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I Liked Music from films

Manna Dey’s Comedy Songs for Other Actors [1]

We have noted that Manna Dey’s formal association with comedy songs with the text-book comedians of the cinema roots in Manzil (1960) song Hato Kahe Ko Jhoothi Banao BatiyaN.. This certainly blazed a trail that distinguished the career of Manna Dey as well as Mehmood.  As can be expected many other music directors subsequently used Manna Dey’s voice for comedy songs with other comedians as well.

Before we fully explore this dimension, it is certainly worth its while to note that Manna Dey has recorded quite a few comedy songs for what is broadly termed as Hero in the cinemas. We begin our present, and last for the time being, leg of Manna Dey’s career journey.

Manna Dey’s Comedy Songs for Lead Actors.

We have had a multi-part series journey of Manna Dey’s Songs for the Lead Actors. Barring a few songs, we had refrained discussing Manna Dey’s Comedy Songs with Lead Actors there..

Manna Dey’s Comedy Songs for THE Kapoor Brothers

The active singing careers of some of the playback singers like Mohammad Rafi, or Kishore Kumar or Manna Dey have spread over several decades and were so potently dominant in their own times that each one having rendered playback voices for the Kapoor Brothers Trio has not attracted any attention. Manna Dey singing a comedy song for each of the three Kapoor brothers, there for does require a special mention.

Manna Dey and Raj Kapoor

Manna Dey had emerged as the principal alternative playback voice for Raj Kapoor from the very first film – Awara (1951) – of their association. It was therefore very obvious that he would get to sing special situation songs like, a sad song Tere Bina Aag Ye Chandani or sheer romantic duet Pyar Hua Ikrar Hua or very light-station dance number Mud Mud Ke Na Dekh or a song bordering to a classical comedy song Dil Ka Haal Sune Dilwala.

However, the first truly comedy song that Manna Dey sang for Raj Kapoor for the first time came up in Paravarish (1958)

Mama Oh Mama Oh Pyare Mama.. Gharwale Khaye Chakkar… – Paravarish (1958) – with Mohammad Rafi – Dattaram – Hasrat Jaipuri

Manna Dey was used as (almost) a default playback for Raj Kapoor in this film. So it was very natural that Manna Dey would playback to Raj Kapoor and Mohammad Rafi to Mehmood.

Next big comedy song that Manna Dey sang for Raj Kapoor came up in Dil Hi To Hai (1963)

Laaga Chunari Mein Daag Chuupaun Kaise – Dil Hi To Hai (1963) – Roshan – Sahir Ludhyanavi

It was Mukesh who was the default playback singer for Raj Kapoor in this film. However, for so strong classical rag-based comedy song, Roshan easily seems to have preferred Manna Dey

Manna Dey And Shammi Kapoor

Manna Dey had had an occasional chance to playback for Shammi Kapoor – Ab Kahan Jaye Hum – in Ujala  and a few other films, which we have covered in details in our Manna Dey – Shammi Kapoor piece earlier.

Meri Bhains Ko Dand Kyun Mara – Pagla Kahin Ka (1969) – Shankar Jaikishan – Hasrat Jaipuri

It was Shankar Jaikishan who again recalled Manna Dey for a full-fledged comedy song, filmed on Shammi Kapoor, when Mohammad Rafi had become THE ShammI Kapoor Playback voice.

Manna Dey and Shashi Kapoor

Manna Dey also had his share of Shashi Kapoor songs. It was in Pyar Kiye Ja (1966) that he gets a very light song to sing for Shashi Kapoor

Sun Le Pyar Ki Dushman Duniya – Pyar Kiye Ja (1966) – with Kishore Kumar, Lata Mangeshkar, Asha Bhosle – Laxmikant Pyarelal – Rajendra Krishna

This is a cry against the tyranny of the world towards the young people in love, but presented in a lighter tone.

Manna Dey’s Comedy Songs with Other Lead Actors

We have had a detailed look at Ashok Kumar – Manna Dey Comedy Song Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), in Ashok Kumar – Manna Dey piece @ Manna Dey and Lead Actors. So, we will be satisfied here with taking a note of that one excellent comedy songs of Manna Dey. Of course, no discussion of Manna Dey’s comedy sngs for Ashok Kumar can ever be complete without mention of Babu Samajo Ishare, Horn Pukare (Chalti Ka Naam Gaadi, 1958; Music – S D Burman; Lyrics: Majrooh Sultanpuri)

One of the rarest find while working for this entire series is Manna Dey’s Comedy Song for Vijay Ananad.

O Mister, O Mister Suno Ek Baat – Agra Road (1957) – with Geeta Dutt – Roshan –  Prem Dhawan

Vijay Anand was considered to be one of the most competent drifters of the films. Picturization of the songs was his forte. He would suddenly briefly appear, in Alfred Hitchcock’s signature style, in some in  the films he directed,  His attempts to act, and that too as lead actors, have been considered to be equally rare, and by and large not very successful.

Agra Road was his first maiden such effort. The film direction was in th every able thriller film directors, (Nagina -1951– fame) Ravindra Dave.

Here Vijay Anand is seen lip-synching Manaa Dey in a very light situation dance sequence. Of course, he himself wi very seriously dressed in a full suit, a tie, shoes and all.

Manna Dey’s Comedy Songs with Other Comedians

After Hato Kahe Banao Jhoothi Batiyan (Manzil, 1960) for Mehmood, we get to listen Manna Dey’s comedy songs for full-fledged comedians in 1962 for Johnny Walker.

Manna Dey’s comedy songs for Johnny Walker

The default playback voice for Johnny Walker has always been Mohammad Rafi. Mohammad Rafi had in fact so much developed a style of throw of words that synched perfectly with Johnny Walker’s theatrics that just by listening  to a song one would know this is Johnny Walker song..

Arre Kisne Chilman Se Maara – Baat Ek Raat Ki – S D Burman – Majrooh Sultanpuri

It is probably no coincidence that it is S D Burman who has chosen to use Manna Dey for Johnny Walker, taking on a contrarian step of not using Mohammad Rafi.. In fact SDB has already used Mohamad Rafi for Johnny Walker, right in this film – Aaj Ka Din Bhi Pheeka Pheeka. However, for this classical styled mujra, S D Burman has opted for Manna Dey. S D Burman has maintained spaces for Johhny Walker’s signature theatrics, while creating one of the most iconic comedy song in the annals of Hindi film history.

We have next three songs, all composed by Kalyanji Anadji.

Mere Mehboob Mujhko – Haseena Man Jayegi (1968)  – with Asha Bhosle –  Kalyanji Ananadji – Qamar Jalalabadi

This is a masala comedy song involving a sulking ‘the other half’ with our ‘comedian’ displaying all the theatrics available in his arsenal to win her over.

Ek Anar Do Bimar – Baazi 1968   -Kalayanji Anandji – Shakeel Badayuni

The templates are so rigidly cast, that even a new combination of music director – lyricist also is not able to inject any noteworthy variation.

Haye Re Raama Raam Qasam Kaisa Aaya Ye Zamaana  – Ek Haseena Do Deewaane (1972)  -Kalyanji Anandji –  Qamar Jalalabadi,

If a film has a comedian, and that too of the order of Johnny Walker, or Mehmood, he has to be allotted one song. By now there are some standard templates typecast. Any one of that template style will be lifted up and a song will be worked out by crafting some variation here or some variation there.

We would once again to end an episode in this series by ruefully noting the sudden drop in the quality of compositions that Manna Dey had to sing as the years pass, starting always from an iconic song to end with most certainly the forgettable song.

We have one song that can help us move away from that gloom –

Munh Se Mat Laga Ye Cheez Hai Buri – Johnny Walker (9157) – with Mohammad Rafi – O P Nayyar – Hasrat Jaipuri

This is an all-Johnny Walker- Mohammad Rafi song. Manna Dey has played back for some unknown ‘on-screen’ friends. But that has not made a shade of difference to Manna Dey – he matches a note-to-note with Mohammad Rafi.

That is the beauty of a really ‘class’ composition!!

We still have one more episode-worth material for Manna Dey’s comedy songs for Other Comedians. We would take that up in our next episode.

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In my view

Manna Dey and Contemporary Lead Actors – 1

Hindi Film World celebrates centenary birth year of Manna Dey. In a series of articles that I have planned to run in 2019 and 2020, I have tried to present songs from different angles, wherein focus is not on what is considered Manna Dey’s core niche areas, like classical songs, comedy songs etc.

We would confine our horizon of discussions to end decade of 70’s.

Satyajit Ray had once mentioned that listeners would be “more shocked than surprised if they were made to hear a voice outside a coveted set of six singers”. Maybe six was just an empirical number he had in mind, but throughout his career, Manna Dey certainly was not one of the six when the requirement was singing for the lead actor. He was always the seventh, in the role of a specialist.[1]

Manna Dey (a.k.a Prabodh Chandra Dey – B: 1st May, 1919 /\ D: 24th October, 2013) was groomed into the classical singing, with extra eye for perfection, experimentation and complete dedication. He was so much singer to the core, that he might probably never have explicitly thought of shaping his career path on the more worldly success matrix.

He has recorded songs of types and hues in around 16 languages. His classical songs are remembered fondly by critics as well as the common listeners. His comedy songs earned so high a respect that he got typecast for these songs. In fact, every type of song genre that he touched, led to typecast him for that genre. However, as the destiny may have chosen not to bestow Manna Dey with the coveted ‘commercial’ recognition of That Hero’s Voice even he had string of exceptionally successful songs for the leading male actor of the film. Many of his sings in this category for so called B category films earned fame, that turned out to be not enough to earn long term success to the heroes of these films, was also not that longer.

In our today’s article we will try to remember his songs for the lead male actors of different times. Our aim is not seeking any ‘whys’, but to collect Manna Dey’s representative songs from the perspective of the contemporary lead actors on one-page.

As is well-known Manna Dey commenced his Hindi film song career with a duet, Jaago Aayee Usha Panchhi Boley  with Suraiya for Tamanna in 1942. The song has been filmed on a beggar and his young assistant. Manna Dey played back for the beggar. His first song thus was a ‘beggar’ genre song. His second song was for film Ram Rajya (1943), a ‘bhajan’ genre song. However the wait for films which had strong social content and also had one of the three of Great Trinity of the lead male actors of Indian Cinema as the upcoming stars.

With Dilip Kumar

Manna Dey and Dilip Kumar have got together in Dilip Kumar’s debut film Jwar Bahata (1944). Manna Dey gets to sings Bhula Bhatka Path Hara Main Sharan Tumhari Aaya, Kah Do He Gopal, for which Anil Biswas composed music. The song is set to Bengal’s folk baul style, which the medicants used for their compositions. Dilip Kumar was the male lead, but the only song that he would have sang – Sham Ki Bela Panchhi Akela –  on the screen was played back by Arun Kumar Mukherjee. Manna Dey has never played back for Dilip Kumar. Closest these titans can have been said to come is in Insaan Ka Insaan Se Ho Bhaichara, Yahi Paigam Hamara (Paigam, 1956; Music: C Ramchandra) which rolls  around Dilip Kumar as the key protagonist and Manna Dey sings in the background.

With Dev Anand

It was as far as back as in 1947 that Manna Dey got to play back for Dev Anand, who was the lead actor for Aage Badho. HFGK credits the duet, Sawan Ki Ghatao Dheere Dheere Aana – (Music: Sudhir Phadake, Lyrics: Amar Varma) to Manna Dey and Khursheed, for Dev Anand and Khursheed respectively on the screen.

Asides:

Even at the cost of being repetitive, it should be noted that the opinions are sharply divided along the loyalty lines in so far as credit for the male singer goes. Several other net-resources and many of Rafi’s keen listeners credit the male part of the song to Mohammad Rafi.

Manna Dey played back for Dev Anand again next year in Hum Bhi Insaan Hai (Music: H P Das, Assistant – Manna Dey; Lyrics: G S Nepali) . Ham Tere Hai Hamko Na Thukarana O Bharat Ke Bhagwan Chale Aana– is in the form of a prayer that Dev Anand, possibly as a teacher in the school or a children home type of institution. sings to the children.

Part 1 and Part 2 of the song, O Ghar Ghar Ke Diye Bujhakar Bane Hue Dhanwan , has idealist tone.

Dev Ananad and Manna Dey have, then, combined in Amar Deep (1958; Muisc C Ramchandra; Lyrics: Rajinder Krishna) triad dance song Is JahaN Ka Pyar Jutha. The first stanza focuses on Johnny Walker for whom, naturally, Mohammad Rafi has provided the playback. Dev Ananad commences second stanza @ 3.47 with a hearty alaap of Manna Dey to dancingly sing Ab Kahan Wo Pahele Jaise Dilbari Ke Rang ….

Asides:

Amar Deep had a twin version duet Dekh Hamein Awaaz Na Dena, filmed on the lead pair Dev Anand and Vyjayantimala, which has Mohammad Rafi playback singing for Dev Anand. The film had one more obscure solo – Lene Ko Taiyar Nahi, Dene Ko Taiyar Nahi – which is also filmed on Dev Anand and played back by Mohammad Rafi

Hereafter, Manna Dey got to play back for Dev Anand only when S D Burman chose to offer some specific songs like Tak Dhum Tak Dhum Baje (Bombai Ka Babu,1960), Sanj Dhali Dil KI Lagi Thak Chali Pukar Ke (Kala Bazaar,1960; with Asha Bhosle); Chand Aur Mein Aur Tu, Aye Kash Chalate Milke – with Asha Bhosle-,  Hamdam Se Mile Ham Dam Se Gaye and Ab Kise Pata Kal Ho Na Ho (Manzeel, 1960) etc.

Manna Dey did sing genuinely romantic songs for the hero in these songs, even if he was that ‘seventh’ choice.

Dev Anand – Manna Dey were brought together, once again. for one of the all time classics Chale Jaa Rahein Hai Kinare Kinare (Kinare Kinare, 1964; Lyrics: Nyay Sharma) by Jaidev.

With Raj Kapoor

Manna Dey was called on to sing for Raj Kapoor in Aawara (1951) in the classic two-song part dream sequence Tere Bina Aag Ye Chandani ….. Ghar Aaya Mera Pardesi. Since then, Shanker Jaikishan have so profusely used Manna Dey’s voice for Raj Kapoor in RK films as well as other films that Manna Dey-Raj Kapoor- Shankar Jaikishan relationship can be dealt only as set of full-fledged articles.

Manna Dey’s voice has also been used quite extensively  for Raj Kapoor by other music directors as well.

I have selected two songs to present the glimpse of the relationship –

Duniya Ne To Mujhko Chhod Diya, Khub Kiya Are Khub Kiya – Sharda (1957) – C Ramchandra – Rajendra Krishna

Has Kar Hassa Masti Mein Ga, Kal Hoga Kya Hoga Ky Bhul Jaa – Bahurupiya (Shelved) (1964) – Shanker Jaikishan – Shailendra

Manna Dey’s playback singing relationship with the Trimurti of Indian Films – Dilip Kumar, Dev Anand and Raj Kapoor – has so far followed the Manna Dey’s career in the chronological sequence. So, we will follow the similar pattern to explore his playback singing relationship with other mainstream male lead players.

With Ashok Kumar

Manna Dey’s first major association with Ashok Kumar was for the film Mashaal (1950) where he was assisting S D Burman. Upar Gagan Vishal for that film is considered to be the game changer for S D Burman as well as Manna Dey. However, it is not filmed on Ashok Kumar’s lips in the film.

During ‘50s, Ashok Kumar did maintain the status of a lead male actor, but generally not as the romantic hero. This probably created an ideal platform for Manna Dey’s playback singing relationship with Ashok Kumar. Manna Dey sings two songs for Ashok Kumar in Savera (1958, Music – Shailesh Mukherjee; Lyrics – Shailendra). The first one, a duet with Lata Mangeshkar, Chuuppa Chuppi .. Aagad Baagad Jae Re, is light-mood duet, addressed mainly to the children in the film.

The other one, A solo filmed on Ashok Kumar, Jeevan Ke Raaste Hazar – is a background song.

It was in the same year that Ashok Kumar lip-synced Manna Dey in Baabu Samjo Ishare (Chalati Ka Naam Gaadi, with Kishore Kumar; Music – S D Burman; Lyrics;ajrooh Sultanpuri), wherein Manna Dey matched notes by notes Kishore Kumar’s theatrics.

Ashok Kumar – Manna Dey got together for Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), a comic-situation oriented classical-based song.

in 1963, S D Burman used Manna Dey as playback singer for Ashok Kumar in Meri Surat Teri Aankein for an Ahir Bhairav benchmark Hindi film song, Poochho Na Kaise Maine Rain Bitayi (Lyrics – Shailendra). However parallel use of Mohammad Rafi for a playful semi-classical Naache Man Mora Tikra Dheegi Dheegi succinctly epitomizes the entire career of Manna Dey – respected on high pedestal, but not preferred normally, exceptions accepted.

Anurodh (1977) also has a twin Manna Dey – Ashok Kumar song Tum Besahaara Ho To (Music: Laxmikant Pyarelal; Lyrics: Anand Baxi). The first version is a happy version, where Ashok Kumar playfully sings the message to the children.

Second version is more in the form of a prayer, that also provides strong vibes to the main protagonist, Vinod Mehra as well.

We will continue our Manna Dey memoirs and take up Manna Dey’s songs for the ‘next-gen’ lead actors who entered Hindi Cinema in ‘50s.

[1] On Manna Dey’s 100th Birth Anniversary, a Look Back at His Journey

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I Liked Music from films

The Micro View of Best Songs of 1947 : Male Solo Songs – Other Male Singers

On the whole, this list does present quite a kaleidoscopic picture pf the range of male singers. It would be interesting to note the presence of lyricist like G S Nepali or Music Directors like, Bulo C rani or Sardar Malik or even actors like Raj Kapoor in this list. Would it mean that there were not many known names in the field?

G S Nepali – Azad Hai Ham Aaj Se, Jailo Ke Taale Tod Do – Ahinsa – C Ramchandra – G S Nepali

Rafiq Ahmad – Apna Ghar Pahechan Bande..- Amar Asha – Shanti Kumar –

S D Batish – Aashiyan Apna Luta Apni Nazar Ke Samane – Arsi – Lachchiram / Shyam Sundar- Sarshar Sailani

Raj Kapoor – O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – S D Burman  – Y N Joshi

There is a duet version of the song in the film, in which Geeta Roy accompanies Raj Kapoor.

I have not been able to locate the soft link for this song:

Raj Kapoor – Piya Milane Naveli Jaaye Re – Jail Yatra – Ninu Mazumdar – Rammurty

Shyam Sundar –Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Shyam Sundar – Muhobbat Ki Na Khana Mithai Na Khana Muhobbat Ki Mithai – Dil Ki Rani (1947)  – Lyrics: (?)

Shyam Sundar – Sar Phod Phod Ke Mar Jaana Kisi Se Dil Na Lagana – Dil Ki Rani (1947) – S D Burman –Y N Joshi

Ninu Mazumdar – Duniya Saari Jail Re Jiski Oonchi Diwarein – Jail Yatra – Ninu Mazumdar – Sajjan

Krishan Chandra Goel – Vrindavan Ki Kunj Galin Mein Lathile Dhen Charae – Krishna Sudama – Shyam Babu Pathak –

Hemant Kumar- Ishare Ishare Mein Duniya Badal Li – Manamani – Kamal Dasgupta –

Bulo C Rani – Kal Chalate Chalate Unse Mulaqat Ho Hayi – Mulaqat – Khemchand Prakash – Qamar Jalalabadi

Amar – Bhool Ja ….Aye Wo Batein Bhool Jaa – Natak – Naushad Ali – Majrooh Sultanpuri

R P Sharma – Aye Bewafa Zamane Ham Se Daga Na Karana – Renuka – Sardar Malik – Qamar Jalalabadi

Malik Sardar – Sunati Nahi Duniya Kabhi Fariyad Kisi Ki – Renuka – Sardar Malik – Qamar Jalalabadi

Rati Kumar Vyas – He He He Mulak Kathiawad Dharti Par Dujo Nahi – Woh Zamana – Bulo C Rani – Pandit Indra

We will take up MY Top Male Solo Songs for 1947 in our next episode.

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In my view Music from films

S D Burman and “Other” Male Playback Singers :: 1

SD Burman’s compositions with (the so-called ‘mainstream’) male playback singers like Kishore Kumar, Mohammad Rafi, Mukesh, Talat Mahmood, Hemant Kumar or Manna Dey or songs in his own voice seem to have been discussed well on different blogs . The discussions have been observed to spread over different contexts like songs composed for heros – for Dev Anand as well as for ‘other’ heroes, composed on comedians like Jhonny Walker or Mehmood, Kishore Kumar or Mohammad Rafi’s duets with either Geeta Dutt or Asha Bhosle or Lata Mangeshkar and many other variants and sub-variants .

The statistics also reflect a similar picture.  The songs that S D Burman has composed for Kishore Kumar (115 songs) and those for Mohammad Rafi (90 songs) constitute around 60% of the total around 342 male (solos, duets etc.) songs. If we add S D Burman’s songs for other mainstream singers like, Mukesh, Talat Mehmood, Hemant Kumar and Manna Dey, we would cover around 83 % of SD Burman’s male songs  His songs in his own voice would add further add up to 4%.

This 87% songs account for (2+4+1) 7 singers.  If we call this a classic 80+% ‘Head’ of a rank-frequency power law curve, the 34 songs spanning 18 ‘other’ male singers, a good  13 % of S D Burman’s male songs,  would make a perfect ‘Long Tail’ that does not seem to have been discussed as much.

For the purpose of our discussion of S D Burman’s songs for ‘other’ male singers, we will slice SDB’ career in three period slots such that  each one has had a very definitive set of external factors that seem to reflect his selection of ‘other’ male singers.

As we will see in a short while, each of these three phases has its own distinct pattern in so far as SBD’s use of ‘other’ male singers. It would also be not out of order to note that, barring a few cases, most of these singers have appeared only in song(s) for only one S D Burman-composed film.

 [1]

1946-1949

For our present post, we have taken S D Burman’s songs of ‘Other’ Male singers for the first phase of his career. That phase commences from the beginning of SBD’s Hindi Film career in 1946 and would end in1949, leaving out ‘Mashal’ for the next phase.

S D Burman had composed music for 8 films in this period. We have covered 5 films in our post. The 3 films we have not covered are:

  • Chittorvijay (1947) songs do not seem to have a trace of the digital version on net. The film had had Raj Kapoor, Madhubala, Surendra etc. in the lead. The lyrics of the first line of the songs would lead us to believe that the songs were in female voices. But the trail goes cold beyond that.
  • Vidya (1948) had Dev Anand and Suraiya in the lead. The male songs, filmed on Dev Anand, have been rendered by Mukesh.
  • Shabnam (1949) had Dilip Kumar and Kamini Kaushal in the lead. Here too, the male songs are rendered by Mukesh.

This period has one more Raj Kapoor film for which S D Burman has composed the music. Raj Kapoor sings his own songs for that film. 1n 1950, SDB-RK had one more film – Pyas. The male songs, filmed on Raj Kapoor for that film, have gone on to Kishore Kumar.

With these major indicators, the scenario for S D Burman’s career’s first phase can best be summarised as:

This period of 1946-1949 is the period when The Trio of Hindi Films – Dilip Kumar, Dev Anand and Raj Kapoor – were still the budding, struggling, young actors. Their star-image blazing films were to appear only in 1949 or thereafter. Since they were not stars themselves, they seem to have gone on with any playback singer who was the then flavour of the day. S D Burman himself was still not on the firm footing. That was to happen in Mashaal (1949), His branding association with Navketan was to happen in 1950 with Navketan’s maiden venture Afsar. Moreover, Male playback singing  is yet to become the oligopolic turf of ’50-60’s singers Mukesh, Talat, Rafi or Manna Dey. The actors on the screen were still expected to playback their own songs.

We open the curtains for the day with this rather long prelude –

S D Burman – S L Puri

S L Puri seems to have played minor to major roles in several films between 1934 and 1957. Not very definitive documentation on him seems to be available on net.

Babu Re Babu Re Dil Ko Bachana – 8 Days (1946) – with S D Burman – Lyrics: Qamar Jalalabadi / G S Nepali (?)

What we have is an audio clip, so we assume that S L Puri would have sung for himself, However for who did  S D Burman played back is not known.  These details apart, S D Burman singing a very light song is novel, and a pleasurable, experience!

S D Burman – Chitalkar

How would SDB and CR have teamed as music director-singer combination remains a matter of conjecture – may be C Ramchandra was still not established as music director in his own rights, so he would have been accepting the stand-alone singing assignments or was his availability on Filmistan rolls the catalyst for this combination ? We know not.

Ik Nayi Kali Dubli Si Dulhan Ban Ke.. – 8 Days (1946) – with Meena Kapoor – Lyrics:  G S Nepali

The song appears to be a wedding-occasion song, but cast in a lighter tone.

S D Burman – Chitalkar music director-singer duo has one more song on the records. The song is from a film which dates a good six years after their maiden combined venture. However, we have included that song here to bring all the songs of SDB-CR combination on the same page.

Teriya Teriya Teri Yaad Sataye Teri Yaad – Chalis Baba Ek Chor (1954)- with Lata Mangeshkar – Lyrics: P L Santoshi

The way Teri Yaad has been played up as Teriya Teriya, the mood, and the composition of the song would lead to believe that song would have been composed by C Ramchandra !.  Moreso, when film belongs to the phase of S D Burman’s career where he, and for that matter most of the then other established music directors,  had well settled with using only the main stream male singers for his songs.

Is that P L Santoshi’s influence, since he was the director of the film as well?

S D Burman – Ashok Kumar

This is the first year of S D Burman in Hindi Film Industry. Ashok Kumar is already the default lead actor for Filmistan banner at that time. Ashok Kumar also used to sing his own songs in that period. So, the combination would not cause many surprises.

Their next association was in Mashaal (1950), by which time Ashok Kumar probably had decided to focus more on his acting. So it is also not surprising that S D Burman has used different singers for Ashok Kumar after this one film.

In the subsequent instance of such a situation, in Meri Surat Teri Aankhen (1963), S D Burman has even used two different singers – Manna Dey and Mohammad Rafi – as he used to do for Dev Anand too, by that time.

Dol Rahi Hai Naiya – Shikari (1946) – with Chorus – Lyrics : G S Nepali

 Dol Rahi Hai Naiya – Shikari (1946) – with Paro Devi – Lyrics : G S Nepali

This is the twin of the foregoing song.

Har Din Hai Naya – Shikari (1946) – with Amirbai Karnataki  – Lyrics : G S Nepali

S D Burman – Shyam Sundar

That this Shyam Sundar is not the then famous actor Shyam is not difficult to know.  It seems there was another Shyam Sundar who as primarily a music director.  Making any statement beyond that is simply outside the domain of my limited knowledge of the pre-1950 Hindi Film Music world.

Loot Liya Dil Chitchor Ne – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: Y N Joshi

Hero’s sidekick friend has landed upon photograph of the beau who has stolen way his heart. So who would miss the occasion of the pulling the leg and get away with?

Muhobbat Ki Na Khana Mithai Na Khana Muhobbat Ki Mithai  – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: (?)

HFGK is silent about the singer or the lyricist. When we llot the video and listen to the song, it is not difficult to surmise that singer is none other but Shyam Sundar.

Sar Phod Phod Ke Mar Jaana Kisi Se Dil Na Lagana – Dil Ki Rani (1947) – Shyam Sundar – Lyrics: Y N Joshi

It seems that now the well-wisher friend of the hero has taken up on himself to get the hero’s lady love to nod in favour of his friend.

S D Burman- Raj Kapoor

Dil Ki Rani (1947) is the second instance when S D Burman and Raj Kapoor have teamed up. In those years, that cannot be the news. The news is Raj Kapoor singing for his own song – whether on his own volition or on the direction of the music director S D Burman, is obviously not known. The fact remains that this is only one such incidence of the kind.

O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – Lyrics: Y N Joshi

Hero is an upcoming singer. Here he is recording his song for radio.

O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor – Dil Ki Rani (1947) – With Geeta Roy – Lyrics: Y N Joshi

The song has become so famous that people from all walks of lives keep singing the song. Technically, this can be termed as Raj Kapoor’s playback song for other actor(s).

S D Burman – G M Durrani

The film is Do Bhai (1947). By now, S D Burman seems to have settled with choosing Geeta Roy for female playbacks.  Incidentally, Mera Sundar Sapna Bit Gaya is the first major evergreen, all-time hit song under S D Burman’s baton.

Aji Preet Ka Nata Toot Gaya – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan

G M Durrani was a well-established singer then.

S D Burman – K S Ragi

KS Ragi is one more unknown name to me.  So I search for more information on him on some more versed blogs on the film songs. I do not have to search a great deal, since I land upon a post guest written by Shri Arunkumar Desmukh, wherein he has provided this basic information about K S Ragi:

“Kewal Singh Ragi was born and brought up in Hanamkonda, Warangal in erstwhile Andhra Pradesh (now it comes in Telangana).. When he was in his teens, he ran away to Bombay.. and as luck would have it, managed to get entry into All India Radio and started singing there. He was in Bombay for 12 years. He not only got a chance to sing in films,but he composed music too as well as acted in some films,like Daag-52 and Patita-53 etc….He sang in films from 1940 to 1952 and sang songs with Geeta Roy, Shamshad Begum, Uma Devi, Kishori (supposedly, his own sister), Zebunnisa, Khursheed, Roshan ara Begum, Razia Begum etc.…. Some of the films he sang in were, Do Bhai-47, Namumkin-46, Hamari qismet-49, Siskiyan-58, Bulbul-51, Humraz-40, Azamaish-52 etc. He gave music to Bulbul-51 and Siskiyan-58 (unreleased).”

Yaad Rakhana Mujhe Yaad Rakhana, Preet Ki Duniya Meri Abaad Rakhana – Do Bhai (1947) – with Geeta Roy – Lyrics: Raja Mahendi Ali Khan

A close look at the video clip shows that the present song as well as the previous song has been sung by the same actor – Ulhas – on the screen, but S D Burman has chosen to use different playback singers.  This practice of choosing different singers for the same actor in one film – most particularly in the case of Dev Anand – based on the demands of his tune was to become a major differentiator, in the years to come, that separated S D Burman form his peers .

S D Burman – Surendra

The film is Kamal (1949). Surendra was already an established actor-singer by this time. However, S D Burman has very deftly handled the actor as a singer.

Main To Hun Udaas, Woh Bhi Hai Saukh Jafar Gham, Unke Bhi Dil Mein Dard Hai, Ae Dil-e-Udaas Kyun – Kamal (1949) – Lyrics: Prem Dhawan

Is the use of Ae dil-e-Udaas Kyun, which were closely rhymes similar to K L Saigal’s Ae Dil-e-Bequarar Kyun do we see a subtle attempt to encash Surendra’s fame as ‘Bombay K L Saigal’!

Ab Raat Gayi Beet Re – Kamal (1949) – Lyrics: G S Nepali

Here is the song that presents both Surendra and S D Burman the way we have always known.

Jhoom Jhoom Ke Naache Manwa Gaye Ja Gaye Ja – Kamal (1949) – Lyrics: Prem Dhawan

To me, it appears tune is more akin to S D Burman’s style of singing!

Kahane Ko Hai Taiyar Magar Kaise Kahe Hum – Kamal (1949) – with Geeta Roy – Lyrics: G S Nepali

Surendra joins in only the last stanza.

S D Burman – Motilal

S D Burman once again explores the vocal chords of someone who is known as an actor …

Pyara Pyar Hai Sama My Dear Come to Me – Kamal (1949) – with Meena Kapoor – Lyrics: Raja Mahendi Ali Khan

Most of us would not be able associate either Motilal or Raja Mahendi Ali Khan in such a light mood!

Thus ends the period when it is said that S D Burman was highly dissatisfied with the fruits of his labor at Bombay and was very actively considering going back to Calcutta.

At this point his career is delicately poised at To Be or Not To Be.

We also take a pause at this point and will resume S D Burman’s career journey through the vehicle of his songs for ‘Other’ Male Singers in the next part of this post.

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We will begin our present episode on a lighter note with You’ve never heard the demonetized version of this famous song from Guru Dutt’s ‘Pyaasa’. As a parody, ‘When it was our turn in the queue, the bank’s coffers were empty‘ is a part of sort of mini cottage industry – These Bollywood spoofs on demonetisation will tide you over the cashless blues.

December, 2016 also had another major event- passing away of Tamil Nadu CM, J Jayalalithaa.

Wadia and Nadia: How love kicked in pre-Bollywood filmdom – Nadia was a JBH discovery. But it was Homi (May 22, 1911 – December 10, 2004) who gave this memsahib with a thick Scottish accent, a voice. “Homi realised her language was her ‘body’,” says film theorist and curator Amrit Gangar. “He kept Nadia’s dialogue to a bare minimum because of her difficulty with Hindi.”

mary-ann-evans-aka-fearless-nadia-in-a-still-from-carnival-queen-1955
Mary Ann Evans aka Fearless Nadia in a still from Carnival Queen, 1955

Happy Birthday Dharmendra: As he turns 81, we bring you his various filmi moods – He was probably the first Indian male star who appeared bare-chested in a song in Phool Aur Patthar. From Anupama (1966) to Satyakam (1969), Dharmendra tried to create a space for himself as an actor. Hrishikesh Mukherjee’s Chupke Chupke is another film which proved that the actor could balance subtle comedy just as well as slapstick elsewhere.

MS Subbulakshmi: A journey from Kunjamma to Meera – is N Venkataraman’s tribute on her birth centenary (16 September 1916 – 11 December 2004).

December is also a month of birth dates of Dilip Kumar and Raj Kapoor, two fulsome actors of the Great Triad.

dilip-kumar

Dilip Kumar – Leaves from My Diary in an interview conducted in 1957.

prithivi-raj-kapoor-with-sons-and-a-grand-son

Prithivi Raj Kapoor with sons and a grand son

15 Songs of Shailendra: The Art of Simply Expressing Deepest Thoughts – On Shailendra’s death anniversary,Antara Nanda Mondal and Peeyush Sharma have compiled a brief list of 15 songs that give a glimpse of his massive range – encompassing songs of love and romance, songs of introspection and philosophies, songs of spiritual awakening and harsh social realities, songs of that celebrate liberation and songs that express the anguish of entrapment.

sitara-devi

We have an excellent career-sketch of Sitara Devi: The Twinkling Star profiled by Karan Bali on her second death anniversary on 25th November.  Some of her memorable films are Judgement of Allah (1935), Achhut (1940), Pagal (1940) and India Today (1940)., Roti (1942), Najman (1943) or her snake dance in Anjali (1957) or the Holi dance in Mother India (1957).

We will also take note of A Short Film Tribute to Sitara Devi   

Karan Bali has also profiled PC Barua, who is most easily remembered for K L Saigal’s songs of Devdas (1935) or Saigal’s So Ja Raajkumari So Ja (Zindagi).

The December, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Mohammad Rafi’s solo song from the first film with the music director. This part of the article covered the first three years of the first-five-year-period of 1944-1948. The second part of the article, has covered songs from 1947 and 1948 @ Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director ||2||.

Here are posts on other subjects as well:

Shyam Benegal’s ‘Ankur’ and the beginning of a film movement – A Book Review by Sangeeta Datta – A script written during the filmmaker’s college years became the foundation of his sparkling career as one of cinema’s greatest realists.

smita-patil-image-credit-jhelum-paranjape

Smita Patil as a child: Mischievous, adventurous, emotional and an excellent mimic – In her review Maithili Rao notes that  Smita Patil biography reveals that the acclaimed actor, whose death anniversary is on December 13, was ‘prem mayee’: a being suffused with love.

More Delicious Chutney Covers of Hindi Film Songs – After the introductory piece, we can now expect this to be a regular fare.

Southern Spice in Hindi Music highlights key aspects of South Indian music that have been absorbed in Hindi film songs, that have added what one would call as a dash of Southern spice in Hindi film music. This is not about the vocal styles from South India, but instruments from South India. LINK TO PLAYLIST FOR SOUTHERN SPICE IN HINDI FILM MUSIC takes us to 12 such songs from 1940s to’60s, with one exception.

I have been able to land upon this quite an imaginative subject – “Samne waali khidki” songs rather belatedly.

Shankar-Jaikishan’s multi-faceted genius with ‘other’ singers – have covered so far their best songs for his leading singers, Lata Mangeshkar, Mukesh, Rafi and Manna Dey. also presented his best dance songs for Lata Mangeshkar and female dance duets. presenting my final tribute to SJ with their songs for ‘other’ singers which give a glimpse of their multi-faceted talent.

My Favourites: Heroes – 1 (40s-70s)  is the pairing list of earlier  My Favourites: Heroines – 1 (40s-70s) , based on an idea of Stars and Songs, that the author, Ava Suri, particularly like featuring the actress. In the continuum, Zeenat Aman – My favorite Songs is a collection of Baker’s dozen songs that have matching visuals to the catchy lyrics with Zeenat Aman in the focus and Ashok Kumar – 10 favorite songs that the actor sang as well as performed on the screen.

‘Diya Na Bujhe Ri Aaj Hamara’ – Kumkum The first song I got as a dancer was the song “Angana Baaje Shehnai Re, Aaj Mori Jagmag Atariya” in the film Sheesha which was sung by Shamshad Begum. ‘Raat Ke Raahi’s song ‘Daayein Baayein Chhup Chhupa Ke Kahaan Chale’ was picturized on Kumkum’s younger sister Radhika and Shammi Kapoor.Radhika also stays with her family in Mumbai.

Trios, Quartets, and More: Ten of my favourite songs has presented songs such as:

Bas mujhko mohabbat ho gayi hai (Biwi aur Makaan), 1966); Mukesh, Manna Dey, Hemant, Talat Mahmood. There is one more such experiment in the same film – Nahi Hota… Aa Tha Jab Janam Liya – Mukesh, Manna Dey & Hemant Kumar

The Legends: Asha Bhosle sets the tone with the help of solos and The Legends: Asha Bhosle – Part 2 has her duets.

We end today’s episode with a short film on songs and life of Mohammad Rafi: Part 1| Part 2 | Part 3. 

I take this opportunity to wish a great 2017 to all of you and look forward to your valued suggestions to keep our content more engrossing…

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We will begin our present issue with a post that could well have been included in our last episode –

Four Aces and A Queen – Geeta Dutt’s songs with 4 ace music directors that may be missed because of the dominance of SD Burman, Hemant Kumar, OP Nayyar in her list of hit songs. On the birth anniversary of Geeta Dutt, the Queen of Bhaav Gayaki, Parag Sankla explores her lesser heard gems from the repertoire of four music directors Hansraj Behl, Chitragupt, Bulo C Rani and Avinash Vyas.

And since we are on that very site, we certainly get more to read on Geeta Dutt:

Geeta Dutt’s list of her best songs in 1957 – For some reason, may be because C.H. Atma sang it first (?), she did not include Preetam Aan Milo

Raj Kapoor – Musically – Raj Kapoor with different instrument in each of the song is remembered here. We have picked up the less heard song from the ones presented here.

Remembering Raj Kapoor- The Showman And His 7 Iconic Heroines – Nargis, Nimmi, Simi Garewal, Zeenat Aman, Dimple Kapadia, Mandakini, Padmini Kolhapure – on his 91st birthday.

C Ramchandra as Chitalkar – continuing the series on the Year of Naushad (with C Ramchandra in tandem), SoY presents the songs of CR as a singer. C Ramchandra has also sung for other music directors, such as Mir Saheb (Lal Haveli, 1944), Anil Biswas (Jwar Bhata, 1944; Veena, 1948), Husnlal-Bhagatram (Apni Chhaya, 1950), Hemant Kumar (Samrat, 1954; Lagan, 1955), Roshan (Baraati, 1954), Usha Khanna (Faisla, 1965), Laxmikant-Pyarelal (Chhaila, 1967. We have picked up some of the less heard songs:

Naushad’s gems before ‘Rattan’ (1944) – a very fine researched article that brings up the (real) vintage Naushad – Before Rattan, Naushad did over a dozen films, having over 120 songs…. The Internet (YouTube) has brought to us a large number of his early songs….. a large number of his early songs are of outstanding quality. One for one, these songs are no less melodious and enjoyable than Rattan’s.

Upperstall has presented profiles of Saeed Jaffrey by Shoma A Chatterji; Shyam Benegal by Karan Bali and Dharmendra also by Karan Bali.

We also have a couple of more pieces to celebrate Dharmendra’s birthday:

Just be yourself: Dharmendra in Guddi, and other reflections on his 80th birthday.

[A related piece here: the Amitabh cameos. And an earlier post about Dharmendra is here]

Happy Birthday Dharmendra and Sharmila Tagore! Here are our favourite films featuring the pair – Anupama (1966), Devar (1966), Satyakam (1969), Yakeen (1969), Mere Humdam Mere Dost (1968), Chupke Chupke (1975), Ek Mahal Ho Sapno Ka (1975), Sunny (1984). Devdas (1976), a Gulzar venture did not go beyond mahurat.

“Thoda Sa Dil Laga Ke Dekh” – Shammi Aunty (nee Nargis Rabadi) passionately looks back on her long career . We see her playing sitar in Ye Hawa Ye Raat Ye Chandani (Talat Mahmood – Sangdil -1952 – Sajjad Hussain). In our December, 2015 episode of Fading Memories….Unforgettable Songs we had listened Thoda sa muskara ke dekh apana bana ke to dekh (Musafirkhana (1955) – with Shamshad Begum – O P Nayyar).

We now move over to other regular posts.

Bengal’s Music and Its Influence in Hindi Film MusicAntara Nanda Mondal and Peeyush Sharma take us on to a journey of discovering and enjoying gold nuggets of Bengal’s music strewn in Hindi film songs – a presentation made at the Romancing the Song Meet in India Habitat Centre, New Delhi, November 14, 2015.

Bengal’s Music and Its Influence in Hindi Film Music

In our last episode we had first time landed upon a couple of posts on the Silhouette, the magazine section of Learning & Creativity. It is time to catch up with some of the several interesting posts:

We have three posts by Arun Kumar Deshmukh on Atul’s Song A Day, which also throw quite an insight into the topic that is intrinsically related to the song under discussion. Even as we will listen to the songs mentioned in these posts in our next issue of Fading Memories.. Unforgettable songs (10th January, 2016), here is the brief take on each of the posts:

Tu mera copyright main teri copyright Mohammad Rafi has given playback to Kishore Kumar more number of times than others.

S No. Movie Song Co-singer Music Director
1. Miss Mala (1954) Chori chori aana naa* Asha Bhosle Chitragupta
2. Bhagam Bhag (1956) Chale ho kahan Asha Bhosle O P Nayyar
3. Bhaagam Bhaag (1956) Hamen koi gham hai Asha Bhosle O P Nayyar
4. Raagini (1958) Man mora Bawra O P Nayyar
5. Shararat (1959) Ajab hai dastan teri aye zindagi (happy and sad versions ) Shanker Jaikishan
6. Sharaarat (1959) Tu mera copyright Lata Mangeshkar Shanker Jaikishan
7. Baaghi Shahzada (1964) Main is masoom chehre ko Suman Kalyanpur Babul
8. Pyar Diwana (1972) Apni aadat hai Lala Asar Sattar

Incidentally, the other singers who gave playback to Kishore Kumar are Manna Dey ( 3 times), S D Batish (1), Amanat Ali (1) and Asha Bhosle (once in film Baap Re Baap-1955).

[*The video clip shows some other actor singing this song.]

Samaa ye pyaar ka bahaar ke ye mele traces the most creative period – years 1955-60 – of SJ. The author attributes the loss melody in the din of popularity in post-1960 period to the growing differences between the partners.

Aa jaa aa jaa aa jaa nadiyaa kinaare Author Ganesh Anantharaman, in his book “Bollywood melodies”Bollywood Melodies says, “Perhaps success came too early to them from the very first film, depriving them to develop a bond which comes after struggling together for success.” Over and above the support of RK, quality lyricists and singers, the strong arrangers like Sebastian D’Souza played a major role in SJ’s great success. The post has quite succinctly presented a full range of ranking arrangers of that time.

Incidentally, I have been also able to locate a very interesting clip, on the subject of ‘Conviction and Leadership: Insights from the World of Bollywood Music’, in which Ganesh Anantharaman presents his ‘evolving thoughts on what can be learnt from the world of Bollywood music about conviction and leadership.

Three versions of a songMan Mor Machaye Shor – Ladki (1953) – Lata Mangeshkar and Geeta Dutt . The Hindi version sounds a bit different from the Tamil (by T.S. Bhagavati and M.S. Rajeshwari) and Telugu (by T.S.Bhagawati and P.Suseela) versions.

Scroll.in continues to provide a variety of posts:

Bollywood raags: Hindustani classical vocalists who made film music – Featuring Bade Ghulam Ali Khan, Amir Khan, DV Paluskar and other legends – Aneesh Pradhan :

Incidentally, I watched Ankahee (1985) a few days back. The film has a Tulsidas bhajan, composed by Jaidev, rendered by Pandit Bhimsen JoshiRaghuvir Tumko Meri Laaj

HMV studios: In Kolkata, the home of India’s melodious past struggles for relevance

Some say it was Satyajit Ray’s favourite place. Now, the dappled HMV studio complex wears a mostly deserted look. – Chandrima Pal  · Fading tune – Next year, Mumbai will lose a significant piece of its musical history when Rhythm House at Kala Ghoda shuts down for good. Some 1,652 km or more away, in the dusty neighborhood of Dum Dum north of Kolkata, another icon of the country’s musical legacy awaits the inevitable. [I was a regular visitor to Mumbai’s Rhythm House from 1974 till 1979. I had also occasion to visit Rhythm House sometime in 2009, when I was in that area in a case relating to a customs case. I had purchased a couple of film CDs then.]

Music and the monument: Songs inspired by the Taj Mahal – The seventh wonder of the world has always fired up the imagination – Nate Rabe  · sunday sounds :

The Carnatic vocalist who sings Urdu blues – Hariharan has invented a whole new genre in ghazal singing – Manish Gaekwad – Hariharan’s singing career began with a ghazal. Jaidev signed him to sing for the movie Gaman (1978). Hariharan sang Ajeeb Sanehaa Mujh Par Guzar Gaya Yaro, written by poet Shahryar. Hariharan later came to create a new genre within the ghazal called Urdu Blues. He incorporated elements of jazz and blues music in the song Yeh Aaine Se (Kaash, 2000). Guitars and drums play on a slow beat alongside the sitar and sarangi moving into a noir space.

We would conclude our Blog Carnival 2015 with a post that was originally published on 31st July, 2015, but I landed up only this month. So welcome an opportune coincidence!

Mohammed Rafi: For The Record By Gajendra Nand Khanna – During my of vinyl records purchasing years in mid 70s, I had collected a fairly large collection of Mohammad Rafi’s LP records. At least so I believed till I came across this post. This collector’s collection documented here is simply mind-blowing. In one of the responses to the article, Antara very aptly comments that this article has become a reference point for many. (What) an eclectic collection of Rafi’s versatility!!!

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

Wishing you all a most fruitfully joyous and happy 2016….

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I Liked Music from films

The Micro View of The Best Songs of 1950 @ Songs of Yore – Male Solo Songs – Several Playback Singers for For Raj Kapoor

Best songs of 1950: And the winners are?’ very interestingly notes that the year is noteworthy for the number of voices that sang for Raj Kapoor. That in deed calls for a post exclusively dedicated to these songs. We have covered here solo as well as duet songs.

Baware Nain – Kedar Sharma – Roshan

We have covered Teri duniya mein dil lagta nahi in the solo songs of Mukesh. Similarly Mukesh – Geeta Roy duet Khayalon Mein Kisi Ke Is Tarah Aaya Nahi Karate and Mukesh – Raj Kumari duet Mujhe Sach Sach Bata have been covered in the Duets section.

Pyar – Rajendra Krishna – S D Burman

Kishore KumarKachichi Pakki Sadakon Pe Meri Tamtam, Chali Jae

Kishore KumarMohabbat Ka Chhota Sa Ek Aashiyana Kisine Banaya Kisine Mitaya

Kishore Kumar with Geeta Roy – Ek Hum Aur Doosare Tum, Aur Teesar Koi Nahin

Kishore Kumar with Geeta Roy – O Bewafa Yeh To Bata

Kishore Kumar with Shamshad Begum –  Jalti Hai Duniya Tera Mera Pyar Hai

Dastaan – Shakeel Badayuni – Naushad

Mohammad Rafi with Suraiya – Taarai Aarari Taarari …Ye Sawan Rut Tum Aur Hum

Mohammad Rafi with Suraiya – Dhadak Dhadak Dil Dhadake

Mohammad Rafi with Suraiya – Dil Ko Hae Dil Ko ..Teri Tasveer Se Bahalae Hue Hain

 Sargam – PL Santoshi – C Ramchandra

Chitalkarwith Chorus- Main hun ek khalasi mera naam Bhimpalasi

Chitalkar with Lata Mangeshkar – Woh Hum Se Chup Hai Hum Unse Chup Hai

Chitalkar with Lata Mangeshkar and Chorus – Yaar Vai Vai

Chitalkar with Lata Mangeshkar, Mohammad Rafi and Chorus – Baap Bada Na Bhaiya ….Sab Se Bada Rupaiya

Jaan Pehchan – Shakeel Badayuni – Khemchand Prakash

Shankar DasguptaHum kya bataayein tumse kyun door ho gaye hum 

Shankar DasguptaDukh se bhara hua hai dil

Talat Mahmood with Geeta Roy – Arman Bhare Dil Ki Lagan Tere Liye Hai

Continued….

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Carnival of Blogs on Golden Era of Hindi Film Music Music from films

Carnival of Blogs on Golden Era of Hindi Film Music – March 2013

Welcome to March 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We have a quite a range of subjects, and equally wide range of songs this month, which also sets in motion remembrances of birthdays and a special day.

First let us take birthdays, and the posts that have given us some great songs in the bargain:

Talat Mahmood – 24th February:

SoY presented an excellent variation, in the form of (some of) “his best duets with Asha Bhosle” @ Best duets of Talat Mahmood and Asha Bhosle. “Another significant point about Talat’s duets with Asha Bhosle is that some of these came at a time when Talat was at the top of his career, but Asha Bhosle was still in the shadows of her big sister. If at all, she would be seen as a potential successor to Geeta Dutt tradition. With all this handicap, the fact that these are among some of the best duets ever is not only due to Talat, but also to a great deal due to the unique voice of Asha Bhosle.”

Shri Shrikant Gautam, in his regular weekly column ‘Raag Rang’ in Gujarati newspaper “JanmabhoomiPravasi” chose to present a rare combination of Talat Mahmood singing for Raj Kapoor and Dev Anand respectively. For the benefit of the readers here, I place here below the link to the video clip of the songs mentioned in these articles:

Raj-Talat Synchronization:

Anhonee (1952) – Roshan

Main Dil Hoon Armaan Bhara – http://youtu.be/RqpECqkBVzE [The clip has a wonderful piece (@4.14 onwards) in (unusually) high key rendition @ 4.26.]

Mere Dil Ki Dhadkan Kya Bole – with Lata Mangeshkar – http://youtu.be/8mORpshV3r0

Sama Ke Dil Se Hamare – with Lata Mangeshkar – http://youtu.be/2XMWtjMrJ5I

Ashiana (152) – Madan Mohan

Main Pagal Mera Manwa Pagal –  http://youtu.be/mjudXYpl2ow

Mera Quarar Le Ja – http://youtu.be/qNKZ0TtA5fo and its twin song by Lata  Mangeshkar – http://youtu.be/yz4GMWS4rDs [This clip has an excellent alaap piece by Talat Mahmood, preceding the main song.]

Bewafa (1952) – A R Quereshi

Dil Matwaala Lakh Sambhala – http://youtu.be/EZE3cPKB8kU and its twin by Lata Mangeshkar – http://youtu.be/v7_JHPBUdKE

Tumko Furshat Ho To Meri Jaan Idhar Dekh Bhi Lo – http://youtu.be/RdshBKFkTAE

Tu Aaye Na Aaye Teri Khushi – http://youtu.be/WBOxHEYkRxU

Dil Mila Hai.. Kaam Hathon Kaa Hai – http://youtu.be/ES5gxqm0Jpw

The only RK film for which Talat Mahmood did sing a song – Chali Kaun Se  Desh, Gujariyan Tu Saj Dhaj Ke – a duet with Asha Bhosle – http://youtu.be/EPwQu3b7CkQ–  was Boot Pollish (Music Shanker Jaikishan). Incidentally, Raj Kapoor did not act in this film. Another trivia of this song is that male protagonist on the screen is Shailendra.

The original article, in Gujarati, is available as – રંગ રાગ અને સલામ બોમ્બે_20130303_Page_8.pdf.

Dev and Talat’s melodious company:

Patita (1953) – Shanker Jaikishan

Hai Sabse MAdhur Wo Geet, Jinhe Hum Dard Ke Sur Men Gaate Hain – http://youtu.be/vvVbNdZ7wwQ

Andhe Jahan Ke Andhe Raaste, Jaae To Jaae Kanhan –  http://youtu.be/ogtJBGqh43Y

Tujhe Apne Paas Bulati Hai Apni Duniya – http://youtu.be/Wo8CQHiaiZU

Pocketmaar (1956) Madan Mohan

Yeh Nai Nai Preet Hai – http://youtu.be/6jVdfGM6Kss

Taxi Driver (1954) – S  D Burman

Jaae To Jaae Kahan, Samajega Kaun Yahan – http://youtu.be/vYdRUjZK4KY; which also has a twin song by Lata Mangeshkar – http://youtu.be/_EFyBWNMmgo

Kinare Kinare (1963) – Jaidev

Dekh Li Teri Khudai – http://youtu.be/tnCsk63fr_I

The original article, in Gujarati, is available as રંગ રાગ અને સલામ બોમ્બે_20130310_Page_8.pdf.

‘Dusted Off’ pays fond remembrance to Shashi Kapoor on his 75th birthday on 18th March, by reviewing Sharmeelee (1971). The songs that get specific mention are:

Khilte hain gul yahaan – Kishore Kumer (which also has a twin Lata Mangeshkar song)

Megha chhaaye aadhi raat – Lata Mangeshkar

Kaise kahen hum pyaar ne humko, – Kishore Kumar,

“and a lesser known, but a good cabaret number, by Asha Bhosle” – Reshmi ujaala hai makhmali andhera.

‘Dances on the Footpath’ remembers birthday of Khwaja Khurshid Anwar, a music director who could bring out the best in many of the best singers from British India, India, and Pakistan @ Ten Of My Favorite Khawaja Khurshid Anwar Songs Sung By Noor Jehan (Happy 101st Birthday, Khawaja Khurshid Anwar!).

‘Dusted Off’ also had a special post lined up for International Woman Day (8th March), by way of “Ten of my favourite female duets” –  “A post on saheli songs has already been done in the past. So, to differentiate this post from that one, I decided this list of duets will feature only songs where the women in question are not sahelis—they may be colleagues, relatives, and strangers to each other, whatever. But not sahelis (they may be friends, of course, but there must be another relationship too).”

The subject of female duets is also covered by ‘Harveypam’s Blog’, to commemorate this very day, last year, under the post – The Sister Act – presenting therein 10 of the favourite Lata Mangeshakr – Asha Bhosle duets. Harveypam Blog also had done an interesting post on Hindi Film songs by ‘blind heroines’.

We now turn to posts which have appeared on various sites/ blogs, in the ‘usual’ course of their respective journey into the Golden Years of Hindi Film Music.

We first look at the songs listed out for Gyarah Hazar Ladkiyan @ our maiden visit to Ashok Dave’s Blog [The reviews are in Gujarati]. Composed by N Dutta, the film had some catchy and a couple of evergreen scores by Mohammad Rafi:

  1. Kaam Ki Dhun men Hain Ravaan – Mahendra Kapoor and Chorus http://youtu.be/MmqH8Q7fMg8
  2. Sablok Idhar Jidhar Who Hai, Udhar Dekh Rahen Hai – Asha Bhosle http://youtu.be/Todtb7-LcfE
  3. Pahechano Hum Wohi Hai, Dekho To Aamkhen Mal Ke – Lata Mangeshkar and Chorus – http://youtu.be/_xvhuMdJGoM
  4. Dil Ki Tamanaa Thi Masti Men, Manzil Se Bhi Door Nikalate – A Happy version – by Asha Bhosle & Mohammad Rafi – http://youtu.be/AYzrU8jrj2Q  – and a sad version by Mohammad Rafi – http://youtu.be/4IVCdVJ9rUk
  5. Gam Gaya To Gam Na Kar, Gam Naya Jaga Le – Asha Bhosle – http://youtu.be/1QWTsAyJCTo
  6. Mere Maheboob Mere Saath Hi Chalana Hai Tujhe – Mohammad Rafi – http://youtu.be/AnpAX9zQkns

Also enjoy a beautiful Mexican dance tune, as a bonus –  http://youtu.be/tSZRMu_W92o

Of course, once we visit this site, we find reviews of two other films and the lists of the songs thereto, during the period of review covered by this edition of the Carnival. Since both the films and their songs are equally interesting, we may as well list them out:

Ziddi (1948) – Khemchand Prakash

[The review has a startling revelation – the titles of the film, glaringly has carried Anil Biswas as music director, in place of the actual Khemchand Prakash.]

  1. Ek Baat Kahun Tumse, Bura To Na Manoge – “Singer not known” – [I could not find any audio or video link of this song.]
  2. Jadoo Kar Gaye Kisi Ke Naina Ki Man Mere Bas Men Nahin – Lata Mangeshkar – http://youtu.be/ctI8KiuswJs
  3. Ye Kaun Aaya Ye Solah Singar – Kishore Kumar – Lata Mangeshkar- http://youtu.be/787GGmytWko
  4. Rooth Gaye Mose Shyam Sakhi- The original article states that the other singer in this song ‘is not known’. However, as we listen and watch this clip, we may observe that at a point of time (@2.22) Dev Anand sees dancer’s face morphed into that of Kamini Kaushal. From that point of Lata Mangeshkar also takes over the playback from Raaj Kumari (or is it Shamshad Begum as mentioned by the uploader of the clip). –http://youtu.be/zd47dLfWdyM However here is another clip(an audio) where singers are mentioned as  Lata Mangeshkar and Rajkumari. [That should settle the issue of who the other singer is!]  – http://youtu.be/RfviokhEXM4
  5. Chanda Re Jaa Re Jaa Re – Lata Mangeshkar – http://youtu.be/2DtN7fredKA
  6. Tujhe O Bewafa Hum Zindagi Ka Asara Samaje – Lata Mangeshkar – http://youtu.be/smz-ZYso6MQ
  7. Chali Pi Ko Milan – Shamshad Begum – http://youtu.be/s52moCvqs3Y
  8. Ab Kaun Sahara Hai, Jab Tera Sahar Choot Gaya Hai –  Lata Mangeshkar- http://youtu.be/sDvZn8x74OY
  9. Marane Ki Duaen Kyun Maangun – Kishore Kumar – http://youtu.be/8InU035J6WM

Shriman Satyawadi (1960) – Datta Ram – Known as the solid backbone of Shanker Jaikishan’s orchestration, but highly underrated as an independent music director – has Mukesh’s some of the most lilting songs in this film:

  1. Rut Albeli Mast Sama, Saath Hasin Aur Raat Jawan – Mukesh – http://youtu.be/sN-2Fm3UlEQ
  2. Ek Baat Kahun Vallah, Yeh Husn Subhanallah – Mahendra Kapoor, Suman Kalyanpur, Mukesh – http://youtu.be/Pabyhom52as
  3. Ae Dil Dekhe Hain Hamane Bade Bade Sang Dil – Mukesh – http://youtu.be/VmI35mls9jM
  4. Bhigi Hawaon Men, Teri Adaon Men – Suman Kalyanpur, Manna Dey http://youtu.be/xjV0fuf1Df0
  5. Rang Rangeeli Bottle Ka Dekh Lo Jaadu – Mohammad Rafi http://youtu.be/_Rh3Z7y2bd0
  6. Kyon Udaa Jaata Hai Aanchal, Kun Nazar Sharma Rahi Hai – Suman Kalyanpur – http://youtu.be/9Gi8f9uMT8g
  7. Haal-e-Dil Hamara, Jaane Na Bewafa, Ye Jaman – Mukesh – http://youtu.be/ITG7Y6eJY4A

We have two posts this month, similar in subject, but very different in content, on songs that have more than one versions. SoY has yours truly’s guest post, Multiple Versions Songs (6) – Both versions by female playback singer(s) (1) – Abhi To Main Jawan Hun, continuing the series on the subject, whereas ‘Harveypam Blog’ has Shri Arunkumar Deshmukh’s guest post  Inspire!. This post very vividly presents Ek Tune Do Gaane – two songs, one being inspired from another song, generally of another music director.

‘Harveypam Blog’ has two more posts for the current edition of the carnival:

Look, who’s here! presents songs that melodiously describe the emotions when one observes yeh kaun aayaa – someone comes in – either expectedly or unexpectedly- but certainly creating a wave of melodious elation by that coming in.  

SoY also presents 6th guest article by Shri Subodh Agrawal, “after some gap, with an outstanding article”, Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod, in the series Songs based on classical ragas. Shri Subodh Agrawalalso includes the concluding portion of Tagore’s dance drama ‘Shyama’, which is one of the most poignant and beautiful compositions in Desh you can find anywhere. The classical pieces he has included are recognized landmarks in these Ragas. He combines his great taste in music with a precision in writing he has acquired from his training in Physics and Mathematics in IIT.”

And each of the articles has very lively, informative, and engaging discussions, which also bring in a wealth of songs on the respective subject. Please do not miss them!

Do let me know whether you enjoyed this journey to the Hindi Film Music’s Golden Period?

Do you have any more sites on this insatiable subject which can be included in this blog?