish, Sudha Malhotra – Ghulam Mohammad – Shakeel Badayuni

Shehnai (1947) and a Sad Video About the River in the “Chhuk Chhuk Chhaiya Chhaiya” SceneThe clean, fragrant, and sweet waters that the song talked about have long since lost their spirit. Today, the Kandivli ‘nullah’ bears an ominous look.

More Than Meets the Eye – What is it about sunglasses that is so cool? Why is it that they are seen more as style accessories than as protection for the eyes? When did they transform from a thing of function to one of fashion? In any case, Hindi films have a known tradition of actors who were seen wearing sunglasses in a song. The post lists such songs.

We will take a quick look at these guest posts, before we move over to the curtain call for the present episode:

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up a few songs, each one of which basically has a link with the topics discussed in the present post.

Chand Ki Sundar Nagri Mein Pariyon Ki Raani Raheti Thi – Dholak (1951) – with Uma Devi and Chorus – Shyam Sundar – Aziz Kashmirir

Koi Ek Ana Koi Do Ana Koi Ten Ana Koi Char Ana – Dhun (1953) – with Satish Batra, Madan Mohan, Babul – Madn Mohan – Bharat Vyas

Ishq Mein Mere Kya Kaya Junoon Ki – Khunus (Unreleased) – Jaidev – Bahadur Shah Zafar

Wo Teer Dil Pe Chala Jo Teri Kaman Main Hai.… – Aarti (1962) – with Asha Bhosle – Roshan – Majrooh Sultanspuri.

Nain Mila Ke Pyar Jata Ke Aaj Na Ja Tu –  Mera Bhai Mera Dushman (1967) – With Jagjit Kaur – Khayyam – Kaifi Azmi

Jinke Pas Haathi Ghoda Inke Pas Dil Thoda – Dil Ka Raja (1970) – with Asha Bhosle and Manna Dey – R D Burman – Mahrooh Sultanpuri

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – February, 2018

Welcome to February, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our February, 2018 episode with Bharat Darshan – Bharat Darshan in Songs (1): Small towns  followed by Bharat Darshan in Songs (2): Metros. Once we tour India, how can we be satisfied without having a look Around the World in Songs.

Knowing fully well that a mere mention of the these tours will not suffice, I have selected one song from each post to taste the potentials of these tours

Tum Dilli Main Agra Mere Dil Se Nikle Haaye – Pahle Aap (1944) – Shyam Kumar and Mohammad Rafi – Naushad  – DN Madhok

Bombay Purani Kalkatta Purana – Umar Qaid (1961)   Mohammad Rafi and Kamal Barot – Iqbal Qureshi – Hasrat Jaipuri

Ek Din Lahore Ki Thandi Sadak Par Shaam Ko Ja Rahe TheSagai (1951) – Chitalkar, Rafi and Shamshad Begum – C Ramchandra  –  Rajendra Krishna

Around the World in Ten Songs also is an off-shoot of the aforementioned Bharat Darshan posts. There are songs—the ones shot abroad—merit a separate post, because so many of them (Akele-akele kahaan jaa rahe ho, O mere shahekhubaan, Raat ke humsafar, Aye meri zindagi tu ajnabi toh nahin, etc) have little to do with the place itself. The present list is limited to the songs that actually name a city or town, whether or not the song itself is shot there, e.g.  Bade Bhaiya Laaye Hain London Se Chhori  – Ek Hi Raasta, (1956) – Asha Bhosle – Hemant Kumar – Majrooh Sutanpuri

And, now, we take up the tributes in January (post-our January, 2018 issue) / February, 2018:

The first five posts are w.r.t. the Valentine Day.

Valentine Day also is the birth date of Madhubala.

The Many Moods of Madhubala – On her 85th birth anniversary on 14th February, 2018 – Her obvious beauty blinded people to her talent, and her ill-health didn’t allow her much of a chance to explore roles that might have rewarded her latent talent.

Barsat Ki Raat Part 1: A Musical Romance – On the occasion of Valentine’s Day, and the birthday of Hindi films’ Venus, Madhubala, Monica Kar revisits the classic musical Barsat Ki Raat 1960, exploring the evergreen memorable songs and scenes of this delightful romantic story. [We will include the Part II of the article in our next episode.]

Happy Birthday Suman Ji! presents her representative solo songs on her 81st birthday on 28th January, 2018.  This is followed up with Suman Kalyanpur – Duets. I have picked up a duet with Mohammad Rafi from her one of the first films just after her marriage:

Jara Thahero Abhdul Gaffar Rumal Mere Leke Jaana – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra – The tune is composed on Gujarati Garba folk song tune.

The Many Moods of Waheeda Rehman – a ‘song’ tribute to Waheeda Rehman on her 80th birthday (3rd February, 2018), songs that she sang on screen presenting her in a different mood and/or emotion.

OP Nayyar — Music Alchemist  –  In a tribute to the legendary music director OP  Nayyar, Silhouette presents a unique collection of essays curated by noted musicologist and author Manek Premchand, admin of the RTS group. The group draws its name from Manek’s book ‘Romancing the Song, an in-depth encyclopedic lyrical journey through the history of the Hindi film song.

Khayyam: The Poets’ Musician – The earnestness, the depth and the genius of Khayyam led to the creation of masterpiece ghazals, songs and nazms that are among the most beautiful melodies in Hindi film music. Vijay Kumar explores a few of Khayyam’s everlastings songs on the music maker’s birthday on 18th February, 2018.

Pankaj Mallik-The Singer,Composer Admired By Rabindranath Tagore – The credit of taking Tagore’s songs and music, which have come to be known as ‘Rabindra Sangeet’, to the masses goes to ‘Mukti’.

Zindagi Bhar Nahin Bhoolegi: Bharat Bhushan’s Unforgettable Singer-Poet Musicals – By Peeyush Sharma – Bharat Bhushan’s educated, decent, quiet and humble personality made him excel in unforgettable musicals as historical singer-poet or romantic shayar.

February, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to: Talat Mahmood’s Duet Combinations with Rare Co-singers. I plan to follow the practice of following-up one artist every month every year. E.g. Our present episode is follow-on post to the February, 2017 episode:Some of the Talat Mahmood Duets receding from the memory’.

And, now the posts on other subjects:

The mesmerizing Qawwaalis from Hindi movies – Listening to a good Qawwaali may take you into a state of trance. Bollywood movies have carried the Qawwaali tradition a long way through several memorable Qawwaalis.

Bombay Returned is Manek Premchand’s maiden article as far as this blog carnival is concerned.  The post looks at many actors, singers, composers or filmmakers who came to Bombay to try their fortunes in Hindi films, only to go back to where they were known better through the prism of lens of their Hindi Film Songs.

Great Theme Music of Bollywood – Theme music is a piece that is often played during the introopening credits and/or ending credits. This music is a Signature Music of a Film. For example – Alaap at the end of a musical piece from ‘Pakeeza’. In the early years of radio and television, celebrities often had a signature song associated with them that became their theme.

‘Bandini’ is about crossings real and imagined, literal and metaphoricalRudradeep Bhattacharjee – Gulzar made his debut as a lyricist with the 1963 Bimal Roy classic, starring Nutan, Ashok Kumar and Dharmendra and scored by SD Burman…Mora Gora Ang Lai Le is the only song Gulzar wrote for Bandini. By then Burman and Shailendra had made their peace, and the latter wrote the remaining songs. [A concerned Bimal Roy then asked Gulzar to join in on his next production, which was being directed by Hemen Gupta. Kabuliwala, for which Gulzar wrote Ganga Aaye Kahaan Se, went on to release earlier than Bandini.].This song also is the first after SDB and Lata’ feud was patched up.

25 All Time Great Whistling Songs Of Bollywood – Whistling is an old art used in songs started in 1930s and 40s. A whistle can be used to express happiness or woo a beloved. Many a times whistling is a part of hero’s introduction song, where he is shown to whistle happily, either walking or riding a bicycle, or driving a car.

‘Gharonda’ remains one of the most resonant films about Mumbai’s housing woesNandini Ramnath – House-hunting leads to heartbreak in Bhimsain’s 1977 morality tale, starring Amol Palekar, Zarina Wahab and Shreeram Lagoo.

Devika Rani is a free-spirited bird in ‘Main Ban Ki Chidiya’Archana Nathan – The famous song from Franz Osten’s ‘Achhut Kanya’ is a perfect ode to Devika Rani.

Zara Dekhiye Meri Saadgi’ – Dara Singh – His first real acting film was Bhaktraj (1960). But he came in a hero in Faulad (1963), and then went to act in 80 films in the lead role. The song that the article title refers to is from Nasihat(1967) – rendered by Mahendra Kapoor and composed by O P Nayyar.

We concluded our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?  with the final post that presents my views on the Top Music Directors for 1948. If we recall, SoY had concluded the series with Best songs of 1948: Final Wrap Up 4.  All the posts of the Micro View of Best Songs of 1948 can be accessed @ The Songs of 1948 @SoY.

In our tradition of ending our post with article or topical song, I have picked up one duet with Suman Kalyanpur and one rarely heard composition of O P Nayyar and Roshan each, in continuation to leads that we have had earlier in this episode::

Aankade Ka Dhandha Ek Din Teji – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra

Sharab Ka Sahara Leke Bahal Saka Na Mera Dil – Commecrical Pilot Officer (1963) – Roshan- Anand Bakshi

Bana De Bana De Prabhuji Tu Bigdadi Bana De Prabhuji – Phaagun (1958) – With Asha Bhosle – O P Nayyar – Qamar Jalalabadi

Madhubala and Bharat Bhushan lip sing the song on the screen.

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

Categories
Fading Memories….Unforgettable Songs

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1952-1953

We have taken up to celebrate Mohammad Rafi’s anniversaries by publishing a series of articles that enlist the solo song of Mohammad Rafi with the music director for the first time in any film. The first 5-year slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We have covered 1949  and 1950-1951 of the 2nd five-year-slot of 1949 to 1953.

Presently we will take up years 1952 and 1953 of this 1949-1953 period..

 [For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]

1952

Year 1952 had 80 songs to Mohammad Rafi’s account, of which 32 songs were solos.  Naushad gave a slew of Rafi hits in Aan and Baiju Bawra. For Deewana, Naushad had one of Rafi’s immortal Tasweer Banata Hun Teri Khoon-e-Jigar Se.Ghulam Mohammad had had Rafi in films like Ajeeb Ladki, Amber and Sheesha, C Ramchandra in  Saaqui and Maadn Mohan had him in Anjaam. Chitragupt had Rafi songs in a religious film, Bhakta Puran and a Sinbad series film, Sindbad The Sailor. Rafi gets repeat preference by several other music directors too.

O Moorakh Insaan Apne Ko Pehchan – Annadata  – Mohammad Safi – Anjum Jaipuri

Mohammed Safi was an excellent Sitar player and music arranger. He has provided music independently in about 14 films and was a key assistant to Naushad.

Kit Jaoge  Ghanshyam Murari Jaane Na Doonga – Mordhwaj – Narayan Dutt – Bharat Vyas

The most striking feature of the song is so complex orchestration in support of the song as well as for the interludes.

We find second part of the song on YT.

1953

The last year of the 2nd Five-year period of Mohammad Rafi’s career is quite rich in terms of the ‘first film wherein Rafi had a solo song with the music director’ as well as the films with the music directors who seem to have started giving Mohammad Rafi as lead male playback singer. If we have to select one Mohammad Rafi song from this year that has stood up the tests of time that would easily be Madan Mohan’s composition – Ye Duniya Pagalo Ka Bazaar. For the purpose of records, we note that the year had 31 solos songs of Mohammad Rafi out of a total of 71 songs.

Asides:

This should go on records as the only year where Mohammad Rafi has played back in the films which had the three Kapoor brothers.

Ghata Mein Chup Kar..Jo Dil Ki Baat Hoti Hai – Baaz – O P Nayyar – Majrooh Sultanpuri

O P Nayyar gets to toe in the narrow space through this Guru Dutt film which went on create a crescendo in the years to come. Guru Dutt also comes up in this directorial venture for the first time as a n actor too. The present song is cast in quawalli style. Interestingly, OPN has chosen Talat Mahmood for Mujhe Dekho Hasrat Ki Tasveer Hun Main

Koi Ameer Hai Koi Gareeb Hai – Dana Pani – Madan Junior – Kaif Irfani

The film credit has Shashi Kapoor to as one of the actors, who would have been 14 then.

Ajab Tori Duniya Ho More Rama – Do Bigha Jameen – Salil Chowdhury – Shailendra

Here is the song that can be said to be one more defining step in Mohammad Rafi’s career.

Jal Jal Ke Shama Ki Tarah Fariyad – Fariyadi – Baldev Nath Baali –  Muzaffar Orakhzai

The song is cast in what we know as Mohammad Rafi’s signature style for the songs of sad mood.

Mohabbat Aur Wafa Ki….Chanda Ka Dil Toot Gaya Hai Roney Lage Hai Sitaare – Khoj – Nissar Bazmi – Raja Mahendi Ali Khan

The film has Shammi Kapoor in the lead role. It is said that Mohammad Rafi had charged only Rs. 1.00 to sing this Nissar Bazmi song.

Sulag Rahi Hein Husn Ki Sigdi Aaja Pakaye Prem Ki Khichadi – Madmast – V Balsara – Madhukar Rajasthani

Deft use of mandolin in the prelude and interlude has the distinct imprint of V Balsara. It seems Rafi was mandated to deliver this light-toned song with a dead-pan expression.

Chudiyan Lelo Gori, Pehan Le Chudi – Paapi – S Mohinder – Raja Mahendi Ali Khan

The record-worthy feature of the film is that this is the only film wherein Raj Kapoor was seen in a double role. And of course, we can count one more film where Rafi has playedback for Raj Kapoor.The film had another solo too – Tera Kaam Hai Jalna O Parawane – which had gained immense popularity.

Naram Naram Yeh Garam Garam  Yeh Chane Gagan Ke Tare – Rangeela – Jamal Sen – S H Bihari

We have picked up this song over two other solos – Nadaan Na Ban E Matwale..Kuchh Haath Nahin and Sun Sun Meri Kahani Mushkil Hai Jaan Bachani – because it is similar genre as that of the earlier song. That genre is small-tradespersons-selling-their-wares-by-singing-on-the-streets songs.

To conclude the statistics the music directors with whom Mohammad Rafi sang his first solo song for the 2nd Five-Year-period of Mohammad Rafi’s career, we have had 10 films in 1949,  5 each in 1950 and 1951, 2 in 1952 and 8 films in 1953.

At this stage, Rafi has had established fairly wide base of association with music directors – of the vintage as well as golden era. Also, now more and more of his songs with repeat-music directors are getting high popularity. That sets a very interesting tone for the next 5-Year period.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – February, 2017

Welcome to February, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

This is the month when the world celebrated Valentine Day. We have picked up these  topical posts to commence our present episode:

Bachapan Ki Yaad Dheere Dheere Pyaar Ban Gayi – Shaheed (1948) – Lalita Deulkar – Ghulam Haider – Qamar Jalalabadi

We will now take up the posts on the anniversaries or eulogies:

The three distinct phases of OP Nayyar’s career –  Ravindra Kelkar pans three distinct musical styles, each corresponding to three time periods of O P Nayyar’s career.  Here are three illustrations, each for a respective phase:

Taare Chandani – Baaz (1953) – Geeta Roy (Dutt) – Majrooh Sultanpuri

Man More Ga Jhoom Ke – Mangu (1954) – Asha Bhosle – Majrooh Sultanpuri

Humdum Mere Khel Na Jano – Phir Wohi Dil Laya Hoon (1963) – Mohammad Rafi, Asha Bhosle – Majrooh Sultanpuri

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.

Cuckoo Did Get A Mention Here On Her Birthday This Year… – Even as there is no specific post on Cuckoo,  a new comment to the old post Discussion, Info and Great Pics Related to the Earliest Appearances of Cuckoo makes up for the loss.

We have two posts on Waheeda Raheman’s birthday –

  • 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-nazneenKaun Apna Kaun Paraya (1963) – Mohammed Rafi – Ravi – Shakeel Badayuni

Remembering Faiz Ahmed Faiz Through His Aching Words – Almas Khateeb – here’s looking at some of this subtle and sophisticated poet’s works, that’ll stay with us for years to come: Faiz Ahmed Faiz and His Beguiling Poetry.

The February 2017 episode of Fading Memories, Unforgettable Songs was dedicated to ‘Some of the Talat Mahmood Duets receding from the memory’.

Here are posts on other subjects as well:

the-corsican-brothersram-aur-shyam

Films that are 50: A Dilip Kumar double treat in ‘Ram Aur Shyam’  – Nirupama Kotru – The thespian proves that comedy is as easy as tragedy in the 1967 hit comedy, which was a remake of  the popular Telugu film Ramudu Bheemudu, which in turn was loosely based on Alexander Dumas’s The Corsican Brothers.

Los Angeles, 1975. Lata Mangeshkar takes the stage. Deafening applauseMohan DeoraRachana ShahOn Stage With Lata is a different kind of memoir: it is a short history of Mangeshkhar’s concerts in the United States of America, Canada, the Caribbean and the Fiji Islands between 1975 and 1998.

Audio master: ‘Kismet’ laid the foundation of the Hindi film song as we know itRudradeep Bhattacharjee – In the 1943 blockbuster, the essential elements and conventions of the movie tune were codified, including the mukhda-antara form. Musicologist Jayson Beaster-Jones notes, “Both the film and the music of ‘Kismet’ exemplify a point just before a critical moment of transition for Indian filmmaking.”

Hope for Mumbai’s single screen cinemas after New Excelsior gets a shiny makeover – Subhash Ghai’s cinema chain has renovated and relaunched the iconic Mumbai theatre with new amenities and fewer seats.

Flowers bloom in Bollywood – D P Rangan has presented a colorful spread of Hindi film songs on flowers.

My favourites: Ten answers to the ‘Kaun Aaya’ question is in response to songs on Kaun Aaya, such as:

Chaakuwaala chhuriwaala… aaya main mastaana (Al-Hilal, 1957)

Mehfil mein jo aaye tum (Vallah Kya Baat Hai, 1962)

Ghoomke aaya hoon main… Baajewaala Patialewaala (Basant, 1960)

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

Hazrat Adam Ka Wakeya

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

Categories
Fading Memories….Unforgettable Songs I Liked

Fading Memories….Unforgettable Songs: February, 2016

We are meeting soon after the 26th January, India’s Republic Day. If we do not get to listen to the patriotic songs from films on such an occasion, then the celebrations would seem to have to remain incomplete. Our friend Samir Dholakia does not disappoint and has very timely remembered

Mere Watan Se AchchhaLadki (1953) – Lata Mangeshkar – C Ramchandra – Rajinder Krishna

Naresh Mankad also has added up

Main Hoon Bharat Ki Ek Naar – Lata Mangeshkar – N. Sudershan, from the same film.

Harish Raghuvanshi has sent in a gem of the vintage era:

Main To Udas Hoon Magar, Woh Bhi Hai Sogwar kyoon, Unke Bhi Dil Men Dard Hai, Aye Dil-e-Bequarar Kyon – Kamal (1949) – Surendra – S D Burman – Prem Dhawan

The full lyrics of the song are posted @ Main to udaas hoon magar.

Atul’s Songs A Day has posted nine other songs from this film:

Samir Dholakia remembered Ye Duniya Rahe Na Rahe Kya PataMitti Mein Sona (1960) -Asha Bhosle – O P Nayyar – S H Bihari

Bhagwan Thavrani sees the similarity of this one with Madan Mohan tune which was composed almost 4 years earlier…. Kahin Chal Na Dena – Ek Shola (1958) – Mohammad Rafi, Asha Bhosle

Bhagwan Thavrani also very fondly informs us that his elder brother is even a greater ‘music buff’. They hold long sessions in the evenings, discussing songs around a particular music director, singer, lyricist, era or raag. Here is one song that had come up in one of these sessions, while discussing notable Suman Kalyanpur songs –

Likh De Piya Ka Naam, Sakhi Ri Piya Ka Naam – Saranga (1961) – Saradar Mullik – Bharat Vyas

Here is one more equally poignant VIDAI – farewell to the bride to her new married life – song, composed by Ravi, who, perhaps next to O P Nayyar, has given some of the best songs of Asha Bhosle.

Jaa Ri Sakhi Saj Dhaj Ke – Ghunghat (1960) – Lyrics : Shakeel Badayuni

In a tribute to Mahendra Kapoor, Bhagwan Thavarani states that this duet may not qualify as a vintage corner forgotten melody which needs to be dusted off and presented to all connoisseurs of music…but I’m helpless ! For two reasons – one, I have a personal affinity for this duet…..or perhaps, for some personal reasons hidden in the subconscious…AND then for the Great Helen ! She has no peer as far as dancing is concerned. Just watch body movements….. she displays during each interlude. It’s lightening, killing, intoxicating, maddening and what not !

Chhod Kar Tere Pyaar Ka Daman Ye Bat Den Ke Ham Kidhar Jaayen – Who Kaun Thi (1964) – Mahemdra Kapoor, Lata Mangeshkar – Madan Mohan – Raja Mendi Ali Khan

We also take up the opportunity to recall some of the (relatively) for gotten solo songs of Mahendra Kapoor

  • Kho Gaya Hai Mera Pyar – Hariyali Aur Rasta (1961) – Shanker Jaikishan – Hasrat Jaipuri

  • Tum Kitni Khubsurat Ho – Wahan Ke Log (1967) – C Ramchandra – Shakeel Badayuni

In a tribute to Subir Sen, on his passing away in December, 2015, Samir Dholakia has remembered

Sedin Dujane Dulechhinu Bone, Phulodore Bandha Jhulona Bolo Na Bolo Na – Anubhav (1971) – Kanu Roy

This Ravidra Sangeet song has been rendered in their own style by several other artistes. We have picked up its famous Hindi version Nain Deewane – Afsar (1950) Suraiya S D Burman and Hemant Kumar (Mukhopadhyay)’s Bengali rendition in this clip.

Pandit Ravi Shankar had sang this song along with his rendition on sitar at a London concert in June 2011.

Na Jaane Kyon Hota Hai Yeh Jindagi Ke Saath – Chhoti Si Baat (1976) – Lata Mangeshkar – Salil Chaudhary – Yogesh , which had a beautiful Bengali version Pogol Hawa by Subir Sen

In the 1950s, Sen added a unique romantic touch to hit Bengali songs such as “Monalisa Tumi Ki Bolona”.

We have picked up a few more of his rare (duet) songs from Hindi films:

  • Gori Tere Nakhat Naina – Hum Bhi Insaan Hai (1959) – with Geeta Dutt – Hemant Kumar – Shailendra

  • Dil Leke Jaate Ho Kahan – O Tera Kya Kahana (1959) – with Kamal Barot – Kalyanji Virji Shah – Farooq Kaiser

  • Pyar Mein Milna Sanam – Ardhangini (1959) – with Lata Mangeshkar – Vasant Desai – Majrooh Sultanpuri

  • Ghar Tum Bura Na Mano – Mehlon Ke Khwab (1960) – With Asha Bosle – S Mohinder – Raja Mahendi Ali Khan

We shall conclude our present episode with the journey with Peeyush Sharma through everlasting songs of Mohammad Rafi songs Fifty Years Ago: Films and Music of 1965 that seem to be on the path of oblivion…

  • Sab Mein Shamil Ho Magar Sab Se Juda Lagti Ho – Bahu Beti – Ravi – Sahir Ludhyanvi

  • Zindagi Ke Mod Pe Jo Koi Rasta Mila, Teri Gali Se Ja MilaBedagh – Roshan – Shakeel Badayuni

  • Phir Teri Yaad Naye Geet Sunane Aai – Bekhabar – S Mohinder Raja Mehndi Ali Khan

  • Mera Ban Jaye Koi Ye Meri Taqdeer Nahin – Ek Sapera Ek Lootera – Usha Khanna – Asad Bhopali

  • Meri Nigaah Ne Kya Kaam Lajawab Kiya – Mohabbat Isko Kahate Hain – Khayyam – Majrooh Sultanpuri

  • Hamen Kya Jo Har Su Ujale Huye Hain, Ke Hum To Andheron Ke Paale Huye Hain – Namaste Ji – G S Kohli – Anjaan a.k.a. Lal Ji Pandey

  • Kuchh Aisi Pyari Shakla Mere Dilruba Ki Hai, Jo Dekhta Hai Kehta Hai, Kudrat Khuda Ki Hai – Naya Kanoon – Madan Mohan – Hasrat Jaipuri

  • Dil Tadpe Tadpaye, Jo Unke Milan Ko Tarse Wo To Na Aaye, Mausam Aaye JaayePoonam Ki RaatSalil Chaudhary – Shailendra ( Peeyush Sharma notes : Salil was not in favour of taking Rafi for this song. I have personally confirmed this with him during my three meetings with him. After trying out Mukesh and Manna Dey, Kishore Sahu insisted on Rafi, who was summoned to render this difficult number.  And what a job he did!)

  • Teri Meherbani Hogi Badi Meharbaani Haye Teri Meherbaani With Asha Bhosale and Chorus – Raaka – Dattaram – Asad Bhopali

Icing on the cake is this song sent in by Biren Kothari:

Maar Gandasa Mar Jaana – Chhai (1950) – Hansraj Behl, Verma Malik – a Punjabi comic song is from very old classic punjabi movi. Very – very rare feature of the song is PRAN along with SUNDER and KHARAITI on the screen. . .

The song seems to have been inspired on Mohammad Rafi – Ameerbai Karnataki superhit Maar Katari Mar Jaana – Shenai (1947) – C Ramchandra

We will meet again on 2nd Sunday of the next month… with more unforgettable songs that have started slipping out of our memory….

If you have such songs to share, you are most heartily welcome…..