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Centenary Celebrations

Sahir’s Songs of Romance – Four-film Associations

Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%.  By the turn of ‘60s GenNext music directors were in the process of  taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).

The two leading music directors of GenNext breed, R D Burman and Laxmikant Pyarelal had adapted almost contrasting styles of music direction during the decade of 70s. Our journey of Sahir Ludhianvi’s Romantic songs brings us to Sahir’s association of four films with R D Burman, ,one of these two music directors,  in our present episode.

R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.

Tera Mujhse Hai Naata Koi YuNhi NahiN Dil Lubhata Koi…. Jane Tu Ya Jane Na, Mane Tu Ya Mane Na – Aa Gale Lag Ja (1973) – Kishore Kumar

dhuaN dhuaN tha wo sama
yahaN wahaM jane kahaN
tu aur main kahiN mile the pahle
dekha tujhe to dil ne kaha
jane tu ya jane na

dekho abhi khona nahiN
kabhi juda hona nahiN
abke yuNhi milte rahenge dono
wada raha ye is sham ka
jane tu ya jane na

The song has another version, in the voices of Shushma Shreshtha and Kishore Kumar. Sahir Ludhianvi has altered the lyrics in sync with the new situation. This version had earned acclaim of the critics too.

dekho abhee khona nahiN, kabhee juda hona nahin
ab khel mein yuNhee rahenge ham dono
vada raha yeh is sham kaa
yuNhi nahiN dil lubhata koi

vade gaye batein gaiN, jagi jagi rateein gai
chaha jise mila nahi, to bhi hamein gila nahNi
apna to kya jiye marein chahe kuch ho
tujhko to jeena ras aa gaya
jane too ya jane naa

O Thehro Meri Jaan, Waada Karo NahiN Chhodogi Tum Mera Saath , Jahan Tum Ho, Wahan Main Bhi Hoon…..Chhuo NahiN Dekho Mera Haath, Zaraa Peechhe Rakho Haath, JawaaN Tum Ho JawaaN Main Bhi HuN – Aa Gale Lag Ja (1973) – Kishore Kumar, Lata Mangeshkar

suno meri jaan, haNske mujhe yeh keh do
bheege laboN ki narmi mere liye hai
ho, jawaaN nazar ki masti mere liye hai
hasiN ada ki shokhi mere liye hai
mere liye leke aayi ho yeh saugaat

mere hi peechhe aakhir pade ho tum kyuN
ek main jawaan nahiN hoon, aur bhi to hai
oh, mujhe hi ghere aakhir khade ho tum kyuN
main hi yahaN nahiN hooN aur bhi to hai
jaao jaake le lo jo bhi de de tumhein haath
jahaN sab hai, vahaN main bhi hooN

Kaanp Rahi Main Abhi Jara Tham Jaanam, Baaki Hai Raat Abhi, Haanf Rahi Main, Le LuN Jara Dum Jaanam, Na Kar Ye Baat Abhi  –  Joshila (1973) – Asha Bhosle

tune, o re mere jaani
jo hai ji mein thani
usse daruN main, daruN main …
tu jo, pass mere aaye
jaan meri jaye
aahein bharuN main
th th trak trak th ra
th th trak trak th ra
jane de re, rok jara hath abhi
kaanp rahi main

abhi, gul hai diye sare
pass aa ja pyare
ban ja diwana, diwana
jara, mast main bhi holuN
to ye tujhe boluN
tu hai nishana
th th trak trak th ra
th th trak trak th ra
main bhi huN, tu bhi hai sath abhi
kaanp rahi main

Maine Tujhe Maanga Tujhe Paya Hai, Tu Ne Mujhe Maanga Mujhe Payaa Hai … Aage Hamein Jo Bhi Mile, Mile Na Mile Gila NahiN – Deewar (1975) – Asha Bhosale, Kishore Kumar

chhanw ghani hi nahiN, dhoop kadi bhi, hoti hain rahoN mein
gam ho ke khushiyaN ho sabhi ko humein lena hain bahoN mein
yuN dukhi ho ke jinewale, kya ye tuze pata nahiN
maine tuze manga, tuze paya hai

jhid hain tumhein to lo lab pe na shikawa kabhi bhi layenge
has ke sahengeN jo dard ya gam bhi jahaN se payengein
tuzako jo bura lage, ayesa kabhi kiya nahiN
maine tuze manga, tuze paya hai

Meri Najhar Hai Tujhpe Teri Najhar Hai Mujhpe Isi Liye Rehate HaiN Dono Khoye Huye…. Tere Bina Jiyra Mane Na Lagi Agan Hai Ye Kaisi Haye Jane Na Manwa, Ho Sajna, Ho Tere Bina Jiyra Mane Na – The Burning Train (1980) – Asha Bhosle

tere liye kaliyaN maiN chunti rahuN
aashaaoN ki malayein bunti rahuN
jage mein bhi sapno mein khoi rahuN
sote mein bhi aahat si sunti rahuN
o sajna balma mujhko kya ho gaya
ho januN na januN na, tere bina jiyra mane na
lagi agan hai ye kaisi haye janae na balam ho sajana
meri najhar hai tujhpe teri najar hai mujhpe

….. …… …… …… …… ….

bichhad ke unse na jab dil kisi tarah bahla
sharabkhane ka rukh
sharabkhane ka rukh ekhtiyar hamne kiya
na aanewaloN ka kyuN
na aanewaloN ka kyuN intajhar kyuN hamne kiya
na aanewaloN ka kyuN intajhar kyuN hamne kiya
kisi ke vade pe kyuN, aitbar humne kiya

If R D Burman has maintained his unique style, Sahir Ludhianvi, too, has, retained the basic character of his poetry, in this era of film songs in the era of more predominance of action over the content, resulting in a unique combination of two different styles blending into a creative association.

In our next episode, we will again change the track from ‘70s to the earlier decades, with Sahir Ludhianvi’s five-film association with O P Nayyar.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1961

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered

We have heard Mohammad Rafi’s maiden solo song with a music director for the first part of 1959-1960 of the 4th Five Year period in July, 2017.

Presently, we will take up the second part – 1961  – for the 4th Five Year period. The films appear herein in the alphabetical order of their names.

In our earlier articles we used to take due note of the popular, and not-popular-but-remarkable songs for the years under review for those music directors who have already appeared in the previous Five-Year periods. We have continued with that practice.

As may be expected, in the decade of 60s, we find more songs that went on to become popular, sometimes far more than the more meritorious songs from the same film. Relative longevity was seen to be shortening up. However, this possibly outcome of the changing taste of Hindi Films – as more films went color from B&W format, the element of art in the film was becoming more a special genre, filmmaking had better technical back-end support. Now, films, in general, were the commercial films – set to a few stereotypes and their variations. In so far as the Hindi film music was concerned, ‘60s saw the beginning of the ebb, from the high highs that were scaled till now.

1961

Mohammad Rafi has 71 solo song in 1961.

First, we will note the popular songs for the year for those music directors who have appeared in the previous years.

Shankar Jaikishan –  Aas Ka Panchhi (Char Dino Ki Chhuti Hai); Boy Friend (Dheere Chal .. Ay Bheegi Hawa, Mujhe Apna Yaar Bana Lo, Salam Aap Ki Meethi Nazar Ko); Jab Pyar Kisi Se Hota Hai (Jab Pyar Kisi Se Hota Hai, Teri Zulfon Se Zudai); Junglee (Chahe Koi Mujhe Jaunglee Kahe, Aiya Ya Karoon Main Kya Suku, Ehsan Tera Hoga Mujh Par); Sasural (Teri Pyari Pyari Surat Ko, Wallah Yar Lut Gaye Hum) |  Chitragupt – Bada Admi (Akhiyan Sang Akhiyan Lage, Agar Dil Kisi Se Lagay Na Hota)   |Salil Chowdhury – Chhaya (Yaa Kehde Ham Insaan Nahi); Kabuliwala (O Saba Kahena Mere Didar Ko); Maya (Koi Sone Ke Dilwala, Sanam Tu Chal Diya Rasta Mere Bina, Zindagi Hai Kya Meri Jaan) | Naushad – Ganga Jamuna (Nain Lad Jai Hai)  | Ravi – Gharana (Husnwale Tera Jawab Nahi); Nazarana (Baazi Kisine Pyar Ki) | Jaidev – Hum Dono (Main Zindagi Ka Saath Nibhata, Kabhi Khud Pe Kabhi Haalat Pe) | Madan Mohan – Sanjog (Do Ghoont Maine Pee) | Ghulam Mohammad – Shama (Woh Sadagi Kahe Ise Diwangi Kahe) | Khayyam – Shola Aur Shabnam (Jane Ky Dhundhati Raheti Hai) |

We now take a closer look at Mohamad Rafi’s first solo song with a music director for the year 1961. This year, we have three very talented, but not commercially successful music directors, one who succeeded by defying the Hindi Film ‘normal’ of ‘assistants do not succeed’ and two music directors for the South remakes.

In order to err on the safer side, we have included all the solos of the film wherein Mohammad Rafi and a music director have their first solo song.

S Madan

Not accepted well in Hindi Films, S Madan earned big fame in Punjabi films. Many of his songs in Punjabi films have been plagiarized in Hindi films. He assisted Vinod in the early part of his career.

Ye Kaisi Deewaar Hai Duniya – Batwara – Lyrics: Majroojh Sultanpuri

The background song epitomizes the division between two brothers.

P Nageswara Rao

Nageshwara Rao was well-known name in Telugu films.

Narayan Ki Isi Murti Se Hoga Govinda – Bhagwan Balaji –Lyrics: Sarswati Kumar Deepak

It seems every remake – dubbed version- of South Indian religious films has at least one song by Mohammad Rafi.

Rahul Dev Burman

When Rahul Dev Burman (27 June 1939 – 4 January 1994) debuted as an independent music director, the Golden Era of Hindi Film music was at its high-sun point. The ecosystem was extremely competitive with high-quality-but-very-popular individual styles of the music directors who had entered the scene in the late second half of the ‘40s./ early first half of ‘50s.R D Burman easily transformed himself from the understudy of his father, S D Burman, into an independent music director, by developing his own distinct style of compositions. Along with Laxmikant Pyarelal, he very effectively carried the baton form the second generation of music directors to the third generation.

Aam Chum Taam Chum – Chhote Nawab – Lyrics: Shailendra

Produced by Mehmood, the film revolved around a mentally under-developed character of Memood. The song epitomizes physically fully-grown-up, but mentally childlike personality of the lead male character, Choote Nawab – The Child Ruler.

Ilaahi Tu Sun Le Hamaali Dua – Chhote Nawab – Lyrics: Shailendra

R D Burman creates a very mature tune in the very first film. Along with all other playful songs, the present song and Lata Mangeshkar’s Ghar Aaja Ghir Aaye demonstrate the depth of versatility of R D Burman’s musical range.

C Arjun

C Arjun assisted Bulo C Rani in his early career. C Arjun’s first Hind film Road No. 303 (1960) had a couple of Mohammad Rafi duets. His Punar Milan (1964) Mohammad Rafi solo Paas Baitho Tabiyat Bahal Jayegi remains one of the best ever Rafi song. But of course C Arjun is more immortalized by his Usha Mangeshkar record-breaking prayer Jai Santoshi Ma (1975)

Ho Gori Zulm Kare Zulf Ka Bikhar Jaana – Main Aur Mera Bhai– Lyrics: Jaan Nisaar Akhtar

Mohammad Rafi is at his playful best in this lively song.

Insaan Kitne Yug Beete Yunhi Rahi Nadaan.. Moorakh Hai Insaan – Main Aur Mera Bhai – Lyrics: Jaan Nisaar Akhtar

This should be background song.

Arun Raghavan

Arun Raghavan is one of the 48 music directors who have composed only one Mohammad Rafi song. As he is a music director of South Indian films, this does not seem to be so stounding statement.

Chali Aaj Rajbhawan Se..Yug Yug Se Anyaya – Mera Suhag – Arun Raghavan – Vinod Sharma

Like other South Indian film remakes in Hindi, Mohammad Rafi gets to sing a background song.

SL Merchant, Shri Ram

SL Merchant, Shri Ram are perhaps more active in Tamil films.

Kaisa Hai Ye Shraap Haye Re..Haye Re Qismat – Sati Renuka – Bharat Vyas

As has been now a well-formed pattern, Mohammad Rafi gets to sing this background song.

Putraheen Ko Pita..Janani Janani Mahima Hai – Sati Renuka –Bharat Vyas

One more background song in a South Indian remake Hindi film.

D Dilip

Known more as assistant to S N Tripathi, then Chitragupt and lastly as arranger to Laxmikant Pyarelal, Dilip Dholakiya took up D Dilip as his pen name when composing independent music in Hindi films. He also was a very accomplished singer. He did sing a few Hindi songs under S N Tripathi and Chitragupt. The only Hindi song that he has rendered under his own baton is Khanke Kangana Khan Khan Re, Chhanake Ghungharu Chhan Chhan Re  – Saugandh (1961) – with Lata Mangeshkar and Mohammad Rafi in the lead.

Apne Liye Jiye To Zamane Mein Kya Jiye.. Kaun Raha Hai Kaun Rahega – Saugandh – D Dilip – Prem Dhawan

The song is a background song, filmed on Gemni Ganeshan on the screen.

As a special note on Dilip Dholakia – Mohammad Rafi, I succumb to the urge to record here a beautiful Gujarati solo song from this pair – Meethadi Nazrun Vaagi – Satyavan Savitri ,1963)

Since we have far too many song to listen to in the present post, we will take up the last two years – 1962 and 1963- of the 4th Five Year period in our episode of 15th December, 2019.

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.

N.B. : All episodes for the year 2019 can be seen / downloaded as one file by clicking on Fading Memories..Unforgettable Songs – 2019

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – July 2019

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

This month we have multiple posts  / articles celebrating 50 years of maiden human landing on the moon.

    • Moon Songs, Part 1: Ten songs addressed to the moon is celebration of the 50 years of first human landing on the moon, with a stipulation that each song must be explicitly addressed to the moon, and that that ‘naming’ must happen in the first two lines of the song.
    • Google Doogle in celebration

In the doodle video, Michael Collins, 88, describes the first sight of the Moon up close as “a magnificent spectacle.”

And now we pick up tributes and memories:

Anil Biswas – The Patriarch Of Hindi Film Music – Compared to fellow composer-singers like Pankaj Mullick, S.D.Burman and Hemant Kumar, Anil Biswas remains less celebrated in this category too. The present tribade to Anil Biswas on his birthday on 7th July celebrates the singer of his composer-singer music persona.

[N.B. We recall a SoY article Remembering Anil Biswas, The Singer.]

Bharat Vyas: Lyricist Extraordinaire in Hindi comprehensively span the career of Bharat Vyas.

A Poet of the People: The Life of Legendary Lyricist Anand BakshiKhalid Mohamed remembers a man not quite acknowledged as legend in his life time.

When Music Connects – Tera Mujhse Hai – Aa Gale Lag Jaa is tribute to R D Burman on his birthday on 27th June.

My Favourites: RD Burman is a post on a man whose talent far outstripped his due.

The German who changed Hindi cinemaUday Bhatia –  An exhibition held at Chennai from 19th July pays tribute to Bombay Talkies cinematographer Josef Wirsching… His work on ‘Mahal’ and ‘Pakeezah’ influenced a generation of cinematographers.

(from left) Kamal Amrohi, Josef Wirsching, Meena Kumari and assistant cameramen while shooting in Kashmir for Kamal Pictures’ production ‘Dil Apna Aur Preet Parai’ (1959).

You can also see the photographs online, on the Wirsching Archive website, The Wirsching Archive “The most extensive and well maintained private photographic collection depicting the birth of Indian Cinema”.

Devika Rani and others in a publicity still for the Bombay Talkies production ‘Jawani Ki Hawa’ (1935).

Here are a few more related articles:

JOSEF WIRSCHING ARCHIVE

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

Mehfil celebrates 2nd Anniversary! by selecting song son the theme of songs that celebrate family relations.

July, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960. This in continuation to the series wherein  we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

And, now commence the posts on other subjects.

The cosmopolitism of Indian CinemaKalyani Sethuraman – Indian cinema represents India’s cosmopolitan and cultural mores. At the same time, it connects us to the wider world.

The ‘Intezar’ Songs, which must have word ‘intezar’ in the first 10 words of the song.

Ek bangala bane nyara is a post that recollects songs about a family’s eternal quest for THE home.

Part III concludes the series, The Classical Music Giants contribute to Hindi Cinema – with post-‘7os film songs rendered by classical singers.

Which is the Highest Grossing Indian Film of All Time?Suparana Thombare

(Photo: The Quint)

Following the overview article, Best songs of 1946: And the winners are?. , we had taken up micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1. Last month. We have covered Part II  of solo songs of Shamshad Begum and also those of  Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari.

To end the present 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:.

Kab Tak Uthaye Ye Gam Intezar Ka– Naquab (1955) – with Lata Mangeshkar – Pt. Govindram – Prem Dhawan

Soyi Hamare Sapno Ki Rani – Aadhi Raat (1957) – with Geeta Dutt – Avinash Vyas – Bharat Vyas

Ham Pe Dil Aaya To Bolo Kya Karoge – Do Ustaad (1959) – with Asha Bhosle, Shamshad Begum – O P Nayyar – Qamar Jalalabadi

Thod Thodi Gori Hai Thodi Thodi Kaali Hai – Superman (1960) – with Geeta Dutt – Sardar Malik – Prem Dhawan

Bottle Se Ek Baat Chali Hai – Ghar (1978) – With Asha Bhosle – R D Burman – Gulzar

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.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August, 2017

Shailendra and “Other” Music Directors

Shankardas Kesarilal , born on 30 August 1923, popularly known to all of us Shailendra ,passed away by living a Chhoti Si Yeh Zindagani, like a comet that lit the sky while it lasted, at (just) the age of 43 on 14 December 1966.

Most of the songs that Shailendra wrote under the batons of Shanker Jaikishan or Salil Chaudhary or S D Burman have already been immortal. In a career[i], spanning around 800 released songs for Hindi films, Shailendra had had opportunity to work with several ‘other’ (than these three) music directors as well. Most of these songs also have been equally live in our memory today.

We will dedicate our August, 2017 episode to Shailendra’s songs with the ‘other’ directors. For this episode, special care has been exercised to cover to select chronologically first film with that music director while casting the net wide enough to cover as broad spectrum of singers as is possible. Also, I have intentionally chosen songs that I have either not heard or those that need a refresher push.

The first set of these songs, coincidentally, have Geeta Dutt as (one of) the singer.Geeta Dutt had hardly any occasion to sing Shanker Jiakishan songs. By the time Shailendra teamed up with S D Burman, S D Burman had switched over to Lata Maageshkar. So is the case with Salil Chudhary’s songs too. Therefore, this has turned out to be good incidence where we can hear Shailendra’s songs in Geeta Dutt’s voice.

Kaise Rokoge Aise Toofan Ko – Anand Math(1952) – Talat Mahmood,Geeta Dutt – Hemant Kumar

The song apparently is meant to divert the chasing British police, but has an apparent message for the inadvertent hurricane the freedom fight is likely unleash. Geeta Bali sings with gay abandon that may also mean the upsurge from the young hearts.

Ghir Aayi Hey Ghor Ghata, Apni Majbooriyon Se Lipat Ke Pyar Rone Laga – Badnaam (1952) – Geeta Dutt – Basant Prakash

The song is an ideal fit with our image of silken smoothness of Geeta Dutt’s voice.

Teri Chahat Mein Balam, Teri Chahat Mein Sanam Meet Gaye Ham Teri Kasam – Shrimatiji 1952 – Geeta Dutt – Jimmy

This is a dance song that seeks to hoodwink the listeners so as to cover the acts of the partner in the deed. So the lyricist has to not only pack in a meaningful, mind-catching message for the lay listeners and but also has to convey an intended message to the target partner.

Yeh Rut Yeh Raat Jawaan – Sailaab (1956) – Geeta Dutt –Mukul Roy

The film had 4 songs penned Majarooh Sultanpuri, 1 by Madhukar Rajashathani and 2 by Hasrat Jaipuri . All songs are in Geet Dutt’s voice, except one which had Laxmi Roy.

We now move on to songs that have other playback singers.

Mere Dil Ki Dhadkhan Kya Bole – Anhonee (1952) – Talat Mahmod, Lata Mangeshkar – Roshan

After SJ, SDB and Salil Chaudhary, Shailendra has written most number of songs for Roshan in films like Nau Bahar , Sanskaar (both in 1952), Aagosh and Mashuqua in 1953, Chandani Chowk (1954), one song each in Cofee House (1957 and Aji Bas Shukriya (1958), Deep Jalte Rahe, Heera Moti and Madhu in 1959, and Soorat Aur Seerat in 1962.

Desh Ki Dharti NeLalkara Gunja Aazadi Ka Naara – Chhatrapati Shivaji (1952):- Chitalker, chorus – C.Ramchandra

This song adds genre of patriotic songs in the Shailendra’s arsenal.

The other film where Shailendra teamed up with C Ramchandra is Anrakali (1953), which has such immortal songs as Aaja Ab To Aaja Mer Kismat Ke  Kharidar and Dua Kar Gham E Dil Khuda Se Dua Kar.

Dil Ki Lagi Khel Nahin – Bhai Saheb (1954):- C H Atma, Kaumudi Munshi – Ninu Majumdar

Each is piece of the song – singers, music directors – except Shailendra is quite rare.

Badi Mushkil Hai (Lata Mangeshkar) /\ Jiyunga Jab Talak (Talat Mahmood) – Chingari(1955) – Manohar

Down the career, Shailendra has given several meaningful twin songs. Here is the one early one.

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Sawan Aaya – Pipili Saheb (1954) – Usha Mangeshkar, Meena Mangeshkar, Shaminder – Sardul Kwatra

Here is the song that has the basic flavor of a very rustic setting that is presented with in its natural simplest form.

Mehfil Mein Kaisi Chaam Chaam – Dilli Darbaar (1956) – Lata Mangeshkar – S N Tripathi

Shailendra has teamed up with S N Tripathi for more than one film – like mythological Ram Hanuman Yudh (1957) or Shiv Parvati (1962) to a period film Sangeet Samtrat Tansen (1962) to a social film Kunwari (1966).

Chal Ri Ameeren Bhai Chal Re Fakire – Dilli Ka Thug (1958):- Kishore, chorus – Ravi

This is one more example of Shailendra’s comfort in dealing with unusual situations. Here is the song that is a traditional dance song attributed to street-performances of a monkey trainer with his pet monkey. Compare this song with another song of the film, a Kishore- Asha duet – Ye Raatein Yeh Mausam Nadi Ka Kinara.

Chhupa Chhupi O Chhupi Agad bBagad Jai Re, Chuhe Mama O Mama Bhag Billi Ai Re – Savera (1958) – Manna Dey, Lata Mangeshkar – Shailesh  Mukherjee

The lead protagonists become young children in the company of the children and so does Shailendra.

Ho Choonva Moonva…. Deke Daam Lele Maati Ka Khilauna Kaisa Khel Khele Ye Maati Kholauna – Naya Kadam (1958) – Shailesh Mukherjee – Shivram–Narayan

Shailendra deftly uses a traditional street performance to deliver a strong philosophical message. I am not sure that singer of the song, Shailesh Mukherjee, is the same person as music director Shailesh Mukherjee.

Nani Teri Morni Ko Mor Le Gaye, Baaki Jo Bacha Tha Kaale Chor Le Gaye–  Masoom (1960) – Ranu Mukherjee – Robin Banerjee

The film had 5 more songs – 4 by Raja Mahendi Ali Khan and one by Sahir Ludhyanvi. So, obviously Shailendra has been allotted this situation wherein the child artistes perform the song on the screen. The song had been quite popular.

Hai Re Woh Din Kyon Na Aaye, Ja Ja Ke Ritu Laut Aaye Re – Anuradha (1960) – Lata Mangeshkar – Pt Ravi Shankar

In an otherwise an experimental social film, the songs filmed on the heroine, Anuradha (lela Naidu) help strongly develop the characterization of the role. Here is a song that is coposed on a fairly difficult Carnataki Classical Raag – Jansammohini, also known as Shiv Kalyan or Madh Kalyan.

Asides:

The piece that is considered to have inspired the song is  Ganpat Vighanharan  :

शुक्लाम्बरधरं  विष्णुं  शशिवर्णं चतुर्भुजं । 
प्रसन्नवदनं  ध्यायेत्   सर्वविघ्नोपशान्तयेत्  ।
अभीप्सितार्थसिध्यर्थम्  पूजितो  यस्सुरासुरैः  । सर्वविघ्नहरस्तस्मै  गणाधिपतये  नमः ।।

गणपत  विघ्न  गण  गजानन ।  विराजती  चन्द्रमा  भाल ।  गणपत  विघ्न  गण  गजानन  ।।

by  Ashwini Bhide

Pandit Ravi Shankar also later on used this raag for the hymn of Asiad Games 1982 – Swaagatam

Here are two representative classical pieces of Raag  Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

https://www.youtube.com/watch?v=k-jWtjlZNiw

Jhoomte Sharabhi Zara Hosh Mein Aa– Kaanch Ki Gudiya (1961) – Asha Bhosle – Suhrid Kar

KaanchKi Gudiya invaribaly would conjure a Mukesh and Asha Bhosle duet – Saath Ho Tum Raat Jawan. However, the song that we have selected presents a very different Asha Bhosle to us.

Paisa Nahin Hota Jo Kuchch Nahin Hota – Sautela Bhai (1962) – Anil Biswas, Manna Dey – Anil Biswas
In an otherwise a very serious social subject, Anil Biswas teams with Shailendra to come up with a satirical song.

Their next association is 1965’s Chhoti Chhoti Batein.

Daaton Ka Zamana Pyare Dant Bachana – Begana (1963) – Mahendra Kapoor – Sapan Jagmohan

The obvious reason for picking this song for the present episode is it has Mahendra Kapoor. In the process, we also get the benefit of listening to a very light-hearted song from Shailendra.

Chand Tale Jhoom Jhoom Thirak Rahi Hain Ghoongherwaliyan, Mastiyon Ki Aaj Dhun Baja Rahi Hai Taaliyaan – Jab Se Tumhe Dekha Hai (1963):- Subir Sen, Suman Kalyanpur – Dattaram

As we know well, Dattaram was one of the very important links on the Shankar Jaikishan team. The song has very prominent us of what was popularly known as Dattu Theka – a typical stroke that Dattaram would invariably conjure up in his the accompanying base instrumentation.

Rahi Tu Ruk Mat Jaana Toofan Se Mat Ghabharana, Kahin To Milegi Teri Manzil Kahi Door Gagan Ki Chhaon Mein – Door Gagan Ki Chhaon Mein (1964):- Hemant Kumar (in three parts) – Kishore Kumar

One the most respected song- be it from the singer’s perspective or music director’s perspective, from the perspective of a song that includes the film title or from the perspective of the delivery of song writer’s message

I have lined up songs that have Mohammad Rafi in the end of the episode. Incidentally each one represents a very different point of a spectrum of Shailendra’s vast repertoire

Ja Ja Na Ched Maan Bhi Ja – Satta Bazar(1959) – Mohammad Rafi, Suman Kalyanpur  – Kalyanji-Anandji

This is the only song that Shailendra has penned for the film. Hasrat Jaipuri and Indeevar had two songs each, whereas Gulshan Bawra had 3 songs. This also gives us one more of a Johnny Walker song to accompany one of the most illustrious one – Jangal Mein Mor Nacha Kisi Ne Na Dekha

Gham Ki Badli Mein Chamakta Ek Sitara Hai Aaj Apan Ho Na Ho Kal Hamara Hai – Kal Hamara Hai (1959):- Mohammad Rafi, Sudha Malhotra – Chitragupt

As the name of the films suggests, the film essentially would be based on the Patriotism theme. Therefore, it is not quite surprising to see Shailendra being easily able to handle the songs that befit the theme.

Aam Chhum Taam Chhum Haar Ho Ki Jeet Ho Khel Mein Rahe Magana – Chhote Nawab (1961) Mohammad Rafi – R D Burman

Here is the song that depicts the mental state of a grown-up prince.

Illahi Tu Sun Le Hamali Duva, Hame Sirf Ek Asara Hai Tera. Teri Rahamate Rah Roshan Kare, Salamat Rahe Saya Man-bap Ka – Chhote Nawab (1961):- Mohammad Rafi – R D Burman  The song was the game changer in the film. In his maiden venture, RDB, on one hand succeeds in  providing just the right platform to Mohammad Rafi to fully express the emotions of the song and on the other hand has lived up to the challenge of the Shailendra’s very poignant lyrics.

When we look back now, we see one most glaring association missing at the core career path years of Shailendra – with Madan Mohan. Similarly, if we see the presence of R D Burman from the (so-called) next generation of music directors, one may note absence of Laxmikant Pyarelal.

We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

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

[i]   Virasat – Lyricist ‘Shailendra’

 

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – July, 2016

Welcome to July 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Hindi Film Music world lost its two more talented, but not corresponding recognized personalities – Mubarak Begum and Omi (of Sonic-Omi duo). Mubarak Begum made her debut in 1949 and thus saw the transformation of the HFM from vintage era to golden era.  Omi (Omprakash Sonic) of Sonic-Omi music director (Uncle, Manoharlal Sonic and his nephew Omi) duo, who did enter the HFM world at the last phase of the golden era and thus saw the transition for the golden era to the present day HFM world.

Here are the tributes to Mubarak Begum:

Mubarak Begum - Woh Na AAyende Palatkar

Ae Dil Bata  Hum Kahan Aa Gaye  – Khooni Khazana (1965) –  S Kishan –  Khawar Zaman
Chaah Karani Thi Chaahkar Baithe – Punarmilan (1964)  – C Arjun – Raja Mahedi Ali Khan
Itne Kareeb Aa Ke Bhi  – with Talat Mahmood – Shagoon (1964) – Khayyam  – Sahir Ludhianvi
Mere Aansuon Pe Na muskara – Morey Man Mitwa (1965)  – Dattaram –Priyadarshi
Hum Haal-e-Dil Sunayenge – Madhumati (1958)  – Ssalil Chowdhary – Shailendra
Mujhhko Apne Gale Laga Lo  – with Mohammad Rafi – Humrahi (1963) – Shankar Jaikishan – Hasrat Jaipuri
Bemurrawat Bewafa – Sushila (1966) – C Arjun – Jan Nissar Akhtar

Hamrahi (1963) – Mubarak Begum & Rafi – Mujh Ko Apnay Galay Lagaa Lo, Ae Meray Hamraahi – Shankar Jaikishan (Hasrat Jaipuri)

Gogola (1966) – Mubarak Begum & Talat – Zara Keh Do Fizaayo.n Se Aame.n Itnaa Sataye Na – Roy & Frank (Baalkavi Bairagi)

Phoolon Ke Haar (1951) – Mubarak Begum & Devendar Goel – Jhoom Jhoom Kar Door Gagan Pe Badal Kare.n Ishaaray – Hans Raj Bahal (Varma Malik)

Basera (1950) – Mubarak begum & BS Nanji – Dekho Ji Baat Suno, Tum Mujhse Aan Milo– MA Rauf (Sardar Ilham)

Awara Shehzadi (1956) – Mubarak Begum & Shashikant – Karlo Ji Pyaar Karlo Ji Pyaar Dil waalo Pyaar Kar Lo – Nashad (Sartaj)

Patit Paawan (1955) – Mubarak Begum & Sudha Malhotra – Jeevan Ka Tu Ujiyaara Hai, Rakhwaara Bansi Waara Hai – Jamal Sen (Bharat Vyas)

Haar Jeet (1954) – Mubarak Begum & Geeta Dutt – Bechain Hai Betaab Hai Is Dil Ka Fasaanaa Sun Le – SD Batish (Kaif Irfani)

Neend Hamari Khwab Tumhare (1966) – Mubarak Begum & Asha – Saaqiyaa.n Ek Jaam Vo Bhi To De – Madan Mohan (Rajendar Krishan)

SoY also had posted An evening with Mubarak Begum on January 5, 2013.  I have selected these two songs from this post:

And the tributes to Omprakash Sonic:

AAJ KE FANKAR- A TRIBUTE TO COMPOSER OMI (DUO SONIK- OMI)

We also recollect Omi ji (of Sonik-Omi) in an exclusive interview with Anmol Fankaar and “Sansaar Hai Ik Nadiya” – (Sonik) Omi

We now take up posts that remember the Anniversaries:

Sanjeev Kumar – The Actor Who Rose Above The ‘Hero’ – From among his several costars, ranging from Hema Malini to Sharmila Tagore, from Raakhee to Vidya Sinha, Suchitra Sen to Hema Malini, Sanjeev Kumar experimented the most with his female lead and bosom pal Jaya Bhaduri (Bachchan). These two superbly talented actors played out all kinds of relationships on screen – husband-and-wife (Koshish), father-in-law and daughter-in-law (Sholay), lovers (Anamika), father-daughter (Parichay), the multifarious 9-character role in Naya Din Nayi Raat, ending up as the doctor and patient who hesitatingly comfort each other on finding that their respective spouses are having an affair (Silsila).

Shankar-Jaikishan’s songs for Mukesh  – Continuing the series on Shankar-Jaikishan, SoY presents the songs composed by them for Mukesh as a tribute to the singer on his 93rd birth anniversary (22 July 1923 – 27 August 1976). All the songs that are posted present a good panorama of their association.  I have added a few on my art here. Except for ‘Apne Hue Paraye’ song, these songs that immediately popped up, but had remained dormant till the memory was jolted out by this post….

‘Tu Jahan Jahan Chalega, Mera Saya Saath Hoga’ – The Everlasting Songs of Raja Mehdi Ali Khan – From patriotic to sentimental, from humorous to romantic, Raja Mehdi Ali Khan penned a wide range of songs that were simple yet sublime. In a tribute, we revisit some of those everlasting songs on the extreme end of the spectrum:

Music Makers of Golden Era

The Music Makers of the Golden Era – Roshan, Anil Biswas, Hemant Humar, Mohd. Shafi, Naushad, Jaikishan, C. Ramchandra and Madan Mohan

‘Rehearsals were Never Easy, Music Sittings were Always Fun’ – Remembering Madan Mohan – Madan Mohan, the creator of immortal melodies and film ghazals, had a fun-loving, outgoing personal side as a gracious cook and host, a wrestling and racing enthusiast, a car freak among other energetic interests – his eldest daughter Sangeeta Gupta in a conversation with Peeyush Sharma.

Orthodox RD Burman – an extremely talented and creative composer with a solid foundation in the orthodox style of composition., a style of composition where there is an emphasis on melody and melodic content in the vocals of the song. We can listen to 30 handpicked songs in his orthodox style in a playlist by clicking LINK TO R D BURMAN PLAYLIST

Tumko Piya Dil Diya Kitne Naaz Se – GS Kohli, the Unsung Music Composer – We have picked up only one song here to simply illustrate the versatility of GS Kohli.

We now take a look at posts on other subjects –

My Favourites: Songs of Strangers – in honour of those long-gone days, when pardesis seemed to make frequent trips to far flung villages and find the love of their lives in those unsullied vales, here are some of my favourite pardesi songs.

My Favourites: ‘Where Are You?’ Songs – I have picked up two of the less heard songs from this list to give us the idea about what the subject is about –

D P Ranagan, in one more of his highly innovatively informative article, Star showers in Bollywood, has presented Hindi Films songs that have featured the stars

Book Review: Dorothee Wenner’s ‘Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen’Fearles Nadia

In her biography of Hindi cinema’s ‘original stunt queen’, German film-maker and curator for the Berlin International Film Festival, Dorothee Wenner sets out to explore the life and times of this fascinating actress. Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen (Translated by Rebecca Morrison; ISBN: 0-14-303270-4; Penguin Books; 248 pages; Rs 295)

Ten of my favourite Dupatta/Chunri/Chunariya songs – a salwar-kurta (or churidarkurta) or a sharaara, or even a ghaagra, the dupatta served to drape the upper part of the body: the bosom, at least, but in some cases, even the head. It thus became a symbol of modesty—and, in some instances, an extension of the heart, the feelings of the wearer. More than the saree or any other garment, the dupatta became the theme for songs. (It even gave its name to one really lovely Pakistani film starring Noorjehan). However, this post is really a response-in-kind of “absolutely lovely dupatta” that friend, fellow blogger and soul sister Anu’s gift to the author.

Three Queens of the Indian Drums focuses on some great contemporary female players of Indian drums.

Pakistani Stars endorsing Lux Soap – The first Pakistani actress to endorse Lux Soap was Meena Shorey in 1956

Guru Dutt with his family (1957)

guru-dutt-family

Back row: Guru Dutt with his father, mother and Geeta Dutt. Front row: Guru Dutt’s brother Atma, his wife, sister Lalita and her husband. The children are those of Guru and Atma Dutt.

Autographs of Hindi Film Stars – I and II – and links to the profiles of – Om Prakash, Cuckoo,Nalini Jaywant, Vimla, Kuldeep Kaur, Jairaj, Sajjan and Veera

Biswajeet – Memories – as told to Santosh Sud in1990 – throws light on some very interesting facets of him.

In Micro View of the Best Songs of 1949 @SoY, having covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs in the Male Solo Songs category till now, I also declared MY Top Male Solo Songs, choosing Mohammad Rafi as the Best Male Singer for 1949 and his Suhani Raat Dhal Chuki (Dulari, Naushad) as the Best Song. SoY also has released Best songs of 1949: Wrap Up 1, choosing Mukesh as the Best Male Singer and Tu kahe agar as the Best Male Solo.

Then I have taken up Solo Songs of ‘Other Than Lata Mangeshkar’ Female Singers, in which we covered Suraiya, Geeta Roy , Shamshad Begum, Raajkumari, Asha Bhosle, Surindar Kaur.

On Mohammad Rafi’s anniversary we end our present episode with a few of Sonic-Omi’s Mohammed Rafi songs that did not gain ‘high’ popularity:

Haseen JulfoN Ka Rang De Do – Beti (1969) – Shakeel Badayuni

Mere Mehboob Tu Mujhko – Beti (1969) – Shakeel Badayuni

Yeh Dil Nahin Hai – Aabroo (1968) – GS Rawal.

We will take up an exclusive article on Mohammad Rafi in our next Fading Memories.. Unforgettable Songs episode…..

I look forward to receive your inputs for further enriching the contents of the posts…..

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – June 2015

Welcome to June, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

It is a matter of great pleasure to commemorate Songs of Yore completing quite a trail-blazing journey of 5 years. The article contains an excellent write up, including some very light to some quite erudite pieces on the subjects ranging from “Hemantkumar’ Ravi, Discovering after three decades, Auto-inspiration or Laziness, Joyous Jaunpuri, Darbari Delights, Darbari and Mukhtar Begum. Chitrapatsangeet has added two excellent illustration of Raag Jaunpuri – one of them is Meri Yaad Mein Na Tum Aansoo Bahana – Madhosh (1954) – Talat Mahmood – Madan Mohan. We will look at the other one at the end of present episode of the blog carnival in our regular section on Mohammad Rafi.

Naushad’s “The Singing Girl Next Door”: Suraiya pays tribute to Suraiya with some of her most melodious songs by Naushad on her 86th birth anniversary (15 June 1929 – 31 January 2004).

Sajjad Hussain’s birthday also coincides with that of Suraiya, So, Happy Birthday, Suraiya and Sajjad! has presented Suariya’s songs for film 1857, for which Sajjad has scored the music. Suraiya and Sajjad Hussain worked together in Suraiya’s swan song film : Rustm Sohrab.

My favourite Hemant Kumar Songs is a tribute to Hemant Kumar on his 95th birthday. He had many other, quite notable, songs under several other music directors as well. Here are a few solo songs that come to my mind:

C Ramchandra:

Aye baad-e-shaba jara ahista chal, tahan so hui hai Anarkali – Anarkali (1953)

Jindagi Pyar Ki Do Char Ghadi Hoti Hai – Anarkali (1953)

Zameen Chal Rahi, Aasman Chal Raha Hai – Pheli Jhalak (1954)

Ital Ke Ghar Tital – Bahurani (1963)

Madan Mohan:

Kho Gaya Jaane Kahan Arzoon Ka Jahan – Mohar (1959)

Shankar Jaikishan :

Ham Kathputle Hai Kath Ke – Shikast (1953)

Rula Kar Chal Diye Ek Din Hasin Ban Kar Jo Aaye The – Badshah (1954)

Chitragupt :

Aasman Aasman Tu Kya Jaane – Daakaa (1959)

N Dutta :

Ye Baharon Ka Shama, Kho Na Jaayen Aa Bhi Jaa – Milaap – 1955 ( A solo and duet with Lata Mangeshakar)

R D Burman

Aaja Mere Pyar Aaja – Heeralal Pannalal (1978)

On Hemanta Mukherjee’s birthday, Upperstall on hemanta kumar has recalled one of the immortal composition of Hemant Kumar – Saqiya Aaj Mujhe Neend Nahin Aayegi – Sahib Bibi Aur Ghulam (1962) – Asha Bhosle and an equally memorable duet, composed by C Ramchandra – Jaag Dard-e-Ishq Jaag, Dil Ko Bequarar Kar – Anarkali (1953)

Two songs by Hemanta kumar presents O Nadi Re Ekti Kothai and Ganga Aaye Kahan Se.

On her 79th birthday on 4th June 2015, My favourite Nutan songs has consciously left out songs which show her weeping. This wonderful list brings Man Mohana Bade Jhoothe (Seema (1954) – Lata Mangeshkar – Shanker Jaikishan – to the memory.

For the records Let’s talk About Bollywood has an exclusive page dedicated to articles on Nutan. Nutan’s intelligence is a brief treatise on Nutan’s all-round virtuosity, that sets her apart as an artist. Nutan-bollymusings.com/ informs of the official launch of MUSINGS, a new blog by S. Basu which he has announced will deal chiefly with Nutan.

Musings has posted reviews of two of Nutan;s movies– Aagosh (1953) and Heer (1956) till date.

We now move over to other posts:

The video leads to other Geeta Dutt songs : Jaaongi maike jaaongi : Geeta Dutt, G M Durrani – Paatal Bhairavi (1952) Ghantasala This video is made by superimposing Hindi audio on the original Telugu clip.

Two Geeta Dutt Duets : Ta Thaiya Kar Ke Aana O Jagugar More Saiyan – Panchayat (1958) – Iqbal Qureshi – with Lata Mangeshkar and Jaanu Jaanu Re Kahe Khanake Hai Tora Kangana – Insan Jaag Utha (1959) – S D Burman – with Asha Bhosle

Anil Biswas and Meena Kapoor (via Arun Kumar Deshmukh) – Some of their songs together

I have picked up following two songs from My Favourite Cycle songs

Ten Ganga songs from classic Hindi cinema is a good collection of songs from pre-70s (mostly, with one minor exception from 1971) Hindi films which mention the Ganga, in different contexts, to different extents. I have picked up Ganga Ki Reti Pe Bangla Chhwaii De (Sudha Malhotra – Mirza Ghalib (1954) – Ghulam Mohammad ) and Ganga Ki Bhari God Mein (Manna Dey – Mere Apne (1971) – Salil Chaudhary) from the comments of the readers.

“Cricket Se Cinema Tak”- Mac Mohan captures the accidental journey of Mac Mohan (a.k.a. Mohan Makhijani). Here is the songs wherein Mac Mohan plays a lead joint-lead role:

Ye jhuki jhuki jhuki nigahein teri – Mohammad Rafi – Aao Pyaar Karein (1964) – Usha Khanna

(Very Very Interesting Trivia: Sanjeev Kumar can be seen as a very insignificant artist in some of the long shots !!!!)

Johnnie Walker in Bollywood – is a continually updated collection of some of Johnny Walker bottles …. found over the years from various Hindi (and maybe some Tamil and Telugu) filums.

Talat Mahmood: singer, actor, gentleman – Talat Mahmood was in demand not only in the recording studio but also on the screen – Manek Premchand – The article is a brief peep into the book.

Listen to virtuosos of an instrument once banned on All India Radio – Since it was introduced to the subcontinent by missionaries, the baajaa ki peti has become a part of the Indian soundscape. – Aneesh Pradhan – Meend (or a glide between notes) and gamak (or rapid oscillation of a note) are two important embellishments that cannot be produced on this instrument.  It was for this reason that the instrument was banned for broadcast on the All India Radio in 1941. Here are a few early recordings of harmonium solo recitals.

Three pioneering musicians who helped turn the harmonium into a solo instrument – Bashir Khan, Shankarrao Kalpeshwari and P Madhukar demonstrated that the ‘baaja ki peti’ wasn’t just meant for accompaniment. – Aneesh Pradhan

I remember a short, sharp, sweet, opening harmonium notes of Raat Bhi hai kuchch bheegi bheegi, which is repeated over several times.

A tribute to Guide in its 50th year – Vijay Anand’s Guide is now 50 years old and yet timeless, this is one of our cinematic landmarks, and a testament to the possibilities of artistic collaboration within a commercial system. [A longer post about “Tere Mere Sapne” is here. And more about RK Narayan’s “Misguided Guide” here]

Now we move over songs remembered by our friends in this month –

Bhagvan Thavrani

  • Kiseeko Yoon Tamannaon Mein Uljhaaya Nahin Karte – Meena Kapoor -Return of Superman (1960) – Anil Biswas: ‘This forgotten Meena Kapur solo is a stunt film nobody knows or remembers..it is picturised on Jayraj and Shila Ramani ( taxi driver and railway platform fame.. ) ….Surprise of surprises, the music is by Anil Biswas…perhaps the last flicker before he vanished..! The film has a duet sung by Anil da and Mubarak Beghum ! This song is written by films producer Manmohan…this film came and went in 1961….
  • Aap Ki Inayatein Aap Ke Karam – Lata Mangeshkar -Vandana (1975) – Ravi: ‘A simple, soothing song from a forgotten film…!’
  • Kaho Aa Ke Bahar Kare Mera Singar Mujhe Pyar Mila – Mukesh & Asha Bhonsle – FORTY DAYS (1959) – Babul Bose – ‘Film चालीस दिन was famous for that sweet Asha – Manna Dey duet ” Naseeb hoga mera meharbaan kabhi na kabhi ” and great Asha solo ” baithe hain rehguzar pe dil ka diya jalaaye “. This sweet duet of Asha – Mukesh is lesser known but so sweet…Asha is at her playful mischievous best…music director Babul Bose gave a very few but memorable films..in a few films, he teamed with Bipin and gave music under the name ” Bipin Babul ‘.
  • Na Phoolon Ki Duniya – Lata Mangeshkar – Saaz Aur Awaaz (1966) – Naushad Ali : PALKI, LEADER and SAAZ AUR AAWAZ were supposed to be Naushad’s twilight years movies and hence the Music of these films was said to be weak as compared to old Naushadian standards….A Lata chorus..it has a mystic aura about it and the chorus female voices add to the atmosphere.. Based on raag SOHINI (perhaps )..’

[Side Note: I landed up on a Suman Kalyanpur number – Poonam Ki Raat Aayi – which I am not able to recollect very easily now. Hence brought it up here.]

  • Aye Saba Unse Kah Jara – ‘A rare Rafi- Asha duet from “Alibaba 40 chor ” . The music credit is given to S N Tripathi and Chitragupta but none of the film songs seem to have Chitragupta touch. Maybe , he gave background music only…..Strangely, in the same year 1954, a film named 40 BABA EK CHOR was also released with music by S D Burman with good, average, songs……Enjoy the lilting Arabian tune…!’

In the last episode of our carnival, we had talked about the very widely discussed and participated exercise of annual review of songs of a particular year – Best songs of 1950: And the winners are?. We have taken up documentation of the further micro-review of the songs therein. Here are the posts published during the present month:

We will continue with the series in the next couple of months as well……

In the end, we have picked up (our customary) very special songs of Mohammad Rafi from the lead we get from the articles / films discussed here before in the present episode of our blog carnival –

That incidentally takes us to two more songs from the same film – a solo by Mohammad Rafi, Zindagi Ke Mod Par, Akele The Ham, Mil Gaye Tum To Dil Ka Sahara Mila, and a duet of Mohammad Rafi and Asha Bhosle, Aankhon Mein Na Jaane

  • Recall of Mohammad Rafi songs from Saaz Aur Awaz

Pyaar Ki Raah Bahaar Ki Manzil – Mohd.Rafi & Asha Bhonsle – – A tonga song – after a long time.

Kisne Mujhe Sada Di (part i) – Mohd.Rafi & Suman Kalyanpur – Another haunting song, which typically has more than one version (part ii) in the film.

We continue our pursuit of the golden period of Hindi Film Music …….

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – July 2014

Welcome to July, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the period of the current edition of the Carnival of Blogs on Golden Era of Hindi Film Music, we have birth anniversaries of two music directors whose work apparently spans two ends of the spectrum of Golden Period.

We take up the first chronological end – Anil Biswas.

Remembering Anil Biswas, The SingerA tribute on Anil Biswas’s Birth Centenary (b. 7 July 1914; d. 31 May 2003)

“Songs of Yore heralded 2014 as the Year of Anil Biswas with Inaugural post by his daughter, Shikha Biswas Vohra – Anil Biswas: The Maestro and My Father. We have since had three more posts dedicated to him with his songs for Suraiya, Talat Mahmood, and his sister, Parul Ghosh…… Therefore, in our tribute to the Bhishm Pitamah in his Centenary Year, it is important to remember him as a singer too.”

The Maker of Mukesh: Anil Biswas’s opening paints a very vivid picture of the role of Anil Biswas – a Guru (of those days), in general, and the extent to which he would take pains for his passion – the music. While continuing the Centenary Tributes to Anil Biswas, SoY pays a very special tribute to Mukesh as well on his 91st birth anniversary (on 22nd July).

The Masters: Sajjad Hussain quite vividly portrays the nuances of Sajjad’s music. “According to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.”

Bulo C Rani – Phoolon Se Hum Shikhenge , Fariyad Na Karana, Ro Lena presents a bouquet of songs by one of the highly meritorious music directors of the Golden Period who could never hit the commercial success. The article is in Gujarati, but that should not come in the way of enjoying the melodies presented therein.

Atul’s Bollywood Song A Day– With Full Lyrics has crossed a great milestones of publishing 10,000 songs. To commemorate the event, several regular guest writers have contributed a post on this occasion. Visiting these posts is a subject by itself, which we would take up separately.

Forgotten Melodies (Part 2) – Sweet Melodies From My Father’s Films.

“When I did my previous post I was more or less sure about the songs that I would select for this post. I decided then that my next post would be a selection of songs that have struck a chord in my heart and songs that I have just liked because of the sweet melody and of course the lyrics.” The first part of the article – Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Films – has appeared in June 2014 episode of our Blog Carnival.

Kamal Hai?! Bindiya Songs has five songs but all of them relate to period beyond the extended end of our time scale. But Anu Warrier (Conversations over Chai) has added Khanke Kangnaa Bindiya Hanse , Lata Mangeshkar – S D Burman – Dr Vidya [1962] among others in her comment.

Makeover of the filmi doormats lists of five filmi doormats – Jameela in Chaudavi Ka Chand (1961)[ Badle, badle mere sarkar nazar aate hai]; Simran in Dilwale Dulahaniya Le Jaayendge (1995); Anjali in Kuchch Kuchch Hota Hai (1998); Lalita in Parineeta (1953 ) and (2005) and Chandramukhi in Devdaas (1935 ), (1955 ) and (2002).

Music, fantasy and colour in V Shantaram’s Navrang narrates ‘over-the-top explosions of colour and classical music in Hindi-film history’.

A Song For The Day is “a personal favorite” in as much as “the song stands for a sense of energy that accompanies longing and loneliness and infuses ephemeral pathos which depending on one’s mood may well turn out to be lasting.” The song neing discussed here is: Jab Chali Thandi Hawa, Jab Uthi Kaali Ghata, Mujhko Aye Jaan-e-Wafa Tum Yaad Aaye – Do Badan (1966) – Asha Bhosle – Ravi.

Kyunki Ye Ishq Ishq Hai Ishq ‘discovers’ the quawaali by Mubarak Ali Khan – Na Tu But Kade Ke Talab. Nusrat Ali Hateh Khan has also rendered this quawalli in his very unique style. And now let us listen what we have always loved to listen – Na To Carvaan Ki Talaash Hai

SoY has also commenced Best songs of 1951: Wrap Up 1 – The article goes on to sum up contributions by the readers and then presents – Songs of Yore Award for the best Male Playback Singer of 1951 goes to Talat Mahmood, and the best song is Meri yaad mein tum na aansoo bahana. Mukesh is given Jury’s Special Honour.

To end the current edition we will take up 75th Birthday (26th June) tribute articles –

However, I would like to recall his first two films only:

The Second one ….Bhoot Bangala (1965 )

And the First.. Chhote Nawab (1961)

And you guessed it right… these songs are also our tribute to Mohammed Rafi as well…..